My time at Findhorn was significant for me because it was an experience in architectural design and construction that I would never have anywhere else. In June 1976, while visiting Findhorn on a cycling trip around Britain, I met George and Frances Ripley who encouraged me to join them in the design of the Universal Hall. It had already been started to be built and would take a few more years to complete. There were many details and aspects of the project that needed to be worked out. They could use an intern or junior designer and having recently finished my studies at Syracuse University and at the Architectural Association in London I was ready to work.

with George and Frances at Findhorn

One of my first tasks was to obtain a building permit. Normally buildings have the permit in hand when construction starts, but due to Findhorn’s natural enthusiasm a permit was not the impetus for starting the work – a vision of community and shared spirituality was the spark. So I drew up the permit plans and made my way to the Forres building department – I think the building plan checker was initially shocked by this bushy-haired American from Findhorn but George’s plans were well thought out and the permit was issued.

In doing the drawings for the permit I realized the plans were very unique. I asked George about certain aspects; obviously the design of the five-sided structure was very intriguing but I asked him about some other curious things…the slope of the roof and center skylight and it’s support was inspired by the shared community vision he said; George also explained that the long narrow room at one side of the Hall was a “crying room” for parents and babies – so that parents could participate in any activities in the Hall and keep their kids close-by without disturbing anyone. Another feature I wondered about was a long ramp that seemed to take up a lot of space; George explained it was for some of the Findhorn residents and the public who were wheel-chair bound. This was 1976 – 1977 before wheelchair accessibility was mandated and required in buildings. The Hall was an expression of community and these simple aspects reflected how it was open to all members and visitors alike.

Unique aspects of design showcased how it really was a spiritual centre and responded to the Community’s need to assemble…the fact that there were no right-angles had a nod to Rudolf Steiner’s school of thought that right angles restrict and the pentagon’s shape breathes and is inclusive. The large overhangs give Frank Lloyd Wright a nod, which invites the visitor to enter and have shelter. The centre point from the skylight reflecting humanity’s intrinsic spiritual nature – the center in us all; the unique transition from solid to light, which were the solid walls of the Hall to the open stained glass window in the lobby…all these features seem to resonate aspects of the Community in unison with a shared vision of spirituality.

These architectural elements were George and Frances’s, reflecting the community’s need for a gathering place; during the time I was there it was not completely clear that it was a sanctuary or a performing arts centre and it appears to have evolved into something of both. The wonderful revelation to me of attunements done at the beginning of the design day in the Ripley’s bungalow or at the construction site – holding hands and becoming centered and aligned in group consciousness – was a way to instill the specialness of the Community’s inspiration for the Hall. This is a unique process and not done in most design offices or construction sites!

My days were spent at the bungalow designing, drafting & drawing and in the afternoons helping in construction, at times working out the details of the seating platforms, the layout of support spaces on the lower floor, and helping finish exposed materials. All this was excellent training for a budding architect.

John O’Groats with the design group

The building design and construction was dependent on many people, including Roger Mostyn designing in the bungalow with the Ripley’s, Jim Hill at the construction site, Richard V doing the stone masonry work at the exterior of the Hall…to name just a few…

Inspiration came to the Community – and the design group in particular also. I recall Sir George Trevelyan as a proponent of Rudolf Steiner’s work and New Age concepts; Theo Gimble met at the bungalow and discussed his color theory concepts and collaborated with Frances on the stained glass ideas; a visiting artist painted beautiful murals as a backdrop in the Hall, inspired by the Scottish landscape beyond the walls…and many others…

Thank you for giving me this opportunity to reflect on my time at Findhorn working with George and Frances; it was an experience I have looked back on for inspiration and has informed decisions in work and life. May the Universal Hall continue to inspire and bring people together, reflecting the common spirituality in us all.

Joe Monteadora

Outing to Isle of Skye