My sole purpose for this space was to create a sanctuary devoid of clutter and all unnecessary stimulation to use exclusively for evocations and other magical operations. I chose a cardinally oriented room adjacent to the main structure of the house with a entrance opening to the garden.
It took a lot of manual labor to get this room cleaned and ready to paint. It was built years ago by the previous owners as an external addition to the house and I hade been using it as a storage room and garden shed. I had to remove shelving units and cabinets from the wall as well as the old flooring and then reseal, grind and clean the concrete. The next stage was to insulate the ceiling and walls in order to keep the temperature within the chamber stable during the winter and summer months. Apart from making it more comfortable, the insulation also helps in keeping the chamber silent by absorbing outside noises. I opted to take an extra step to guarantee the purity of the chamber by removing all the outlets, light fixtures, and wiring from the walls and ceiling. This was done to ensure that no uncontrolled electrical currents could interfere with the operations within. After patching the walls and ceiling I was ready to paint.
The color scheme of the chamber is basic but symbolic nonetheless. The floor is a matte black charcoal, the walls are a very lightly glossed grey, and the ceiling is a semi-gloss brilliant white. At each corner of the room I mounted a small oak panel fitted with an iron candle sconce. In the center of the ceiling I mounted a ceiling plate from which I am able to hang a candle lantern. These five points of light allow me to achieve many different lighting effects depending on the nature of the practice.
The final element that truly defines this chamber as my ritual space is the magical circle. I have used and had success with variations of the Solomonic Circle from the Lesser Key in the past and it was the logical choice as a permanent addition to the floor. The circle is only slightly modified from that presented in the Lesser Key (see Solomonic Circle: Lesser Key); mainly, the names are derived directly from the Sefer Yetzirah and are spelled in Hebrew according to the text.
The act of preparing the chamber was a ritual in itself. I timed the operations to synchronize with the lunar phases. The removal of the shelves cabinets, flooring, and electrical components took place in the final week of the waning moon. This period is traditionally linked to operations of destruction paving the way for new beginnings – exactly the intentions driving my labor. The paints, brushes and sparse furnishings were consecrated at sunrise on the Wednesday (day and hour of Mercury) following the new moon using the consecrations from the Key of Solomon. I used the Consecration of the Ink for the paints, the Consecration of the Pen for the brushes, and the Consecration of Iron Instruments for the sconces and lantern. The tasks of finishing the chamber occurred over the weeks of the waxing moon. This culminated at midnight of the full moon when I performed the consecration and dedication rites of the chamber while the moon was at its zenith.