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Thesis Synopsis

SOUND IN ARCHITECTURE

SUSHMITA S.
113614251058
AIM:-
The main aim is to achieve the healing frequency of 430 Hz – 432 Hz in a meditation centre
and interaction music museum and incorporate it in a multi religious meditation complex.

OBJECTIVE:-
All the religious places in the world like the Stupa, temple, pyramids, cathedral, and
mosques follow the EEG spectrum that creates calmness of mental composure treating the
areas of the brain (hippocampus and amygdale).

The objective is to use this concept of acoustic in a meditation centre and build a iconic
building which develops the Ujjain tourism.

DESIGN OUTPUT:-
Chambers in ancient time use quartz crystals to vibrate by acoustic energy, Vibrating
frequencies octaves of 430hz to 432hz , which are the healing frequency in sound therapy

These frequencies are the treatment for post-traumatic syndrome (PTS)

This is the coupling resonance where the average reverberation time is 5.6s and7.9s.

The design output is a holistic approach to the principles of temple architecture acoustic. The
design includes wall ornaments as wall diffusers, buffer spaces in the form of landscape and
courtyards, single resonator absorber (Helmholtz resonators).design a dome without echo
but with certain reverberation. Use pipes as acoustic collectors and the domes built in gernot
minket’s method, that absorbs 620hz

TOOLS THAT INDUCE THE SOUND

TUNING FORK OF DIFFERENT FREQUENCIES

ANCIENT TOOLS:

Voice (overtone singing) , Tibetan singing bowls , quartz crystal bowls , monochords ,
didgeridoo, native drums, flutes , rattles , conch shells , bells of different sizes of different
frequencies.
Each tool produce different sound of different frequencies which helps in the sound healing
process. There are different frequencies to heal different areas of the human body namely
the chakras

Solfeggio frequencies make up the ancient 6-tone scale thought to have been used in
sacred music. The chants and their special tones were believed to impart spiritual blessings
when sung in harmony. Each Solfeggio tone is comprised of a frequency required to balance
your energy and keep your body, mind and spirit in perfect harmony.

How were the frequencies discovered?

According to the documentation provided in “Healing Codes for the Biological Apocalypse”,
through an open vision, to the Pythagorean method of numeral reduction. Using this method,
he discovered the pattern of six repeating codes in the Book of Numbers, Chapter 7, verses
12 through 83. The Pythagorean method is a simple reduction method, used to turn big
numbers into single digits. The values of all digits in the number are added up. When after
the first addition the number still contains more than one digit, the process is repeated.
Here’s an example:456 can be reduced to 4+5+6 = 15, and subsequently reduced to 1+5=6.
So the number 456 reduces eventually to the single digit 6. In Chapter
7, verse 12 a reference to the first day, the second day was mentioned in verse 18, the third
day in verse 24, and so forth until the final reference in verse 78 which is speaking of the
twelfth day. The Pythagorean reduction of these verse numbers is:

Verse 12 = 1 + 2 = 3Verse 18 = 1 + 8 = 9Verse 24 = 2 + 4 = 6 Verse 30 = 3 + 0 =


3Verse 36 = 3 + 6 = 9Verse 42 = 4 + 2 = 6---------see the repetition of 396? This is the first
frequency.
the next frequency by looking at verse 13, which is speaking of an offering. Six verses down,
which is verse 19, the same offering and so on for all the frequencies and its characteristics.

In HINDUISM

Sound plays a very important role in Hindu worship spaces both at homes and temples. In
Hindu temples the two chambers that have REVERBERANT ACOUSTIC
CHARACTERISTICS are the Garbha-Griha where the deity is consecrated and the Ardha-
Mantapa which is a chamber in front of Garbha-Griha. The Vedic chants and prayers are
recited and the sacred instruments such as conch-shells, bells, and gongs are played in
these chambers. The Vedas, which are the foundational literature of Hinduism, are the
collection of mantras chanted with precise acoustical characteristics. It is for this reason oral
tradition has been very efficient in transmitting the Vedic chanting from master to disciple.
The use of Vedic chants in Hindu worship is well known. In addition to Vedic chants, conch-
shells, bells and gongs are also very commonly used to enhance the spiritual experience of
the devotees during the worship. The sounds from these acoustically well designed conch-
shells, bells and gongs are considered as sacred when they are used during worship. These
sacred sounds help devotees in their concentration during worship in the sacred space. The
conch-shell when unwound on an axis can be seen as a French horn. The sound from a
conch-shell has very high quality factor indicating the sharp-ness of its resonance. The
conch-shell is generally used at the beginning of the worship. Given the tonal quality of its
sound, it captures the attention of the devotees and helps in focusing the mind to the
worship. Similarly the bell is also used at the beginning of the worship. The sound of well-
designed bell has a ringing sound that sustains for considerable duration. It is also noted that
both the conch-shell and bell sounds acoustically resembles the chant of sacred sound of
OM.
TECHNIQUES

Gernot minket’s method, Stereotomic Bond for the Dome in Stone Architecture
Speakers inside the 1,100 sq ft
structure are each tuned with a sound corresponding to one of the space agency’s 19 satellites. The
shape of the pavilion helps to amplify these notes, similar to how conch shells channel surrounding
sounds when you put your ear to them.

Why circular plan is mostly used ? because it reflects the sound the most

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MATERIAL STUDY

Absorbing materials – floor rugs, perforated ceilings, textile, blinds, surface finishes, etc. few
others- fabric, wood, cork, foam, stones, and brick. These reduce the reverberation time.
Burnt brick with obvious indents between them are used as sound diffusers.they scatter the
sound.

Niches are used to lower the reverberation time in the music hall @ Ali Qapu palace, Iran

125 250 500 1000 2000 4000


Wall Materials
Hz Hz Hz Hz Hz Hz

Brick: unglazed 0.03 0.03 0.03 0.04 0.05 0.07


Brick: unglazed & painted 0.01 0.01 0.02 0.02 0.02 0.03
Concrete block - coarse 0.36 0.44 0.31 0.29 0.39 0.25
Concrete block - painted 0.01 0.05 0.06 0.07 0.09 0.08
Smooth unpainted concrete 0.01 0.01 0.02 0.02 0.02 0.05
Curtain: 10 oz/sq yd fabric molleton 0.03 0.04 0.11 0.17 0.24 0.35
Foam: Sonex 2'' 0.06 0.25 0.56 0.81 0.90 0.91
Foam: SDG 3'' 0.24 0.58 0.67 0.91 0.96 0.99
Wood: 3/8'' plywood panel 0.28 0.22 0.17 0.09 0.10 0.11
The speed of sound through granite rock at room temperature (about 72 degrees) is 12,960
feet per second.

Speed of sound in various materials

Sound generally travels faster in solids and liquids than in gases.

The speed of sound is faster in materials that have some stiffness like steel and slower in
softer materials like rubber.

Factors affecting the speed of sound in air.

The speed of sound in air is approximately 345 m/s (about 1,250 kph, 770 mph, 1,100 ft/s).

Brick 3,650 m/s - cork 500 m/s - granite 5,950- marble 3,810- wood, maple 4,110

Granite reflects the sound. Neither the outside noise come in nor the inside sound go out.

Sound reflection is based mostly on density and mass, secondarily on stiffness.


Granite is dense, reinforced concrete is stiffer, adding plaster on top or lead behind
increases reflection but not by much.

Sound waves tend to be spherical at a distance, so a sphere reflects the sound back to
the source the best. If the source is a long line, then a cylinder reflects it back. If you
want to reflect a spherical wave in a concentrated beam, then a paraboloid is what
you are looking for. If you want to reflect a beam of sound back to its source, then a
corner reflector is the answer.

If you want to reflect sound AWAY, then surrounding yourself with a sphere, cone or
cylinder is recommended.
acoustic parameters related to reverberation, sound strength,clarity, early lateral
reflections, and the speech intelligibility.

SITE SELECTION:-
Ujjain being among one the seven sacred cities of India is situated on the banks of river
Kshipra and is one of the important grounds for three religions (Hinduism, Buddhism and
Jainism)

The tourism of Ujjain has proposed a meditation complex near the Kshipra River as a part of
smart city mission.

The site is situated on the left side of the holy river Kshipra. It is opposite to the main city
away from the hustle on-going. Hundreds of sadhus and Sadhvis visit this sacred place
every year; this project is an abode for them to enlighten their mind

According to CENSUS 2011

Ujjain district- 1,986,864 people

Hindu-86.48% Jain – 1.24% buddism-0.34% muslim-11.73% Christians-0.05%

15 ACRE OF LAND NEAR THE KSHIPRA RIVER IS SELECTED FOR THE PROPOSAL

SPATIAL REQUIREMENTS:-

 ADMIN
 MEDITATION DOME (HEALING FREQUENCY)-CORE DESIGN
 MEDITATION THROUGH WIND (AEOLIAN HARP)
 MEDITATION THROUGH WATER (WATER INDUCED SOUND)
 OPEN MEDITATION AREA
 TRADITIONAL MUSIC EXPERIENCE MUSEUM-CORE DESIGN
 CLOACK AND CHANGING AREA
 ASHRAM (ACCOMODATION for healing treatment)
 AMPHITHEATRE
 AUDITORIUM
 AUDIO VISUAL CENTRE
 REJUVENATION AND SPA
 SOVEREIGN AND SHOPPING AREA
 PARKING
 SOUNDSCAPE AREAS ( use of acoustic shells and acoustic mirrors blending with
the landscape planned in an organic form to the quality of surprise)

CASE STUDIES:-
MEDITATION CENTRES

 ISHA YOGA COMPLEX,TAMILNADU


A meditation complex with elements of nature as the concept for healing. The
complex combines all theories of Hinduism and science as a part of healing

 DALAI LAMA TEMPLE COMPLEX ,HIMACHAL PRADESH

 BAHAI TEMPLE ,NEW DELHI


 MATRA MANDIR, AUROVILLE
ACOUSTIC PROPERTY

 CHANDIGARH LEGISLATIVE ASSEMBLY


Hyperbolic tower- 128ft dia – 124 ft. ht – 15cm thick – concrete- acoustic absorber-
rug and straw bale on metal mesh.

 TVISONGUR , ICELAND
5 interconnected network of vaults. Basically a concrete structure designed to amplify
the 5 tone resonance.

 DHYANALINGA , BY AUROVILLE EARTH FOUNDATION


The dhyanalinga is a multi-religious meditation dome of 22.16 diameters. Granite
stones and laterite blocks with lime mortar are used for the base of the dome which
forms the walls. The section of the dome is a segmental ellipse of 790m height.
There are 4 courses from the springer to the apex of 53cm, 42cm, 36.2cm, and 21cm
at the top. The last 3 courses towards the apex are the fired brick courses stabilised
with earth mortar. For the acoustic different sizes of pipes are used as diffusers and
single resonator absorber (Helmholtz resonator) is installed in 3 layers which absorbs
120hz –1.5khz.

EXPERIENCE MUSIC MUSEUM

 INDIAN MUSIC EXPERIENCE , BRIGADE MILLENIUM ,BANGALORE


The Indian Music Experience (IME) is India’s only interactive music museum. The
vision of the museum is to increase the understanding and appreciation of the
diversity of Indian music, from the traditional to the contemporary through exhibits,
performances and learning activities. First-of-its-kind museum of 50,000 sft with
interactive, permanent and temporary exhibits spread across three floors.
10 exhibits that explore various facets of Indian music, from the traditional to the
contemporary. Spaces for performance include: Performance theatre, terrace
amphitheatre and seminar hall

 DANISH MUSIC MUSEUM,DENMARK

SOUND HEALING SPACES

 SOGA – SOUND HEALING CENTRE BY CASA PUBLICA