a New

Sacred
Geometry

•
AftI and
ocienpe
=<Frank
Chester
by Seth T. Miller
 a New
Sacred
Geometry

The Art and

Science of

Frank
Chester

by Seth T. Miller
 To all curious souls.

© 2012 Seth T. Miller

Spirit Alchemy Design

Photography-. James Heath & Dana Rossini Rogers

Digital Artwork and book design: Seth T. Miller

All rights reserved

Printed in the United States of America
 Contents
Foreward-. Perspectives. i

The Chestahedron. 1

The Geometry of the Chestahedron. 2

The Chestahedron as an Archetype of Form. 4

The Saturn Seal. 7

Discovering the Chestahedron. 8

Implications and Applications: The Heart. 12

Implications and Applications-. The Earth. 75

Implications and Applications: Architecture. 77

Earth and Moon.20

Between Art and Science.27

Making Connections.23

Prints.24

Chestahedron Studies.26

Squaring the Circle Construction Method.38

Squaring the Circle using the Vesica Piscis.40

Heptahedron from the Vesica Piscis.47

Constructing a Heptagon.42

Nine Vesica Pisces.45

The Mathematics of the Chestahedron.46

Mathematical Summary.56

Chestahedron Construction Template.58

 Foreward: Perspectives
F rank Chester is truly one of those rare geniuses whose work will surely transform the con¬
tours of science, art, and spirituality in the decades and centuries to come. His discovery
of the Chestahedron, a new form that conceptually and geometrically unifies the five Platonic
solids, newly extends over two thousand years of research by renowned scholars and scien¬
tists, and alone should secure his place in history. But to see the profound links between the
Chestahedron and the form and dynamics of the human heart, the geography of the Earth,
its potential applications in agriculture and environmental restoration, not to mention art and
architecture as well, is to realize that one is standing before a fountain of deep discoveries and
wisdom ready to bless humanity. I am excited to see Frank's work finally entering into the
consciousness of the world.

Nicanor Perlas, Recipient 2003 Right Livelihood Award (also known as the Alternative
Nobel Prize), author of the international best selling book, Shaping Globalization:
Civil Society, Cultural Power, and Threefolding, and Co-Founder, Movement of
Imaginals for Sustainable Societies thru Initiatives Organizing and Networking
(MISSION), www.imaginalmission.net.

September 13th, 2012

O n meeting Frank in his humble apartment in San Francisco, I was

immediately struck by his workspace, which seemed to be a com¬
bination of laboratory, library, art studio, and geometric playground all
in one—a new alchemical workshop, a crucible of sorts. The myriad ob¬
jects, most tightly stored in glass-paned cupboards because the space is
so small, had a powerful presence; but so did Frank's voice, steeped with an
enthusiasm born from over a decade of continuous inquiry. As the afternoon
progressed, one miracle after the other appeared from the treasure-chest of
Frank's mind, heart, and hands, linking Universe, Earth and Humanity. As we
conversed, new concepts were made visible like gently emerging snowflakes:
structured, coherent, and ephemeral. I realized that I was in the presence of
an inventor who had re-opened portals that had been habitually closed for hun¬
dreds of years. These portals had once been pathways to an intuitive percep¬
tion of the harmony and unity of the world that the 17th century Enlightenment
had chosen to bury. Frank has courageously stepped through these portals to
explore the landscapes on the other side, and has rendered his experiences into
real objects of geometry, art, sculpture, and architecture. He was as astonished as
anyone at what has emerged: intimations that there may well be an exacting higher
purpose to form and order, a coherence which can be made perceptible, and yet
which also touches the sublime.

When Frank finally produced the bronze heptahedron (the seven-sided form he dis¬
covered, called the Chestahedron), I made a decision! I would support this spiritual
scientist however I could. My commitment is specific to his research into the geometry
 that underpins so much of our natural, visible world. Since that afternoon, hung by the San Fran¬
cisco sea fogs, I have embarked on a journey with Frank as one of his many colleagues in sup¬
porting the emergence of the geometry of spiritual forms. My inner sense is that these forms are
accelerating and giving new potential to the future. Some of the forms no doubt will contribute to
the foundation of a new spiritual technology.

It was when Frank rotated his model of the heptahedron and presented it in profile as the shape
of a bell that my whole inner being moved. I could see this beautiful bronze bell hanging in the
courtyard of a new college that I was undertaking to manifest with colleagues in Sheffield's city
center. He called it the “Heart Bell." Yes! A Heart Bell in the center of Sheffield, a Heart Bell
k to be rung by students who are bereft and in a city whose foundations are built on metal-
^ lurgy. A Heart Bell that would also be placed into existing schools formed by the Ruskin

K
^k Mill project, crossing England from Northeast to Southwest. Each Ruskin Mill school
^k would cast a bell and celebrate the transition of the seasons. Yes, this bell would radi-
^k ate something completely new out of the old.

On the 29th September 2012, the new Heart Bell will be rung at Clervaux in Dar-
^k lington, adjoining the river Tees, and a thread of sound will ring in the Mich-
^k aelmas event. More than this, the smaller bells, a “Heart Family," will also in
time be ringing out across England from Cambridge Rudolf Steiner School
^k to Plas Dwbl in Pembrokeshire, Wales. I intend to avail this Heart Bell in
^k countless social, educational and biodynamic projects.

I perceive Frank's contribution to be the starting point of a new future in

ving geometry can contribute to and help shape an emergent
i. Within this geometry, it is possible to start to perceive how ar-
pes and meta-principles linking the universe and humanity can
tilized in a conscious application toward human and spiritual
relopment.

onghus Gordon M.Ed., founder and director of thie Ruskin Mill Trust
www.rmt.org), which works with challenged young people who un¬
dertake a three-year training program in Practical Skills Thera¬
peutic Education. There are currently six centres throughout
the UK. The work is inspired by Rudolf Steiner’s spiritual psy¬
chology, craft work and the natural world. In 2005 Aonghus
was awarded the UK Social Entrepreneur of the Year.

September 23rd, 201 2

Setting One - The Tradition of Sacred Geometry

T he small group of sacred geometers has a spe¬
cial language. They speak in hushed tones of
squaring the circle and circling the square, a me¬
dieval problem about how to equate the perime¬
ter of a square—symbolizing the manifest earth
with its rectilinear lines made necessary by gravity and ease of construction—with the perimeter
of a circle—symbolizing the infinitude of heaven, from where the creations emanate. They seek a
perfect solution, a mathematical solution or, even more elegant, a geometrical solution. The side
of a square can be measured, but the circle has that unknown factor—pi—called a transcenden¬
tal number because it transcends physical reality, and whose value can never be known exactly.
When you accomplish this construction, you participate in the act of creation.

Sacred geometers nod and sigh when contemplating the equilateral triangle.

Most people do not comprehend the satisfaction experienced by geometers I \

when simply gazing upon this form. The geometers see more than others. / \
They realize that, before three references, there were two points, giving / \
only a line, one dimension. Add a third reference point and you open / \
from the restrictions of the line into the plane with a sigh of freedom f \
in expansion, the equal distance between each point giving a kind of / \
perfection to the relationships. Implied is the opening to the next / \
dimension (the third - space), and the stability of the tetrahedron: * ■*

Buckminster Fuller re-discovered

/\ \ the power of this form and from his work we have domes and other
/ I \ forms that soar into a third dimension made freer by this most
/ I \ elegant of forms multiplied.

/ I \ Sacred geometers smile when they see what have come to

/ I \ be called the Platonic solids: the four-sided tetrahedron,
/ I \ the eight-sided octahedron, the twenty-sided icosa-
/ I \ hedron—the ones whose sides are made of equilat-
/ I \ eral triangles —the six-sided cube—whose sides
/ I \ are made of squares —and the twelve-sided
dodecahedron—whose sides are made of five-
I sided pentagons. Though described by Plato, the
British Museum has stones carved in these perfect forms
originating from thousands of years before Plato.

Sacred geometers nod when they see five-fold geometries, including the US military's Pentagon,
because they see intrinsic to it V5, in the form of the golden mean or phi = (V5 +1)/2, the propor¬
tion of growth in flowers and vegetables and nautilus shells and many other forms—the process
of growth copied into the temples of Egypt and the cathedrals of Europe. The square-root of 5
comes from the root (as in tree root, that is, the foundation and essential support) of the square
whose value is 5. This is 5 of what? 5 dollars? 5 yards? 5 chickens? To a geometer the unit doesn't
matter, for the proportion is so much more important—proportion and therefore angle ... as “the
angles are angels.” This is one of the secrets that sacred geometers hold—that there is an entire
bandwidth of spiritual refinement made entirely of geometrical relationships. As matter densities,
these relationships become hidden, though they remain at the root of all forms. As you refine away
from density toward source, you have to go through that bandwidth: Then sacred geometers become
your guides. Astrologers love these angles as angels of square, triangle, quintile (from the penta¬
gon), septile (from the seven-sided figure, which you will soon learn to construct and admire).
Sacred geometers nod when they listen to music, as they follow the lead of Pythagoras to hear the
purity of the octave (fretting a vibrating string at exactly one half its distance), the perfect fifth (from
the foundation do to so/, exactly 2/3 of the string - 2/5 and 3/5), and many other intervals and over¬
tones. They nod because they see the same intervals in nature and in architecture and in everything
that pleases the eye.

One form that especially delights a geometer is the vesica piscis, created when you put the center
of a second circle on the perimeter of a first circle.

The central form, shaped as a vertical football, is traditionally termed the vesica piscis (bladder or
bag of the fish), also the mandorla (shaped as an almond). In many traditions this form without the
outer circles can be found to frame Mother Mary inside or Buddha inside or any of the Hindu gods
inside. Even though the inner shape is shown without the construction elements, the geometer can
see where it came from, and know that it relates to larger forms of intersecting circles, called the
Flower of Life.

Sacred geometers nod knowingly because they feel, as do alchemists of old and modern scientists
and also philosophers, that they have a special key to creation - to the earth, to Gaia - from which
the term geometry comes—geo/Gaia, -metry/measure. William Blake pictured God with a large
compass measuring out the earth and everything in it -
proportions that were and are by definition divine be¬
cause God made them. Thus the School of Chartres
has become known to the informal guild of sacred
geometers as a gathering place for those with
these interests - the training ground in the twelfth-
century (when it flourished, though it began ear¬
lier) of sacred geometers. There have been other
schools and centers, though few have taken these
forms more seriously than ornament.

Those who designed and built the StarHouse in Boulder,

Colorado, studied sacred geometry with Robert Lawlor (author of Sacred Geometry, first published
in 1979, and selling several thousand copies each year since then) and with Keith Critchlow (The
Hidden Geometry of Flowers). For nearly two years, we gathered as a group to study how to apply
these principles to the StarHouse and the many features in the landscape around it. Such atten¬
tions resulted in an architecture that nourishes rather than depletes (and whose history and geom¬
etry can be found at www.TheStarHouse.org and at www.StarWisdom.org).

Setting Two - the Tradition of Anthroposophy

The Austrian philosopher Rudolf Steiner (1861-1925), responsible for what we see today in Wal¬
dorf schools, biodynamic agriculture, the art form of eurythmy, a new approach to medicine, and
many other initiatives, began his teaching work just after the year 1900. Before that, he had
edited the scientific works of Johann Wolfgang von Goethe, a great statesman, scientist, and
playwright (Faust being the best known). By 1913 Steiner had a large following, and had just
separated from theosophy to create anthroposophy, from anthropos (the possible human being)
and Sophia (divine feminine wisdom). He decided to build a gathering place for the teaching of
anthroposophy, through the performances of sacred drama (his own “mystery plays” as well as

to
those by symbolists attracted to anthroposophy) and through his lectures (of which he gave some¬
times four a day in different fields of endeavor). This building came to be known as the Goethea-
num, and was designed as the merging of two dodecahedrons.

Steiner attracted many donations of money and materials. Large timbers of rare trees were sent
from every continent to create the building. Many of the creative people of his day from many
countries were lured there. Inspired young people who desperately needed to create rather than
destroy—they could sometimes hear the artillery of World War I in the distance—came to this hill¬
side in Switzerland to camp out and learn and work hard.

One of the tasks was to carve the tops of the seven great pillars that held the roof aloft in the
larger dodecahedron. These were the capitals—the heads—of those columns, one for each of the
planets. One woman wrote about the work:

The first Goetheanum.

We have before us a row of wooden blocks more than a yard each in height and
width. ... We take chisels and mallets. A great effort is needed to cut even a splin¬
ter out of the block. We take counsel, we pull on the wood, we are already tired.
Our arms are sore, yet one sees no result of the effort. Dr. Steiner... takes a mallet
and a chisel, climbs on a wooden crate and begins to work. He too has never done
such work before, but after a few blows with the mallet he appears to be quite
familiar with it and cuts one furrow after another. We see him hammer for ten
minutes, one hour, two hours, without stopping. We stand at a distance, pale with
exhaustion, and look at him in awed silence. We knew by experience how hard the
work was.

These capitals were key to Steiner's gift to humanity - his understanding of the construction of the
universe - his sacred geometry. One of the workers wrote a little play about the experience that
included the following conversation about the capitals:
 OVERSEER:

When will peace come?

Rudolf Steiner:

Only when the dead

can be included in our conferences.

j j
dJl AaflilH
OVERSEER:
The first capital. The sixth capital.
But how?

Rudolf Steiner-.

Why, in the language of these forms.

Would that the living too might listen to them.
Then they would know themselves to be immortal,
while still encumbered with an earthly frame,
and cease to harbour hate in scornful hearts.

(You might return to these words after studying Frank Chester’s work.)

One young person summarized these months in the following way: “He turned us from impractical,
dreamy eccentrics who often ran away from life...”—one could almost read this as “hippies”—“into
workmen who used their bodies in the service of the spirit.” (All references for these quotes can
be found in my book, Star Wisdom & Rudolf Steiner: A Life Seen Through the Oracle of the Solar
Cross, from www.StarWisdom.org.)

That first Goetheanum burned to the ground on December 31,1922. But, important to this nar¬
rative, its structures had been photographed.

Setting Three - Enter Frank Chester

Frank Chester taught art in high school and college for many years. This gave him great famil¬
iarity with materials and techniques, how to make ideas into objects, how to manifest in material
form interpretations of creation, that is, art.

Upon retiring from his responsibilities to the public school system, Frank Chester found his way to
Rudolf Steiner College and was promoted there by the wonderful teachers Dennis Klocek, Brian
Gray, and Patricia Dickson. He studied Steiner's work, and was drawn to the Goetheanum. He
found his way to the capital of the pillar for Saturn—no longer available as a three-dimensional
reality, but through two-dimensional photographs. He thought he saw in it the revelation of a
Platonic seven-sided figure. Recall that the Platonic solids include figures with sides of four, six,
eight, twelve, and twenty sides; the notion of seven sides had long been sought for the power of
the number of seven, but the seekers had given up. Frank created a series of models, some of
ping-pong balls and wire, and some of much more sophisticated materials. He found such a figure.

Encouraged by his allies at Rudolf Steiner College, he put this sequence of discovery on display
in the foyer of the main meeting hall for the “Anthroposophy in a New Millennium” conference
at Rudolf Steiner College in June 2000. Hundreds of people attended. In the midst of droves
of people coming and going, I passed by the exhibits by Frank Chester three times until I was by
myself and finally was able to look more closely. I stopped dead in my tracks. Here were shown
the roots (meaning the foundations, the essences) of what had been used to build the StarHouse.
Here were the struggles of one man with the enigmatic capital of Saturn. And he had come out
of this struggle with something absolutely unique and new and wonderful and yet recognizable. I
looked him up and we have been friends ever since.

As an indication of how specialized the band of sacred geometers, Frank said that only two people
contacted him on the basis of his display.

One more glimpse from this setting of Frank Chester. He does not have a large studio, but rather
a dedicated corner of his apartment in which to work. Every time I visit, there is a different thing
laid out. Sometimes there are pages of drawings, for he uses the classical methods of deriving the
designs using the simplest of technologies—the compass. (The equa¬
tions at the end of this book come into play also, but they are actually
less important than the construction methods derived from traditional
compass work.) Sometimes there are new constructions demonstrating
how abstract shapes in movement create expansion/growth and de¬
cay/vacuum. Once there was a large cylinder, six feet high and two feet
in diameter, full of rotating water demonstrating the power of vortices
to increase pressure and vacuums. Cosmologists speak conceptually
about black holes and worm-holes through time and space, but
Frank Chester can demonstrate them through geometrical
elements in movement.

Summary
Frank Chester is surely a reborn master of the
School of Chartres. He has taken the cue from
Rudolf Steiner to create masterpieces of ele¬
gant geometry, and also to make them available
through many fields of endeavor—from water pu¬
rification to cathedral design to the dynamics of
the human heart to the shape of sound (his bells)
and ... one never knows what this master will create
next. As the playwright had Steiner say, “Would that
the living too might listen to [these forms]/' so may it be
with Frank Chester, sacred geometer.

David Tresemer, Ph.D., co-founder of the StarTlouse in Boulder, Colorado (www.TheStarl-louse.org),

co-founder of the Star Wisdom approach to astrology (www.StarWisdom.org), author o/The Venus
Eclipse of the Sun 2012, and One-Two-ONE: A Guidebook for Conscious Partnerships, Weddings,
and Rededication Ceremonies (with Lila Sophia Tresemer), and other books, and co-founder of
Mountain Seas intentional community (www.MountainSeas.com.au)

September 9, 2012

M y first meeting with Frank Chester was in the year 2000 in Fair Oaks, CA where he shared
his research methods and discoveries with a small group of artists. In the previous months
he had discovered the seven-sided solid composed of surfaces having two shapes and all having
the same equal area, now called the Chestahedron. It was fascinating to hear the descriptions
of his process and how each step led to the next. I was deeply moved by his enthusiasm and his
modesty. The forms Frank produced were not merely simple creations, but gifts that he received
through deep conversation with the principles of geometry. He asked questions and answers
came. From my own studies of geometry and experience of the unique relevance of the number
seven, the extreme importance of this occasion filled me with awe and reverence. Without know¬
ing what was to come I knew the implications were enormous. Yet no one—not even Frank—could
foresee the volume and potential applications of the forms to follow. When Frank revealed
the Venus form, which appears like two embracing hearts I was astounded. This amazing
curvilinear form had evolved through pure geometry as an inversion traced through time
of the seven-sided form. Without any scientific evidence and based on its pure beauty
and my intuition I believed the form to carry therapeutic value. I arranged for two
commissions to be made in bronze. One was installed in a space for meditation and
color/sound therapy in Kansas City, Kansas and the other was placed at the Noah
Center in Great Barrington, MA, a center for education about alternative heal¬
ing founded by Linda Norris.

I have attended a few other presentations of Franks work over the years
and finally attended a workshop at Camphill Ghent, NY where Frank
led us through the process of making the seven-sided form and using
this to then arrive at a bell form, the first ever bell form derived from a.
sacred geometric principles. These bells now exist in bronze in / \
England and the United states. Franks presentation of his most / \
recent discoveries were quite complex and illustrate the ge- / ^ \
ometry of the heart including the eight layers of the hearts / | \ \
muscles. There seems to be no end to what is being re- / /' \ \ \
vealed through this research. Each geometric revela- / / \
tion has led to numerous others. Frank is on an ad- /
venture, pioneering in a new land. / \ / \

Robert Logsdon, artist and master lazure paint- \ / Bl

er, founder of ColorSpace: color consulting,
design, mural and lazure color applica- zfl
tions. Graduate of Cincinnati Art Acad
emy and Waldorf teacher training,
Emerson College, England.

October 4, 2012
 Frank presenting.

"Tne Chestahedron is a new geometric form discov-

I ered bv
by Frank Chester. It has seven faces
faces ofeaual
of equal
area, is comprised of four equilateral triangles and
three quadrilaterals, and has a surprising amount
of unique geometric properties. Frank’s research
has revealed a number of promising potential ar¬
eas of application of this form, from architecture,
vortexial mixing, beehive construction, bell¬
making, and the interior structure of the Forth,
to the inner geometry of the human heart,
not to mention its purely aesthetic qualities.
The Geometry of the Chestahedron
The Chestahedron is a three-dimensional solid newly discovered by
Frank Chester in January 2000. It is a 3-fold rotational prismatic sym¬
metrical heptahedron. The Chestahedron is the first known seven¬
sided solid with this configuration with faces of equal area.

r Faces: "1
4 Triangles
3 Quadrilaterals
B wijjBps crack open new avenues of thinking, new ways of understanding our
>vides insights that help us better understand ourselves. What he is
ihell, is exploring the relationship between geometric form and the
:iples that underlie the operations of natural and physiological
cifically those related to the human being. He did not set out
in mind, but rather followed the trail of a simple question con-
r
/
/^

A ' /
/

/
.
L
\

\
\

\
\
J\
)ssibility of a seven-sided geometric form with faces of equal / \ - / \
KT'IILULC Ul CU. I ^
As a sculptor, Frank didn't just think about this idea, he made it - “it” in this \ / \ ^ i y' \
case being a new geometric form that had never before been discovered. 1/ \ V
The significance of this is not just that such a form exists, but that the form Y \
has meaningful relationships to other phenomenon which are unveiled \ \
through a particular way of engaging with the research process itself. In \ I
other words, the significance of Frank’s achievements lie equally in the realm of \A/
the process by which his discoveries were made as in the discoveries themselves. ^
Frank’s work is mold-breaking in a very important way, and this is in terms of the pro¬
cess by which he does his work. The standard methods by which science builds upon itself
have some significant blind spots and assumptions tt>at have historically limited its potential
(and created some nasty problems along the way, even while helping elsewhere). Most signifi¬
cantly, the methodologies used are generally designed to eliminate what is innately human from
the research process, in an attempt to ‘con^r^T the situation so that results fit within the assumptions
of the experimental design. This style of research provides a certain kind of answer: answers which
are geared towards application through reductionistic analysis and control of component parts. Such ap¬
proaches, and the answers they provide, are proving to be less and less able to provide fruitful metaphors
for a sustainable human future.
Frank’s work exemplifies an approach that helps bridge this entrenched gap, bringing forth a soulfully en¬
gaged style of research that weaves between art and science, allowing the strengths of each to fructify the
weaknesses of the other. The result is an integrated style of research that can comfortably deal with both
the ‘outer’ and the ‘inner,’ without over-privileging one or disparaging the other. In addition to this, his work
is mold-breaking in that it constitutes a modern extension of the tradition of sacred geometry, providing a
number of well-grounded insights that testify to the integration between humans and the laws of the cosmos.

Layers of the heart, Dr. J. Bell Pettigrew

The Chestahedron as an Archetype of Form
A Platonic solid is a regular, convex polyhedron. This
means that it is created by repeating a single shape, like
a triangle or pentagon, so that it completely encloses a
volume. There are only five Platonic solids: the tetra¬ B I'U A l.o

7 7 1^ Z* AO 1*0
hedron (4 faces), cube (6 faces), octahedron (8 faces),
dodecahedron (12 faces) and icosahedron (20 & £ 1^ ze a 1*
faces). Each Platonic solid can be transformed
into another Platonic solid by pushing its points into planes (truncating them). The cube and octahe¬
dron are duals of each other in this way, as are the dodecahedron and icosahedron. The tetrahedron is
its own dual. The Chestahedron is similar to the Platonic solids because its faces all have an equal
area. It is different in that there are two types of faces, an equilateral triangle and a kite shape (a quadrilateral).

Frank has discovered that the Chestahedron relates directly and exactly to each of the Platonic solids. He
has also realized some unique properties of the Chestahedron that require us to think differently about the
nature of the Platonic solids in general and how they are formed. He has discovered that the Platonic forms
can be created through a phenomenologically based serial transformation beginning with the tetrahedron,
rather than requiring them to be paired only with their duals. The serial transformation occurs through the
principle of truncation (contractions) as follows:

A tetrahedron's points are truncated (technically this is known as rectifying the tetrahedron). This
yields the octahedron (as a transitional form halfway between the tetrahedron and its dual, which is
itself). When the octahedron’s points are truncated, its dual, the cube, arises. Truncation of the cube
only yields the octahedron again, but Frank has found that the cube can transform into the dodecahe¬
dron if, instead of pushing points into planes, the edges of the cube are pushed into planes. Finally the
dodecahedron's points are truncated to yield the icosahedron. The order of the Platonic solids can thus be:
Tetrahedron Octahedron Dodecahedron Icosahedron

I
i*
What is important about this sequence is that it uses the contractive The Chestahedron
principle of truncation to phenomenologically yield a coherent and
complete transformative sequence which includes all of the in a dodecahedron.
Platonic solids. Thi^ is a new way of working with these forms and their or¬
der. In both Western and Eastern traditions, different orderings were used,
but Frank’s is the first sequence based on phenomenological, not abstract or
concept-based, transformations of the forms.

A cube transformed into a dodecahedron

by pushing its edges into planes.—7
 EXfAWSlVE Contraction

\/ r SUCTION/
l€\l ITY

OPENING,
treasure
GRAVITY
^

a05m<|
■

Counter space SpA^E-

UNSEEN

How does this contractive sequencing of the

Platonic solids relate to the Chestahedron? We
A SEEN

Chestahedron comes into existence as

a balancing between these two comple¬
can begin to address this question by noticing mentary poles through their unification
that the contractive sequence is only one side in a single transformative movement.
of a larger complementarity that is balanced
by expansive movements (see chart above). But the Chestahedron can also be created
in another way, by taking the tetrahedron
The Chestahedron is unique in that it can be and opening it up like a flower. This ex¬
created from a tetrahedron in two comple¬ pansive process yields the Chestahedron
mentary ways: one contractive and one expan¬ as an intermediate form between the tet¬
sive. The contractive method works by taking rahedron and another tetrahedron that
the tetrahedron and spinning it (like a vortex) has sides of exactly double the original.
within a cube (see image at the bottom of page 10).
Frank has discovered that by keeping the
This procedure has real symbolic signifi¬ dihedral angle (the angle made by the
cance, as the Platonic solids have been as¬ meeting of two faces) constant through
sociated with the four elements (thought to the unfolding process, a series of new
be principles underlying the creation of the forms are created (see image at left)
material world) since antiquity. The tetrahe¬ that require the faces to become con¬
dron is Fire, the octahedron is Air, the icosa¬ cave, as if a force of suction inside the
hedron is Water, the cube is Earth, and the form were drawing the faces towards
dodecahedron is the Universe, Conscious¬ its center. Each of these new forms is
ness, or simply the 5th element. The tetrahe¬ still based on a seven-sided form just like
dron was identified by Plato in his Timaeus the Chestahedron, made of three kite
as the most fundamental of the forms, in shapes and four equilateral triangles, but
part because it is the simplest, having the the kite-shaped faces become concave.
least volume to surface area ratio. The con¬
tractive mode of creating the Chestahedron The significance of this process is that it
requires putting the Fire in the Earth, and has allowed Frank to see how the seven¬
sided form is an archetype that appears
transforming the Fire through a vortexial, spi¬
ral motion. This is exactly the same pattern in all the other Platonic forms. In other
words, all the Platonic forms are unified
identified as the archetype of alchemical
transformation. When we understand by the way they relate to the archetype
of the seven-sided form. This expansive
the symbolic nature of Fire and Earth |
as will and body, process and product, process offers a balance to the contrac¬
activity and rest, we can see how the ▼1 tive process: together they paint
a more comprehensive picture ^
of the creation of form in general through the balancing relations that occur across the boundary between
the two polarities. In other words, the task, even in geometry, is to harmonize the contractive and expansive,
the material and spiritual, the seen and the unseen. The archetype of the seven-sided form relates directly to
both the contractive and expansive poles of creation as a mediator between them. But what is most significant
is that through its morphology, it yields a particular form: the Chestahedron. The Chestahedron is a unique
seven-sided form that has faces of equal area. It is therefore THE form that most represents a harmonic bal¬
ancing between the material and spiritual, between the contractive and expansive processes of creation.

I f / The relationship between the Chesta-

/ / hedron and the human heart takes on a
/ new significance in light of this discovery.
/. / The heart is the organ most concerned
The tetrahedron as \ £;y>f/ with balance (of substances in the blood, of
/ the rhythms occurring in the rest of the physi-
composed of four
/ ology). The geometry of the Chestahedron
7-sided forms and a / points to the human heart not just as the organ
nested tetrahedron / of balance for the physical body alone, but also as
f the organ that works to establish harmony between
the physical body and our spiritual nature. The heart
is more than just an organ for moving blood through
the body—it is also a sense organ that monitors the way
that the spiritual and the material meet in the human be¬
ing as a whole. Like our other sense organs, the heart can
-benefit from training—it can be developed further and
utilized transformatively in every day life. Ancient wis¬
dom's identification of the importance of the heart
in spiritual development now can be grounded in a
geometric reality.

Chestahedron b
rotating a tetrahedron

:ween
 Discovering the Chestahedron
In 2001, just after Frank discovered the Chestahedron, I sat down
with him in his small San Francisco apartment to interview
him about his discovery.
Seth: When did you begin to work with the Pla-
tonic forms?
Frank: When I took Goethean Studies [a
program at Rudolf Steiner College], in
the Platonic forms section that Patri-
cia Dickson taught. That was my
first introduction to Platonic
It started with forms. I had never seen
\ them before.
seven sticks in
How long ago was that?
the mud...
One and a half
years ago [2000].
And how is the
form you work
with related to
Platonic forms?
Well, there are five
Platonic forms and they VV y
have equal angles and \
equal surfaces. The thing
about mine is that the sur¬
faces are equal. The Saturn ® ,
form [the Chestahedron] is a ^
semi-polyhedral form, in that
all of the polygons aren’t V \
the same. There are two
different kinds of poly-

The Chestahedron

gons: four equilateral triangles

and three quadrilaterals, which
makes seven. The thing is that
there hasn’t been a seven¬
sided polyhedron that has
equal surfaces in any of the
research. There is nothing
in the books, in planar geometry, solid geometry, in the artistic or in the
science literature. There has never been a seven-sided object with equal
surfaces. And that is what is significant about this.
Is that what you set out to do? an inversion of
No, no. After seeing the seals and capitals at the Goetheanum in 1997,1 was Chestahedron
inspired. I was told they were powerful forms; they were spiritual forms, through time. ■
which really interested me. But no matter where I looked in the books
or in the Goetheanum, I never found any three-dimensional
sculptures [of a seven-sided form]. They were always either
one-dimensional or two-dimensional. I thought, "gee since
I have this sculptural background I have to make one that
is three-dimensional." And I didn't do it for two years.
I wanted to do it but I didn’t have time. I was teaching
college, I was busy, or whatever. When I took Goethean
Studies and the Platonic forms were taught, I thought
“This is my time to do this." I started just before Christ¬
mas. I wanted to make a seven-sided object. Everything
I did failed; I couldn’t do it. I did it with measurements. I
tried to do it scientifically. I measured them. I took the sev¬
en-sided form in two dimensions and tried to put it in three
dimensions and it didn’t work I tried to take seven sticks of
the same length and put them in a piece of clay and measure
them. It didn’t work. I tried to take seven balls and push them
together with a piece of clay in the center, that didn’t work. A
whole bunch of things that I tired-forget it, they didn't work.
So then I de- cided to approach it artistically, which is the

.mV.WAV'VIv*vXw/j>v)

|§Mi

way I was trained. When I did I came This special bell-shape

up with a seven-sided form and I
is made by spinning
did about three or four of them
and I finally refined it until it the Chestahedron.
was quite nice. I showed that
to Dennis Klocek [the Director and
originator of the Goethean Studies program] and Patricia Dickson and they were really surprised at the shape.
So Dennis said something to me that probably started the whole thing. He said to me, "Can you make that objec¬
tive?” Then I said, “Well what do you mean objective?” He answered, “That’s subjective." And what that means is
that it is artistic. But can I take it back into science? Can I take it from art to science? A month or so later I came
up with the seven-sided form. It came out way beyond my expectations.
£ U
 eleven sided forms, thirteen sided forms. I can see them
develop in my mind. I can see them without having to
actually make them, whereas before I struggled and
struggled and struggled to get to that. Now I don't even
need to do that. I can see how these forms come, and I
make them. So the process has been really shortened.
Also because of seeing and working with the alchemical
process with my sculptures I also see these processes in
my life. If I have a problem in my life, or a question in my
life, or I don't understand something in my life, I can take
that ‘not understanding’ and put it through the same
process I put sculptures through and I get really clear
images of what to do and how to deal with situations.
I can apply the alchemical processes that I learned
through outer forms to my inner work.

Three interpenetrating Vesica Piscis

form the underlying geometry for
the Chestahedron.

Wonderful!
Yeah, it is wonderful! I cannot believe how wonder¬
ful this is. You can actually take some material, learn
the processes of material transformation and apply
it to your inner work. I cannot believe how thankful I
am for Dennis presenting alchemy in his class.

[End of interview]

Tracing dual The Chestahedron Thegeometry oftheChes-

cones from spun -j can be completely tahedron gives a new
Chestahedra
/ inverted to form
a new shape that
clue as to why the
heart is positioned
exactly encloses the at a particular
Chestahedron. angle in the
chest.
 Implications and Applications-. The Neart
Over a decade has passed since the discovery
of the Chestahedron, during which time-'
Frank has delved even more deeply
v.t into his geometrical work, discov-
Vkk ered a number of tantalizing con-
J nections between his forms and
J worldly phenomena.
—-^ Most amaiingly, it seems as if the
r Chestahedron is related to the form
and function of the human heart. This
discovery, like many of Frank’s, ..
seems to have occurred through a con- //
crescence of hard work, experimentation, I
chance, and perhaps fate. He used a wire- ’
frame model of the Chestahedron dipped in f
soapy solution to examine the properties of
the form in relation to minimal surface areas.
The resulting form inspired him to see how the
form reacted when spun in water.
When spun vertically, the form produced a normal
vortex, but when Frank tilted the form approximately 36° from
vertical, something unexpected happened: the water hugged
the form tightly on one side but expanded out to form a cavity
on the other (see image at left).
Frank, being a sculptor, wanted to know what shape this negative space in the water took, so he used epoxy to
fill in the shape layer by layer until the full three-dimensional form was revealed (in blue, above). The connec¬
tion to the heart came when he realized that a cross-sec¬
tion of the Chestahedron Bell with the new shap
attached was exactly like the shape of a cross
section of the human heart (right).
The heart does not sit upright in the chest
"cavity, but rather is at an angle of approxi¬
mately 36° from vertical. If one were to take
a cube and place it in the chest in the same
orienta¬
tion that
it would
have if it
. , . were lying flat
' it fife' on a table, then the
angle of the heart would be almost exactly along the axis from one corner
sSSKL of the cube, through the center, to the opposite corner. This angle in the
cube, known as the space diagonal, has a length of the square root of 3 when
the length of the cube’s side is 1, and sits at an angle of almost 35-3°- When
the Chestahedron is placed inside a cube, it fits exactly only when its axis is
along the same space diagonal. In other words, the way that he Chestahe-
f& dron sits in a cube marks the angle at which the heart sits in the chest cavity.
This discovery opened the doorway to many further investigations. The muscle of
the heart takes a looping spiral shape, winding around itself in opposing directions
multiple times, continuously changing its angle as it does so (see Dr. Pettigrew's
drawings of the layers of the heart from the beginning of the book). When the
wire-frame Chestahedron is spun, the shape, traced out through time, results
in the Chestahedron Bell (right). Three cones are formed in this process. One
cone fills the interior space, one hugs the outside, and a last cone is made from
the projection of the tip ^B
of the bell (left).
Frank found that if he H
M fj Iff ■ took a piece of paper
^^Bj^ m cut into a flat circular disk,
%\ I he could r°H it up on itself into
W M j a cone, and that it would fit exactly in-
Ml side the Chestahedron's center when it had ™
W been rolled around itself four times. The angle
. of the cone was 26°. Moreover, it turns out that
^ the cone that hugs the

measure of 26°.
This means that if a single extended cone of 26° is cut in half laterally, the tip will fit
exactly in the center of the Chestahedron while the Chestahedron as a whole will sit ** ■ ■
exactly in the other half. The significance of this took Frank some time to decode.
When lines are drawn on the circular disk, and it is rolled up on itself into a cone, the lines mirror the complex
shifting layering of the fibers of the heart muscle. When Frank tried this with a single disk he only got four lay¬
ers. But he found that if two flat circular disks are put on top of each other, cut along radii that are then con¬
nected to each other to form a single continuous spiral, then when rolled into a cone of 26° a more complete
analogous layering occurred. If the disk is rolled seven times, there is exactly enough of a partial disk left to roll
in the opposite direction a single time. This produces a strong seven-layered circle and a flimsy wall of only one
layer, which can easily be flattened with a hand around the seven-layered circle, producing a form that almost
exactly mirrors the way the thinner muscle of the right ventricle of the heart cups the thick-walled left ventricle
in a crescent shape. This arrangement is significant, because it
matches the delicate seven-fold layering of the heart found
by Dr. Pettigrew's careful dissection technique. 4^00^
Importantly, some of the muscle fibers spin around the thin

Root 3 joins the heart, the Vesica

Piscis, and the Chestahedron.
Astonishingly, in what seems almost an unbelievable coincidence, the cross-section of the spun
Chestahedron, with its inner and outer cones of 26°, marks not only the thickness
of the wall of the left ventricle, but also joins the sacred geometry of the Vesica
Piscis and its root-3 intersection in a new way with the spiralling layers of
the heart muscle. We see that root-3 plays a role in connecting the Ches-
tahedron to the heart in two completely different ways: once in a static
way through the positioning of the heart in the chest cavity, and once
in a dynamic way through spinning the Chestahedron to yield the two ^ f
cones that produce the thickness of the muscles of the left ventricle. g- JHt
Even further, if we examine the way that the geometry of the Chesta- ML
hedron itself forms when a tetrahedron is spun inside the bounds of t/aS8B
a cube, we see that it only results when the axis of rotation is along the +*a
root-3 space diagonal of the cube. The Chestahedron itself is a form born
out of transformative movement. If we look more closely a this geometrical
birthing process, we see that within the cub^the sequence begins with the con¬
traction of the tetrahedron, which then produces the Chestahedron before contract¬
ing into an octahedron. \

The Chestahecii

The octahedron has been linked for ages to the element of Air, which has the alchemical connotation of reversal.
It is just at this point that the contraction reverses, now expanding again, first into another Chestahedron and
then finally ending with a last expansion back into a (now rotated) tetrahedron (above).
This process of contraction and expansion should immediately bring to milind the rhythmic beating of the heart.
What is more, the ventricles themselves are involved in reversals, changing the direction of the blood. As Craig
Holdrege, director of the Nature Institute indicates in his phenomenologically-orieinted book The Dynamic Heart
and Circulation, "the right side of the heart brings vertically flowing blood into the horizon1it aland the left side
of the heart brings horizontally flowing blood into the vertical" (p.lO-ll). The repeating theme of the heart—it's
archetype—seems to point towards integrating diverse tensions through rhythmic oscillations, particularly by
the creation and utilization of vortexial forms. Ulrich Morgenthaler, CEO of Fourm3, illuminates this perspective
in an article published in Das Goetheanum magazine, No.20-10:
"If the heart were [merely] a pump, the paper-
thin tissue at the apex of the left ventricle
could never withstand the developing pres¬
sure. However, from the perspective of a
vortex model of the heart, it becomes un¬
derstandable why this part of the heart is
never exposed to these higher pressure
dynamics."

L The Chestahedron in minimal

surfaces mirrors the shape of the
The heart is like a master practitioner of the
spiralling art of aikido, meeting force with re¬
laxation and using relaxation to skillfully ma¬
nipulate force, all with an eye to harmony.
f& left ventricle of the human heart.
Implications and Applications: The Earth
In a curious 1924 lecture by Rudolf Steiner on volcanism, he spoke
of the shape of the Earth in relation to the shape of the tet¬
rahedron, but rather than a regular tetrahedron, he imag¬
ined a sort of rounded tetrahedron (see his original chalk
drawing below).

Frank, inspired by this lecture, wondered what would happen A Chesta-

if he placed the Chestahedron inside a globe. In his lecture, Steirj^ hedron in
er placed the four points of his "kind of tetrahedron" on the globe at Cen- tra I
the Earth.
America, the Caucasus mountains in Europe, and Japan, with the final point on the South
Pole. However, these three points don't form an equilateral triangle. If a point in northern
Japan, near Mt. Osore, is taken as an initial point, then the other two points can be found. One is in southern
Macedonia, and the third is in the middle of Nebraska. If this equilateral triangle is taken to be the base of a
Chestahedron, then it happens to be just the right size so that the Chestahedron's fourth point exactly reaches
the South Pole.
This relationship seems a bizarre coincidence—why would the Chestahedron (which is literally formed by open¬
ing a tetrahedron at one point, and which thus can rightfully be called a "kind of tetrahedron"), when placed in
+he"Earth according to Steiner's indications—made more geometrically exact—have its fourth point meet the
South Pole? That this occurs depends upon the latitude at which the Chestahedron's base triangle is placed. Is
it a coincidence that the only latitude at which this relationship holds is the same latitude identified by Steiner?

TETRAHEDRON, SOMETHING OF A TETRAHEDRON AND THE CHESTAHEDRON IN THE SPHERE OF THE EARTH
 Ak The Caucusus mountains start their northwesterly journey just at
/ \ this latitude. This mystery only inspired Frank to look into fur- / \
y i ther possible connections between the Chestahedron and y \
Jr / V As usual with Frank's work, illuminating further Jr / V \
if / V\ ^ connections requires a deeper look at the ac- A / (p \\ v

A
I \ r
m \
V
There are exactly two hexagons hidden in-
A
I \ y ^
y‘\ \
/ . ^ 9r * side the Chestahedron. They are revealed l \
I /\ ^ t \ as cross-sections of the form, taken paral- /[ r\ ^\ jS/Kf ] \\
I / \^ \ ^ base triangle. One is formed by / y\ 1 \\
jy A \ ' \\ cutting the Chestahedron almost mid- jy A Jy * N\
C —-^A, / ^ \ way up. This hexagon, or alternatively, C ^ / 1 1 \
\\ six-pointed star, is formed at precise- \ \
\\ / ly the point where the cross\sectional
/ s' plane makes equilateral triangles on the faces ^oA / ^
^ of the three triangular "petals" of the tetrahedron it in-
tersects (see image at left, with equilateral triangles and upper
hexagon in red). \
The second hexagon is formed nearer the base triangle, and is formed such th^t three of its edges lie inside the
Chestahedron, whereas the upper hexagon's edges are all on the periphery of the Chestahedron (see image at
right). These two hexagons are almost exactly the same size (the lower is slightly Smaller) and lie directly above
one another. The points of the upper hexagon all lie on the edges of the Chestahecjron, while the points of the
lower hexagon all lie on the planes of the triangle faces. We can imagine that the upper hexagon encompass¬
es and restricts the Chestahedron from the outside, while the lower hexagon expansively
pushes outward from the inside. Again we can see how the Chestahedron is a
form that seems to be built entirely out of the activity of harmonizing two
tendencies that would normally only be in opposition to each other.

When a six-pointed star (be- / - \ low, in red) is made from the

upper hexagon, a circle can J / \ be inscribed in its middle. That
circle meets the six-pointed / / \ I s*ar 'n s‘x new P°'nfs» which
can be the basis of a further / / / V \ I six-pointed stafr (blue) that is
exactly half the size of the | I ( I J J first. This smaller star has a
hexagon in its middle as well 1 \ J I (yellow). As any good geom¬
eter knows, a hexagon is the \ \ y / 2-dimensional shadow of a
3-dimensional cube standing \ / on its point.

Frank made this cube, which sits y right at the center of tf)e Chesta¬
hedron, standing on its point. The relationship to the Earth; becomes
apparent only when a sphere (the inner-most white circle) is placed
around the cube and the Chestahe- dron is sized to fit exactly in th^ globe of
the Earth. When this is done, the size of the sphere is such that it is directly comparable to
the size of the inner core of the Earth. Again, root-3 makes an appearance, being the length of the diameter of
the sphere in relation to the length of the side of the cube.

We have already met the central cone of 26° that fits exactly into the center of the Chestahedron. If the Ches¬
tahedron is placed in the Earth with its tip at the South Pole, and the cone is placed into the Chestahedron, then
if a sphere is dropped into the cone it will settle right in the middle of the globe (see image previous page), but
only if it is scaled to be the size of the inner core of the Earth. In other words, there are two different ways
ft in which the Chestahedron yields the relative size and position of the inner core of the Earth.
 J

-
Implications
and Applications:
Architecture ^ 1

■ • • w

Frank was invited to come^to foornach, Switzer¬

land to display his sculptural woVks, at a time that
markedthe^OOtHanniyersaryofPudolf Steiner’s
he presentation
lg that forms the
>hical studies in
leanum. Frank,
r the architectur-
fiVst and second
ildings,\created a
w building meant
ipp^rt anthropio-
phical and relat¬
ed work outside
'' -N of Europe.,
 Frank was inspired directly by both buildings,
and has taken up the impulse to further the
\\\ , architectural reflection of the continued evolu-
V tion anthroposophy in his own design, which
is a further metamorphosis of the designs and
I principles Steiner used in the first and second
I Goetheanums. The design is centered around
' . . the unique geometry of the seven-sided form
1 that he discovered. This form, the Chestahe¬
dron, derives its name from its connection to the
heart: it is a proposed geometrical template for
the form of the human heart. The Chestahedron
therefore embodies the principles behind the
development of the kind of heart-thinking that is
so important for our time. The building is meant
to carry forward the necessary outer manifestation of the changing nature of anthroposophy itself, and would
provide an appropriate space for lectures, workshops, mystery plays, musicals, eurythmy, visual arts, and medi¬
tation. If built, the space is intended to support public outreach and provide a powerful physical representation
of the life-giving nature of anthroposophical activities in the world.

Building Features The geom®try°f the structure is based

on the form of the human heart. Two
cupolas meet in the main part of the building, in a way reminiscent of
Steiner’s ground-breaking design for the first Goetheanum. However,
in this case the cupolas interpenetrate vertically and are suspended
by the Chestahedron above. The upper cupola is based on a geometry
of the number 5, while the lower cupola is based on the number 7- To¬
gether they meet in a pl^ne that forms a perfect six-sided hexagon.

While the main domes are suspended from and sit

inside the Chestahedron, the Chestahedron it¬
self is embedded in its dual form, the deca-
tria (dek-a-TRIA: a form with 13 faces). The
Chestahedron and decatria together
embody the principle of reversal, and
N the principle of levels of self-embed¬
dedness and self-unfolding that are
key recurring patterns in anthropo-
sophical work. Half ..
of the supporting //
wires from the de- ' / / /
catria are structural, / /A / J\
while the other half /y / /
^ are made of a thick ' / !
nylon that will allow the
strings to literally be played v**%*.l-*-» a
as a musical instrument with an appropriate bow.
The building itself thus embodies a musical prin¬
ciple as a part of its very structure, and will “sing"
its geometry gently with the blowing of the wind,
which will make the strings resonate at their ,
m fundamental frequency. {
Unlike the capitals in the first Goetheanum, there are no capi¬
tals inside the building; the structure is not supported by col¬
umns from below, but is rather suspended from above, from the
outside. This allows for seven internal, non-weight-bearing
columns which are capped by seven individually made
bells. The seven bells are based on the transforma¬
tive sequence of Steiner’s seven planetary seals
and the geometry of the Chestahedron, and
increase in size by a factor of l/7th. Where
the capitals in the first Goetheanum formed
a transformative sequence of sculptural form,
the bells form a transformative sequence of
audible tone. The sequence of tones yields a
transformation at a higher octave, and can fill the
space in a way that can be shared directly and in¬
wardly that is not possible with purely visual forms

Rather than force the skirj of the building to hold only

one color, it will instead be coated with a surface that
will reflect the color projected onto it by a series of sur¬
rounding tourmaline-shaped panels of colored glass.
The color of the building will be organically formed
out of the seasons and daily weather conditions, and
reflects an integration of the natural and spiritual
environments as they change throughout the year.
Earth and Moon
Frank has discovered a new way to square the circle
(constructing a square and a circle that have equal
perimeters). His method uses only a straight¬
edge and compass, and is the first to work
from the inside out using the Vesica Piscis.

The mathematics of this construction

are known exactly. Measurements of
the circumference of the circle and
the perimeter of the square agree
to within 99-9+%, with the perimeter
of the square ever so slightly smaller
than the circumference of the circle.

It was proven in 1882 that it is impos¬

sible to perfectly square the circle using
a finite number of steps with a straight¬
edge and compass. This is a result of the
Lindemann-Weierstrass theorem, which was
involved in showing that the number pi is tran¬
scendental, and thus a non-algebraic number.
Straightedge and compass constructions involving
non-algebraic numbers can only be approximations.

Within the discipline of sacred geometry, it is well

known that when a circle is squared, the relation¬
ship between the relative sizes of the Moon
and the Earth is made explicit. If the Earth
is scaled to fit exactly within the perimeter
of the square, then a circle of the same
perimeter as the square will pass through
the center of the Moon, if it were to touch
the Earth. (See the drawing on page 40.)

However, Frank's construction method

is unique, because it not only yields the
Earth-Moon relationship, but also delves
inside the Earth, revealing a more subtle
relationship between the size of the Moon
and the size of the interior of the Earth.

The Earth has both an inner and outer core; \

together they form a sphere 6972 km in diam-
eter. The Moon has a diameter of 3474 km, which
is almost exactly half that of the Earth’s core (~99-7%
agreement). In other words, two Moons, side by side fit ex¬
actly into the Earth's core. Frank’s method yields points (not¬
ed by small white circles on the drawing on p. 40) that mark the
relative size of the Earth’s core, and thus its relationship to the Moon.
 The 2-dimensional geometry
underlying the Chestahedron fully revealed.
 tMaking Connections
The importance of Frank’s work is being not-
ed, but deserves much wider attention. The
ttl Mathematical Section of the Anthroposophi-
cal Society has recognized his lasting contri-
bution to the development of anthroposo-
phyF and has acquired a Chestahedron to be
a permanent part of Dornach’s collection at the
Goetheanum. In 2012 Camphill Ghent purchased
a Venus Bell as a centerpiece for their new senior liv¬
ing community in New York, and the Ruskin Mill Educational Trust helped Free¬
man College cast a Chestahedron Bell for their own grounds in England. The
decatria is being used as a template for a new kind of beehive form, and Frank
has inspired new endeavors via a research residency program offered through
the Threefold Educational Center.

Frank, who conducts dynamic and engaging lectures and workshops across the
globe, was invited to share his discoveries both publicly and privately at the ► * Vf' t .
nation's premier design school, the Rhode Island School of Design, which sub¬
sequently acquired a Chestahedron to be a part of their permanent collection. / The Chesta-Tetra
His work has also inspired new artistic explorations, for example in Ross Bar- Z- - Wind Harp
rabies creation of a large wind harp based on the Chestahedron. In my own
work with the form, I discovered that the geometry of the Chestahedron, despite its unique shape, can be used
to make a complete ring with 96 Chestahedra, a linear column, and rings of either 4 or 8 Chestahedra, as well as
other fascinating and unexpected forms.

The diversity of these sources of recognition paints a picture of an unusual conflu-

^ ence of artistic, spiritual, and scientific connections engendered by Frank’s dis-
coveries. The work crosses established disciplinary boundaries with a for-
Bjj midable but essential challenge: to utilize transdisciplinary methods that
speak to the human being as a whole in a multi-layered, evolving cosmos.

Chestahedra
form a complete
ring.--
Matt Taylor has used the decatria to
create a new shape for constructing
beehives. Inside the decatria, formed
out of a cross-section, is a perfect hexa¬
gon, which is the natural organizing shape
for honeycomb construction.
Frank has invented a unique bell mounting \
assembly and ringer, which suspends the bell
from a point rather than from above, allowing
m it to resonate with its purest tones.
Frank Chester has also invented a device, designed
upon the geometry of the Chestahedron, called
the Chesta Vortex Organizer (CVO). The
CVO is meant to be utilized in biodynamic
preparations, stirring, mixing, aeration and
bio-augmentation. The device has two mov¬
ing forms turning in opposite directions, 90
degrees from each other.

Frank has been given

the opportunity to test the
new device at Environment Ventures Market¬
ing, Inc. in the Philippines. He has been invited
to a professional laboratory environment which
includes scientists, engineers, fabricators, and
machines to produce and test many of his ideas.

The dualization of the Chestahedron

— into the Decatria, and the Decatria
into the Chestahedron.

One way that the Chestahedron

can be formed is by rotating a —
tetrahedron within a cube.
The phenomenological
sequencing of the Platonic
forms, in scale to each
other. ^

The morphological gen¬

eration of the seven-sided
form as an archetype by
opening the tetrahedron,
with the Chestahedron as
the balance point, v

The decatria in the

ni i~\_i
 Dissecting the
Chestahedron

a_ Jw
m&m
The Chestahedron s geometry

The decatria is a potential alternative

- to geodesic dome construction
 Relationships between
successive polygons

A perfect hexagon
slices (in red) through
- the Chestahedron

Chestahedra can be
connected to form Frank hard at work on
a linear column \— new geometry

■ .
Squaring the Circle Construction Method
Frank has discovered a new way to square the circle so that the perimeter of the square and the circumference
of the circle are almost exactly equal. His method uses only a straight-edge and compass, and is the first to work
from the inside out using the Vesica Piscis. The protocol is as follows (refer to the image on the following page):

1. Draw a circle (#l).

2. Open your compass to the diameter of circle #l, and draw a second circle (#2) (that has a radius exactly twice the
original circle), whose center lies on the perimeter of circle #1.

3. Draw a light line (m) connecting the center of circles #1 and #2, projecting it across most of the page.

4. Use where this line m meets the opposite side of circle #l to be the center of a new circle, with the same radius
as circle #2, this is circle #3.

5. Circles #2 and #3 form the Vesica Piscis, and intersect each other in two new points. Connect these points with
a line (n), which is orthogonal to line m.

6. Where line n intersects circle #1 it creates two new points. Use these as the centers of two new circles with the
same radius as Circles #2 and #3; let point Q be the center of circle #4 and point R be the center of circle #5-
These new circles, #4 and #5, form another Vescia Piscis at 90 degrees to the first. The two Vescia Piscis cradle
circle #1 where they overlap.

7. Circles #4 and #5 intersect in two points that lie on line m. Choose one of these points (P), and draw a line (s)
orthogonal (at 90 degrees) to line m (and thus parallel to line n) at this point. From point P, extend line s on either
side of line m so that its total length is just larger than the diameter of circle #1.

8. Note the center points of circles #4 and #5, Q and R. From each of these center points draw a line perpendicular
to line n (parallel to line m), extending them to meet line s in two new points (S and T). Let S be the point made by
extending from point Q and T be the point made from extending point R.

9. Open your compass to the length made between points S and R, and draw a circle (#6) of that radius with its
center on point R.

10. Draw another circle (#7) of the same radius, with its center on point Q.

11. Circles #6 and #7 intersect line n in two new points (U and V) towards the outsides of the construction. Open
your compass to the length made between the center of circle #1 and one of these new points, and draw a new
circle (#8) with the same center as circle #l.

12. Circle #8 meets lines m and n in four points. Construct a total four lines (one on each point), two parallel to n and
two parallel to m, such that the lines form a square in which circle #8 is circumscribed.

13. Open your compass to the original radius of circle #1. With the point of your compass on point U, mark a new
point (Y) on line n towards the outside of the construction.

14. Draw a new circle (#9) with a center on point Y, with a radius equal to circle #1. Circle #9 is tangent to circle #8.

15. Open your compass to the distance between the centers of circles #1 and #9, and draw a final circle (#10) with
the same center as circle #1. This circle has a perimeter almost exactly equal to the square constructed in step 12.
Squaring the Circle using the Vesica Piscis
Neptahedron from the Vesica Piscis

Frank has also discovered a new straightedge

and compass procedure to create a
heptagon, a seven-sided poly¬
gon, using the Vesica Piscis.
This is the first known
construction that plac¬
es the heptagon inside
the center of the Vesica
Piscis. As in the case of
squaring the circle, a math¬
ematically precise straightedge
and compass construction is impos¬
sible, but this simple method comes very close.
 Constructing a Heptagon

1. Draw a circle (#l).

2: Draw a second circle (#2) with the same radius as

circle #1, and with a center that lies on the perimeter
of circle #1.

3: Draw line m connecting the two crossing points of circles

#1 and #2.

4: Connect the centers of circles #1 and #2 with line n,

which is perpendicular to line m.

/
02

5= Place the tip of your compass on the point where lines n

and m meet, and open it to the center of circle #1, and
draw circle #3, which is exactly half the size of circles #1
and #2.
 6

6: Circle #3 crosses line m in two places. Choose one cross¬

ing, point P, and place the tip of your compass there. This
is one point of the heptagon. Open the compass to the
nearby point where circles #1 and #2 meet, also on line m,
and draw circle #4.

7: Circle #4 crosses circle #3 in two places. Choose one

crossing, point Q, and place the tip of your compass
there. Open your compass to the point where lines m
and n meet in the center of the figure, and draw circle #5-

8: Circle #5 crosses circle #3 in two places, once near line m

and once near line n. Place the tip of your compass on the
place where circle #5 crosses circle #3 near line n. This
is another point on the heptagon. Open the compass to
point P and draw circle #6.

9: Circle #6 hits circle #3 in a new point on the heptagon.

Draw a new circle, #7, with the same radius as circle #6
from this new point.

10

10: Circle #7 hits circle #3 in a new point on the heptagon.

Draw a new circle, #8, continuing with the same radius.
 11

11: Circle #8 hits circle #3 in a new point on the heptagon.

Draw a new circle, #9, continuing with the same radius.

12: Circle #9 hits circle #3 in a new point on the heptagon.

Draw a new circle, #10, continuing with the same radius.

13: Circle #10 hits circle #3 in a new point on the heptagon.

Draw a new circle, #11, continuing with the same radius.

*12

14: Circle #11 hits circle #3 in a new point on the heptagon.

Draw a new circle, #12, continuing with the same radius.

*io *7

15: Connect the seven points on circle #3 into the heptagon.

 Nine Vesica Pisces

The construction is made up almost entirely of the

Vesica Piscis form, repeated nine times.

45
The Mathematics of the Chestahedron
The full mathematics of the Chestahedron are known, courtesy of Ronald Milito.
Scans of Ronald's original work are included below.

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55
Mathematical Summary
The dihedral angle Theta is the angle between the base triangle ABC with any
of the other three upper triangles (the "petals” of the opening Tetrahedron).

Below are the X-Y-Z Chestahedron coordinates with 0,0,0 as the base triangle's
center, and with a side of length * 1.
(X Axis = left-right, Y axis = up-down, Z axis = front-back)

Base Triangle, Vertices ABC

Ax, with Bx, with Cx, with

Ay = 0, Az = 0 By = 0, Bz = - 0.50 Cy = 0, Cz = 0.50

0.577350269 -0.288675135 -0.288675135

Upper Triangles, Vertices PQR

Px Py Pz

-0.361608072 0.86294889 0

Qx Qy Qz

0.180804036 0.86294889 -0.313161776

Rx Ry Rz

0.180804036 0.86294889 0.313161776

Dihedral angle Theta: 94 83092618 o

Fraction of Theta in Minutes: 49.8555709 ’

Fraction of Theta in Seconds: 51.33425387 ”

Theta in radians: 1.655111895 rad

Dihedral angle Omega (base triangle to kite): 65.32005574 0

Angle Omega in radians: 1.14005004 rad

Additional Calculations:

Height (Apex point T) Y-coordinate only, Tx=Tz= 0 1.256407783

PQ = QR =RQ = Horiz of Kite 0.626323553

AT=BT=CT- Vertical of Kite 1.382712498

Area of any Equilateral Triangle (fixed) 0.433012702

Area of Kite = 0.5 x AT x PQ 0.433012702

Total Surface Area of Chestahedron 3.031088913

(4xTriangle + 3x KiteSA)

Length of top edges of Kite = PT=QT=RT 0.534387779

(Bottom edges of the Kite always = l)

Angles inside of Kite:

Angle Alpha (PTQ) at top of Kite 71.75012248 o

Angle Beta (PBQ) at bottom of Kite 36.49975504 0 J: $ ^ The Flame

Side Angles of Kite at Vertices P, Q, or R 125.8750612 o of Warmth
f '» 1
Radius of Circle (rl) enclosing Base Triangle 0.577350269

Radius of Circle enclosing Triangle PQR 0.361608072

Radius of Circle circumscribed by Base Triangle 0.288675135

The mathematics has been

Angle Theta for octahedral opening 109.4712204 independently confirmed by
Angle Theta for Height being Phi exactly 108.9733377 Dr. Karl Maret.
57}
 ThCHESTAHEDRONC>
01 "D
Co
3
“O C
o
Q <—1-
( 1
0 o

2. Cut out the form (cutting out

the tabs is optional, but are useful for gluing).

3. Crease well with a ruler along each

line (including the tabs if they are used).

4. The numbers indicate which edges connect: join Construction and design by
them carefully with tape, or glue together usnig the tabs. Seth Miller: spiritalchemy.com
 The ancient tradition of Sacred Geometry
is still alive and well in the person of Frank
Chester. He has discovered a new geometric
form that unites the five Platonic solids and
provides some startling indications about the
form and function of the human heart.

This new form, called the Chestahedron, was

discovered in 2000, and is a seven-sided poly¬
hedron with surfaces of equal area.

Frank has been exploring the form and its

significance for over a decade, His work has
potential implications across a number of
areas, from physiology to architecture, sculp¬
ture, geology, and beyond.

Inspired by the work of Rudolf Steiner, Frank

sees a deep connection between form and
spirit. This book gives a brief, highly visual
overview of some of Frank’s discoveries.

"When we study the biography of great indi¬

viduals who have contributed something rare
and unique to human culture, we might ask
ourselves: Would I have recognized or sup¬
ported such a person before the rest of the
world did, had I been given the opportunity?
Mr. Chester is such a pioneer. Nis dedica¬
tion to principles of higher mathematics and
geometry through the insights of spiritual
science is outstanding. In a model society,
someone of the caliber of Mr. Chester would
be supported by a major university or simi¬
lar social structure. At this time, however,
only those of us who have some knowledge
of spiritual science and its potential to trans¬
form pedagogical, medical, mathematical and
technological fields can assume the responsi¬
bility to insure that the research of Mr. Ches¬
ter continues.
We have followed and supported Mr. Ches¬
ter’s work for over a decade. Mr. Chester is a
remarkably talented person, integrating spiri¬
tual insights with highly skilled workmanship.”
The Chestahedron Bell (left), a cross-section of
Patricia Kaminski, Executive Director
the heart (right), united by the Vesica Piscis. The Flower Essence Society, Nevada City, CA
Frank Chester is an artist, sculptor,
teacher, and geometrician based in San
About the Author
Francisco. Since encountering the work Seth Miller has a closet of hats: professor, Waldorf
of Rudolf Steiner, Frank has been explor¬ teacher, designer, tech support, webmaster, and
ing the relation between form and spirit. perpetual student. He is currently writing his PhD
Frank has been recognized around the dissertation exploring epistemological connections
world for his unusual melding of art and between anthroposophy and second-order cyber¬
science, and for his dynamic and inspiring netics. It's as esoteric as it sounds, but he is sure
presentations. you'd find it fascinating over a nice cup of coffee
sometime.

Video presentations and much more at

FkankChestek.com SkikitAlchemv.com
Book Design & Text: Seth T. Miller, Phd.c.

Photography: James Heath & Dana Possini Rogers

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