2023 05 Kossous BOOK

Soundscapes Healing Sacred
Landscapes
Amplifying Harmonic Resonance Between
Sound, Space, and Spirit
Thesis by Zain Rajai J. Kossous

MSc. Sustainable Architecture and Landscape Design
Soundscapes Healing Sacred Landscapes
Amplifying Harmonic Resonance Between
Sound, Space, and Spirit
Authored by
Zain Rajai J Kossous
(938819)
Supervised by
Aurorarosa Allison
Camilo Rebelo
To the SWANA lands of my Origin,

Politecnico di Milano - MSc. Sustainable Architecture & Landscape Design
MSc. Sustainable Architecture & Landscape Design
Soundscapes Healing Sacred Landscapes - Thesis by Zain Kossous

I dedicate this work to my roots, my ancestry, School of Architecture, Urban Planning,
and my people who have given me fertile ground Construction Engineering
from which I was able to plant my roots and grow
towards the sky. This work is a love letter to the
slowly dying Dead Sea. Listen to her sing. She Politecnico di Milano A.Y. 2022/2023
calls for rejuvination and a cleansing of old skin.
To turn the silence of her death into celebration
Polo Territoriale Piacenza
of transformation and rebirth. Only when we are
silent in the mind can we hear the music of the Funded by
roots. Borse Tesi Estero Scholarship
& Gold Scholarship
2 3
AUTHOR’S NOTE
This book is a compilation of research standing on
the shoulders of giants who came before me. In this
work, I share knowledge from a myriad of sources who
have been (re)discovering, writing and researching to
find timeless Universal Truths. I do not claim that my
research is original. In fact, the knowledge is ancient.
It has only been lying dormant within us. My purpose is
to revive that which we have forgotten in the mayhem
of modern day society. The world we are inhabiting
today is in a transformative state of change. In this age
of rapid technological advancements, I began utilizing
Artificial Intelligence to find answers to many of my big
questions. This tool facilitated the finding of the space
in which science and spirituality intersect in harmony. I
only ask that the reader keeps an open mind to enable
the experience of remembering our common ancestral
wisdom that is encoded beneath our feet and within the

fabric of our DNA.
Fig: Author and Salt Pillar of Prophet Lot’s Wife

4 5
Table of Content
Digital view PDF
٤ PART FOUR: Site Seeing page 48
١ PART ONE: Discovering Sound page 7

I. The Lowest Point on Earth
II. Site Summary
I. Abstract III. Wadi Mujib (Arnon River)
II. Introduction IV. Seismic Qualities
III. Harmonic Resonance V. Biblical Landscape
. IV. Sacred Landscapes VI. The Story of Lot’s Wife
V. Ancient Awareness of Sound VII. Historical Timeline
VI. Sound Technology VIII. Music in the Dead Sea
VII. Music Archeology IX. The Dying Dead Sea
VIII. Cosmic Symphony X. The Potash Industry
IX. The Ear XI. Climatic Characteristics
X. Thesis Questions XII. The Site
XIII. Site Map Analysis
٢ PART TWO: Visualizing Sound page 19 XIV. SWOT Analysis
XV. Flora and Fauna
I. Visualizing Vibration XVI. Site Significance
II. Cymatics

III. Music in Art
IV. Sonic Visualizer
٥ PART FIVE: Sound Interventions page 72
V. Practical Architectural Applications I. Vision Statement

VI. Musical Proportions As Dimensions II. Strategy Map
VII. Sacred Geometry III. Tuning the Environment
VIII. Architecture of Accoustics IV. Sound Temple
IX. Sonic Architecture V. Performance: Roman Ampitheater
X. Sonic City Portraits VI. Cleansing Ritual: Outdoor Shower
VII. Sound and Death: Memorial

٣ PART THREE: Sound Health page 37 ٦ PART SIX: Land Healing page 111
I. Material Frequency I. Listening to the Land

II. Quantifying Sound II. Mujib Chalets Restaurant and Reception Renovation
III. Environmental Noise Pollution

IV.
V.
Reducing Street Noise
Music is Medicine
٧ PART SEVEN: Conclusions page 118
VI. Sound Therapy I. Sound Poetry

VII. Benefits of Sound Therapy II. Bridging Connections with Land Art
VIII. Sound Healing Instruments III. The Pilgrimage Road
IX. Plant Music IV: Conclusion: Sound is the Mother of All Creation
X. Spirituality of Sound VI. Bibliography and Acknowledgements
6 7
List of Figures
PART THREE: Sound Health
PART ONE: Discovering Sound
Fig 3.1: Salt Formations 2
Fig 1.1: Rhythms of The Dead Sea
Fig 3.2: Utopia by Polish artist Mateusz Szczypinski
Fig 1.2: Portrait of Hazrat Inayat Khan
Fig 3.3: Radical Ideas vs. Concrete Realities by Mateusz Szczypinski
Fig 1.3: The Site
Fig 3.4: Sounds in Decibel
Fig 1.4: Natural Rythem
Fig 3.5: Harmful Effects Of Noise Pollution
Fig 1.5: Cosmic Overture
Fig 3.6: Amman Streets
Fig 1.6: Ancient Sacred Power Spots on Earth
Fig 3.7: Chinese Scripture for Medicine / Music
Fig 1.7: Sounds of Chichen Itza
Fig 3.8: Sound Healing Instruments
Fig 1.8: Musicians in Ancient Egyptian Hieroglyphs
Fig 3.9: Sounds of the Middle East
Fig 1.9: Giza on Film
Fig 3.10: Barcelona opera house reopens with performance to 2,292 plants
Fig 1.10: Cosmic Symphony
Fig 3.11: Egyptian Female Musicians
Fig 1.11: Hearing in the Womb
Fig 1.12: The Birth of Creation
PART TWO: Visualizing Sound PART FOUR: Site Seeing
Fig 2.1: Salt Formations Fig 4.1: Around the Dead Sea. Marl Formations
Fig 2.1e: Light Paintings Fig 4.2: The Dead Sea between Jordan, Palestine, Israel
Fig 2.2: Cymatics Fig 4.3 + 4.4: Dead Sea Maps
Fig 2.3: Cymatics morphed by the piano notes of 1st octave Fig 4.5: Motor boat at the Mouth of the River Arnon
Fig 2.4: Cymatic Garden Fig 4.6: Around the Dead Sea Mouth of the Arnon from the East
Fig 2.5: Leonardo DaVinci’s Last Supper (1498) Fig 4.7: On Site Rock Variation
Fig 2.6: Kandinsky’s Composition VIII (1923) Fig 4.8: Lot’s Wife Collage
Fig 2.7: Stuart Davis’s Swing Landscape (1938) Fig 4.9: Lot’s Wife’s Monument
Fig 2.8: Piet Mondrians’s Broadway Boogie Woogie (1942) Fig 4.10: Around the Dead Sea
Fig 2.9: Sound Waves Fig 4.11: Dead Sea Scroll
Fig 2.10: Wallpaper for Dynamic Space Fig 4.12: The Dead Sea Sink Holes
Fig 2.11: Laser Cut Wall Panels for Music Studio Fig 4.13: The Shrinkage of the Dead Sea
Fig 2.12: Musical Proportions Fig 4.14: Jordan River - The Dead Sea Maps
Fig 2.13: Musical Dimensions Fig 4.15: Jordan River dams

Fig 2.14: Sacred Geometry Fig 4.16: Jordan River agricultural fields
Fig 2.15: Factors Affecting Acoustics Figs 4.17: Arab Potash Industry in Southern part of the Dead Sea
Fig 2.16: Map showing an invisible sonic architecture Figs 4.18: Collecting Salt from Lagoon C.1920
Fig 2.17: Hypogeum hal Saflieini Oracle Room Figs 4.19: Dead Sea Water Killing Vegetation
Fig 2.18: Baptistry of Saint John Fig 4.20: Jordan Journal of Earth and Environmnetal Sciences
Fig 2.19: Integratron Fig 4.21: Annual Precipitation in the Dead Sea Area
Fig 2.20: Cromatico Fig 4.22: Large Scale Site Map
Fig 2.21: Tvísöngur Fig 4.23: Smaller Scale Site Map
Fig 2.22: Sounds of Amman Fig. 4.24a-d: Site Analysis / Environmental / Green vs. Grey / Sound
Fig 2.23: Sounds of Montreal Fig 4.25: On-Site Photos
Fig 2.24: Sounds of Toronto Figs 4.26: Engagered Species Native to the Site
Fig 2.25: Sounds of Piacenza Fig 4.27: Aloe Vera at the Mujib Chalets
Fig 2.26: Sounds of Bologna Fig 4.28: Fauna Species
Fig 4.29: Around the Dead Sea. Wadi Derejeh, Looking West
Fig 4.30: Around the Dead Sea. Wady El-Nakhl
8 9
PART FIVE: Site Interventions
Fig 7.1: For the discretion

Fig 7.2: Of the art
Fig 7.3: The project drawings
Fig 7.4: Will not be labelled
Fig 7.5: As they should
Fig 7.6: Speak for themselves
Fig 7.7: Besides
Fig 7.8: No one reads
Fig 7.9: This part anyway
Fig 7.10: It is the most boring
Fig 7.11: Part of all
Fig: 7.12: If you are reading
Fig 7.13: May the light
Fig 7.14: Be with you
PART SIX: Site Transformation
Fig 6.1: Mujib Mood Concept Collage

Fig 6.2: Mujib Chalets After Sunset
Fig 6.3: Site Visit Before Renovation
Fig 6.4 Demolishion and Construction Plans
Fig 6.5: Supervising During Renovation
Fig 6.6: Post Renovation Sunset Restaurant
Fig 6.7: Buffet Area
Fig 6.8: Bathroom Sliding Door
Fig 6.9: Warm light creating shadow effect
Fig 6.10: Namliyeh by Shiraz Stores
Fig 6.11: Reception Waiting Area
Fig 6.12: Author on first design renovation project

PART SEVEN: Conclusions
Fig 7.1: Author’s sketch after a Conscious Drumming Circle in Segovia

Fig 7.2: Dead Sea Waves
Fig 7.3: Landscape Spiral in the Mujib Chalets
Fig 7.4: The Pilgrimage Road
Fig 7.5: Dead Sea Patterns
Fig 7.6: Sacred Exchange with Pacha Mamma
Fig 7.7: Arnon River
Fig 7.8: Sunset at the Salt Beach
Illustrated People: Erika Moreno - Studio Alternativi

https://studioalternativi.com/collections/free Fig: Floating in the Dead Sea / Source: Library of Congress
10 11
١PART 1
DISCOVERING SOUND
“The origin of sound reveals the origin of all creation. According to
quantum physics, throughout the world, all matter at the subatomic

level is in a state of constant vibration; our world is vibrated into
existence.”
-Don Campbell
Fig 1.1: Rhythms of the Dead Sea / Source: Author

12 13
“There exists in the East a legend which tells how God made a statue of
clay in His own image, and asked the soul to enter into it. But the soul
refused to be imprisoned, for its nature is to fly about freely and not to be
limited and bound to any sort of capacity. The soul did not wish in the least
to enter this prison. Then God asked the angels to play their music, and as
the angels played the soul was moved to ecstasy. Through that ecstasy- in
order to make the music more clear to itself- it entered this body. They say
that the soul, on hearing that song, entered the body; but in reality the soul
itself was a song! It is a beautiful legend, and much more so is its mystery.
The interpretation of this legend explains to us two great laws. One is that
freedom is the nature of the soul, and for the soul the whole tragedy of life
is the absence of that freedom which belongs to its original nature. The
next mystery that this legend reveals to us is that the only reason why the
soul has entered the body of clay or matter is to experience the music of
life, and to make this music clear to itself. And when we sum up these two
great mysteries, the third mystery, which is the mystery of all mysteries,
comes to our mind. This is that the unlimited part of ourselves becomes
limited and earthbound for the purpose of making this life, which is the
outward life, more intelligible. Therefore there is a loss and a gain. The
loss is the loss of freedom, and the gain is the experience of life which
is fully gained by coming into this limited life which we call the life of an
individual. What makes us feel drawn to music is that our whole being
is music; our mind and our body, the nature in which we live, the nature
which has made us, all that is beneath and around us- it is all music. As we
are close to all this music, and live and move and have our being in music,
it therefore interests us. It attracts our attention and gives us pleasure,
because it corresponds with the rhythm and tone which are keeping the
mechanism of our whole being intact. What pleases us in any of our arts,
whether drawing, painting, carving, architecture, sculpture, or poetry, is
the harmony behind them which is music. What poetry suggests to us is

music, the rhythm in painting and drawing is our sense of proportion and
our sense of harmony which give us all the pleasure we gain in admiring
art. And what appeals to us in being near to nature is nature’s music,
and nature’s music is more perfect than that of art. It gives us a sense
of exaltation to be moving about in the woods, and to be looking at the
green; to be standing near the running water, which has its rhythm, its
tone and its harmony. The swinging of the branches in the forest, the rising
and falling of the waves, all has its music. And once we contemplate and
become one with nature our hearts open to its music.”
-From The Mysticism of Sound and Music by Hazrat Inayat Khan
Fig 1.2: Portrait of Hazrat Inayat Khan / Source: Author

14 15
ABSTRACT (ENG)
Sound affects us physiologically, psychologically, cognitively, and behaviourally at all times,
even when we are not conscious of it. Modern architecture has become consumed with
designing for the eyes, making us forget an even more sensitive sense; sound. While our eyes
rest during the night, our ears never sleep. The research approach explores the influence of
sound and environmental energy on human health and wellbeing based on the knowledge
of BioGeometry®. The design proposal is a convergence of sound in space amplified by
sacred power spots to create a harmonized environment resonating with natural laws to
create a healing sanctuary. A Sound Garden on the lowest point on Earth was designed with
interventions that harness the mystical power of sound to tune people back to the natural
frequency of the Earth. This journey to the sacred Biblical landscape of Wadi Mujib in Jordan
includes a Sound Temple, Memorial, Shower, and Floating Amphitheater. Essentially, it
is a pilgrimage through sound designed to take the user on an introspective journey by
amplifying the natural environment to make nature’s music audible. The aim is to create
environmental harmony through geometrical resonance by designing with the principles
and geometry of sound. It is the quest to find the intersection between sound, space, and
spirit with architecture as the vessel between the seen and unseen that brought this thesis
to life. This research topic revives the time when our ancient ancestors built resonating
structures of sound to create ritual spaces, capable of harnessing transcendental and
mystical experiences with the Divine.
Keywords: Sound, BioGeometry®, sacred power spots, Earth, harmony, resonance
ABSTRACT (IT)
Il suono ci influenza fisiologicamente, psicologicamente, cognitivamente e
comportamentalmente in ogni momento, anche quando non ne siamo consapevoli.
L’architettura moderna si è consumata nel progettare per gli occhi, facendoci dimenticare
un senso ancora più sensibile; suono. Mentre i nostri occhi riposano durante la notte, le
nostre orecchie non dormono mai. L’approccio di ricerca esplora l’influenza del suono e
dell’energia ambientale sulla salute e il benessere umano sulla base della conoscenza

della BioGeometria®. La proposta progettuale è una convergenza del suono nello spazio
“Divine sound is the cause of all manifestation. The knower of the amplificato da punti sacri di potere per creare un ambiente armonizzato che risuona con
mystery of sound knows the mystery of the whole universe.” le leggi naturali per creare un santuario curativo. Un Sound Garden nel punto più basso
della Terra è stato progettato con interventi che sfruttano il potere mistico del suono per
-Hazrat Inayat Khan sintonizzare le persone sulla frequenza naturale della Terra. Questo viaggio nel sacro
paesaggio biblico di Wadi Mujib in Giordania include un tempio del suono, un memoriale,
una doccia e un anfiteatro galleggiante. Essenzialmente, è un pellegrinaggio attraverso il
suono progettato per portare l’utente in un viaggio introspettivo amplificando l’ambiente
naturale per rendere udibile la musica della natura. L’obiettivo è creare armonia ambientale
attraverso la risonanza geometrica progettando con i principi e la geometria del suono. È la
ricerca di trovare l’intersezione tra suono, spazio e spirito con l’architettura come vaso tra il
visibile e l’invisibile che ha dato vita a questa tesi. Questo tema di ricerca fa rivivere il tempo
in cui i nostri antichi antenati costruivano strutture sonore risonanti per creare spazi rituali,
capaci di imbrigliare esperienze trascendentali e mistiche con il Divino.
Fig 1.3: The Site / Source: Author Parole chiave: Suono, BioGeometria®, punti sacri di potere, Terra, armonia, risonanza
16 17
INTRODUCTION
“We are slowed down sound and light waves, a walking bundle of In the beginning there was the word. God said, “Let there be light,” and there was
frequencies tuned to the cosmos. We are souls dressed up in sacred light. [Genesis 1:3] Before there was light, there was sound; the spoken word. Sound
biochemical garments and our bodies are the instruments through which is the Origin of all creation and we are its fractal. The structure of the entire universe
our souls play their music” is vibration in manifestation; a cosmic symphony.
- Albert Einstein
All religions and spiritual cultures have sound and resonance at its source of creation.
Christianity has The Word, Hinduism the OM, Ancient Egypt the Song, and Aboriginal
have Sacred Songs. There is a saying in Sanskrit that tone is the mother of nature,
but that rhythm is its father. And just as the Universe is thought to begin with sound,
it is also thought to end in the same manner. In Biblical tales, the walls of Jericho
came tumbling down after a shout and a blast of a trumpet. Just as sound is capable
of creation, it is also a force of destruction of old paradigms and ways of being. Sound
can make matter move.
The sound phenomenon was harnessed by the Ancient civilizations who built sonic
temples to create a transcendental and meditative experience for ritual practitioners.
The immersive experience of Aural Architecture is powerful enough to induce a sense
of transcendence; known as a shift in consciousness. The interconnection of sound
and spirituality was a wisdom that has been previously known to and practiced by our
ancestors. Today we see this in various religious architectures and sacred spaces
and the particular forms of music associated with them. As such, the architecture
becomes the instrument of transcendent experience.
From an architectural scale, every room has a particular resonance or frequency

based on its geometry, materials, and dimensions. When the right tone is played inside
a space, resonance is created through positive interference between the length of the
sound wave and the length of the space. The result is an increase in the intensity of the
sound’s volume as well as reverberation (the time it remains audible after the source
has stopped). This is most commonly experienced in churches where one singing
voice can appear to be accompanied by an entire choir due to the reverberation of the
space.

The human body operates like an elaborate musical instrument, with every tissue,
muscle, and bone in a constant state of vibration. Every part of our body needs to have
a certain vibration in order to maintain a healthy and functional state; a harmonious
state. When the body goes off balance into a disharmonious state, this is when
disease or illness starts. When we are in a sound state of health, all parts of the
body resonate in a state of coherence. The modern world has been designed in a way
that is out of tune making us out of frequency, affecting our health, social behaviour,
and productivity. From our building materials, to the shapes of our shelters, we have
been building structures that are foreign to our true organic nature. It is the search
for sacredness in sound and space to optimize Life Force Energy that was the initial
motivation for this thesis.
Fig 1.4: Natural Rythem / Source: Author

18 19
HARMONIC RESONANCE
“The BioGeometry worldview is a synthesis of the energy qualities of a BioGeometry® is the patented science of using the energy principles of shape to
space, it encompasses what we can and cannot perceive; it is a holistic qualitatively balance biological energy systems and harmonize their interactions
view that does not differentiate between what is visible and what is not.” with the environment. Balancing the activities of daily life, achieving harmony with
-Dr. Ibrahim Karim our inner and outer environments, humanizing modern technology, and integrating
science and spirituality is the work of the science of BioGeometry.
This knowledge was developed and patented by Egyptian architect Dr. Ibrahim
F. Karim, D.Sc. in Cairo, Egypt, during his research since 1968. BioGeometry is a
system of environmental design and energy balancing that is based on the principles
of sacred geometry, physics, and natural energy systems. According to Biogeometry,
harmonic resonance is a fundamental concept that explains how different forms
and shapes can create specific energy vibrations that can positively influence the
environment and human health. BioGeometry deals with Energy as interactions
in the hidden dimension at the core of any perceivable physiological function; and
thus it uses shapes, colours, motion, orientation, and sound to produce a vibrational
quality that balances energy fields.
In Biogeometry, the idea is that by creating specific shapes and forms, one can tap
into the natural harmonics of the environment and balance the energy field within
a space. This is achieved through the use of sacred geometry, shapes and color, as
well as specific energy patterns that can help to mitigate negative environmental
influences, such as electromagnetic fields, geopathic stress, and pollution.
BioGeometrical signatures are two or three-dimensional shapes specially designed
to interact with the earth’s energy fields to produce balancing effects on multiple
levels on biological systems.
Biogeometry is a field that focuses on the study of energy patterns and shapes in
nature, and the effects they have on living systems. It is based on the idea that
energy patterns and shapes play a significant role in determining the physical
and biological properties of living systems, including the health and well-being of

humans, animals, and plants. Biogeometry utilizes a combination of mathematical,
geometrical, and energetic principles to analyze and harmonize various energy
patterns and shapes found in nature and the environment. The goal of biogeometry
is to create a harmonious environment that supports the health and well-being of
living systems.
Fig 1.5: Cosmic Overture / Source: Daniel Martin Diaz 2022
Harmonic resonance is seen as a key aspect of Biogeometry, as it is believed to be
the mechanism by which the positive energy vibrations of biogeometry shapes can
interact with the environment and enhance human health. By creating a harmonious
On the top right corner of every page in this book, the BioGeometry L90 balance between the environment and human energy, one can improve physical and
signature helps balance the body’s vital, emotional and mental subtle energy emotional well-being and enhance the overall quality of life.
levels from environmental stressors such as electromagnetic fields and
geopathic stress. The (re)discovery of this school of thought that harmoniously blends science and
spirituality has been the main inspiration behind this thesis.
20 21
SACRED POWER SPOTS
Specific locations on Earth have a special energy quality that act as a type of
multidimensional portal enhancing extrasensory communication and holistic healing.
These landscapes are known as “Sacred Power Spots” and have played a role in rituals
and centers of everyday activities since the dawn of humanity. Great ancient civilizations
were built on urban planning patterns that connected sacred power spots, distributing
the energy quality into all parts of the community, such is the case of the Pyramids in
Giza.
In the past, sacred power sites were identified by ancient tribes to build temples or
sacred spaces for ritual and worship to amplify this existing natural energy. After which
paths would be created to circulate that sacred power spot energy to help nourish all
of the energy of the landscape around it. These have been given many names such as
Ley Lines, Geo-pathic Stress Lines, Baker Hartman and Curry Lines.. etc Many of them
seem to be linear high pressure concentrations of ultra-low frequency sound.
As researchers looked closely at these underground stream crossings, they found traces
of ancient temples. These sacred places which were subtle energy power spots, emanated
a special kind of harmonizing spiritual energy. Since antiquity, humans identified these
spots, marked them, and created their monuments starting from megalithic stone blocks
to the magnificent temples, churches and mosques. The spiritual energy emanating
from these power spots is usually the result of underwater crossings at certain angles
which creates a sort of doorway that connects to the spiritual dimension and imparts its
qualities to the energy vortex within our time-space framework, resulting in a Spiritual
Energy Quality that is slowed down to a speed that we can access.
Many sacred sites around the world such the Machu Pichu and StoneHenge are
deliberately located on Earth Energy Lines or at nodal points of the Earth’s Energy Grid.
These power spots on Earth have a particular vibrational quality, that is the energy quality
of the original unified field. The singularity state of oneness that everything came out of.
These places are intended for channeling energy for healing or ceremonial purposes.
These sacred power spots function similar to chakras or acupuncture points in the
human body. They have the ability to harmonize energetic fields of consciousness to the

energy of that site. These power spots have unique alignment across the globe, where
temples and sacred sites have been built in mathematical alignment with one another.
They are places built deliberately with the intention to connect to spirit.
The Ancient Egyptians were the masters of harnessing this energy that created a net
across the Earth’s surface. To the Ancient Egyptians, health and wellbeing were viewed
from a holistic perspective including physical, vital, emotional, mental, and spiritual.
The Ancients understood that spiritual energy at that sacred spot had the all-balancing
qualities of a transcendental source. The energies of the spot interact with the body’s
energies, and through harmonic resonance, balance is restored. It is very much similar
to what happens when tuning a musical instrument, you hit one chord and the others
proportionally related resonate with it. The human body is able to tune itself to create
resonance with the energy of high vibrational landscapes.
Fig 1.6: Ancient Sacred Power Spots on Earth / Source: Author
22 23
ANCIENT AWARENESS OF SOUND
Many ancient cultures used sound in their architecture for religious and ritual
purposes. Through acoustic measurements and digital reconstructions of ancient
monuments, archaeoacoustics help to explore aural architectures of times past. In
the ancient worldview there was no separation between the experience of sound and
the experience of the Divine.
The megalithic structures, such as Stonehenge in England, were built with stones
of different shapes and sizes, creating unique acoustic properties that would have
enhanced the sounds of chanting, singing, or musical performances. The Maya
pyramids, such as the Temple of the Sun in Palenque, Mexico, were designed with
acoustical properties in mind. The shape and materials used in their construction
created a unique acoustic environment, amplifying sound and producing resonant
echoes, making the temple a powerful space for religious ceremonies and
performances. Gothic cathedrals, such as Notre-Dame in Paris, were designed to
produce a particular acoustic environment. The ribbed vaults and large windows
produced an echo that amplified the sounds of music and speech, making the
cathedral a powerful space for religious services and performances.
The 11,000 year old Kukulkan Pyramid at Chichen Itza, Mexico is known for its
acoustical properties which were likely intentional features of its design and
construction. When someone speaks or claps at the base of the pyramid, the sound
creates a unique echo that resembles the chirping of a bird, which is why it is also
known as the “Temple of the Chacmools.” In specific, it mimics the chirping sound
of the national bird, the sacred Quetzal.
Moreover, the Great Ball court on the same temple grounds would also echo 7
times before the sound would escape. This acoustical effect is produced by the
combination of the pyramid’s shape, size, and the materials used in its construction.
The pyramid’s shape is designed to direct sound waves in a specific way, while the
size and materials of the structure enhance the resonance and clarity of the sound.

The acoustical properties of the Kukulkan Pyramid were likely used for ceremonial
and religious purposes, allowing for amplified sound and creating a more immersive
and impactful experience for those in attendance. It’s important to note that the
acoustical properties of the Kukulkan Pyramid are not unique, as many ancient
structures around the world have similar sound-enhancing features.
In all of these examples, the use of sound in architecture was a deliberate choice
aimed at creating a more immersive and impactful spiritual experience for those in
attendance. The unique acoustic properties of these structures helped to amplify the
sounds of music, chanting, and speech, creating a powerful, resonant atmosphere
that would have heightened the emotional impact of religious and spiritual rituals
and performances.
Fig 1.7: Sounds of Chichen Itza / Source: Author

24 25
MUSIC ARCHEOLOGY
Music archaeology is the study of ancient music and musical instruments through the
examination of artifacts and written records. This field combines elements of archaeology,
“The sky and its stars make music in you.” musicology, and anthropology to reconstruct ancient musical practices and understand
-Denderah Egypt temple inscription their cultural significance. Researchers in music archaeology study a wide range of
artifacts, including musical instruments, written musical notation, and art depicting musical
performances. They also study the social and cultural context of ancient music, such as the
role of music in religious rituals, the relationship between music and healing power, and the
impact of trade and cultural exchange on musical traditions.
Human connection to music can be better understood through the study of music archaeology.
It can reveal the ways in which music was used in different cultures and societies, and can
provide insight into the cultural and social context of music. One of the most important things
that music archaeology can tell us about the human connection to music is that music has
been an integral part of human culture for thousands of years. The discovery of musical
instruments, such as flutes and lyres, that date back to prehistoric times indicates that
music has been an important aspect of human life for a very long time. Music archaeology
can also reveal the importance of music in religious rituals and ceremonies. For example,
the study of ancient temples and shrines can provide insight into the ways in which music
was used in religious rituals, such as in Jewish communities in the Dead Sea region. Music
archaeology can also provide insight into the role of music in the formation of community
and social identity. The study of ancient music and instruments can reveal the ways in which
music was used to create a sense of community among different groups of people and the
ways in which music was used to express different cultural identities.
Architecture and music archaeology are interconnected in the sense that both fields study
the material culture of the past, and both fields can provide insight into the social and
cultural context of ancient societies. In the case of music archaeology, researchers study
the physical remains of musical instruments and other artifacts related to music, such as
written notation, in order to reconstruct ancient musical practices and understand their
significance. Architecture, on the other hand, is the study of the design and construction
of buildings and other structures. Architects and archeologists study the physical remains
of buildings and other structures in order to understand how they were constructed, their
function, and their cultural significance. In particular, the relationship between the two fields

is evident when we think of the architectural spaces that were built specifically for musical
performances, such as ancient theatres, concert halls, and places of worship. The design
and acoustics of these spaces would have been carefully considered in order to enhance the
musical experience. Therefore, the study of the architecture of these buildings can provide
valuable insight into the importance of music in ancient society and the role it played in public
events and religious ceremonies. Additionally, the study of the artwork and decorations on
ancient buildings can also provide insight into musical traditions and instruments, since
musical performances and instruments were often depicted in art.
Finally, music archaeology can also tell us about the ways in which music was used for
personal expression and entertainment. The study of ancient instruments and musical
traditions can reveal the ways in which music was used to express emotions and to entertain
people. Overall, music archaeology provides valuable insight into the human connection
to music and how it has been used throughout history to create a sense of community, to
express cultural identity, and to entertain and express oneself.
Fig 1.8: Musicians in Ancient Egyptian Hieroglyphs / Source: Ancient Egypt Online
26 27
SOUND TECHNOLOGY
Built before the invention of mathematics, the wheel, and organized culture, some 13,00
years old megalithic structures can not be reproduced today even with our modern
technology. Research shows that almost every great ancient culture was benefiting from
vibration based technologies. These massive structures could not have been dragged by
manual labor given that the material often came from another geographic location and
was then placed in exactly the perfect position.
Some theories believe that the ancient people were utilizing sound technology to create a
magnetic field of anti-gravity to move stone blocks that weighed from 5-20 tons if not more.
There are no other scientific explanations as to how these structures were constructed.
The people who were building these ancient structures were accessing higher states of
consciousness where they were able to act from universal wisdom. The ancients were
somehow able to put themselves into sympathetic resonance with the materials they
used. Many thousand of years ago, Earth was in a different vibrational state than it is today,
and therefore human beings had access to levels of mind and methods of perception that
we are not even aware of today. The Ancient Egyptians understood that they could use
sound in an advanced way to move objects and reduce their weight and gravitational effect
making it easier to construct these structures.
For the past 150 years, archeologists have been noting that the pyramids are essentially
giant musical instruments. The King’s chamber in specific is a resonance chamber. Once
inside, any voice produced would reverberate off the walls creating an illusion that there
were many voices in harmony all at once. This could create an out of body experience
taking the user into an altered state very quickly. Looking into the construction materials
of the King’s chamber, it is composed of red granite. The Ancient Egyptians referred to red
granite as a fire stone which is mostly pure quartz. These chambers used for initiations
or healings were working with sound as a ritual practice with the presence of a priest or
a priestess.
The pyramids were sound structures that functioned to vibrate at a certain frequency to
bathe the entire Egyptian civilization in these frequencies bringing peace, harmony, and
prosperity. How are these sounds then transmitted? It is believed that the ancient Egyptians

used several resonant type technologies, one of them being the jet pillar in Egypt which is
structurally a column with 4 cross bars. It was a transmitter of the vibrations coming from
the pyramids. The Egyptians believed that seeing an image of the pillar could perform
the function, through physical and geometrical resonance which has been explored in the
field of BioGeometry. The shape of the temples also plays a role in the resonance theory.
When the parameter of the great pyramid is divided by the height, the result would be 2pi.
This is 2,000 years before pi is even discovered. The great pyramid encodes the speed of
light, the circumference of the Earth, and the distance between the Earth and the moon.
Ancient Egyptians were very connected with their natural environment and were able to
harness the energy of the Earth to the benefit of their civilizations. From BioGeometry
we know that the pyramid shape resonates with the heavens, therefore by placing this
shape in this specific location, a connection and exchange of energy is created between
the Heavens and Earth.
Fig 1.9: Giza on Film / Source: Author’s Photography
28 29
COSMIC SYMPHONY
Pluto C# “By their harmonious rays and motions penetrating everything, planets daily influence our
spirit secretly, just as music does openly.”
-Marsilio Ficino ‘Three Books on Life’
Neptune G# Plato believed that the universe was made up of perfect, spherical objects that moved in
circular orbits, and he believed that these objects produced a celestial harmony known as
the “music of the spheres.” According to Plato, this music was the audible representation
Uranus G# of the perfect mathematical relationships between the spheres and was the source of all
order and harmony in the cosmos. He believed that the music of the spheres was inaudible
to the human ear but could still be perceived by the soul. In this sense, the music of the
spheres was seen as a representation of the ultimate beauty and harmony of the universe.
The “music of the spheres” is a concept understood by ancient mystics such as Pythagerus
Saturn D who were said to be able to hear the sounds of the planets described as a mathematical
masterpiece. Earlier scientists claimed that space is a vacuum and therefore there is
no sound. However, recent expeditions by Nasa to record human range vibrations were
successful in recording sound samples from different plants.
The human body is also a part of this cosmic musical composition. The body has certain
rhythms that are playing a symphony continuously. These rhythmic cycles include our
circadian rhythms, biorhythms, brain waves, heart beats, breathing.. etc. Many ancient
Jupiter F# cultures acknowledge the connection between the human body and the universe in their
ceremonies and rituals. Sama is the Sufi word for audition or listening. The followers of
Jalal-ud-din Rumi worked themselves into a mystical trance by chanting and whirling in
slow gyrations. Their dance is thought by some scholars to have represented the solar
system, recalling also the deep-rooted mystical belief in an extraterrestrial music.
According to Sufi poet and musician Hazrat Inayat Khan, manifestation being formed of
D vibrations, the planets are the primal manifestation, each planet having its special tone;
Mars therefore every note represents one planet. Every individual therefore has a note peculiar
to himself which is according to his birth planet; for this reason a certain tone appeals to a
Our Moon
particular person according to the grade of his evolution.
Earth C#

The vibrational frequency of the Earth is known as the Schumann Resonance, which is
a global electromagnetic resonance that occurs between the Earth’s surface and the
Venus A ionosphere. It is named after physicist Winfried Otto Schumann who predicted its existence
in 1952. The Schumann Resonance is usually around 7.83 Hz (hertz), which means it vibrates
Mercury C# 7.83 times per second. A 7.83 Hz frequency is an alpha/theta brainwave frequency in the
human brain. Alpha/Theta brainwave frequency is relaxed, dreamy, sleepy state, that is
also when cell regeneration and healing happens. It is no surprise that people nowadays,
especially in bigger cities, are unbalanced, irritated, reactive, angry and disease are rising
in astronomical numbers.
When we allow our bodies to align with Earth’s frequency, our body is able to tune itself
back to the natural state of health through harmonic resonance. Some say that the
Earth’s frequency is shifting and increasing, which could be linked to various spiritual and
consciousness shifts occurring globally.
Fig 1.10: Cosmic Symphony / Source: Ancient Egypt Online
30 31
THE EAR
“It is often said that the first sound we hear in the womb is our mother’s heartbeat.
Actually, the first sound to vibrate our newly developed hearing apparatus is the pulse of
our mother’s blood through her veins and arteries. We vibrate to that primordial rhythm
even before we have ears to hear.”
-Layne Redmond, When The Drummers Were Women: A Spiritual History of Rhythm
Where our eyes only perceive one octave range within the visible spectrum of light,
the ears are 10 times more sensitive and can perceive a 10 octave range. Although
we can hear these wide range sounds, we are not always conscious of perceiving
them. While our eyes rest during the night, our ears never sleep. The ear is the
first sensory organ to develop in the womb and functions 24/7 throughout our lives
therefore influencing us even when we are unconscious.
A fetus in the womb is capable of hearing sounds from the outside world. Around
the 18th week of gestation, the structures in the ear necessary for hearing begin
to develop, and by the 25th week, the fetus can respond to sounds with changes in
heart rate and movement. Studies have shown that the fetus can hear and recognize
familiar sounds, such as the mother’s voice and heartbeat, and can also respond
to music and other sounds. The level of sound that reaches the fetus in the womb
is muffled by the amniotic fluid, but the fetus can still perceive a wide range of
frequencies and volumes. From a geometrical perspective, the shape of outer ear
resembles an inverted fetus within the womb.
The ear has three times more nerve connections to the brain than the eyes do, and
is able to experience a range of sounds from 20 Hz to 20,000Hz. The energy received
through the ear directly charges all of our organs. Therefore, the acoustic qualities
of a space have a strong influence on our well being. According to Daoist and
traditional chinese medicine, the ear is seen as the microcosm to the macrocosm
of our body.
Though it may not always be obvious, the sonic environment has a drastic impact on

human wellbeing. The sensory stimuli we are exposed to in our modern cities can
be very chaotic and disharmonizing, and if we don’t proactively engage our systems
in a healthy way, our systems get thrown out of balance. Badly designed spaces from
the sonic perspective are affecting our health, productivity, and social behaviour.
Poor acoustics in classrooms have been linked to a 50% reduction in vocal clarity
from teacher to student, therefore affecting performance and productivity.
The human body operates like an elaborate musical instrument, with every tissue,
muscle, and bone in a constant state of vibration. When the body goes off balance
into a disharmonious state, this is when disease or illness starts. When in a sound
state of health, all parts of the body resonate in a state of coherence. It is time
we started redesigning our external environments to stimulate the sense which is
mostly responsible for affecting our interior environments. Sound.
Fig 1.11: Hearing in the Womb / Source: Miranda Mikaroff Acrylic Painting
32 33
THESIS QUESTION(S)
“Sound will be the medicine of the future” -Edgar Cayce
How can we experience sound in its geometric material form allowing us to tune our
bodies to a natural frequency through harmonic resonance?
The Universe is a manifestation of vibrational frequency on every scale. Before
matter existed, the Universe was already singing. Resonance can be defined as
intensification of sound produced by sympathetic vibration. Geometry is the music
that we see with our eyes. As Goethe once said: “Music is liquid architecture, and
architecture is frozen music”. Architecture becomes the container in which positive
or negative resonance is formed. Modern architects have mostly designed buildings
for the eyes. Is it time we restart designing first for the ears, as our great ancestors
once did?
Throughout time, humans have cultivated strong bonds to spaces of particular

acoustical significance, often associating religious or spiritual significance to them.
This project lies at the intersection of space, sound, and spirit. In this respect,
architecture becomes a geometrical vessel capable of tuning its inhabitants to
the same harmonic frequency creating an effect that the Greeks called Homonia.
Homonoia is the concept of order and unity, being of one mind together or union of
hearts. It was used by the Greeks to create unity in the politics of classical Greece.
In nature we see schools of fish, birds, ants, bees, and many other species operating
as a kind of group mind. For humans, music and dance is capable of setting them
to operate at the same rhythm creating this desired effect of harmony. How can we
materialize sound into physical geometry allowing us to create sacred spaces of ritual
to align humanity with a common empathetic understanding based on Love and Unity?
Humans are part of the symbiotic web of life. Sacred plant medicines have been
used since the earliest records of humans for healing mind, body and soul. The
consciousness of plants is attuned to a symbiotic web of life, like a collective group
mind. All of nature exists in a universal harmony following the patterns of creation,

as seen in the sacred geometry of their forms. When we are out of alignment, is it
possible for the frequencies of nature to provide the medicines or remedies that can
bring us back into harmony?
In certain Shamanic rituals and cultural practices, the Shamans have specific songs
that they use that were taught to them by the plants. They listen to the plants which
give them the certain frequency signatures of that plant which are used in healing
ceremony. Shamans have used plant music in rituals for centuries to induce altered
states of consciousness, facilitate communication with the spirit world, and provide
healing to individuals. Icaros or shamanic songs, are typically sung or played by the
shaman during a ceremony or ritual. The icaros are believed to contain the spirit and
energy of the plants, and the shaman uses them to connect with the plant spirits and
receive their guidance and healing powers. Can the next medicine of our time, actually
Fig 1.12: The Birth of Creation / Source: Author be sound?
34 35
٢
PART 2
VISUALIZING SOUND
“Music and architecture are intimately joined by a cosmic connection.

They both are generated by an underlying code, an order revealed by
mathematics and geometry.”
-Federico Babina
Fig 2.1: Salt Formations / Source: Author’s Photography

36 37
VISUALIZING VIBRATION
/What is sound?/
Sound is a form of energy that travels through vibrations in matter. When
an object vibrates, it creates pressure waves in the surrounding medium
(such as air, water, or solids), which are then detected by our ears and
interpreted by our brain as sound.
These pressure waves move as a series of compressions and rarefactions,

similar to how waves move in the ocean. The frequency or speed of these
waves determines the pitch of the sound, while the amplitude or size of
the waves determines the loudness or intensity of the sound.
Sound can be produced naturally, such as when an animal vocalizes or

when thunder rumbles, or it can be produced artificially, such as when a
musical instrument is played or when a speaker produces sound from an
electronic signal. Sound is an important part of human communication,
allowing us to convey information and express emotions through speech,
music, and other forms of sound.
/What is a soundscape?/
A soundscape refers to the overall acoustic environment of a specific
location or area, including all the sounds that can be heard there. It is a
combination of natural and human-made sounds, including sounds from
animals, people, vehicles, machinery, and other sources.
A soundscape can be described in terms of its acoustic properties, such

as loudness, pitch, and duration of the sounds present, as well as the
spatial and temporal distribution of those sounds. It can also be analyzed
for its subjective qualities, such as the emotional response or mood it
evokes in people who hear it.
Soundscape studies have become increasingly important in fields such as

environmental psychology, urban planning, and acoustic ecology, as they
provide insight into how the acoustic environment affects people’s health,
wellbeing, and behavior. By understanding the complex interactions
between the soundscape and human perceptions, researchers and
practitioners can develop strategies for creating more pleasant and
functional acoustic environments.
Fig 2.1e: Light Painting / Source: Author as dancer captured by ByrdByte

38 39
CYMATICS
Although we commonly perceive sound as being invisible, scientific experiments
have been conducted to prove otherwise. More specifically, ‘cymatics’ is the science
of visualizing audio frequencies. Experiments have since been conducted using a
steel plate mounted onto a frequency generator with sand or salt. Cycling through
higher frequencies, sound reveals itself in different visual formal arrangements. As
frequency increases, so does the formal complexity of the pattern. Every cymatic
pattern is symmetrical in shape, as sound travels in all directions at the same speed.
The term cymatics was coined by Hans Jenny (1904-1972), a Swiss follower of the
philosophical school known as anthroposophy (a spiritualist movement founded in
the early 20th century by the esotericist Rudolf Steiner that postulates the existence
of an objective, intellectually comprehensible spiritual world, accessible to human
experience). Jenny put sand, dust and fluids on a metal plate connected to an
oscillator which could produce a broad spectrum of frequencies. The sand or other
substances were organized into different structures characterized by geometric
shapes typical of the frequency of the vibration emitted by the oscillator. According
to Jenny, these structures, reminiscent of the mandala and other forms recurring in
nature, would be a manifestation of an invisible force field of the vibrational energy
that generated it. He was particularly impressed by an observation that imposing
a vocalization in ancient Sanskrit of Om (regarded by Hindus and Buddhists as the
sound of creation) the lycopodium powder formed a circle with a centre point, one
of the ways in which Om had been represented. From these experiments we can
conclude that sound can shape matter. Therefore, sound can shape us.
Architecture that uses the proportions of music becomes a part of the universal
symphony of creation. In other words, the building resonates with the universal laws
of the living powers of nature therefore inducing harmony with its environment and
those who occupy it. When architecture expresses a musical note, and therefore
becomes “frozen music”, the result is a living symphony. To ensure this, the location
upon which to create this desired effect must have a special energetic quality.

Fig 2.2 Left: Cymatics in nature and architecture / Source: Guruth Medium
Fig 2.3 Right: Cymatics morphed by the piano notes of 1st octave / Source: cymascope.com
40 41
POTENTIAL LANDSCAPE APPLICATION HARMONIZING WITH EARTH’S FREQUENCY
CYMATIC GARDEN
Derived from the Greek word for “wave,” cymatics is essentially the study
of how sound waves and frequencies influence matter. This is illustrated
by a substance (salt, sand) suspended in water or on a surface sensitive to
vibration. When exposed to sound, substances flow into visible patterns and
shapes.
Cymatic experiments have documented the ever-changing forms and designs

that reflect principles of sacred geometry and biology. By observing cymatic
action, we realize that sonics and sound waves impact the body, which is 65
to 70 percent water. Since the body directly influences the mind, by changing
the body, we change the mind the same way sound waves change water and
sand. Conversely, when the mind changes, so does the body.
A cymatic garden is imagined for a landscape design as an experimental

proposal. This becomes a space where people can relax, contemplate,
meditate, and listen to nature. This thesis explores the topic of sound, and
therefore the quest is to visualize sound in its physical manifestation. The
study of cymatics proves that sound does in fact have shape, and is capable of
shaping matter. Thus, the concept is derived from this acoustic science and
the design allows the user to experience sound in its material form. When
occupying this space, harmonic resonance through geometry is created
between our bodies and this specific cymatic geometry of the notation C#,
which is the sound of our Earth. As a result, our bodies can tune themselves
back to the natural frequency of the Earth through the principle of harmonic
resonance.
Cymatics is the study of the visible effects of sound and vibration on matter,

and the shapes created by these vibrations can have a harmonizing effect on
the environment. A garden arranged like a cymatic shape could potentially
have positive effects on human health and well-being due to the principles
of cymatics. In a cymatic shaped garden, the shapes created by the sound
and vibration would be in alignment with the natural laws of the universe,
creating a harmonious and calming atmosphere. This environment could
induce a positive impact on human health and well-being by reducing stress,
improving sleep, and promoting relaxation. Additionally, spending time in a
peaceful, natural environment can have a beneficial effect on mental health,
0 5 10m such as reducing anxiety and depression. Thus, having a garden shaped like
a cymatic shape could provide a harmonious and relaxing environment for
people to enjoy and potentially improve their overall health and well-being.
Fig 2.4: Cymatic Garden Plan View / Source: Author
42 43
VISUALIZING SOUND
MUSIC IN ART
Fig 2.6: Kandinsky’s Composition VIII (1923)

Fig 2.5: Leonardo DaVinci’s Last Supper (1498)
The idea of music appears everywhere in Kandinsky’s paintings. He believed
Giovanni Maria Pala, a 45-year-old musician who lives near the southern shades resonated with each other to produce visual ‘chords’ and had an
Italian city of Lecce, began studying Leonardo’s Last Supper painting in 2003, influence on the soul. Kandinsky described his paintings as “visual music,”

after hearing on a news program that researchers believed the artist and with colors being like sounds. He often painted to music, using color and line
inventor had hidden a musical composition in the work. Pala first saw that to express how the music made him feel. Kandinsky had a very rare trait called
by drawing the five lines of a musical staff across the painting, the loaves synesthesia, or crossed senses. A synesthete is someone who “hears” colors
of bread on the table as well as the hands of Jesus and the Apostles could and “sees” sound. He was convinced that the art of painting and music were
each represent a musical note. This fit the relation in Christian symbolism related: just as a composer organizes sound, so a painter organizes color and
between the bread, representing the body of Christ, and the hands, which form. Kandinsky’s sense of hearing was so strongly connected to his sense of
are used to bless the food. But the notes made no sense musically until Pala sight that he would visualize colors and shapes whenever he heard music. He
realized that the score had to be read from right to left, following Leonardo’s felt like he was watching his paintings unfold as well as listening to the music
particular writing style. The result is a 40-second “hymn to God” that Pala manifest in time. “Our hearing of colours is so precise... Colour is a means
believes sounds best on a pipe organ, the instrument most commonly used in of exerting a direct influence upon the soul. Colour is the keyboard. The eye
Leonardo’s time for spiritual music. is the hammer. The soul is the piano with its many strings. The artist is the
hand that purposely sets the soul vibrating by means of this or that key. Thus
it is clear that the harmony of colours can only be based upon the principle of
purposefully touching the human soul.”
44 45
Fig 2.7: Stuart Davis’s Swing Landscape (1938)
Fig 2.8: Piet Mondrians’s Broadway Boogie Woogie (1942)

Stuart Davis’s Swing Landscape, the great mural of 1938 that depicts the
Gloucester, Massachusetts waterfront in vivid hues, rhythmic patterning,
and floating abstract shapes. In Swing Landscape, we see his interest in the Mondrian arrived in New York in 1940, one of the many European
nautical details of this waterfront area through the juxtaposition of sails, masts, artists who moved to the United States to escape World War II. He
and girders, which gyrate back and forth with a rhythmic tempo comparable immediately fell in love with the city and with boogie-woogie music,

to the syncopated beat of jazz music. Swing Landscape is considered one of to which he was introduced on his first evening in New York. Soon
the artist’s most important works, a synthesis of color and form, space and he began, as he said, to put a little boogie-woogie into his paintings.
flatness, and ultimately of realism and abstraction. Broadway Boogie Woogie omits the usual blacks in his paintings
and breaks Mondrian’s once uniform bars of color into multicolored
segments. Bouncing against each other, these tiny, blinking blocks
of color create a vital and pulsing rhythm, an optical vibration that
jumps from intersection to intersection like traffic on the streets
of New York. Mondrian’s appreciation of boogie-woogie may have
sprung partly from the fact that he saw its goals as analogous to
his own: “destruction of melody which is the destruction of natural
appearance; and construction through the continuous opposition
of pure means—dynamic rhythm.”
46 47
VISUALIZING SOUND: SONIC VISUALISER PROGRAM Fig 2.9: Sound Waves / Source: Author + Sonic Visualizer Program
Take Me to Church - Hozier (Indie Rock/Pop) Vantdraught 4: n5 - Kuba Kapsa Ensemble (Classic Orchestra)
https://www.youtube.com/watch?v=PVjiKRfKpPI https://soundcloud.com/denovali/kuba-kapsa-ensemble-4

Garden of 3den - Blondish (Meditation) L’Amore - Underpreache Remix (Techno)
https://soundcloud.com/blondish/blondish-x-rowee-garden-of-3den-meditation-mix-abra015 https://www.youtube.com/watch?v=fXeBWdg_BMI
48 49
Sound is vibration, and everything is vibration. Therefore everything is sound.
To Earth - Ariwo (Tribal House) Nirvana - Sam Smith (R&B/Soul)

https://www.youtube.com/watch?v=7bwNf37RZOk https://www.youtube.com/watch?v=Lv679SxziHQ

Ray Ray - Fat Freddy’s Drop (Dance/Electronic) Ruby - Ali Farka Touré, Toumani Diabaté (Desert Blues)
https://www.youtube.com/watch?v=p1Y54ldylQE https://www.youtube.com/watch?v=n7WtB_-JBqk
50 51
POTENTIAL ARCHITECTURAL APPLICATIONS
INTERIOR WALL DESIGN
“Listen! Interiors are like large instruments, collecting “…[the] interconnection between humans and space is a dialogue that
sound, amplifying it, transmitting it elsewhere.” enables us to experience ourselves in the sound of the room.”
- Peter Zumthor -Elizabeth Martin

Fig 2.10: Wallpaper for Dynamic Space / Source: Author Fig 2.11: Laser Cut Wall Panels for Music Studio / Source: Author
52 53
VISUALIZING SOUND: POTENTIAL APPLICATIONS
MUSICAL PROPORTIONS AS DIMENSIONS Music Room Dimensions
How are music and architecture interrelated?
“Buildings provide spaces for living but are also de facto instruments, giving shape
to the sound of the world. Music and architecture are related not only by metaphor,

but also through concrete space. Every building I have admired is, in effect, a
musical instrument whose performance gives space a quality that often seems to
be transcendent and immaterial.”
-Daniel Libeskind
“The most common proportions found in ancient Egyptian temple architecture

correspond to the most harmonious intervals found in music: the octaves, fifths,
fourths, thirds and sixths. In the temple of Horus at Edfu, the dimensions of one
chamber’s measurements of width to height equaled 2:3, which defines an interval
of a fifth in music.”
-‘Rediscovering Music in the Architecture of Egyptian Temples’
by Antoine Seronde
Fig 2.12: Musical Proportions / Source: Author Fig 2.13: Musical Dimensions / Source: Author
54 55
SACRED GEOMETRY
Sacred geometry is a term used to describe the geometric shapes and patterns
derived from nature and are often found in religious art and architecture. It is believed
that these shapes and patterns are symbolic of spiritual concepts and ideas, and
can be used to promote spiritual growth and understanding. Sacred geometry is
believed to be related to sound and music because certain geometric shapes and
patterns are thought to resonate at specific frequencies that can affect the mind and
body in positive ways.
The circle is believed to resonate at a frequency that is associated with wholeness

and unity, while the triangle is believed to resonate at a frequency that is associated
with balance and harmony. In music, the use of different shapes and patterns in the
composition can evoke certain emotions or feelings in the listener. Some musicians
use sacred geometry as inspiration for their compositions or to create healing music.
Sacred geometry and music are related to architecture in that certain geometric
shapes and patterns, as well as musical ratios and intervals, are believed to create
an environment that is conducive to spiritual growth and well-being. For example, in
sacred architecture, the use of specific geometric shapes and patterns in the design
of a building or space can create a sense of harmony and balance that is believed
to promote a sense of peace and tranquility. Similarly, the use of musical ratios
and intervals in the design of the acoustics of a building can enhance the overall
aesthetic and spiritual experience of the space. In architecture, specific shapes,
like the spiral, or the golden ratio, are often incorporated in the design, as they are
believed to enhance the energy flow, balance and harmony of the space. The use of
these sacred geometric shapes and patterns can be found in ancient architectural
and religious structures such as temples, cathedrals, and pyramids.
The 5 elements (Earth, Air, Fire, Water, and Ether/Spirit) are often associated with
sacred geometry in architecture. Each element is associated with certain shapes and
patterns that are believed to resonate at specific frequencies. In two dimensionality,
Earth element is associated with the square, which is believed to promote stability

and grounding. Air element is associated with the circle, which is believed to promote
a sense of unity and wholeness. Fire element is associated with the triangle, which
is believed to promote balance and harmony. Ether/Spirit element is associated with
the spiral, which is believed to promote growth and expansion.
These shapes and patterns can be incorporated into the design of a building or
space in various ways to enhance the overall energy and aesthetic of the space, as
well as promoting certain moods and feelings. For example, a square room may
be used for meditation and grounding, a circular room may be used for unity and
wholeness, a triangular room may be used for balance and harmony, a room with
crescent shapes for flow and movement and a room with spiral shapes may be used
for growth and expansion. These are not strict rules but rather serve as guidelines
as these shapes can be combined and used in various ways to create unique and
Fig 2.14: Sacred Geometry / Source: Author harmonious spaces.
56 57
THE ARCHITECTURE OF ACOUSTICS ECHO
The word echo is derived from the Greek (ēchō) meaning “sound”. An echo is a
reflection of sound that arrives to the listener with a delay after the direct sound is
produced. The delay is directly proportional to the distance of the reflecting surface
from the source and the listener. Typical examples are the echo produced by the
bottom of a well or the walls of an empty room. In spaces that gather a large amount
of people, an echo can cause great disturbance and decrease the quality of the space.
An echo in a space can cause discomfort and distraction for the people occupying
that space. Echoes can make it difficult to understand speech and can cause fatigue
in the listener’s ears. Echoes can also negatively impact the acoustics of a space,
making it unsuitable for activities such as music performances or public speaking.
Some ways to reduce echo include:
Shape Material Dimension
1. Covering floors with carpets and rugs stifle sound reflection by absorbing echos and
muffling noise
2. Using heavy lined window curtains and draperies help to reduce echo and noises from
inside and outside the space
3. Canvas paintings, tapestries and decorative wall hangings also can absorb sound to
reduce echo. However, framed pictures and artwork enclosed behind glass will reflect
sound much like window panes.
4. Installing acoustic panels often made from foam or fabric are designed to absorb sound.
Generally, the panels should be installed every 12 inches for optimal echo reduction.
5. Designings the shape of the room, such as by adding angled walls or curves to surfaces
Reverberation Loudness Echo that reflect sound.
Time
Building materials also have an important contribution to the accoustical qualities of a
space. The best sound absorbing building materials are those that effectively reduce
or minimize the transmission of sound. It’s important to note that the effectiveness

of these materials may vary depending on the specific soundproofing application,
frequency range, and sound pressure level. Additionally, a multi-layer approach,
incorporating a combination of materials, is often the most effective solution for
soundproofing. Some common materials that have good sound absorbing properties
include:
Acoustic panels made of foam or fiberglass

Soundproof drywall
Echelon Effect Resonance Noise
Mass loaded vinyl
Carpet and underlayment
Insulated glass
Acoustic blankets or curtains
Mineral wool or rockwool insulation
Fig 2.15: Factors Affecting Acoustics / Source: Author
58 59
Hypogeum hal Saflieni
Paola, Malta
SONIC ARCHITECTURE
/Sonic Architecture/ is a discipline concerned This prehistoric architectural ruin in Malta is an underground temple
with the (re)construction of architectural exceeding 5,000 years in age, discovered in 1902. It contains within it
spaces from the listening perspective, an underground temple known as the Oracle room reserved for the
and vice versa - the creation of listening shaman of the time. The space is oval shaped in both plan and section
experiences as a sculptural-architectural with a ceiling that is elaborately painted in with swirling red paint,
process. In order to better understand the thought to be potentially a musical annotation. It is characterized as
role of architecture in creating a finely tuned a perfect resonating chamber for a specific frequency for deep voice
environment for soundscapes, a series of chanting of 110Hz (a low A tone), which triggers an intense aural
precedents were researched as case study omnipresent reverberation throughout the temple resulting in a shifted

examples. A focus is placed on structures state of consciousness. Neuroscientists have discovered physiological
that were built to heighten spiritual changes within the brain at 110 Hz which results in a shift in spatial
connection with the invisible realm. When and spiritual cognition. The dimensions of the space are an exact
one is occupying these architectural spaces multiple of the wavelength of that frequency. Also notable about the
with awareness, they are able to reach a chamber is the presence of a pair of portals which allow sounds from
higher meditative state of consciousness. within the Oracle Chamber to be transmitted and clearly audible to all
the rooms of the complex. Archeologists believe there is a possibility
the shamans of this ancient Maltese culture used this chamber as a
gateway to the doors of perception.
Fig 2.16: Map showing an invisible sonic architecture created from a 2,2 mode shamanic drum /
Source: Invisible Drum Fig 2.17: Hypogeum hal Saflieini Oracle Room / Source: Antiquity Now
60 61
Baptistry of Saint John Integratron
Pisa, Italy Landers, California
Not many are aware that the Pisa Baptistry is infact a musical structure, This wooden acoustic dome is located in Landers, California since 1954. Its
which houses one of the world’s most magnificent acoustic phenomenon. creator, George Van Tassel (1910-1978), claimed that the structure is based
The structure has an atypically long reverberation of 15+ seconds (the on the design of Moses’ Tabernacle and the writings of Nikola Tesla. The
amount of time sound lingers in a space after the source sound is gone) building features allows for an intense sonic experience due to the reverberant
as a result of material composition and formal arrangement. This allows qualities of the space, which makes it an ideal setting for sonic meditations

the singer to harmonize with their own vocal reverberations creating a and sound baths. The location of the Integratron, situated 20 miles north of
dramatic sonic experience. The resonance created from a reverberation of Joshua Tree National Park, is an essential part of its functioning. It was built
15-30 seconds (depending on the singer) creates a standing wave within the on an intersection of powerful geomagnetic forces that, when focused by the
space that can be physically felt as a vibrational energy by all who inhabit the unique geometry of the building, concentrate and amplify the earth’s magnetic
space. In plan view, the structure is a pair of concentric circles which allows field. Magnetometers read a significant spike in the earth’s magnetic field in
sound from the center to bounce back multiple times. A later remodel of the center of the Integratron where the dome acts as a focuser of acoustical
the building added a dome which encapsulated air space that acts as a energy for the user creating a meditative/spiritual experience. The dome
resonating chamber holding sympathetic vibrations then returning them to of the Integratron acts as a focuser of acoustical energy for the user. From
the space even further extending the reverberation time. within the meditation space of the Integratron, the chanter experiences a
totally immersive sonic space. The energy of a vocal output is amplified and
redirected so as to be felt with a high level of intensity. This effect has led to
the space being used for Sound Baths, a sort of sonic immersion for the sake
of meditative and spiritual experiences.
Fig 2.18: Baptistry of Saint John / Source: Dreams Time Fig 2.19: Integratron / Source: Smithsonian Magazine
62 63
Cromatico Sound Sculpture “Tvísöngur” Sound Sculpture
Tallinn, Estonia Seyðisfjörður, Iceland
“Cromatico,” winner of the 2011 concrete construction competition, is a

sensuous, moving, acoustic sound sculpture. The Cromatico project in Estonia,
is a series of concrete chambers, each tuned to the frequency of a particular Tvisongur is a site-specific sound sculpture by German artist Lukas
note along the chromatic scale. It perfectly illustrates the relationship between Kühne and is located on a mountainside above the town of Seydisfjordur.
sound and space. The 12-chamber configuration corresponds to the chromatic The work is built of concrete and consists of five interconnected domes
musical scale, which has influenced musical culture from the baroque era to of different sizes. The heights of the domes are between 2 and 4 meters
present day. The size and shape of the rooms coincide with the wavelengths of and they cover an area of about 30 square meters. Each dome has its own
the desired tones, while dense construction materials work to reflect the tone resonance that corresponds to a tone in the Icelandic musical tradition
back to the user. Cromatico is a visualization of the chromatic musical scale, of five-tone harmony, and works as a natural amplifier to that tone.
which nearly all Western classic and popular compositions from the last 300 Tvisongur was opened to the public on September 5th 2012, and everyone

years have followed. This didactic sculpture invites the visitor on the journey can access it. It is embedded in the mountainside above the town, in a
through the 12 halftones of the octave from »F« to »E«, allowing them to enter, quiet area with a breathtaking view of the fjord. It offers an acoustic
touch and play the artwork in order to better understand space in relation to sensation that can be explored and experimented with by the visitor. The
the frequencies contained within its volumes. The external shape of Cromatico site’s solitude and tranquility offers a perfect setting for singing or music
reflects its internal function, creating a visual sensation of the chromatic scale playing, alone, in harmony, for ones own pleasure or for an audience.
cast in 30 cubic meters of reinforced concrete. Set against our everyday habit
to sing, read and use this musical system are physical spaces of the various
frequencies. Deeper frequencies require proportionally greater volumes of space
than higher ones. The measurements of the sculpture’s chambers are scaled in
proportion to the body of the visitor, and their heights increase from the highest
»E« (or 164 Hz) tone at 2.21 meters to the lowest »F« (or 88 Hz) note, which
stands 4.04 meters high.
Fig 2.20: Cromatico / Source: Visit Estonia Fig 2.21: “Tvísöngur” / Source: Research Gate
64 65
AMMAN, JORDAN Fig 2.22
VISUALIZING SOUND
SONIC CITY PORTRAITS
Living in different countries for certain periodic stages in my life,
it occurred to me that each city was distinctive in its sounds that
inhabitants would hear on a daily basis. As part of the research phase
of this thesis exploration, a survey was conducted with the network
I have made during my time living in these distinctive cities around
the world. I aimed to create sonic portraits that would describe
the city soundscapes in a visual method. The purpose of which is
to render a visual representation of what is otherwise invisible. In
order to do this, I collected data for each city asking participants
to describe the sounds of the city, based on their experience and
intimacy with these places. Many referred to the daily religious
sounds of bells or mosque prayers, making the call to prayer a
sound that is quite “universal”. Another common answer were
the honks of cars and the sound of traffic, making us aware of the
harmful quality of sounds in city contexts we are exposed to on a
daily basis. This thesis aims to shed light on the destructive effects
of noise pollution as a guilty culprit of causing imbalance in our
internal systems, ranging from headaches to insomnia and much
more. From our development in the womb, during our sleep, and
all the way to our final breath, sound is the first and last sense that
activates. We are quite literally listening all the way through our ‫شفتي ش‬‎
human experience on this Earth, and more often than not we are !‫و البسة‬

registering our sound environment into our internal environment.
Arguably, this is why they refer to a healthy body as having “sound
health”. It is time we become mindful of our sonic environments
and take initiative to surround ourselves with the sounds of nature
in order to restore the lost balance of our natural state of health
and wellbeing.
Fig 2.22: Sounds of Amman / Source: Author

Fig 2.23: Sounds of Montreal / Source: Author
Fig 2.24: Sounds of Toronto / Source: Author
Fig 2.25: Sounds of Piacenza / Source: Author
Fig 2.26: Sounds of Bologna / Source: Author
66 67
68
“B
on
j ou
rm
on
am
i !P
a ss
nso
à
la
stér
éo
ce
so
ir?
”
MONTREAL, CANADA
Fig 2.23
TORONTO, CANADA
“Hey man, w
ag ann
rab a bee
ra
fte
rw
o
rk
?”
Fig 2.24
69

70
PIACENZA, ITALY
“Ques
ta c
itt
à
è
m
o lt
on
oiosa. Andiamo a
co
m
p
ra
re
Fig 2.25
le s
carpe.”
BOLOGNA, ITALY
“B
i
rr
a
rr
Bi
a!”
Fig 2.26
71

٣
PART 3
SOUND HEALTH
A person does not hear sound only through the ears; he hears

sound through every pore of the body. It permeates the entire
being, and according to its particular influence, either slows or
quickens the rhythm of the blood circulation; it either awakens
or soothes the nervous system”
-Sufi Musician, Healer, and Mystic Hazrat Inayat Khan
Fig 3.1: Salt Formations / Source: Author’s Photogrphy

72 73
“We live in the age of technology, with harmful wavelengths that disrupt
the Earth’s natural frequency. Wifi, cell phones, microwaves, x-rays, and
an array of electronics are part of our everyday lives. This is why our bio-
electromagnetic waves are out of balance because we are out of balance
from Earth’s natural electromagnetic frequency. For example, the
frequency of radiofrequency electromagnetic radiation (what powers cell
phones, tvs, radio etc) ranges from 30,000 Hz to 300 Billion Hz. That is a
significant amount more than 7.83 Hz that the earth radiates. Therefore,
we as a human species are all out of balance and intrinsically crave
healing. The electromagnetic fields generated by power supply systems,
telecommunications, appliances, computers and other technology
produced by humans are extremely powerful and in some cases have
been associated with increased incidence of cancer, heart disease,
depression and other diseases. Exposure to strong electromagnetic fields
in residential areas and in certain occupations has been documented
as significantly increasing the incidence or risk of the listed diseases.
Certain groups of people such as the elderly, children, women who are
pregnant have been found to be more sensitive or susceptible to adverse
effects from these fields than the rest of the population.”

-Hearth Math Institute
Fig 3.2: Utopia by Polish artist Mateusz Szczypinski

74 75
MATERIAL FREQUENCY
“We have now discovered that there is no such thing as matter, The frequency and vibration of a material refers to the material’s physical properties,
it is all just different rates of vibration designed by an unseen specifically the speed at which it oscillates (frequency) and the amplitude of that
intelligence.” oscillation (vibration). These properties can inform projects in various fields, such
-Physicist Max Planck, as mechanical engineering, acoustics, and material science.
Upon accepting the Noble Prize for Physics in 1918
In mechanical engineering, the frequency and vibration of a material are used
to determine its mechanical resonance, which can impact the performance
and durability of a structure or device. In acoustics, the frequency and vibration
determine the material’s ability to transmit sound and its impact on the quality
of the sound. In material science, the frequency and vibration of a material can
be used to identify its internal structure and evaluate its mechanical properties.
This information is useful for material selection and product design, recognizing
our world as vibrational. Some building materials can be considered healthier for
humans in terms of frequency and vibration. This is because some materials have
a more natural frequency, closer to the range of human hearing, which can reduce
stress and strain on the body. Natural materials such as wood, stone, and clay are
often considered healthier for humans compared to synthetic materials like plastic
and metal. The impact of building materials on human health is dependent on many
factors, such as the specific frequency and vibration of the material, the duration
of exposure, and individual sensitivities. Our modern way of building has depended
heavily on concrete, regardless of the fact that it can be harmful to humans in terms
of frequency and vibration in several ways:
1. Electromagnetic radiation (EMR): Concrete can act as a conductor of

electromagnetic radiation (EMR), which can increase levels of EMR within a building
and potentially cause health effects, such as headaches, fatigue, and cancer. On the
other hand, natural materials like stone, clay, and wood can act as insulators and
help reduce EMR levels.
2. Noise pollution: Concrete can also contribute to noise pollution by reflecting and

amplifying sound, which can cause hearing damage, sleep disturbance, stress, and
other health problems. In addition, the process of making concrete itself is a very
loud and aggrivating process.
3. Whole-body vibration: Concrete machinery and equipment can produce whole-

body vibrations, which can cause back pain, muscle fatigue, and other health
problems. Prolonged exposure to whole-body vibration can also lead to more serious
health problems such as spinal cord damage and neurological disorders.
4. Resonance: Concrete structures can resonate at certain frequencies due to

external forces such as wind, earthquakes, or mechanical vibrations. In some
cases, this resonance can produce sounds that can be heard by humans and cause
annoyance or distress. In extreme cases, resonance can cause concrete structures
Fig 3.3: Radical Ideas vs. Concrete Realities by Polish artist Mateusz Szczypinski to collapse or fail, leading to injury or death.
76 77
Nature Sounds QUANTIFYING SOUND
“Music and sound are both the langugage and underlying architecture of the cosmos”
-Tom Kenyon
20-30 dB
Rustling leaves How sound behaves in a space influences how inhabitants feel as sonic environments
have a profound effect on human wellbeing. The noise, the stress, the nervousness,
good sleep, good music, how loud we speak, the echo, how we hear the words in
50-60 dB return, etc. This all encompasses into one simple attribute, the oldest and most
Rainfall primitive of all: sound.
Sound is a vibration that travels through a medium, such as air, and can be heard
60-70 dB when it reaches a person’s ear. It is an acoustic phenomenon that can range from
Bird chirping simple, everyday sounds to complex and nuanced sounds created by musical
instruments.
Nature sounds are sounds produced by natural phenomena such as wind, rain,
70-80 dB animals, water, etc. Man-made sounds, on the other hand, are sounds created by
Waterfall human activities, such as machinery, transportation, construction, etc. The primary
difference between the two is the source of the sound and its origin.
Man-made Sounds Music, on the other hand, is a structured and organized sequence of sounds and
silences, often created with musical instruments or the human voice, that is intended
to produce an experience or emotional response in the listener. It is a form of artistic
expression that uses sound as its primary medium and typically follows musical
50-60 dB theory and notation. In other words, sound is a physical phenomenon that can be
measured and described, while music is a cultural and artistic expression that uses
Normal conversation sound in a purposeful and structured way.
The decibel (dB) is a unit of measurement used to express the relative intensity or
80-90 dB loudness of a sound. In acoustics, the decibel is defined as the logarithmic ratio
Vacuum cleaner Sounds above of the sound pressure level relative to a reference pressure level. The reference

pressure level is typically set at 20 micropascals (μPa), which is considered the
85dB are harmful threshold of human hearing. A sound that has a sound pressure level of 20 μPa is
assigned a value of 0 dB, while a sound that is 10 times more intense is assigned
115 dB a value of 10 dB. In general, a sound that is 3 dB louder than another sound is
Subway Trains perceived to be twice as loud. For example, a sound that is 60 dB loud is perceived
to be twice as loud as a sound that is 57 dB loud. It’s important to note that the
decibel scale is logarithmic, which means that an increase in 10 dB corresponds
120-140 dB to a tenfold increase in sound pressure level and an increase in power. Therefore,
Loud Rock Concert small changes in decibel level can represent significant differences in the perceived
loudness or intensity of a sound.
140-190 dB Sounds above 85dB are harmful to human health and have mostly been introduced
through our modern age technology, without properly taking into account the risks
Gunshots and Fireworks Fig 3.4 Left: Sounds in Decibel
78 79
ENVIRONMENTAL NOISE POLLUTION
Noise pollution is an invisible danger. It cannot be seen, but it is present nonetheless.
Noise pollution is considered to be any unwanted or disturbing sound that affects the
health and well-being of humans and other organisms. Noise pollution can cause
health problems for people and wildlife, both on land and in the sea. From traffic
noise to rock concerts, loud or inescapable sounds can cause hearing loss, stress,
and high blood pressure.
High Blood Pressure Heart Disease
Noise pollution impacts millions of people on a daily basis. The most common
health problem it causes is Noise Induced Hearing Loss (NIHL). Exposure to loud
noise can also cause high blood pressure, heart disease, sleep disturbances, and
stress. These health problems can affect all age groups, especially children. Many
children who live near noisy airports or streets have been found to suffer from stress
and other problems, such as impairments in memory, attention level, and reading
skill. Noise pollution also impacts the health and well-being of wildlife. Studies have
shown that loud noises can cause caterpillars’ dorsal vessels (the insect equivalent
of a heart) to beat faster, and cause bluebirds to have fewer chicks. Animals use
sound for a variety of reasons, including to navigate, find food, attract mates, and
avoid predators. Noise pollution makes it difficult for them to accomplish these
Insomnia Stress
tasks, which affects their ability survive, disturbing the natural balance.
A 2018 study published in the International Journal of Environmental Research and

Public Health found that exposure to high levels of noise pollution is associated with
an increased risk of cardiovascular disease. The study found that people living in
areas with high levels of traffic noise had a higher risk of hypertension, ischemic
heart disease, and stroke. A 2019 review published in the Journal of Environmental
Health Perspectives found that noise pollution can disrupt sleep and lead to a
variety of health problems, including depression, anxiety, and decreased cognitive
performance. The review also found that exposure to noise pollution during sleep can
increase the risk of cardiovascular disease. A 2020 study published in the Journal
Memory Impairment

Attention Deficit Disorder of Environmental Pollution found that exposure to noise pollution is associated with
decreased cognitive performance in school-aged children. The study found that
children living in areas with high levels of traffic noise had lower scores on tests
of memory, attention, and reading comprehension. A 2018 review published in the
Journal of Occupational and Environmental Medicine found that exposure to high
levels of occupational noise can cause hearing loss. The review found that workers
in industries such as construction, manufacturing, and agriculture are at increased
risk of hearing loss due to exposure to loud noise.
These are just a few examples of the many scientific studies that have investigated
the harmful effects of noise pollution. In conclusion, these studies suggest that
General Fatigue Headaches noise pollution can have a range of negative effects on human health, including
cardiovascular disease, sleep disturbance, cognitive impairment, and hearing loss.
Fig 3.5: Harmful Effects Of Noise Pollution
80 81
REDUCING STREET NOISE
Living next to a highway can expose a person to high levels of noise pollution, which
can have several harmful effects on both physical and mental health. Exposure to
high levels of noise over a prolonged period can cause permanent hearing damage.
Constant noise from highway traffic can make it difficult to fall asleep and stay
asleep, leading to sleep deprivation and associated health problems. Living in a noisy
environment can increase stress levels, leading to hypertension, cardiovascular
disease, and other health problems.
Exposure to constant noise can affect cognitive performance, leading to difficulties

with concentration, memory, and learning. Overall, exposure to noise pollution from
highway traffic can have significant negative impacts on physical and mental health.
It is important to take steps to minimize exposure to noise, such as using noise-
cancelling headphones, installing soundproofing materials, or seeking out quieter
living arrangements.
Asphalt pavement can be made even quieter and even more eco-friendly when
recycled tires are mixed in – this is called rubberized asphalt. Noise tests on
rubberized asphalt have shown a 50%-90% reduction in noise. Rubberized asphalt
is a type of pavement material that is made by blending asphalt cement with crumb
rubber, which is made from recycled tires. The crumb rubber is added to the
asphalt mix to enhance its properties, such as improving its resistance to cracking
and reducing its susceptibility to damage from temperature changes. Rubberized
asphalt is used in various applications, such as road surfaces, airport runways, and
parking lots. It is also considered an environmentally friendly option, as it recycles
old tires and reduces the amount of waste sent to landfills. Rubberized asphalt
has sound-reducing properties due to the addition of crumb rubber, which helps to
absorb sound waves and reduce noise levels. Some of the specific sound-reducing
properties of rubberized asphalt include:

Improved sound absorption: The rubber particles in the asphalt mix act as a sound-
absorbing material, helping to reduce noise levels from road traffic.
Enhanced noise barrier effectiveness: Rubberized asphalt can be used to construct

noise barriers that are more effective in reducing noise than traditional barriers,
due to its ability to absorb and reflect sound.
Reduced tire-pavement noise: Rubberized asphalt has been shown to reduce tire-
pavement noise, which is one of the most significant sources of noise from roads.
Overall, rubberized asphalt has the potential to significantly reduce noise levels in
urban environments and improve the quality of life for residents living near busy
roads.
Fig 3.6: Amman Streets / Source: Anita Bursheh
82 83
MUSIC IS MEDICINE
藥
“Our ancestors believed that music had the power to harmonize the soul in a way that
(traditional) medicine could not. In Ancient China, one of the earliest uses of music was
healing. The Chinese character for medicine comes from the character for music”
-Gao Yuan, compositor Shen Yun
Music has been used for therapeutic purposes for centuries and has been shown to
have a range of positive effects on physical, emotional, and mental health. As such,
many consider music to be a form of medicine. In ancient China, music was considered
an important tool for healing and maintaining health. Traditional Chinese medicine
views the human body as a system of interconnected energy channels, and music
was believed to have the power to balance and harmonize these channels. Music can
have a positive effect on physical health by reducing stress, lowering blood pressure
and heart rate, and improving immune function. It can also be used to manage pain
and improve motor function in people with neurological disorders. Music can have a
MEDICINE
powerful impact on emotions, helping to reduce anxiety, depression, and other mood
disorders. It can also promote feelings of relaxation and well-being, and improve self-
esteem and social skills.
One of the earliest references to music as medicine in Chinese history can be found in
樂
the “Book of Songs,” an ancient collection of Chinese poetry dating back to the Zhou
dynasty (1046–256 BCE). The book contains numerous references to the healing power
of music and its ability to calm the mind and soothe the spirit. The famous physician
and philosopher Sun Simiao (581–682 CE) also wrote extensively about the healing
power of music in his medical texts. He believed that music could help restore balance
to the body’s energy channels and treat a range of physical and mental illnesses.
In traditional Chinese medicine, specific musical tones and rhythms were thought
to correspond to different organs and energy channels in the body. For example, the
note C was associated with the liver, while the note G was associated with the heart.
By using music to stimulate these energy channels, it was believed that health and

balance could be restored to the body. Music can enhance cognitive function, improving
memory, attention, and concentration. It can also be used to treat conditions such as
dementia and Alzheimer’s disease, helping to improve cognitive function and quality of
life in older adults. Music therapy is a formalized form of treatment that uses music to
address a wide range of physical, emotional, cognitive, and spiritual needs. It is used in
hospitals, clinics, and other healthcare settings to help patients manage pain, anxiety,
depression, and other health conditions.
MUSIC Overall, music has been an integral part of Chinese culture and medicine for thousands
of years, and its therapeutic properties continue to be studied and utilized in modern
times. Music can be considered as medicine because it has a wide range of therapeutic
benefits that can improve physical, emotional, cognitive, and spiritual well-being. It can
be used as a standalone treatment or in combination with other forms of therapy, and
Fig 3.7: Chinese Scripture for Medicine / Music it has few side effects or risks.
84 85
Fig 3.8
SOUND HEALING INSTRUMENTS SOUND HEALING
Sound medicine is a holistic healing practice that uses sound and vibration to promote
physical, emotional, and spiritual well-being. It can include various techniques such
as singing bowls, gongs, tuning forks, and other instruments that produce vibrations
which are believed to have a therapeutic effect on the body and mind. The practice of
sound healing can be used to reduce stress and anxiety, improve sleep, and promote
relaxation and meditation. It can also be used to help with pain management, and
to support healing from injury or illness. Humans generally feel happier and more
peaceful when they’re out enjoying nature, away from noise, traffic jams and neon
lights coming from cities. When in nature, the human body more easily tunes into
the Earth’s frequency and can restore, revitalize, and heal itself more effectively.
TIBETAN SINGING CRYSTAL SINGING MOUTH HARP Over time, experiments by scientists have been conducted to prove that sound has
BOWL PYRAMID the ability to heal; a rediscovery of what our ancient ancestors already knew.
“Sound Medicine: How to Use the Ancient Science of Sound to Heal the Body and
Mind” by Kulreet Chaudhary is a book that explores the therapeutic potential of
sound and vibration in promoting health and wellness. The author, an Indian/
American Medical Doctor, Kulreet Chaudhary, discusses the use of mantras as a
sound-based therapy in her book “Sound Medicine”. She explains that mantras
are words or phrases that are repeated aloud or silently, and that they have been
used for thousands of years in traditional healing practices to promote physical,
emotional, and spiritual well-being. Sanskrit mantras are ancient sound vibrations
that are believed to have spiritual and transformative effects.
The book is divided into three parts. In the first part, Chaudhary provides an overview
of the science of sound and how it can be used for healing. She explains how sound and
KOSHI CHIMES ENERGY CHIME KALIMBA vibration can affect our physical and emotional well-being, and introduces readers to
the concept of “sound medicine.” In the second part of the book, Chaudhary presents
a range of sound-based therapies and practices, including chanting, toning, singing
bowls, and sound baths. She also offers practical guidance on how to incorporate
these practices into daily life and use them to address specific health issues such as

stress, insomnia, and chronic pain. In the final part of the book, Chaudhary explores
the relationship between sound and consciousness, and how sound can be used to
facilitate spiritual growth and transformation.
Finally, she explains that mantras work by creating a specific vibration in the body
and mind, and that different mantras can have different effects on the body and
mind. Om (Aum) is the most fundamental and powerful mantra in Hinduism and is
considered the sound of the universe. It is believed to create a sense of calmness,
unity, and connection with the Divine. Gayatri Mantra is a powerful mantra that
is considered to be the mother of all mantras. It is believed to enhance wisdom,
spiritual growth, and intellect. Shanti Mantra is a mantra that is chanted to invoke
peace, tranquility, and harmony. It is often chanted at the end of spiritual practices
DIDGERIDOO RAIN STICK DJEMBE or ceremonies.These mantras can be chanted or repeated during meditation, yoga,
or any spiritual practice to promote healing, peace, and well-being.
86 87
Fig 3.9
SOUNDS OF THE MIDDLE EAST MUSIC MEDITATION
Music and meditation have a rich and intertwined history in the Middle East, dating
back centuries. The use of music as a tool for spiritual practice has been prevalent
in many religious traditions, including Islam, Judaism, and Christianity.
In Islam, the recitation of the Quran is a form of meditation that is often accompanied
by music. Sufism, a mystical branch of Islam, also employs music as a means of
reaching a heightened state of spiritual awareness. Sufi music is characterized by
its use of repetitive chanting and rhythmic drumming.
QANUN NAY SAGAT Jewish music has also played a significant role in meditation and spiritual practice.
The Psalms, which are an important part of Jewish liturgy, are often sung or chanted
as a form of meditation. Additionally, Hasidic Jews have used music as a means of
reaching a state of spiritual ecstasy.
In Christianity, Gregorian chant was used as a form of meditation during the

Middle Ages. The monastic tradition of chanting psalms and hymns as a form of
contemplative practice also originated in the Middle East.
Throughout the centuries, many musical instruments have been developed in the
Middle East to aid in meditation and spiritual practice. The oud, a stringed instrument
similar to a lute, is a prominent instrument in Middle Eastern music and is often
used in Sufi music. The ney, a type of flute, is also commonly used in Sufi music and
is believed to have spiritual significance.
In conclusion, music and meditation have a long and intertwined history in the
Middle East, with various religious traditions incorporating music into their spiritual
practices. The region has produced many unique musical instruments and styles
OUD BUZUQ REBABA that continue to be used for meditation and spiritual practice today. Music meditation
can have significant impacts on the human body, including:

• Improves circulation and increases blood flow by lowering blood pressure
• Increases mental and emotional clarity
• Enhances focus and concentration
• Increases relaxation
• Aids the immune system, especially fibromyalgia and psoriasis in meditation
• Reduced stress and fewer mood swings
• Better pain management
• Reduces risk of strokes and coronary artery disease
• Improves sleep
DARBUKA TABLA DAF • Improves mood and emotional well-being by reducing anxiety and depression
88 89
PLANT MUSIC
“The Hymns of Hermes state that sacred sounds pour forth blessings and Plants do not have vocal cords or the ability to produce sounds in the way that
open a path throughout nature straight to the Divine” humans or animals do, so they cannot sing in the traditional sense. However, plants
- The Hymns of Hermes G.R.S. Mead do produce various types of vibrations and acoustic signals that can be detected
using sensitive instruments. For example, some studies have shown that plants
produce ultrasonic vibrations in response to various environmental cues, such
as changes in light or water availability. These vibrations can be detected using
specialized microphones and other equipment.
While these signals are not the same as the complex vocalizations that humans and
animals produce, they do suggest that plants may have a more complex sensory
and communication system than previously thought. However, the exact purpose
and function of these signals is still an area of active research, and much more
needs to be learned before we fully understand the nature of plant “songs” and their
potential significance. The relationship between plants and music is a topic that
has been explored in both scientific and cultural contexts. Some research studies
have suggested that certain types of music, such as classical and jazz, may have a
positive effect on plant growth by increasing the production of chlorophyll, which is
essential for photosynthesis. One possible explanation for the perceived benefits of
music to plants is that the vibrations caused by sound waves may stimulate plant
growth by enhancing the uptake of nutrients or promoting the movement of water
through the plant’s tissues.
Recent research has suggested that plants may have a more complex sensory system
than previously thought, and that they may be capable of perceiving and responding
to sound in a variety of ways. Some studies have shown that plants can respond to
vibrations caused by sound waves, and that they may be able to detect and respond
to certain frequencies and patterns of sound. Research has shown that certain
species of plants will grow towards a source of sound or vibration, while others may
show changes in growth rates, nutrient uptake, or other physiological processes in

response to different types of sound stimuli. However, it is important to note that
the exact mechanisms behind these responses are still not well understood, and
much more research is needed to fully understand the potential significance of
plant responses to sound. More research is required to draw definitive conclusions
about the relationship between music and plant growth.
In June 2020, as a response to the COVID-19 pandemic, the Barcelona Opera House
(Gran Teatre del Liceu) held a unique concert for an audience of plants. The event was
called “Concert for the Biocene” and it featured the UceLi Quartet playing Giacomo
Puccini’s “Crisantemi” to a full house of 2,292 plants. The plants were placed in the
red velvet seats of the auditorium, and the event was live-streamed online. The idea
behind the concert was to reflect on the relationship between humans and nature,
and to consider the possibility that plants, too, might enjoy music.
Fig 3.10: Barcelona opera house reopens with performance to 2,292 plants /
Source: CNN
90 91
SPIRITUALITY OF SOUND
“Since ancient times, religious practices and the perception of the divine have
been determined by the intersection of rite, sound and sacred space. Temples,
churches and other sacred buildings not only define a holy place as a physical and
symbolic expression of a specific faith, but establish the setting for performative and
multisensorial religious ceremonies in which music and other sonic manifestations
play an important role. The structure, decoration and furnishing of sacred buildings
create specific acoustics which influence the soundscape of sacred spaces, consisting
of chants, music of rites or art music, prayers, recitations and religious sonic
utterances. Performative rites such as services, processions, sacred plays or other
liturgical ceremonies use the potentials of these environments in specific ways. Vice
versa, architecture reacts to ritual and musical developments by modifying venerable
sanctuaries or in designing and constructing new buildings.”
-Aural Architectures of the Divine (Florence, Feb 22) Concept: Prof. Dr. Klaus
Pietschmann and Dr. Tobias C. Weißmann
Sound has played a significant role in ancient spirituality across many cultures and
traditions, and religions which have sound and resonance at its source of Creation.
In Christianity it is The Word, in Hinduism the OM, and for Aboriginals it was through
Sacred Songs. In many indigenous cultures, sound is believed to connect people with
the spirit world and is used in rituals and ceremonies as a way to communicate with
ancestors and deities. In the Zoroastrian religion, the priest Srosh (representing the
genius of hearing) stands between man and the pantheon of the gods, listening for the
divine messages, which he transmits to humanity. The ancient Egyptians used sound
in their religious ceremonies, using musical instruments such as harps, flutes, and
“Today modern science is proving to you that the whole existence is just drums to invoke the gods and goddesses. In Hinduism, sound is considered sacred
a vibration of energy. Just 100 years ago, science believed in matter, but and is used in mantras and chanting as a way to connect with the divine. Tibetan
not anymore. Now, modern science has gone full-circle and denies matter. Buddhism also uses sound in the form of chanting and singing bowls as a tool for
Modern science says there is no such thing as matter. Matter is just a make- meditation and spiritual practice. Throughout time, sound has been a powerful tool in
believe thing -- it’s a relative existence. It is not a reality. Reality is just ancient spirituality, used to facilitate connection with the divine and enhance spiritual

energy vibrating in different ways. The whole existence is just a vibration. experiences.
Where there is vibration, there is bound to be a sound… We say the whole
existence is just sound. We call this ‘Nadha Brahma.’ Nadha Brahma means Through acoustic measurements and digital reconstructions of ancient monuments,
the whole creation and the creator are just sound.” archaeoacoustics help to explore aural architectures of times past. In the ancient
- Sadhguru worldview there was no separation between the experience of sound and the experience
of the Divine. Traditionally these monuments were viewed as manifestations of
natural truths using mathematics and science; all serving as vehicles to the mystical
experience. Here we define mysticism as the “immediate intuition of spiritual truths
through direct union with the Divine.” This mystical affect was believed by the
ancients to be a result of the experience of mathematical purity in the form of sound
combinations.
Touching the sacred through sound in space was the initial inspiration for this thesis
idea. Consequently, the architecture literally becomes the geometric vessel to
Fig 3.11: Egyptian Female Musicians / Source: Met Museum materialize a bridge between the seen and unseen world.
92 93
٤
PART 4
SITE SEEING

“Sound is the force of creation, the true whole. Music then,
becomes the voice of the great cosmic oneness and therefore the
optimal way to reach this final state of healing.”
-Hazrat Inayat Khan
Fig 4.1: Around the Dead Sea. Marl Formations / Source: Library of Congress
94 95
The Dead Sea
THE DEAD SEA
LOWEST POINT ON EARTH -430m
Wadi Mujib
Wadi Mujib
Territorial Scale
Built Environment
Water Lines
Roads
Contours
The Dead Sea
Elevation (m)
-420
200

840
1450
2116.6
2755
The Land of Jordan
CRS: EPSG 3066
Fig 4.2 (Left): The Dead Sea between Jordan, Palestine, Israel / Source: Google Maps
Fig 4.3 + 4.4 (Right): Dead Sea Maps / Source: Author + QGIS
96 97
SITE SUMMARY
The Dead Sea, located between Jordan, Palestine and Israel, has a unique landscpae
and rich history. It is one of the saltiest bodies of water in the world, with a salinity
level of about 34%, which is almost 10 times saltier than the average ocean. This high
salt concentration makes it impossible for most organisms to survive, except for a
few types of bacteria and algae. The Dead Sea is located at the lowest point on Earth,
about 430 meters below sea level. This unique geographical location, surrounded
by mountains, creates a surreal landscape that is unlike any other. The Dead Sea is
a unique natural wonder that holds great significance due to its historical, cultural,
ecological, and economic importance. This specific site area was chosen for its rich
context. It also attracts millions of tourists every year, contributing significantly to
the economy of the region.
From an ecological perspective, the Dead Sea is the lowest point on Earth and is
surrounded by arid deserts. It is a unique ecosystem with high salt content, making
it an extreme environment that is home to a variety of microorganisms, some of
which are found nowhere else on earth. Created by the same shift of tectonic plates
that formed the Syrian-African Rift Valley several million years ago, the Dead Sea
owes its precarious state to both human and geological factors. Originally part of an
ancient, much larger lake that extended to the Sea of Galilee, its outlet to the sea
evaporated some 18,000 years ago, leaving a salty residue in a desert basin at the
lowest point on earth - 400 meters below sea level. Since then, this body of water,
known as the Dead Sea since Greco-Roman times, has maintained its equilibrium
through a fragile natural cycle: it gets fresh water from rivers and streams from the
mountains that surround it and loses it by evaporation. Until the 1950s, the flow of
fresh water equaled the rate of evaporation, and Dead Sea water levels held steady.
The high salt and mineral content of the Dead Sea water and mud have therapeutic
properties that can help alleviate skin and joint conditions, as well as improve
overall wellness, making the site an existing healing destination. What is more,
the Dead Sea is an important source of minerals and resources, including potash,

bromine, and magnesium, which are used in a variety of industries. These minerals
are believed to have therapeutic properties and are used in various skincare and
health products. This has led to environmental concerns and a decline in the Dead
Sea’s water levels.
The Dead Sea holds historical and cultural significance as it has been a cultural
and religious site for thousands of years, mentioned in religious texts such as the
Bible and the Quran. It is believed to have been a place of refuge for King David
and was used as a source of healing and beauty treatments by Queen Cleopatra.
Archaeological excavations have uncovered several ancient settlements near the
Dead Sea, including the remains of the Dead Sea Scrolls at Qumran. Overall, the
Dead Sea is a natural wonder that has immense historical, cultural, ecological,
and economic significance. Its importance extends beyond the region, making it a
Fig 4.5: Motor boat at the mouth of the River Arnon / Source: Library of Congress valuable asset to the world.
98 99
WADI MUJIB (ARNON RIVER)
Wadi Mujib is a deep canyon located near the Dead Sea in Jordan, known for its
natural beauty and unique ecosystem. The history of the site dates back thousands
of years, and it has been an important location for both human settlement and
religious activity throughout the centuries.
During the Bronze Age, Wadi Mujib was home to a thriving settlement, with evidence
of extensive agriculture and trade. The site was later occupied by the Nabataeans,
a wealthy and powerful Arab tribe that controlled much of the region during the
Hellenistic period. In the first century CE, the area around Wadi Mujib became
an important center of early Christianity, with numerous monasteries and other
religious institutions established in the vicinity. In more recent times, Wadi Mujib
has been used for a variety of purposes, including hydroelectric power generation
and tourism.
Today, the site is a popular destination for hiking, rock climbing, and other outdoor
activities, with visitors from around the world drawn to its stunning natural beauty
and rich cultural heritage. The area is also home to a number of endangered
species, including the Nubian ibex and the Syrian wolf, and is a protected area under
Jordanian law.
The fresh water that flows through Wadi Mujib is an important resource for the people
and ecosystems of the surrounding area. The water originates in the mountains of
central Jordan and flows through Wadi Mujib before emptying into the Dead Sea. In
addition to supporting the natural ecosystem of Wadi Mujib, the fresh water is used
for a variety of human purposes, including agriculture, industry, and domestic use. In
particular, the water is important for irrigation in the agricultural areas surrounding
the Wadi, where it is used to grow crops such as olives, grapes, and vegetables.
However, the availability of fresh water in the region is limited, and the demand

for water has increased significantly in recent years due to population growth and
economic development. As a result, there are concerns about the sustainability of
water use in the area, particularly in light of the ongoing drought conditions that
have affected much of the Middle East in recent years.
Efforts are being made to address these challenges, including investments in

water conservation and management, increased use of renewable energy sources
for water pumping and treatment, and improved water distribution infrastructure.
However, these efforts face significant challenges, and it remains to be seen how
effective they will be in ensuring the long-term sustainability of water resources in
the Wadi Mujib region.
Fig 4.6: Around the Dead Sea. Mouth of the Arnon from the East. 1900 /
Source: Library of Congress
100 101
SEISMIC QUALITIES
The Dead Sea Rift is a geological feature located along the eastern edge of the Dead
Sea, a salt lake situated between Jordan, Palestine and Israel. The Dead Sea Rift is
a part of the Great Rift Valley, a 6,000 km long geological feature that runs from Syria
to Mozambique. The Dead Sea Rift is a pull-apart basin formed by the separation
of the African Plate and the Arabian Plate. This separation has created a series of
faults, which have caused the land to sink and form the Dead Sea and the Jordan
Valley. These faults are responsible for the ongoing tectonic activity in the Dead Sea
Rift, including earthquakes and volcanic activity. The unique geology of the Dead
Sea Rift, including hot springs, mineral-rich mud, and salt formations, are a result
of this tectonic activity.
The Dead Sea region is known for its high seismic activity and is prone to earthquakes.
One of the most catastrophic earthquakes that occurred in the area was the 749
AD earthquake. This earthquake, also known as the Jericho earthquake, was
estimated to have a magnitude of 7.3 on the Richter scale and caused widespread
damage throughout the region, including the destruction of the cities of Jericho and
Jerusalem. It is considered to be one of the most devastating earthquakes in the
recorded history of the Levant region.
Another significant earthquake that occurred in the area was the 1927 earthquake,
which had a magnitude of 6.2. The earthquake caused significant damage to the city
of Jericho, and several other towns and villages in the region. It was felt as far away
as Cairo, Egypt, and Damascus, Syria. There have been several earthquakes in the
Dead Sea region on the Jordan side in recent years, but most of them have been
relatively small and have not caused significant damage or casualties.
The most significant recent earthquake in the region occurred on July 4, 2018, with
a magnitude of 5.5. The earthquake was centered in the northern Dead Sea region,
near the border between Jordan and Palestine/Israel, and was felt throughout the
region, including in the capital city of Amman. The earthquake caused some damage

to buildings and roads in the area, but there were no reports of fatalities. In addition
to the 2018 earthquake, there have been several smaller earthquakes in the region
in recent years, with magnitudes ranging from 3 to 4.5. These earthquakes serve as
a reminder of the ongoing seismic activity in the area and the need for preparedness
and awareness.
It is important to note that the Dead Sea region is still at risk of future earthquakes,
and it is crucial for residents and visitors to be prepared for such an event. Building
codes have been updated to ensure that structures are constructed to withstand
earthquakes, and emergency response plans are in place to minimize damage and
casualties. Monitoring and understanding the tectonic activity in the Dead Sea Rift
is important for understanding the geological history of the region and for reducing
the risk of geological hazards.
Fig 4.7: On Site Rock Variation / Source: Author
102 103
BIBLICAL LANDSCAPE
A refuge over the millennia for messiahs, martyrs and zealots, the Dead Sea region
abounds with sites sacred to Islam, Christianity and Judaism. The Dead Sea as a
Biblical landscape attracts tourists who seek healing, connection with ancestry, and
soul searching in nature. There are quite a few mentions of the Dead Sea in religious
texts, and it has long been associated with mysticism, wonderment, and religious
significance.
The Dead Sea is mentioned several times in the Bible and is considered to be an
important site for several biblical events. Some of the key references to the Dead Sea
in the Bible include Sodom and Gomorrah where the Dead Sea region is associated
with these cities, which were destroyed by God according to the biblical account.
This event is described in Genesis 19. King David is said to have fled to the Dead Sea
region to escape the pursuit of King Saul. This event is described in 1 Samuel 23 and
24. The Dead Sea Scrolls, which were discovered in the vicinity of the Dead Sea, are
believed to have been written by a mystic Jewish sect known as the Essenes. The
Essenes were an ancient sect that lived in the area around the Dead Sea from the
2nd century BCE to the 1st century CE. They were known for their strict adherence
to Jewish law and their ascetic way of life. The Essenes wrote a collection of Jewish
texts that are now known as the Dead Sea Scrolls.
The Dead Sea is fed by the Jordan River, which is considered to be a significant site
in the Bible. The Jordan River is mentioned in several key events, including John the
Baptist’s baptism of Jesus. The Dead Sea is not mentioned by name in the Quran,
but there is a reference to a similar body of water in the vicinity of the Dead Sea that
is referred to as the “Salt Sea” This reference is found in the Surah al-Kahf (Chapter
18) of the Quran and describes the story of Dhul-Qarnayn, a righteous ruler who
travels to the ends of the earth in search of knowledge. During his journey, Dhul-
Qarnayn encounters a people who are suffering from the heat of the sun and requests
help from God. In response, God provides Dhul-Qarnayn with a barrier to protect the
people from the sun’s heat. This reference to the “Salt Sea” is generally believed

to refer to the Dead Sea, which is known for its high salt content and intense heat.
Although the Dead Sea is not mentioned by name in the Quran, it is considered to
be an important site in Islamic history and is associated with several key events and
characters in Islamic tradition.
One famous reference is the story of Lot’s wife, which is set in nearby Sodom. The
slopes of Mount Sodom are located in the southeast corner of the Dead Sea, and
they feature salt formations that look like pillars – which are traditionally referred
to as Lot’s wife. Another famous mention is the Dead Sea prophecy, in which the
prophet Ezekiel foresees a time when the Dead Sea would be transformed from
saline waters that cannot host life, into fresh waters teeming with sea life.
Fig 4.8: Lot’s Wife Collage / Source: Author

104 105
Fig 4.9: Lot’s Wife’s Monument / Source: Author
THE STORY OF LOT’S WIFE
Lot’s Wife According to the Old Testament, Lot’s Wife was a woman who lived in the city of Sodom
Anna Akhmatova - 1889-1966 with her husband Lot and their two daughters. The people of Sodom were known for
their wickedness and immorality. The exact nature of their sins is not specified, but it is
generally believed that their behavior was characterized by sexual immorality, violence,
And the just man trailed God’s shining
and a lack of hospitality towards strangers.
agent,
over a black mountain, in his giant track, The most well-known story associated with the city of Sodom is the story of Lot, who lived
while a restless voice kept harrying his in the city with his family. When two angels came to visit Lot, the men of Sodom surrounded
woman: his house and demanded that the angels be turned over to them so they could rape them.
“It’s not too late, you can still look back Lot refused and offered his two virgin daughters instead, but the men of Sodom were
at the red towers of your native Sodom, not satisfied and continued to demand the angels. This story is often interpreted as an
the square where once you sang, the example of the sexual immorality and violence that were rampant in the city of Sodom. In
spinning-shed, addition to this, the prophet Ezekiel also speaks of the people of Sodom as being haughty,
at the empty windows set in the tall house greedy, and unconcerned for the poor and needy. The wickedness of the people of Sodom
where sons and daughters blessed your was seen as so great that God ultimately decided to destroy the city and its inhabitants
marriage-bed.” with fire and brimstone. This event is often referred to as the destruction of Sodom and
Gomorrah and is a prominent story in both the Old Testament and the Quran.
A single glance: a sudden dart of pain
As Lot and his family were fleeing the city, they were instructed not to look back at Sodom
stitching her eyes before she made a
or they would be punished. However, Lot’s Wife disobeyed this command and turned to
sound... look back at the city, and she was immediately turned into a pillar of salt. The story of Lot’s
Her body flaked into transparent salt, Wife has been associated with the Dead Sea region for centuries, as it is believed that the
and her swift legs rooted to the ground. city of Sodom was located near the shores of the Dead Sea. In fact, there is a large pillar
of rock near the Dead Sea that is said to be the remains of Lot’s Wife. The pillar, known
Who will grieve for this woman? Does as “Lot’s Wife’s Monument” or “Lot’s Wife’s Pillar,” is located on the Jordanian side of the
she not seem too insignificant for our Dead Sea, near the town of Safi. The pillar is made of rock salt and stands about 15 meters
concern? tall, with a diameter of around 9 meters. Over the centuries, the pillar has been eroded by
Yet in my heart I never will deny her, wind and rain, and it is now a somewhat irregular shape. However, it remains a popular
who suffered death because she chose to tourist attraction and a reminder of the biblical story of Lot’s Wife.
turn.
Tall el-Hammam is one of the proposed locations for the biblical city of Sodom, but it
has not been definitively proven to be the site of the ancient city. The archaeological site,

which is located in the Jordan Valley near the Dead Sea, has been the subject of extensive
excavations since the early 2000s.
The archaeological evidence uncovered at Tall el-Hammam suggests that the city was a
major settlement during the Early Bronze Age, around 3500-2300 BCE. However, there is
evidence of a sudden and catastrophic destruction of the city around 1700 BCE, which is
roughly the time period when Sodom is believed to have been destroyed. Some scholars
believe that the destruction of Tall el-Hammam was caused by a meteor or other natural
disaster, while others believe that it was the result of a military attack. There is also
evidence of a salt layer at the site, which has been interpreted by some scholars as a
possible reference to the biblical story of Lot’s wife being turned into a pillar of salt.
While Tall el-Hammam is one of the most promising candidates for the location
of Sodom, there is still no definitive proof that it is the actual site of the ancient city.
Further archaeological excavations and research will be needed to confirm or refute this
hypothesis.
106 107
HISTORICAL TIMELINE OF THE DEAD
500 BCE
Temples built atop hills overlooking the sea
323-30 BCE
During the Hellenistic period, which began after the death of
Alexander the Great in 323 BC, the Dead Sea region was part of
the Seleucid Empire, a Hellenistic state that ruled over much of
the Middle East.
150 BCE
The Essenes begin writting the dead sea scrolls
63CE-73CE
In 63 BC, the Roman general Pompey conquered Jerusalem and
the surrounding areas, including the Dead Sea region. The region
became part of the Roman Empire and was ruled by Roman
governors. The Essenes hide their scrolls before imminent
Roman invasion that led to their execution. Their bodies were
thrown in the Dead Sea.
1929
First Potash factory built in Jordan to extract minerals mostly for
fertilizer purposes.
Water surface of 1050km2 at -390m below sea level
1946
Dead Sea scrolls found by bedouin shepard in the Qumran caves

in the West Bank. Copies of the first Bible were found along with
verses never seen before. Ancient knowledge resurfaced.
1959
The modern era for using the sea to treat skin diseases began. This
led to manufacturing bottled products to be sold internationally.
Devestating effects on the sea level due to consumerist capitalism.
2013
Jordan, Palestine, and Israel authorities sign an agreement to lay
a pipline from the Red Sea to the Dead Sea due to concerns over
the dropping water level. Project never manifests.
Water surface of 600km2 at -427m below sea level
Fig 4.10: Around the Dead Sea. Cape Ras Feshkha / Source: Library of Congress
108 109
MUSIC IN THE DEAD SEA
“Today all sounds belong to a continuous field of possibilities lying The Dead Sea region has a rich history of musical traditions. Music archaeology in
within the comprehensive dominion of music. Behold the new this region has revealed a great deal of information about the musical practices of
orchestra: the sonic universe!” ancient societies that lived around the Dead Sea. One of the most significant findings
-R. Murray Schafer in music archaeology in the Dead Sea region is the discovery of the so-called “Dead
Sea scrolls,” which are a collection of Jewish texts that were written between the
2nd century BCE and the 1st century CE. These texts include references to music
and musical instruments, which provide valuable insight into the musical practices
of ancient Jewish communities in the region.
Additionally, the study of the architecture of ancient buildings in the Dead Sea region,
such as the theater in Masada, can provide insight into the importance of music
in ancient society. The theater in Masada, for example, was built during the 1st
century CE and would have been used for musical performances, public speeches
and other public events. Overall, music archaeology in the Dead Sea region has
provided valuable insight into the musical practices of ancient societies that lived in
the region, and has helped to shed light on the cultural and social context of music
in the ancient world.
One of the most significant references to music in the Dead Sea Scrolls is found in
the “Thanksgiving Hymns,” which are a collection of hymns that were used in Jewish
worship during the Second Temple period. These hymns contain detailed descriptions
of musical instruments, such as lyres, harps, and cymbals, as well as instructions
for playing them. Archaeological excavations in the region have also uncovered a
number of these musical instruments which date back to the Hellenistic and Roman
periods. This provides valuable information about the types of instruments that were
used in ancient Jewish worship and the role of music in religious rituals.
The scrolls also contain references to the use of sound in religious rituals. For
example, the “Temple Scroll” describes the construction of a temple in Jerusalem

and includes instructions for the use of trumpets and other instruments in religious

ceremonies. Additionally, the “War Scroll” describes the use of music and sound in
battle, suggesting that it was thought to have a psychological effect on the enemy.
The scrolls also contain references to the singing of psalms and hymns, indicating
that singing was an important aspect of religious worship in ancient Jewish
communities. Overall, the Dead Sea Scrolls provide valuable insight into the musical
practices of ancient Jewish communities in the region and the role of music and
sound in religious rituals. They also indicate that music and sound were considered
to have spiritual significance, and were used to create a sense of community and
connection to the Divine.
Fig 4.11: Dead Sea Scroll / Source: Los Angeles Times

110 111
THE DYING DEAD SEA
The Dead Sea, which straddles the border between Palestine/Israel and Jordan, has
changed shape over the years. Its surface area has dropped from 1050km2 in 1930
to 605 km2 today causing it to split into two basins. Since then, its southern basin
has been partitioned into a series of saltwater evaporation pans. It is also worth
noting that human activity, such as the diversion of water from the Jordan River for
agricultural purposes, has led to a significant decline in the water level of the Dead
Sea in recent decades. This has caused the formation of new salt flats and other
geological features that have altered the appearance of the shoreline. Several factor
contribute to the slow death of the Dead Sea including:
Over-extraction of water: The large-scale pumping of water from the Jordan River
for agricultural and industrial use has reduced the flow of fresh water into the Dead
Sea.
Dams and diversions: Dams and water diversions built upstream have also reduced
the amount of fresh water that once flowed from the Jordan River to the Dead Sea.
Evaporation: The high evaporation rate of the Dead Sea, due to its low elevation and
hot climate, exacerbates the shrinkage of the lake.
Climate Change: Climate change, including reduced rainfall and higher temperatures,
is also contributing to the shrinkage of the Dead Sea.
These factors have led to a significant decline in the Dead Sea’s water levels and an
increase in its salinity. If measures are not set in place to protect the sea, it could
soon disappear.

Fig 4.12 (Left): The Dead Sea Sink Holes / Source: Drone Aerial Photography
Fig 4.13 (Right): The Shrinkage of the Dead Sea / Source: Author 1930 1985 2010 2050
112 113
The Sea of Galilee The ancient connection between The Sea
and the Dead Sea of Galilee in Palestine and the Dead Sea
has been dismembered. What used to
be a continuous flow of water known as
the Jordan River; Jesus’s Baptismal Site,
is now broken up into a disconnected
stream. The water body has run dry ever
since 1964, when Israel cornered sole
use of Lake Tiberias (the Sea of Galilee)
near the river’s source. The Dead Sea at
the river’s endpoint has been dying, ever
since. In the past, one of the main water
resources in Jordan was the Jordan
River, with a flow of 1.3 billion m3 per
year; as of 2010, just 20-30 million m3
per year flow into the Dead Sea. After
Israel built the National Water Carrier
in 1953 and diverted water from Lake
Tiberias to Israel’s coastal plains and
southern desert, the flow of the Lower
Jordan River dropped significantly.
Figs 4.15: Jordan River dams / Source: Google Earth
There are several reasons why the

Jordan River has diminished in flow,
Baptism Site and
including: over-extraction of water for
The Dead Sea irrigation, reduced rainfall, and the
building of dams upstream. Climate
change and population growth have
also had a significant impact. A series
of dames disturb the natural flow of the
river, using its holy water for agricultural

purposes in certain neighbouring
villages. This lack of flow has created a
swamp-like ecosystem in the baptismal
site itself. Environmentalists say Israel’s
practice of letting sewage and brackish
water flow into the river has almost
destroyed its ecosystem. Water quality
has deteriorated sharply, with high levels
of salinity and pollution from agricultural
fertilizer and untreated wastewater
upstream in Israel and the West Bank.
The Jordan River’s holy water is now
polluted. Yet, the river still creates an
ecological corridor around its periphery.
Figs 4.14: Jordan River - The Dead Sea Maps / Source: QGIS Figs 4.16: Jordan River agricultural fields / Source: Google
Earth
114 115
THE POTASH INDUSTRY
The Dead Sea is rich in minerals, including potash, which is used in a variety of
industrial and agricultural applications. Potash is a type of salt that is composed
of potassium, magnesium, and other minerals. It is used as a fertilizer to improve
soil quality and increase crop yields. The Dead Sea area has a long history of potash
production, with the first commercial potash mines established in the 1930s. Today,
the Dead Sea is one of the largest producers of potash in the world, with several
companies operating in the area. The potash industry in the Dead Sea is an important
contributor to the economy of Jordan, as well as to the global potash market. The
extraction of potash from the Dead Sea involves pumping brine from the lake to
evaporation ponds, where the water is evaporated to concentrate the minerals.
The remaining solid material is then processed to produce potash. The production
process is energy-intensive and has a significant impact on the local environment,
including the reduction of the Dead Sea’s water level and the discharge of brine into
the lake. The Potash industry has had several negative impacts on the Dead Sea
including:
Water level decline: The potash production process is water-intensive, and the
pumping of brine from the Dead Sea has contributed to the decline of the lake’s
water level.
Environmental degradation: The production process has resulted in the discharge

of brine and other pollutants into the lake, which has led to changes in the lake’s
chemistry.
Loss of natural resources: The potash industry has resulted in the removal of
minerals from the lake, which has reduced the availability of these resources for
future generations.
Loss of habitat: The decline of the lake’s water level and the discharge of pollutants
have had a negative impact on the unique geology and ecology of the Dead Sea,

including the loss of habitat for native species.
Socioeconomic impacts: The potash industry has had both positive and negative
impacts on local communities. While it has created jobs and contributed to the
local economy, it has also disrupted traditional livelihoods, that has led to the
displacement of local residents.
Overall, the potash industry has had a significant impact on the Dead Sea, and efforts
are being made to mitigate its negative effects and ensure the sustainable use of the
lake’s resources. This includes implementing regulations and monitoring programs
to ensure that the industry is operating in an environmentally responsible manner, as
well as promoting research and development of alternative production methods that
have a lower impact on the lake. Despite these regulations, the industry continues
to face challenges, including water scarcity and concerns about the sustainability of
Fig 4.17: Arab Potash Industry in Southern part of the Dead Sea / Source: Google Earth
the resource.
116 117
SALT AS BYPRODUCT OF POTASH
The Dead Sea in Jordan is one of the largest sources of potash in the world. The
mineral-rich water of the Dead Sea contains high levels of potassium, magnesium,
and other minerals that are used in the production of potash. During the production
of potash, salt can be produced as a byproduct. This occurs when brine (water
saturated with salt) is pumped from underground deposits, and the potash is
extracted from it through a process known as solution mining. The brine is typically
treated to extract the potash, leaving behind a concentrated salt solution. This
solution is then further processed to crystallize the salt, which can then be sold or
used for various purposes.
In Jordan, the potash industry is dominated by the Arab Potash Company (APC)
and the Dead Sea Works (DSW). These companies extract potash from the Dead
Sea using a process known as solar evaporation. In this process, brine is pumped
from the Dead Sea into large evaporation ponds, where the water is allowed to
evaporate in the sun. As the water evaporates, the concentration of minerals in the
brine increases, and eventually, the potash and other minerals can be extracted
from the concentrated brine. The byproduct of the potash production process of
salt produced is typically used for industrial purposes, such as in the production
of chlorine and other chemicals, as well as for de-icing roads in the winter. The
salt is also used in the food industry for preserving food and as a seasoning. The
production of salt as a byproduct of potash has both benefits and drawbacks. On the
positive side, it provides an additional source of income for potash producers and
can help reduce the cost of producing potash. Additionally, the salt produced can be
used for a variety of purposes, such as de-icing roads, manufacturing chlorine and
other chemicals, and for food preservation.
On the negative side, the production of salt can create environmental issues if
not handled properly. The concentrated salt solution left behind after the potash
has been extracted can be harmful to the environment if not treated properly,
as it can contaminate soil and groundwater. Additionally, the process of solution

mining can have negative impacts on the local ecosystem, including the depletion

of water resources and the disruption of natural habitats. Both APC and DSW have
implemented environmental management systems to minimize the environmental
impact of their operations, including the proper handling and disposal of salt
byproducts. The companies have also taken steps to minimize their water usage
and reduce the amount of waste generated during the potash production process.
Additionally, both APC and DSW have implemented community development
programs to support local communities and improve the quality of life for people
living in the area. However, more efforts are required to protect this unique natural
wonder.
For this thesis, salt will be utilized as a building material. The imagined design will
incorporate salt blocks that are currently still in a testing/evaluation phase on a
global scale. By chosing salt as a building material, “waste” byproduct is reused to
Fig 4.18: Collecting Salt from Lagoon C.1920 / Source: Library of Congress promote circular economy while also employing a material that is native to the site.
118 119
SAVING THE SEA
The decline of the Dead Sea is a complex issue with various factors contributing to
its depletion, including Climate Change, water diversion for human consumption
and agriculture, and mineral extraction. Reversing the decline of the Dead Sea
will require a multi-pronged approach that addresses these factors and involves
the cooperation of different stakeholders, including governments, industries, and
communities. Some possible ways to reverse the decline of the Dead Sea:
Reducing water diversion: One of the main causes of the decline of the Dead Sea
is the diversion of water from the Jordan River, which feeds into the sea. Reducing
water diversion from the Jordan River and promoting water conservation practices
can help increase the flow of water into the Dead Sea.
Promoting sustainable agriculture: Agriculture is a major consumer of water in

the region. Promoting sustainable agricultural practices, such as using drought-
resistant crops and efficient irrigation methods, can help reduce water consumption
and increase the flow of water into the Dead Sea.
Reducing mineral extraction: Mineral extraction from the Dead Sea contributes
to its depletion. Reducing mineral extraction and promoting alternative sources of
minerals can help reduce the impact of mining on the Dead Sea.
Implementing restoration projects: Various restoration projects, such as introducing

saltwater from the Red Sea into the Dead Sea or building canals to bring in water
from other sources, have been proposed to help replenish the sea. However, these
projects are expensive and have potential environmental impacts that need to be
carefully evaluated.
Another approach would be reconnecting the Dead Sea to Lake Tiberias, also known
as the Sea of Galilee. This would require a significant engineering project to reverse
the effects of the dams and water diversions that have contributed to the decline of

the Dead Sea. Potential approaches to reconnect the two bodies of water include:
Canal construction: A canal could be built to divert water from the Sea of Galilee to
the Dead Sea.
Pumping water: Pumps could be used to transfer water from the Sea of Galilee to
the Dead Sea.
Increasing river flow: Efforts could be made to increase the flow of the Jordan River,
which is the main source of fresh water for both the Dead Sea and the Sea of Galilee.
These approaches would require the cooperation of the neighboring countries, as

well as significant financial and technical resources. Overall, reversing the decline
of the Dead Sea will require a combination of measures that address the underlying
Figs 4.19: Dead Sea Water Killing Vegetation / Source: Library of Congress
causes of its depletion and promote sustainable water management practices.
120 121
Fig 4.20:
CLIMATIC CHARACTERISTICS
The Dead Sea area in Jordan has a hot, arid desert climate
with very high temperatures and low humidity. The region
is known for its intense sun exposure and limited rainfall,
which contributes to the extremely salty and mineral-rich
waters of the Dead Sea. In summer, temperatures can reach
as high as 40°C and in winter, night time temperatures can
drop to around 10°C. Despite the harsh conditions, the area
is still a popular tourist destination due to the therapeutic
properties of the Dead Sea and its unique landscape. Key Map: Area of Interest
Annual Precipitation (mm)


Fig 4.21: Annual Precipitation / Source: Weather.com
DEAD SEA
MONTH JAN FEB MAR APR MAY JUN JUL AUG SEP OCT NOV DEC
AVG. HIGH (°C) 20 21 24 29 33 35 36 37 36 33 26 21
AVG. LOW (°C) 14 15 16 20 23 26 27 27 26 24 20 16
AVG. PRECIP. (MM) 7.8 9 7.6 4.3 0.2 0 0 0 0 1.2 3.5 8.3
HUMIDITY (%) 41 38 33 27 24 23 24 27 31 33 36 41
122 123
PIACENZA
124
Fig 4.22: Large Scale Site
THE SITE
Fig 4.23: Small Scale Site

125
126
SITE ANALYSIS
0
0.5
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1.5
2km
Fig 4.24a
ENVIRONMENTAL ANALYSIS
0
0.5
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1.5
2km
Fig 4.24b

127
128
GREEN VS. GREY ANALYSIS
0
0.5
1
1.5
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Fig 4.24c
SOUNDSCAPE ANALYSIS
0
0.5
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Fig 4.24d

129
130
4
1
10
SITE PHOTOS
8
5
2
11
3
9
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12
Fig 4.25: On-Site Photos / Source: Author

131
MEDICINAL USES OF LOCAL ENDANGERED SPECIES Fig 4.26: Engagered Species Native to the Site / Source: Various
Critically Endangered Endangered

Moringa peregrina
Capparis decidua Edgew (Forssk.):
Common Name: Wing Moringa
Common Name: Karira Moringa peregrina were used for home construction
A medicinal plant of family Capparaceae grows abundantly and fires, and its leaves consumed as food and livestock
in wild arid regions of Asia, Africa and Saudi Arabia. feed. In eastern Oman, young Moringa peregrina
The plant has found wide folk medicinal applications saplings would be dug up and its roots slowly roasted
along with its nutritional value. C. decidua possessed in a fire for food. In Oman, oil extracted from pods was
many pharmacological attributes such as antidiabetic, used in traditional medicine and in perfumery.
antibacterial, antifungal, anti-tumor, antigiardial,
antioxidant, anti-inflammatory, hepatoprotective, and Pentatropis nivalis
anticonvulsant activities.
Common Name: White Milkweed
In folklore medicine it is has been documented
Epipactis veratrifolia Boiss. & Hohen. that P. nivalis is used for curing inflammation,
Common Name: Eastern Marsh Helleborine leucoderma, piles, biliousness (Ayurveda), gonorrhea,
While this plant has been used in traditional medicine in emetic, kapha keeping this view the present study
some cultures, traditional uses of this plant have included was carried out Phytochemical composition and in
the treatment of conditions such as fever, coughs, and vitro antioxidant activity of methanolic and aqueous
gastrointestinal problems. It has also been used topically extracts of aerial part of P. nivalis (Asclepiadaceae)
as a poultice to treat skin conditions and wounds. However,
these uses are not supported by modern scientific studies.
Vulnerable
Vagaria parviflora (Desf. ex Delile) Herb
Common Name: Vagaria Anvillea garcinii
This plant will provide nectar and pollen for bees and the
Common Name: Arabian Oxeye
many other types of pollinating insects.

Anvillea garcinii is a medicinal plant used in the Arab

region for intestinal diseases, lung and liver diseases,
digestive problems, and as an antidiabetic agent.
Aegilops bicornis (Forssk.) Jaub. & Spach
Aegilops species have significantly contributed to wheat
breeding despite the difficulties involved in the handling
of wild species, such as crossability and incompatibility. A Gundelia tournefortii L.
number of biotic resistance genes have been identified and
incorporated into wheat varieties from Aegilops species,
Common Name: Tumble Thistle
Traditionally, G. tournefortii (L.) is used for treatment
and this genus is also contributing toward improvement
of liver diseases, diabetes, chest pain, heart stroke,
of complex traits such as yield and abiotic tolerance for
gastric pain, vitiligo, diarrhea and bronchitis. It is also
drought and heat. One of the most important aspects
reported to have hypoglycaemic, laxative, sedative,
of Aegilops is that it is closely related to bread wheat
anti-inflammatory, anti-parasite, antiseptic and
Triticum aestivum L., which is one of the most important
emetic effects.
calorie sources for human nutrition.
132 133
HEALING WITH NATURE MEDICINAL USES OF ALOE VERA
1. Heals burns: Due to its soothing, moisturizing, and cooling properties, aloe
vera is often used to treat burns. A 2013 study with 50 participants found that
people who used aloe vera gel to treat superficial and partial thickness burns
showed better results than the group that used a 1 percent silver sulfadiazine
cream. The aloe vera group showed earlier wound healing and pain relief. Plus,
aloe vera had the benefit of being inexpensive.
2. Improves Digestive Health: Consuming aloe vera can benefit the digestive
tract and help to soothe and cure stomach ailments, including irritable bowel
syndrome (IBS). Additionally, aloe vera can help inhibit the growth of H. pylori
bacteria, which is found in the digestive tract and can lead to ulcers.
3. Promotes Oral Health: Aloe vera toothpaste and mouthwash are natural
options for improving oral hygiene and reducing plaque. The study included
40 adolescents who were divided into two groups. Each group used either an
aloe vera toothpaste or a traditional toothpaste containing triclosan twice daily.
After 30 days, the aloe toothpaste was found to be more effective than the
triclosan toothpaste in lowering levels of candida, plaque, and gingivitis.
4. Clears Acne: Using fresh aloe on the face can help clear up acne. Acne
products made with aloe may be less irritating to the skin than traditional acne
treatments. A small 2014 study found that a cream combining conventional
acne medication with aloe vera gel was significantly more effective than acne
medication alone or a placebo in treating mild to moderate acne.
5. Heartburn relief: Gastroesophageal reflux disease (GERD) is a digestive

disorder that often results in heartburn. A 2010 review suggested that
consuming 1 to 3 ounces of aloe gel at mealtime could reduce the severity
of GERD. It may also ease other digestion-related problems. The plant’s low
toxicity makes it a safe and gentle remedy for heartburn.

During my time in Egypt I was told by a local that Aloe Vera is historically 6. Lowering Blood Sugar: Ingesting two tablespoons of aloe vera juice per day
known as the Magic Plant. It is even portrayed in hieroglyphs in temples can cause blood sugar levels to fall in people with type 2 diabetes, according
and was used by Ancient Egyptians to treat various ailments. The benefits to a study in Phytomedicine: International Journal of Phytotherapy and
of Aloe Vera are far and wide. It can treat anything from skin wounds, Phytopharmacy. This could mean that aloe vera may have a future in diabetes
burns, acne and rashes to stomach aches as well as raise general treatment.
immunity. When I was staying on site in the Mujib Chalets, I noticed there
were many of them all around the site. Yet, I never saw anyone utilize 7. Potential to fight Breast Cancer: A new study published in Evidence-Based
them for any of their beneficial properties. Perhaps this comes from a Complementary and Alternative Medicine looked at the therapeutic properties
lack of knowledge on how useful this plant actually is. A part of my goal of aloe emodin, a compound in the plant’s leaves. The authors suggest that the
for this thesis is to explore the healing properties of nature. This starts succulent shows potential in slowing the growth of breast cancer. However,
with learning how to use what Mother Nature provides us. more studies are needed to further advance this theory.
Fig 4.27: Aloe Vera at the Mujib Chalets / Source : Author

134 135
Fig 4.28: Fauna in the Dead Sea
FAUNA SPECIES & ENVIRONMENTAL PROTECTION
Wadi Mujib is a rugged canyon located near the Dead Sea in Jordan, and it is home
to a variety of wildlife species. Fed by fresh water springs and aquifers, a half-
dozen oases along the shore harbor scores of indigenous species of plants, fish
and mammals. Some of the fauna species that can be found in the Dead Sea area
of Wadi Mujib include the Nubian ibex; a species of wild goat that is native to the
mountains of the Middle East. They are known for their impressive horns and their
ability to climb steep cliffs. The rock hyrax is a small mammal found throughout the
Middle East and Africa. They are well adapted to living in rocky terrain and are often
seen sunning themselves on boulders.
Nubian Ibex Rock Hyrax Eurasian Badger
About 500 million birds representing at least 300 species, including storks, pelicans,
lesser spotted eagles, lesser kestrels and honey buzzards, take refuge here during
a biannual great migration from Africa to Europe and back again. Despite its name,
the Dead Sea helps support one of the world’s most complex and vibrant ecosystems.
The Royal Society for the Conservation of Nature (RSCN) is a non-governmental

organization in Jordan that is responsible for the management and conservation of
the country’s natural resources. The RSCN has played a significant role in protecting
the fauna and flora of the Wadi Mujib area.
Caracal Long-legged Buzzard Levant Sparrow
One of the main efforts of the RSCN in the Wadi Mujib area has been the establishment
of the Mujib Biosphere Reserve. This reserve covers an area of over 200km2 and
includes a variety of ecosystems, ranging from the desert terrain of the Dead Sea to
the high mountains of the Mujib Valley. The reserve is home to a wide range of plant
and animal species, including several endangered species such as the Nubian ibex
and the lesser kestrel.
To protect these species, RSCN has implemented a range of conservation measures

within the Mujib Biosphere Reserve. For example, they have established protected
areas where hunting and other human activities are restricted. They have also worked
Lesser Kestrel Barbary Falcon Bonelli’s Eagle

to control the spread of invasive species, which can have a negative impact on native
flora and fauna. In addition, RSCN has engaged local communities in conservation
efforts, providing education and training programs to help people understand the
importance of protecting the area’s natural resources. Another important effort of
RSCN in the Wadi Mujib area has been the development of ecotourism programs.
These programs provide visitors with opportunities to explore the area’s natural
beauty while also supporting conservation efforts.
RSCN has established a network of hiking trails within the Mujib Biosphere Reserve
that allow visitors to experience the area’s rugged terrain and stunning views.
Overall, the Royal Society for the Conservation of Nature has played a crucial role
in protecting the fauna and flora of the Mujib area. Through its conservation efforts,
RSCN has helped to preserve this unique ecosystem for future generations to enjoy.
Short-toad Eagle White Storks Honey Buzzards
136 137
SWOT ANALYSIS -Attractive tourist destination
-Naturally protected area
-Existing biodiversity despite hot
STRENGTHS desert climate
WEAKNESSES -Unique landscape - the lowest point
on Earth!
OPPORTUNITIES
-Healing properties in salt minerals
THREATS and mud
-Close proximity to religious and
historic sites
-Lack of serviced facilities such as

restaurants, bars, and eating spots
-Lack of public spaces
-Lack of public transportation
-Political tension from both sides of
the sea between (Jordan/Palestine/
Israel) restricting access
-Hiking trail in Wadi Mujib attracts

nature lovers seeking adventure
-Create infrastructure to gather
tourists and locals
-Create jobs for local community to
support their livelihoods
-Create neutral meeting spaces to
enhance cultural exchange

-Trash pollution due to lack of local
awareness and lack of governmental
initiative to provide garbage cans and
cleaners
-The sea level is exponentially
decreasing due to high evaporation
from climate change and mineral
extraction from industrial
manufacturing
-Difficulty supplying water and
electricity due to remoteness and
Fig 4.29: Around the Dead Sea. Wadi Derejeh, Looking West / Source: Library of Congress distance from any nearby towns
138 139
SITE SIGNIFICANCE
The site is located at the lowest point on Earth on the shore line of the Dead Sea, in
the Wadi Mujib region of Jordan. It is characterized as a famous historical, spiritual,
and medical healing spot attracting tourists from all over the world who make
pilgrimages to float in its unique salty waters. The site is situated near a valley that
attracts hikers seeking adventure and connection with nature in the large water
canyons of Wadi Mujib.
Historically, the geographic area is thought to be the location of the two Biblical
cities Sodom and Gomorrah that are said to have been destroyed by God for their
wickedness. In a symbolic sense, it could be seen that this landscape has been
cleansed and purified by God. Afterwhich, it has become a magnet for tourists all
over the world who seek healing from its mineral rich waters.
The site also serves as a clear visual representation of Climate Change as the level
of the sea has been slowly shrinking over time, dropping approximately 1 meter per
year. This is mainly due to harmful human activity and capitalist industrialization as
minerals of the sea are being extracted to create beauty products sold internationally
around the world. At this rate, the sea may disappear if protection measures are
not set in place. This is a sad reality for the future generations to come who will be
deprived of experiencing its unique healing energy.
The Salt Beach on site is a public area that is currently being abused by users
who leave their litter behind. It calls for implementing proper maintainance and
regulation. Compared to the Northern part of the Dead Sea that has been privatized
with luxury commercial resorts, the chosen site down south maintains a more
natural and wild landscape. It is a less frequented destination by tourists yet offers
high potential in terms of recreational use. Therefore, this thesis will aim to develop
the site to enhance eco-tourism and maintain its wild natural identity by creating
precise and impactful interventions.

At the Western view of the site beyond the sea lay the vast mountains of a weeping
Mother that is Palestine; a nostalgic dream never realized for many Jordanians
of Palestinian descent whose ancestors were forcibly and violently displaced
continuously ever since the 1948 Nakba, never to return again. A nation wide tragedy
that has never been recognized and has neither ended, with the Dead Sea bearing
witness over the years. Looking across the horizon invokes the spectator with a
yearning sensation of a familiar love that is seemingly so close yet geopolitically
impossibly far. A painful reality for thousands of Palestinians who have experienced
their identity systematically erased and replaced.
What if Palestine is the center of the feminine wound at a planetary scale? The land
that birthed Mother Mary, the Mother of us all. This site watches as the sun sets
behind the sacred on the horizen. How has the world turned blind to the violent
Fig 4.30: Around the Dead Sea. Wady El-Nakhl / Source: Library of Congress
destruction of the Mother land?
140 141
٥
PART 5
SOUND INTERVENTIONS
“Everything in Creation is singing, and all of Earth’s life forms can be

identified by their frequencies”

-Ani Williams
The Salt Beach, Dead Sea

142 143
VISION STATEMENT
The sea has healed us for thousands of years, now the time has
come for us to heal the sea. Can we bring life to that which we have
named Dead? This thesis aims to harness the power of sound to
create sacred space in an ancient place of natural healing. It is a
call towards healing this scarred yet sacred landscape from eras
of political tension, violence, and destruction. The purppose is to
create simultaneous harmonic resonance between the natural
environment and the internal human body with architecture as
the geometric vessel between the seen and unseen.
This project is an exploration of the convergence of sound,

space, and spirit drawing energy from the lowest point on Earth
and the closest point to the centre core. The Gaia Sound Garden
is a passageway for pilgrims who seek to travel from city to
sacred to connect with the Ultimate Source of Creation: Sound.
By creating a Sound Garden for the ears rather than the eyes, it
is a reminder of our true origins as vibrations in manifestation.
When we are in dissonance, the landscape tunes us back to

Mother Earth’s natural rhythm of growth, rebirth, abundance,
health, and prosperity.
“There will come a time when a diseased condition will not be

described as it is today by physicians and psycologists, but it will
be spoken of in terms of musical terms, as one would speak of a
piano that was out of tune”
-Rudolf Steiner
144 145
STRATEGY PLAN
Variation Interventions
in Near Positive
Soundscapes Soundscapes
Hub Creation Utilize

Outside of Existing
the City Sound Barrier
I.
Strategic
Function Sound
Vegetation Placement Resonance Sculptures +
for Noise and Performing
Reduction Reflection Spaces
II. III.
Noise
Reducation Introduction Atmospheric
Screens Design
of Unwanted of Pleasant
Sounds Sounds

Reduce
Source Pathway
Sounds of Attracting Materials
Activity
Water Birds
Absorbing
Qualities of
Materials
Sounds of
Vegetation
0 0.5 1km
146 147
NATURE OF THE DATE PALM TREE
“A house with a date palm will never starve” -Prophetic saying
The Date Tree is an offspring of nature that symbolizes peace in many religions.
Since the time of the ancient Mesopotamia, the Babylonians placed great value on
date palm trees as a source of food and other resources. They considered the date
palm to be a symbol of fertility and prosperity, and it played an important role in
their religious and cultural practices. Given its high regards in society, customary
practices were set in place that discouraged or prohibited the cutting down of date
palm trees.
In her short story, I Saw the Date-Palms, Egyptian novelist Radwa Ashour writes:
I remember my father – God rest his soul- used to say that the date-palm is a
blessed tree; with it the Lord graced His servants, and by mentioning it in the Quran
He bestowed honour upon it. And my father said that the Prophet-Gods blessing be
upon him-said: “Honour your paternal aunts the date-palms.” And that he called
them our “paternal aunts” because they were created from the extra clay left over
after the creation of Adam, and that they resemble human beings. They were created
male and female, tall and straight of stature, palm cores growing on their tops like
the brain of a human being in his head. Should evil afflict that core, the date-palm
would perish.
The date tree has been glorified by many cultures starting from ancient Sumarians,
Akkadians and Babylonians, to the Jews, Christians and Muslims today. The first
wild date trees were found in the North of Iraq and were part of the cave dwellers
essential diet. Dates are a great source of various vitamins, minerals, energy, sugar,
and fiber. They also contain calcium, iron, phosphorus, potassium, magnesium, and
zinc. On Palm Sunday, Jesus was welcomed into Jerusalem with people greeting
him with the leaves of Palm Trees.
The Quran tells the story of Mary’s birth to Jesus under the protection of a palm tree
while eating dates to ease her pain. Mary delivered her child right there, at the foot

of the date tree. She was exhausted after the birth, and filled with distress and fear,
but nevertheless she heard a voice calling out to her: “Grieve not! Your Lord has
provided you a stream of clear water under you; and shake the trunk of palm tree
towards you; it will let fall fresh ripe dates upon you. So eat and drink and be glad...”
(Quran 19:24)
Another story in Islamic tradition involves Jesus and a date palm tree that was being
cut down by a group of men. Jesus intervened and asked the men to stop, saying
that the tree had done them no harm and had provided them with food and shelter.
The tree then spoke and confirmed Jesus’ words, and the men were struck with awe
and wonder.
Palm tree by the water of the Dead Sea.

148 149
150
SITE PHOTOS

151
152

153
TUNING THE LANDSCAPE
A sound installation is a form of interactive art that uses sound as its primary medium.
It can take many forms, from a single sound-emitting object to a complex network
of sound-producing elements. Sound installations can be designed for indoor or
outdoor spaces and can incorporate a variety of sound-making technologies,
including speakers, microphones, and computers. The goal of a sound installation
is to create a unique and immersive audio experience for the listener.
A large tuning fork shaped sound installation can have a number of effects on the
listener. Some potential influence could include creating a resonant effect where
the sound waves generated by the installation are amplified and reinforced by
the physical structure of the fork. This could result in a rich and powerful sound
experience for the listener. Sound activated by motion sensors create a sense of
spatialization, or the illusion of sound coming from specific locations in space. This
could add an element of surprise and unpredictability to the audio experience. This
enlarged tuning fork installation is embedded with motion sensors and speakers
that activate soft frequency music once the listener comes close. This is powered by
solar panels placed at the top of the music fork, taking advantage of the sunshine
abundant climate.
The first step in creating resonance in a large tuning fork is to design the structure
in such a way that it will vibrate at a specific frequency or set of frequencies. This is
typically achieved by adjusting the size, weight, and shape of the fork. These specific
dimensions were designed so as to create a frequency of 432Hz. This frequency
would encourage a sense of relaxation, stress and tension relief. By carefully
designing, exciting, amplifying, and fine-tuning a large tuning fork, it is possible to
create resonance and generate a rich and powerful sound experience for the listener.
A large tuning fork can be made from a variety of materials, but some materials are
better suited to creating a good resonance than others. For this design, Aluminum
is chosen as a lightweight material that has a good strength-to-weight ratio and can

produce a clear, bright sound.
“There are two aspects of life: the first is that man is tuned by his The sound installation contributes to the creation of a unique sonic environment,
surroundings, and the second is that man can tune himself in spite shaping the acoustic character of the space in which it is installed. This creates
of his surroundings.” an immersive audio experience that envelops the listener and transports them to
-Hazrat Inayat Khan another sonic world. Some might describe it as a soundmark, a term derived from
‘landmark’ used in soundscape studies to refer to a community sound which is
unique, or possesses qualities which make it specially regarded or noticed by the
people in that community. The installation marks the portal gateway as a first point
of contact with the designed Sound Garden.
154 155
SOUND TEMPLE
A Sound Temple is a term used to describe a space dedicated to the practice
of sound healing, where various forms of sound therapy, meditation, and
music are used to create a harmonious environment for spiritual and physical
well-being. Sound Temples typically use singing bowls, gongs, chimes, and
other instruments to generate vibrations that are believed to have therapeutic
effects on the body and mind. People often visit Sound Temples to relieve
stress, improve sleep, enhance meditation and mindfulness, and promote
general health and wellness. The experience of a Sound Temple can be
compared to a sound bath or a musical healing session.
In Sanskrit, the word “yantra” comes from the root word “yam,” which
means “instrument” or “support,” and “tra,” derived from “trana,” meaning
“release from bondage.” A yantra is an instrument or tool, for meditation
and contemplation and supports spiritual liberation. There are hundreds of
yantra designs related to deities, principles, and planets. Used in ceremonies
and rituals, yantra designs can be found on paper or bark, or created from
flower petals, ash, and rice. The Sri Yantra is believed to embody the sounds
and vibrations of the universe and to radiate a powerful energy field when
properly activated. In Hindu tradition, the triangles of the Sri Yantra are said to
correspond to the different musical notes (svaras) in Indian classical music,
and it is believed that chanting the corresponding mantras while visualizing
the Sri Yantra can help to harmonize the individual with the cosmic sound
and vibration. In fact is been observed that the design of the Sri Yantra,
and in particular the triangles, is based on the rules of the Golden Ratio, a
mathematical and geometrical equation observed in all of creation. The Sri
Yantra portrait the expansion of the universe starting from the center of the
mandala and describing the union of feminine and masculine energy. This
Mandala is a strong visual aid to reach higher states of consciousness and

deep meditation.
A sound temple shaped as a Sri Yantra could enhance the experience of sound
therapy and meditation, as the Sri Yantra is considered a powerful symbol
of the universe in Hindu tradition. The geometric design and corresponding
musical notes of the Sri Yantra are believed to have harmonizing effects on
the individual, and incorporating the symbol into a Sound Temple may amplify
this effect. In such a temple, the sounds and vibrations generated by the
instruments would interact with the energy field created by the Sri Yantra,
creating a holistic experience that could potentially improve physical and
emotional health and well-being. People visiting the temple may experience
a sense of peace, relaxation, and stress reduction, as well as improved sleep,
Fig: Sri Yantra Symbol / Source: Pinterest focus, and mindfulness.
156 157
158
0
The Road to the Temple of Sound
14
28m

159
“When we pay attention to nature’s music, we find that every thing on the earth contributes to
its harmony. The trees joyously wave their branches in rhythm with the wind; the sound of the
sea, the murmuring of the breeze, the whistling of the wind through rocks, hills and mountains;
the flash of the lightning, and the crash of the thunder, the harmony of the sun and moon, the
movements of the stars and planets, the blooming of the flower, the fading of the leaf, the regular
alternation of morning, evening, noon, and night, all reveal to the seer the music of nature.”
-Hazrat Innat Khan

160 161
162
Section Key Plan

163
164
Elevation A#
Elevation B♭
Section C#
Section D♭

165
166

167
168

169
ADOBE MUD BRICK CONSTRUCTION
During the summer of 2022 I had the opportnity to join a mud building workshop
1 2 3 in Amman, Jordan at the MMAG Foundation. I was especially delighted when I
discovered that the architect who came from Egypt to facilitate the workshop,
is a fellow MSc. Sustainable Architecture and Landscape Design graduate from
Politecnico di Milano. Abdulrahman El-Taliawi shared his expertise on mud
construction that is very commonly used in Egypt where rainfall is minimal. As a
community, we built a clay oven using mud brick construction. I had the opportunity
to apply hands-on what I had learned theoretically during my university studies. I
learned that the process relies on weather conditions, requires time, and a small
army. The process entails a lot of community bonding throughout the whole
process. Traditionally, villagers would gather to help each other build their houses
in a rotational system. Women, men, and children were active participants during
the process that created a very pleasent and harmonious working environment.
The following steps correspond to the images to share a brief overview of mud
4 5 6 brick construction.
Step 1. Sift to seperate unwanted rocks from the clay mud. Discard rocks and
place larger clumps of clay in water buckets to soak and soften overnight.
Step 2. Sift sand to seperate from rocks. Use 1:1 ratio with clay mud. Mix all
together
Step 3. Mix straw with the sand/mud mixture. Use 1:3 ratio for the straw:mud.
Straw is a good material to hold everything together and absorb excess moisture.
Depending on the climate and the material of the clay, the straw could potentially
be used or not.
Step 4. Kneed to mix everything together with feet.

7 8 9

Step 5. Add water accordingly to soften. No precise ratio.
Step 6. After leaving overnight to settle, pour mixture into mould filling it to the
top making sure there are no air gaps.
Step 7. After a few hours, remove mold structure and leave to dry in semi-shaded
area to avoid cracks from the sun.
Step 8: Every 24 hours turn the mudbrick to a different side to ensure all sides
are equally dry.
Step 9. Build the desired structure adding clay mortar (mixture of sifted clay,
sand and water with no straw) in between each mudbrick.
170 171
Wall Section Detail
0 1 2m
Salt Plaster Finishing

Mud Mortar Filling
Mud Brick
Mud Mortar
Water Proofing Membrane Rhythmic

Mud Brick Light Openings 30 cm x 12 cm
Mud Mortar Filling
Palm Leaves
Palm Reeds
Mud Mortar Filling
Exposed Wooden Support 12cm x 12cm

Salt Plaster Flooring
Mud Mortar Filling
Mud Brick
172 173
ves
Wall or Roo
fC ARCHITECTURE OF THE DATE PALM TREE
ea The date palm (Phoenix dactylifera) is a species of palm tree that is widely cultivated
ov
L
for its sweet fruit, known as dates. Its originates come from the Middle East, from
e ri
d
Drie
ng
ancient Mesapotamia, and is now grown in many parts of the world, including North
Africa, the Arabian Peninsula, and parts of Asia. Date palms can be male or female.
Mature date palms can produce more than 100kg of dates per harvest season. Each
year, about 9 million metric tonnes of dates are produced.
Date palm trees are quite tall, with an average height of about 20-25 meters, although
they can grow up to 30 meters tall. They have long, feathery fronds that can reach up
de from Bran
Ma c to 5 meters in length, and the tree trunk is often quite thick and can be up to a meter
e
in diameter. The date palm is a resilient tree that can survive in hot, dry climates, and
he
tu
is well adapted to desert environments. It is also resistant to salt, making it a good
s
i
Furn
choice for coastal regions with saline soil.
In addition to their fruit, date palm trees are also valued for their ornamental qualities,
and are often planted in gardens and parks. They are also important culturally, with
many traditional uses for different parts of the tree, such as the leaves and the wood.
Siwa Oasis is located in the Western Desert of Egypt and is known for its abundant
date palm tree groves. The date palm tree is a valuable resource for the people
ixed with Mud of Siwa Oasis, and it is deeply ingrained in their culture and way of life. The local
M
ed community in Siwa has been utilizing the date palm tree for a variety of purposes for
W
e centuries. Dates are a staple food in Siwa Oasis, and the locals consume them fresh
all
S
or dried. Date palms are also used to make date molasses, a thick syrup that is used
Date
in cooking. The leaves of the date palm tree are used to make roofs for houses, as
they are strong and durable. The trunks of the date palm tree are also used to make
wooden supports for buildings. The dried fronds of the date palm tree are used as fuel
for cooking and heating. The date palm tree is an important source of raw material for
handicrafts in Siwa. The leaves are used to weave baskets, mats, and hats, while the
trunks are carved to make wooden utensils. Various parts of the date palm tree are
used in traditional medicine in Siwa Oasis. For instance, the sap is believed to have
medicinal properties and is used to treat various ailments.

m Tree
e fro Tru
ad The book of Genesis describes the Garden of Eden as what is modern day Iraq which
M
produced almost 100 different kinds of dates. Michael Rakowitz’s art piece on Date
nk
ms
Palms is called “The Invisible Enemy Should Not Exist” and is a multi-part project
Bea
that addresses the destruction of Iraqi date palm groves during the Iraq War. The
project includes several elements, including a large-scale installation of date palm
trees made from colorful cans of Iraqi date syrup and a book that documents the
history and culture of the date palm in Iraq. Rakowitz’s art piece draws attention to
the significance of date palms in Iraqi culture and their importance as a source of
food, medicine, and income. It also highlights the destruction of these groves by the
United States during the Iraq War, which resulted in the loss of a valuable cultural
and economic resource for many Iraqis. In conclusion, Rakowitz’s art piece about
date palms is a powerful statement about the destruction of cultural heritage during
times of conflict and the need to recognize the value and significance of cultural
Versatility of the Date Tree as a Building Material traditions and resources.
174 175
176
Sound Temple Center

177
178

179
RITUAL CLEANSING
“To cleanse the body is to cleanse the mind” Water is revered as the source as well as the elixir of life. It makes up roughly 70%
-Zein Gaia of our bodies, more than 70% of our hearts, and more than 70% of our brains.
When we are near water, this strong biological link has been demonstrated to
immediately cause a cerebral reaction. Many writers, poets, artists, and sailors have
testified to the sense of well-being and tranquility they experience when they are
near or in bodies of water. Historically, the famous Greek and Roman baths served
important social functions—nourishing the mind and body coincided with civic life.
Islam ritualizes the offering of ablution before praying. Muslims have a contractual
relationship to God that is manifested through the body. Looking after the body is a
prayer, a communion, an expression of a commitment to God. Christianity ritualizes
water in baptism; an initiation into purification in which your lower essences are
gradually refined in order to be able to hold a more sustained higher vibration. Lost
are the traditions of communal baths once celebrated as social spaces in ancient
Greek and Roman bathing sites. Today, bathing is a private activity and anything to
do with bodily functions is seen as transgressive. From Mayan sweat baths, Turkish
Hamams, Buddhist hot springs, to Finnish saunas, ritual ablutions have a long and
rich history of social and spiritual symbolism, suggesting that our bodily interactions
with water have played an important role in human cultural evolution. We are able to
reclaim bathing as a spiritual practice by remembering that all human life begins in a
bath—our first bath being a nourishing womb of amniotic fluid. In addition, the sound
of water is also a form of “white noise” which can provide multiple psychological
benefits. Not to mention, the sound of running water can provide multiple benefits,
including:
Relaxation: The sound of water can have a calming and soothing effect on the mind
and body, reducing stress and anxiety.
Improved sleep: Listening to the sound of water before bed can help you fall asleep
faster and sleep more soundly.
Increased focus: The sound of water can help to block out distractions and increase
focus, making it ideal for use in study or work environments.

Boosted mood: Listening to the sound of water can improve mood and increase
feelings of happiness and well-being.
Pain relief: The sound of water has been shown to have pain-relieving effects,
making it a useful tool for managing pain and discomfort
Water is a symbol of purity, cleansing, and renewal in many religions. In Hinduism,

the Ganges River is considered sacred and is believed to have purifying powers. In
Islam, water is used for ritual purification before prayer. Rituals are important in
many religions because they help to reinforce beliefs, build community, and provide
a sense of continuity with the past. Together, water and ritual can be a powerful
combination in religious practice. Water can be used in rituals to symbolize spiritual
purification, and rituals can help to reinforce the importance of water as a symbol of
spiritual cleansing and renewal.
Outdoor Shower Render
180 181
SOCIAL SUSTAINABILITY
OUTDOOR SHOWER
This part of the project was inspired in an effort to support Abu Muhammad who
has been the caretaker of this land for many years. He has set up a very humble
station where he offers visitors water, coffee, and tea. He also has a very modest
system set up to offer guests the possibility to shower in fresh water after soaking
in the salty lake. Anyone who has been to the Dead Sea knows how important the
aftershower is, as the salty water is oily and potentially irritating to the skin if it
remains for too long.
The first few times I visited the site, this shower system was essentially an
enclosed room made from upcycled materials where he would offer you a large
plastic container of drinking water and a cup. The visitor would pour water into the
cup and on to their body in an attempt to wash off the salt. There were no pipelines
installated and so the shower system was very manual. After a few months, I
revisited the site and found some shower heads installed, where the water would
flow from storage tanks. Some of which were installed by Abu Muhammad’s new
competitors who were trying to drive him out of the land as they realized the value
of the site generating potential earnings. The installed shower heads were an
update to the low tech system yet it was still lacking many formal design elements.
After speaking with Abu Mohammad who described how he has been struggling
to make a living and is usually the only person trying to maintain the beach and its
cleanliness, I felt the urge to support him. I decided to design a sustainable shower
structure that would use local material from the area. The imagined design would
incorporate dried palm leaves from the neighbouring palm field to create a privacy
screen. This proposal encourages giving new life to what is often treated as waste.
Wood is used for the beams and columns, however depending on availabaility, the
structural system could be replaced by found materials. The intention is to create
a structure that is made from recycled material and although the design offers a
framework, it leaves room to grow as a vernacular design.

By designing an outdoor shower, emphasis is placed on the act of ritual cleansing.
A landscape intervention is incorporated within the design, as an attempt to
green the desert. Since water is a scarce resource in the region, and more so in
this remote area, it would be wasteful not to give the fresh water a second life.
Therefore, after visitors use the running water being offered only biodegradable
“The body is held together by sound. The presence of organic soap, the water would funnel to the surrounding garden, nourishing the
stress and disease indicates that some sounds have plants without harm.
gone out of tune”
-Dr Deepak Chopra Mentioned in PART 4 of this book is a list of endangered plant species that are
local to the area and therefore would withstand the harsh climate. The intention
is to plant these species as a way to enhance the endangered biodiversity of the
area, bringing life back to the Dead Sea.
Abu Mohammad’s makeshift Shower Area and Cafe at the Salt Beach
182 183
184
A#
0
OUTDOOR SHOWER PLAN
2
B♭
B♭
4
6m
A#
0
SECTION A# - A#
SECTION B♭- B♭
2
4
6m

185
PERFORMANCE
ROMAN AMPITHEATER
When the Romans settled in Jordan in 63BC, they brought with them their
architectural typologies, the most striking of which is the amphitheater sitting at the
heart of downtown Amman, the capital city. Hundred of years after the amphitheatre
was built, Amman grew around the theatre as an urban sprawl.
In ancient times, music was usually played in amphitheatres due to their acoustical
properties through echo allowing all members of the audience to hear well in open
air. It was the structure itself that would amplify voices and instruments to even
the furthest audience member. As a result, the amphitheater was ideal for hosting
public events and performances, such as gladiatorial contests and theatrical
performances, where clear and intelligible speech was crucial. The acoustics of
the amphitheater are so good that even the softest whispers can be heard from the
highest seats, a testament to the acoustical expertise of the ancient Romans. Today,
the amphitheater continues to host concerts and other cultural events, showcasing
its remarkable acoustical qualities to visitors from all over the world.
The Roman amphitheater in Jordan is known for its exceptional acoustical

properties. The semicircular design of the amphitheater and the use of local
materials, such as black basalt and limestone, have contributed to the structure’s
remarkable acoustics. The tiered seating, curved walls, and large open space of the
amphitheater allow sound to travel freely and be heard clearly throughout the entire
structure; without the use of the modern technology we often depend on today. This
sonic structure was built with formal precision to enhance the acoustical experience
for the audience, making sound audible in every corner well before the invention of
the microphone.
The Romans remained in the region for around 700 years and had introduced their
arts, music, drama and poetry on the stages they built to gather and entertain the

masses. To create a dialogue between these two cultures that have shaped me, I
reimagined a design for the classical Roman Amphitheater in the Dead Sea. The
intention came with a desire to introduce an entertainment space to the area that is
usually very quiet and uneventful at night. Therefore, artists, poets, and musicians
would have a place to showcase their talents, attracting both locals and tourists to a
unique performance space that overlooks the Dead Sea and the horizon of Palestine
beyond.
The design is an exploration to reimagine the classical amphitheater into a structure

that blends past, present, and future creating an ambiance that feels otherworldly.
The intention is to create a floating spectacle that serves as a multi-use gathering
space. Can the amphitheatre be more than just a stage for performance?
From City to Sacred

186 187
ROMA IN JORDAN
Pompey’s conquest of Jordan, Syria and Palestine in 63 BCE inaugurated a period
of Roman control which would last four centuries. Afterwards, northern Jordan
became part of the Roman ‘Province of Syria’ that was established in the first century
AD. In northern Jordan, the Greek cities of Philadelphia (Amman), Gerasa (Jerash),
Gadara (Umm Qais), Pella and Arbila (Irbid) joined with other cities in Palestine and
southern Syria to form the Decapolis League, a confederation linked by bonds of
economic and cultural interest.
Jordan was part of the Roman Empire from 63 BC to the 7th century AD, and
during this time, the Romans left a lasting legacy of impressive architectural feats,
including monumental structures, cities, and public buildings. One of the most
notable examples of Roman architecture in Jordan is the city of Jerash, which
features well-preserved Roman ruins and temples, theater, triumphal arch, and
colonnaded streets. The city of Amman, the capital of Jordan, is also home to the
Roman Amphitheater, one of the largest and best-preserved Roman amphitheaters
in the world.
Roman architecture in Jordan was heavily influenced by classical Greek and Etruscan
styles, as well as local styles and materials. The Romans built with materials such
as black basalt, limestone, and marble, and utilized techniques such as arches,
columns, and vaults in their construction. The result was a unique blend of classical
Roman styles with local influences that continues to be appreciated today. Roman
architecture in Jordan is an important part of the country’s cultural heritage, and
many of the structures, including the Roman amphitheater, have been restored
and preserved for future generations to admire and appreciate. Today, Roman
architecture in Jordan continues to attract visitors from all over the world, who
come to admire the impressive structures and learn about the rich cultural heritage
of the region. The Roman amphitheater in Amman, Jordan is considered one of
the largest and best-preserved Roman amphitheaters in the world, with a seating

capacity of around 17,000 spectators. The amphitheater was built during the 2nd
century AD and was used for various public events, including gladiatorial contests,
animal hunts, and theatrical performances.
The amphitheater is a popular tourist attraction and a significant cultural and

historical site in the region. The amphitheater features a semicircular design, with
tiered seating and an arena in the center. The structure has withstood the test of time
due to its sturdy construction. In modern times, the amphitheater has been restored
and is now used for concerts and other cultural events, offering a glimpse into the
rich history and cultural heritage of Jordan. Visitors to the Roman amphitheater in
X Jordan can explore the well-preserved structure and learn about its role in ancient
Roman society.
CULTURAL INTERSECTION POINT
188 189
REIMAGINING THE AMPHITEATHRE
The floating amphitheatre is a unique platform for the expression of contemporary
arts of our time. The structure floats between a crescent shaped land, neighbouring
a peninsula the locals call “Al-Lisan”, meaning “the Tongue” in Arabic. There seems
no better place to celebrate the art of sound, music, song, and dance. The design
blends the past with the future creating a space for the present moment to unfold.
To reach the amphitheatre, the visitor is invited to float on water to the centre of
the spiral pier derived from the Golden Ratio, reminiscent of the ear’s spiralling
shape. A structure inspired by seeing possible the magnanimous Floating Piers
of Christo in Lake Iseo in Italy. The spectator enters the amphitheatre through the
stage standing in place of the performers, then switches positions to be seated as
an audience member. This circulation movement plays on the idea of seeing, and
being seen, blurring the line between performers and audience.
The classical Roman amphitheatre structure suddenly travels to contemporary

time when introduced with a futuristic roof. The roof shell structure is designed
with the sacred geometrical pattern of the flower of life. This offers shade to the
spectators gathering underneath a play of shadow and light in the harsh desert
climate of the Dead Sea.
A surprise element is introduced when discovering that there exists an underwater

floor, declaring that not everything that meets the eye is as it seems. The underwater
floor plan includes exhibition and recreational spaces that exist simultaneously
below the stage and seats. An underwater restaurant that would transition into a
dynamic music club after sunset allows the space to remain activated throughout
the day.
A floor filled with water sits under the structure and aims to introduce stability.
A series of underwater dead weight anchors are chained to the amphitheatre in
a criss-cross pattern to control movement. I do not claim to have resolved this

structure in terms of engineering, as floating architecture requires a certain kind
of expertise. Rather, I put focus on setting the desired atmosphere. The design
takes advantage of the underwater vistas by including a glass facade, allowing the
visitor to have the rare opportunity to see under the Dead Sea, an action that would
otherwise be severely painful for the eyes. For the materiality of this structure, salt
bricks are used as a sustainable local material generated from the potash industry.
The complex design is somewhat satirical in nature, as by the time engineers figure
out how to build this in reality, the water would have disappeared from underneath
it. If the sea is not protected, the structure would no longer float, deeming all efforts
to design and construct useless. Overall, the intervention is intended to gather
people with the energy of music, dance, and celebration, bringing life to the dying
landscape of the Dead Sea, and raising the overall vibrational quality of the area.
190 191
BUILDING WITH SALT
MATERIAL EXPERIMENTATION Salt is a versatile material that has been used for
various purposes throughout history, including
as a building material. Salt has been used for
centuries to construct buildings in various parts
of the world, especially in areas where it is readily
available, such as near salt flats or coastal
areas. Salt has several properties that make it
SALT + CORN STARCH suitable for use as a building material. One of its
key properties is that it is a natural preservative,
which means it is resistant to decay and can
withstand harsh weather conditions. Salt also
has good thermal conductivity, which means
it can help regulate temperature and humidity
levels inside a building. Additionally, salt is
a readily available and inexpensive material,
which makes it an attractive option for building
in certain areas. There are several different
SALT techniques for using salt as a building material,
including using salt blocks, salt bricks, or salt
plaster. Salt plaster is a mixture of salt, water,
and a binding agent such as clay, which can be
used to cover walls and ceilings.
Chilean architect Mále Uribe Forés constructed

an architectural surface from rows of geometric
tiles, made from a mixture of plaster and salt
taken from the Atacama desert in Chile. Over a
SALT + CLAY longer period of time the salt will react to the
humidity and temperature of the room, causing
it to gradually crystallise and grow as a “living

system”. As Forés explained, in addition to its
anti-bactericide and preservation properties,
salt can also be naturally hydrophilic – meaning
it can reduce moisture in interior environments
to help regulate humidity. Another example
is the Saltygloo is made of a combination of
salt harvested from the San Francisco Bay and
glue, a “salty glue”, which makes an ideal 3D
printing material, one that is strong, waterproof,
lightweight, translucent and inexpensive.”
Fig Top: Salt Wall / Source: Mále Uribe Forés archdaiy

Fig : Salt Experiments / Source: Author’s assignment for Circular Economy Fig Bottom: 3D printed Salt Igloo / Source: Museum of Craft and Design
192 193
194

195
196

197
198

199
200
ROOF STRUCTURE
FLOWER OF LIFE SACRED GEOMETRY
UNDERWATER TUNNEL

201
UNDERWATER PLAN ANCHOR PLAN
E♭ F
G
A
G# F#
B
G
D C
D# C#
D C
G
B
G A
F F#

A Stairway Entrance
B Coat Closet
C Corridor
C# Reception
D Sound Art Gallery
D# Restaurant / Nightclub
E Bar
E♭ Kitchen
F Storage
F# Septic Tanks
G Bathrooms
G# Electricity Room
202 203
204

205
“The way of water has no beginning and no end. The sea is around you and
in you. The sea is your home, before your birth and after your death. Our
hearts beat in the womb of the world. Our breath burns in the shadows of
the deep. The sea gives and the sea takes. Water connects all things, life
to death, darkness to light.”
—Tsireya from Avatar: The Way of Water


206 207
208
RESTAURANT
SOUND GALLERY
NIGHTCLUB
BAR

209
THE SOUND OF SILENCE
A devastating tragedy took place in 2018 that led to the death of 21 school children
and teachers on a field trip to Wadi Mujib. A water tide from the canyon swept the
children away while they were hiking deep into the trail, leaving behind their parents
with broken hearts. This was due to negligence regarding weather safety and
organization, which outraged the entire population. The current memorial seemed
cold and heartless, a mere stone plaque with carved names left on the side of the
road. Nothing can bring justice to these lost lives. Yet, a dignified memorial space
would give the population a space to acknowledge and process their grief.
The new design proposal aims to create an emotional experience designed for
a single mourner to journey to the centre of the structure in peaceful isolation
and contemplation. Inspiration for the form comes from studying the inner ear
mechanism. Sound is the first sense that is formed in the womb, and the last
sense that is lost before death. The inner ear is a complex structure located within
the temporal bone of the skull that is responsible for both hearing and balance.
Specifically, the inner ear consists of two major components: the cochlea and the
vestibular system. Therefore, the form for the memorial was derived from the
Cochlea shape of the inner ear.
The cochlea is responsible for hearing and contains specialized hair cells that detect
sound waves and convert them into electrical signals that are transmitted to the
brain via the auditory nerve. The hair cells within the cochlea are arranged in a spiral
shape and respond to different frequencies of sound, allowing us to perceive different
pitches and tones. The vestibular system is responsible for balance and spatial
orientation. It contains three semicircular canals and two otolith organs that detect
changes in the position and movement of the head. The semicircular canals detect
rotational movements, while the otolith organs detect linear movements and gravity.
Together, the cochlea and the vestibular system form a complex sensory system
that allows us to perceive and respond to sound and motion in our environment.

The form and materiality also extract inspiration from the work of Richard Serra, who
designed a series of structures that became sound instruments in the space they
were placed in. In this site where there is a high concentration of salt in the air, using
metal would eventually create a corrosion effect, allowing the structure to evolve
and transform over time. Such is the metaphor of life. As a material statement, the
structure is allowed to breathe for itself, giving life to its static walls. Inscribed on
the walls would be the names of the children scanned from their own handwritting.
Life and death begin and end with sound. This memorial serves as a sentiment
to what those children may have experienced in their final moments of life before
they took their last breaths. The grieving parents are offered a spacial soundscape
to connect with their children’s passageway to the afterlife. The open roof allows
the visitor to maintain a simultaneous connection between the ground and the sky
Fig: CT Scan of the Internal Auditory Canal / Source: Frontier in Neural Anatomy throughout this experiential journey, connecting Heaven and Earth.
210 211
212
0
2
Elevation D
Section D-D
D
Mujib Memorial
D
6m
D♮
D♮
Section D♮-D♮
D

213
“Death is the silence between words. And it is the silence that gives
meaning to the words. Silence is needed to understand eternity”
-Matias de Stefano

214 215
216

217
218

219
E
220
Fig 6.1: Mujib Mood Concept Collage / Source: Author
٦
LAND HEALING
PART 6

221
LISTENING TO THE LAND
I found my thesis site while virtually visiting the shore of the Dead Sea on Google Earth
to discover the Mujib Chalets. It was the ideal accommodation while researching
this stunning site. I instantly booked a night there with the intention to be intimately
introduced to the land. Upon arrival, I was taken away by the architecture and
landscape and simultaneously disappointed with the interior design. The space
designated for the welcome area, reception, and dining hall looked more like a hospital
cafeteria rather than a romantic getaway, with mismatched wood, poor finishing,
disruptive echo, and sterile neon white lights. A disharmonious environment indeed.
My desire to help harmonize the site pushed me to contact the Royal Society of
Nature to collaborate. I requested to stay at the chalets for a period of time to study
the site, in return I would help them renovate the interior space. In synchronized
alignment, they were already in the discussion phase to get this done and I was
hired for the job. This is the story of how I renovated my first architectural project
as the on-site architect, designing and supervising construction. It felt like a dream.
But that does not mean it did not come with its own challenges. My struggle is not
unique to women in the work field, especially in construction, where generationally
females were not welcomed to participate in labour let alone decision making. I
could write a whole book on the struggles I faced as a young woman dealing with
toxic masculine energy on site, but I will leave this for another space.
As a practice of social sustainability, I made sure to ask the staff’s opinion because
they are the ones who are using this space every day, creating a significant impact
on their health and wellbeing. For the kitchen staff, this place is also their dormitory
and therefore their home for some days of the week. The concept was to make
people feel at home in the space, using elements that would create a cosy and
nostalgic atmosphere. The existing floor to ceiling windows provide unique external
views of the Dead Sea. By applying BioGeometry principles, I played with colour
and geometry to bring influences from the exterior landscape to invite them into
the interior space, blurring the line between inside and out. The old monotonous

palette of brown was replaced by shades of blue giving a higher vibrational quality
to the space. Geometrical tiles with arabesque patterns reminded spectators
of a Moroccan Hamam, a bathing site regardless. What our grandparents called
“namliyeh”, also reminded Italian tourists of their nonna, was used to place plates
and cutlery in a manner that would allow guests to interact with the furniture as
if they are serving themselves at home. It is important to note that scarce spaces
exist for eating in the local area, giving it a strong competitive edge in the future of
“When we pay attention to nature’s music, we find that catering and event space.
everything on the Earth contributes to its harmony”
-Hazrat Inayat Khan Eventually I realized that not everything goes smoothly as planned, and sometimes
you must improvise. It is important to be flexible yet not compromise on certain
values and principles. Not to mention, interior design is tied by what is available
in the market under a certain budget. Overall, this was a magnificent learning
experience, as it taught me the art of planning, communicating, mediating, and of
Fig 6.2: Mujib Chalets After Sunset
course.. patience.
222 223
PLAN - BEFORE RENOVATION Fig 6.4 Demolishion and Construction Plans
Staff Dorms
Reception Kitchen
Demolish non-structural
column to make way
Buffet Area
for a double door
entrance
Bathrooms
Remove existing wall
tiles
Dining Area
0 3 6 9m
PLAN - AFTER RENOVATION
Staff Dorms
Storage Kitchen
Reception New wall

(To place storage
Buffet Area items away from visible
range)
Bathrooms
Install glass walls and
door
Waiting (To seperate reception
Area area from restaurant
and contain sound)
Install sliding doors
Dining Area
(Treat existing bathroom
condition with no
seperation from dining
Fig 6.3: Site Visit Before Renovation
area)
224 225
226
Fig 6.5: Supervising During Renovation
Fig 6.6: Post Renovation
Rebirth of the Mujib Chalets Restaurant

227
Inviting the outside inside the space using Placing a sound barrier between the bathrooms and dining
color and geometry space to seperate negative chi

Fig 6.7: Buffet Area Fig 6.8: Bathroom Sliding Door
228 229
A “feel at home” concept through inviting guests to interact Switching from neon white to warm yellow light with the
with familiar furniture from the past.. existing lampshade created a dazzling shadow effect.
Namliyeh used to store food away from insects Lighting is everything.

Fig 6.9: Namliyeh by Shiraz Stores Fig 6.10: Warm light creating shadow effect
230 231
Vintage photographs printed on canvas for sound absorbing Playing with colour, texture and geometry to create a
as well as a nostalgic aesthetic harmonious environment

Fig 6.11: Reception Waiting Area Fig 6.12: Author on first design renovation project
232 233
٧
PART 7
CONCLUSIONS

CamScanner
“Music is the language of the soul; and for two people of different nations
or races to unite, there is no better means than music.”
-Hazrat Inayat Khan
Fig 7.1: Author’s sketch after a Conscious Drumming Circle in Segovia Spain
234 235
THE ORIGINAL VIBRATION
Everything is frequency and frequency is vibration

God said “Let there be Light”
Before light came the spoken word, isn’t that right?
OM is the sound of how the universe began
The same chant for generations we sang
The ear can hear far greater than the eye can see
So why do we build architecture to see and not to hear?
Our buildings are instruments of resonance that our bodies can feel
Journey to the lowest point in the Dead Sea
Where God purified the land with all His might
From violence, rape, sin and impure sight
To find inner harmony and balance floating in a salty lake
The vision is to unite people with the power of sound and vibration
To synchronize hearts to the same frequency and Source of Creation
Sound permeates our entire being
Our cells react to that which we can not see
A stroll through a field of date palm trees
Your paternal aunts in the wind waving their pointed arms
Made from the clay leftover from Adam and Eve
Listen closely and you may hear
Sound can shape matter
So what is the shape of sound?
This is the question I bring forth here
A Sound Garden sitting between the sea and palm trees
Quite the mind and stimulate the senses
Connect with the spirit, body and heart

In a temple of sound that resonates with sacred geometry
A sacred space that is for Hindus, Muslims, Christians, and Jews
Listen to the sound of the waves, wind, birds, and leaves..
Tune out the noise of the passing street
Feel your body rejuvenating when it escapes from the stress of city lights
This proposal is an invitation to step into the cleansing site
“Music gives a soul to the universe, wings to the mind, You may feel inspired to make music when you meet
flight to the imagination, and life to everything.” The voice of nature that sings so sweet
-Plato Planets and galaxies humming in synchronized vibration
Sound is the Origin of All Creation!
By Zain Gaia
Fig 7.2: Dead Sea Waves / Source: Author’s Photography
236 237
BRIDGING CONNECTIONS WITH LAND ART
I still recall the day before my first arrival to the land, I went to meet a friend who had an
interesting story to tell. She knew the Mujib Chalets with a special intimacy. She had been
“I have learned that, borne out of silence,
approached by an Israeli Sufi whirler whom she studied with at a Sufi teacher’s residence
we are the love song of the universe” in Konya, Turkey. The whirler had been spending time at the Dead Sea, feeling her pain and
-Kulreet Chaudhary, MD wondering what she can do for her, when her intuition guided her to call a specific healer,
who told her that the energy of the area was turned upside down by an ancient disaster,
and energy work is needed to reverse the ongoing damage. Today’s trash, consumption,
pollution, political tension, and years of war and turmoil all the way back to the time of the
Essenes that were killed by the Romans and had their bodies thrown into the Dead Sea for
speaking of Love and Unity. Two thousand years later all the way to modern day Palestine
and her struggle for freedom and peace. She had a calling to unite the separated corners
of the sea.
For this energy work to be completed, the healer said that people will need to gather
on both sides of the sea, meaning that my friend would have to gather people from the
Jordanian side of the sea to meet on a specific date and time where the whirler will be
gathering a group of Israelis and Palestinians on their side simultaneously. My friend was
confused, and unsure how she could possibly go about finding the people to do this with,
approaching such a politically-charged topic, or explaining that some stranger has received
these mystical instructions through channeling to heal a massive energetic trauma that
took place hundreds if not thousands of years ago, all during COVID Friday lockdown. Her
preoccupations were soon resolved when a meditation teacher in Jordan called to invite
her to a weekend retreat in the Dead Sea on the same exact dates, which meant that many
healers would also be there. To her, this was a clear sign, a green light from the universe,
from God, to go ahead and do the work. Against all odds, and one crazy synchronicity after
another, it happened, with more people than she could have anticipated. The channeled
instructions asked people to gather at the shore, pray in their hearts, each in their own way
and according to their own spiritual path, and visualize the depressed, negative energy being
reversed and begining to flow in a natural and healthy way. Afterwards, the participants built
a spiral made of stones; on both sides of the sea. The confirming detail of this energetic
exchange rung when they checked each other’s precise geographic location. To their
surprise, they had been exactly facing one another on a shoreline that is almost 50 km long.

After the ceremony was finished, the whirler was in awe after receiving an unexpected “I
love you” text message from the Sufi teacher in Konya.
Energetic land healing is essential to revitalizing this holy land and its people. But this is not to
say that the Palestinian-Israeli conflict can be resolved without recognizing and reconciliating
with the continuous inflicted pain and injustice. With around 50-70% Jordanians originating
from the lands of Palestine due to their forceful and violent displacement, the struggle
..When I arrived to the Mujib Chalets for the first time, I was originally assigned chalet #6
is very much on-going. Yet, I see it not as a religious, geopolitical, and economic war, but
with a broken AC and so it was changed to #8. The number of infinity. Through my shower
rather a war on humanity’s collective consciousness and the land that birthed Mother Mary.
window in chalet 8, which became my home for the next few weeks, there sat the spiral
They say that the Dome of the Rock in Jerusalem represents the pineal gland of the world,
perfectly framed, months after its birth date...
as many prophets were able to make contact with the Divine through this specific point. The
war on claiming the land through ownership is rather misplaced as Jerusalem has been
the most conquered piece of land in the history of time. In time, it will fall to the hands of
Fig 7.3: Landscape Spiral in the Mujib Chalets another power if we do not collectively agree to share the peace. Jerusalem belongs to
238 nobody and everybody. Set Palestina free. 239
THE PILGRIMAGE ROAD
The project site is not intended to be a final destination, but rather a passageway
through a sacred pilgrimage. The vision is for it to become a point of ritual cleansing
on route to the most significant power spot in the local area; the Ancient Rose City of
Petra. A mystical temple site with exceptional mountain carved craftsmanship that
still baffles us today, raising questions on how ancient humans were so masterful in
their creations. As such, the proposal of a Sound Garden becomes an intermediary
place transitioning between the city and the sacred. It is an invitation to leave the
chaos behind and tune into the voice of Mother Earth.
The route from which this pilgrimage moves is through contemplation of sound and
music, both natural and manmade. Music and architecture are connected in many
ways. Both are forms of art that are designed to evoke an emotional response in
people. They both are concerned with creating a sense of harmony, balance, and
proportion. They both use mathematical principles and patterns to create structure
and rhythm. They can both be used to create a sense of place and to define a
cultural identity. Both music and architecture have the ability to evoke memories
and emotions, and can have a profound impact on the way people experience
and interact with their environment. This thesis merges these two artistic forms
of expression into an experiential journey that is amplified by the existing natural
landscape in order to allow for contemplation and meditation.
Many ancient traditions believe that spiritual evolution is the purpose of human
incarnation, and that certain sounds and frequencies can help activate our brains to
tune with our higher selves. Living in our modern chaotic cities, we have forgotten
how to listen to the voice of our own souls. Society has become corrupt with obsession
for material wealth and prestige.
Spirit and Matter exist at the opposite ends of the spectrum of energy, where matter
is the densest and lowest vibration while spirit is the fastest and lightest vibration.
The oldest Sanskrit texts written almost 4,000 years ago known as the Vedas

discusses the origin of all creation is the sound (OM). External sounds and vibrations
can awaken our spirits such as sounds made from drums, Tibetan bowls, chanting,
and mantras. This is why the different prayers found on our planet are vocalized
by whisper, chanting, and singing. It is because sound awakens the consciousness
within us when we are in meditation and prayer. The architecture becomes the
medium between the external natural environment and the internal human body
resonating as a geometric vessel between the seen and unseen world.
Fig 7.4: The Sound Pilgrim’s Road

This pilgrimage road was taken on 22.07.2022, for Maria Magdalena’s feast day, along
with 7 other powerful sources of Feminine Energy after Petra had been activated by
Peruvian Shaman Doña Maria Apaza (96) on 12.03.2022. The author previously met
Maria at the Pyramids on 22.02.2022, and again in Petra wearing her Ayni(0) ring from
Turkey. This women’s retreat aimed to reintroduce the voice of the lost Feminine.
240 241
SOUND IS THE MOTHER OF ALL CREATION
Intention wise, the architecture comes second to the harmonious gathering of people
with the vision to share and celebrate life through art and music. In physical reality,
this proposal can manifest in many forms, either through temporary or permanent
architecture. It can only keep evolving with time..
Great civilizations are remembered by the architecture they leave behind. What story
do the neighbours of the sea want to tell their great grandchildren? The Gaia Sound
Garden is a dream I had and could translate only briefly through my drawings. The blue
tunnels, the play of shadow and light, the music, the atmosphere, the spectacular
nature. A journey deep into the unknown in a place that seems impossible to touch.
By those who have followed the project during its evolution, it has been named a
Paradise, a Sound Mecca, and a Mirage of sorts. Jordan has become a haven for
displaced souls looking for peace amongst a region of political instability. It has
become a magnetic powerpoint that promises shelter and resource. A desert oasis
with scarcity in many forms opened its doors to shelter all those who are looking
for peace. Syrians, Iraqis, Palestinians, Circassians, Filipinos, Egyptians and more..
make up the fabric of the Jordanian society. What language do they all speak?
Nature’s tongue speaks through the voice of the birds, wind, trees, and water that
are similar in every corner of the world. The date field orchard sets an atmosphere
that feels almost heavenly. The Royal Family’s orchard is the centre point from which
this project has planted its roots and began to sprout a neutral space. In general,
the date palm tree is often associated with prosperity, abundance, and resilience
due to its ability to grow in harsh conditions and produce an abundant harvest. In
Islamic culture, the date palm tree is mentioned numerous times in the Quran and
is considered a blessed tree. It is also a symbol of peace, wisdom, and prosperity.
In Jewish tradition, the date palm is one of the “Four Species” used on the holiday
of Sukkot, and represents the spine or backbone of the Jewish people. In ancient
Egyptian culture, the date palm was a symbol of resurrection and eternal life, and
was associated with the god Osiris. In ancient Greek and Roman cultures, the date
palm was a symbol of victory, and was often depicted in artwork and architecture.

In modern times, the date palm is often used as a symbol of the Middle East, where
it is an important crop and cultural icon. Therefore, the palm field became the ideal
setting to create a symbolic atmosphere that evokes an emotional reaction. This
project is a melting pot of cultures and time into Oneness in space.
“LOKAH SAMASTAH SUKINHO BHAVANTU From confinement to freedom, the world collectively hibernated and awakened to a
new reality. Now more than ever, we hear the voice of nature calling us in the tone
लोका: समस्ता: सुखिनो भवन्तु of a nurturing Mother to us all. Post COVID, I have been developing this thesis while
MAY ALL BEINGS EVERYWHERE BE HAPPY AND FREE” walking through Italy, France, Spain, Georgia, Jordan, and Egypt. Where language
fails, music is able to communicate. Music is our universal language, and there is
-Sanskrit Mantra no better harmony than when we play and listen to one another. It is the only way in
which we can tune ourselves to a common higher frequency and coexist in peace.
Sound is the Origin of all Creation and music is the language of the soul to speak
Fig 7.5: Dead Sea Patterns / Source: Author with its own Creator.
242 243
(0)
“Ayni” is a Quechua word that refers to the Andean principle of
reciprocity, mutual aid, and balance. In Andean communities,
ayni is an important aspect of their social and economic
system.
Ayni is also referred to as “sacred exchange” because it is not

just about giving and receiving material goods or services, but
also about maintaining harmony and balance in relationships
and the natural world. In this context, ayni involves an exchange
of energy, where both parties give and receive in equal measure,
creating a sense of interconnectedness and interdependence.
Ayni can take different forms, such as the exchange of

labor, resources, or knowledge. For example, in agricultural
communities, ayni can be seen in the form of communal work,
where people come together to help each other with tasks such
as planting, harvesting, or building. In this way, ayni helps to
ensure that everyone has what they need and that resources
are shared fairly.

In summary, ayni is a principle of reciprocal and mutual
exchange that is deeply ingrained in Andean culture and is seen
as a way to maintain balance and harmony in relationships
and the natural world.
Fig 7.6: Sacred Exchange with Pacha Mamma / Source: Author

244 245
BIBLIOGRAPHY Pungercar, Vesna, and Florian Musso. “Salt as a Building Material: Current Status and Future
Opportunities: The Plan Journal.” December 1, 1970. https://www.theplanjournal.com/article/
salt-building-material-current-status-and-future-opportunities#:~:text=Salt%20building%20
materials%20have%20further,not%20inflammable%2C%20and%20are%20antibacterial.
AI Technology
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OpenAI. (2021). OpenAI GPT-3 Model. Retrieved from https://openai.com/gpt-3/
“A Tool for Soundscape Design.” Ljudplanering. Accessed February 19, 2023. https://
Books soundscapedesign.info/design-tool/.
Campbell, D. G., & Doman, A. (2011). Healing at the speed of sound: How what we hear transforms Burhanuddin Kapadia Follow. “Factors Affecting Acoustics of Buildings and Their Remedies.”
our brains and our lives ; from music to silence and everything in between. Hudson Street Press. SlideShare a Scribd company. Accessed May 20, 2022. https://www.slideshare.net/
BurhanuddinKapadia1/factors-affecting-acoustics-of-buildings-and-their-remedies.
Chaudhary, Kulreet. Sound Medicine: How to Use the Ancient Science of Sound to Heal the Body
and Mind. HarperCollins Publishers, 2020. Cronkleton, Emily. “How to Use Aloe Vera Plant: Benefits, Risks, and More.” Healthline. Healthline
Media, December 12, 2018. https://www.healthline.com/health/how-to-use-aloe-vera-plant#uses.
Fathy, Hassan. (1973). Architecture for the poor. The University of Chicago Press.
“Cymatics.” Wikipedia. Wikimedia Foundation, April 20, 2022. https://en.wikipedia.org/wiki/
Karim, Ibrahim. (2010). Back to a future for mankind: Biogeometry, solutions to the Global Cymatics.
Environmental Crisis New Energy Secrets of Ancient Egypt and the Great Pyramid revealed.
Biogemetry Consulting Ltd. David, Ariel. “Da Vinci Musical Code Seen in ‘Last Supper’.” LiveScience. Purch, November 12, 2007.
https://www.livescience.com/2039-da-vinci-musical-code-supper.html#:~:text=An%20Italian%20
Karim, I. (2016). Biogeometry signatures: Harmonizing the body’s subtle energy exchange with the musician%20and%20computer,the%2015th%2Dcentury%20wall%20painting.
environment. BioGeometry Energy Systems, Ltd.
Guzman, Isabel Pastor. “Tuning in to the Earth’s Natural Rhythm.” Brain World, August 14, 2020.
Khan, Hazart. Mysticism of Sound and Music: The Sufi Teaching of Hazrat Inayat Khan. 2. Vol. 2. https://brainworldmagazine.com/tuning-in-to-the-earths-natural-rhythm/#:~:text=The%20
S.l.: SHAMBHALA, 2022. Earth%20behaves%20like%20a,%2C%E2%80%9D%20named%20after%20physicist%20Dr.
Kotler, S., & Wheal, J. (2018). Stealing fire: How Silicon Valley, the Navy seals, and Maverick “KEY ACTORS AND ISSUES TIMELINE IN THE DEAD SEA.” UVM BLOGS. Accessed May 13, 2022.
scientists are revolutionizing the way we live and work. https://blog.uvm.edu/ifederic-nronezerofour/key-actors-and-issues-timeline/.
Schafer, Raymond Murray. (1994) Our Sonic Environment and the Soundscape: The Tuning of the Livni, Ephrat. “Blue Mind Science Proves the Health Benefits of Being by Water.” Quartz. Quartz.
World. Rochester, Verm.: Destiny Books. Accessed July 1, 2022. https://qz.com/1347904/blue-mind-science-proves-the-health-benefits-of-
being-by-water/.
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Magazine, S. (2005, October 1). The Dying of the Dead Sea. Smithsonian.com. Retrieved March
Gaia TV. Sound of Creation, ep. 1-8., Whole Series. 2022. 6, 2022, from https://www.smithsonianmag.com/science-nature/the-dying-of-the-dead-sea-
70079351/#:~:text=Up%20and%20down%20the%20Dead,are%20receding%20along%20with%20it.
Journal

Mrugacz, Jacob. “Asphalt Pavement Reduces Highway Traffic Noise - Find out How!” Wolf Paving.
Jd. Lukas Kühne. CROMATICO Accessed February 2, 2023. http://www.cromatico.de/. https://www.wolfpaving.com/blog/bid/88218/5-ways-asphalt-paving-reduces-highway-traffic-noise.
Taifour, Hatem, and Ahmad El-Oqlah. “Jordan Plant Red List,” 2014. http://royalbotanicgarden.org/ “Noise Pollution.” National Geographic Society. Accessed June 14, 2022. https://education.
sites/default/files/files/Jordan%20Plant%20Red%20List%20(email)%20-%20Vol%201.pdf. nationalgeographic.org/resource/noise-pollution.
Peter Guo-hua Fu School of Architecture, McGill University. Desert Projects. Dead Sea: Azraeli “Piet Mondrian. Broadway Boogie Woogie. 1942-43: Moma.” The Museum of Modern Art. Accessed
Global Studio, 2018-2020. PDF May 20, 2022. https://www.moma.org/collection/works/78682.
Peter Guo-hua Fu School of Architecture, McGill University. Dead Sea Research. Dead Sea: Azraeli Philadelphia Museum of Art. “Stuart Davis and American Abstraction: A Masterpiece in
Global Studio, 2018. PDF Focus.” Philadelphia Museum of Art. Accessed May 20, 2022. https://www.philamuseum.org/
exhibitions/2005/82.html.
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Trahan, Shea. “Resonant Form the Convergence of Sound and Space Thesis Research, Analysis, universalrocks.com/blog/the-therapeutic-benefits-of-running-water.
and Design.” Academia.edu, May 25, 2014. https://www.academia.edu/6315212/Resonant_Form_
The_Convergence_Of_Sound_and_Space_Thesis_Research_Analysis_and_Design. “Wassily Kandinsky: The Painter of Sound and Vision.” The Guardian. Guardian News and Media,
246 June 24, 2006. https://www.theguardian.com/artanddesign/2006/jun/24/art.art. 247
ACKNOWLEDGEMENTS
I am thankful to the efforts of the Royal Society of Nature and
in particular my supervisor Mervat Batarseh for inviting me to
collaborate on the Mujib renovation project, hosting me in the
spectacular landscape of the Mujib Chalets during my first site
construction execution and supervision project. I give thanks to
Politecnico di Milano for offering me financial resources and
granting me the Borsi Tesi Esterno Scholarship Award along
with the Gold Scholarship that funded my 2 years of education
and later on my extended research. I am deeply grateful for my
education at King’s Academy for nurturing my mind to be a free
thinker, encouraing my daring imagination to bloom. I would like
to give appreciation to Prof. Howard Davies who has followed my
journey from conception in his U3 studio at McGill University, and
has ever since pushed me to produce my best work yet through
his sharp critics and loud color palettes. I send a heartfelt thanks
to my artist aunt, Samar Haddadin, for planting her hand painted
palm trees in my drawings giving them a human touch from my
very own family tree. I would also like to thank a fellow Politecnico
alumni Gabriel Titire, whom after I met at the House of Dreaming
in Jordan, held space for me to organize my thoughts from chaos

to cohesion. Finally, I am abundantly grateful for the Northern
Lights Organization in Saint-Nizier-le-Bouchoux in France, where
I found inspiration for the final months of this work while listening
and moving to the rhythm of nature. To everyone who read this
work up until this point..
〜 I send you waves of gratitute 〜
Fig 7.7: Arnon River / Source: Library of Congress

248 249
BY THE PEOPLE
FOR THE PEOPLE
A part of this vision can manifest in reality through

collective collaboration. In Arabic we say one
hand can not clap alone. Together, we can build
a sustainable shower structure for shared public
use (slide 92) and simultaneously support Abu
Muhammad make a living. As a contributer, your
support will go towards building a shower structure
as well as supplying organic soap you could use
everytime you visit the Salt Beach in Mujib. A must
see destination in the Dead Sea. Contributation can
extend beyond monetary donations, as it would be
very useful to have people who work well with their
hands to help put this structure together. If you are

called to contribute in any shape or form, please
reach out and together we can build something
beautiful.
Fig 7.8: Sunset at the Salt Beach / Source: Author

250 251
Art: @zein.gaia
LinkedIn: Zain Kossous
Contact Email: zain.kossous@gmail.com
Address: NA / SWANA Global Citizen

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Soundscapes Healing Sacred

Thesis by Zain Rajai J. Kossous

To the SWANA lands of my Origin,

MSc. Sustainable Architecture & Landscape Design

Soundscapes Healing Sacred Landscapes - Thesis by Zain Kossous

wisdom that is encoded beneath our feet and within the

Soundscapes Healing Sacred Landscapes - Thesis by Zain Kossous

Fig: Author and Salt Pillar of Prophet Lot’s Wife

١ PART ONE: Discovering Sound page 7

V. Practical Architectural Applications I. Vision Statement

VII. Sound and Death: Memorial

Soundscapes Healing Sacred Landscapes - Thesis by Zain Kossous

I. Material Frequency I. Listening to the Land

VI. Sound Therapy I. Sound Poetry

PART TWO: Visualizing Sound PART FOUR: Site Seeing

Fig 2.13: Musical Dimensions Fig 4.15: Jordan River dams

Soundscapes Healing Sacred Landscapes - Thesis by Zain Kossous

Fig 7.1: For the discretion

PART SIX: Site Transformation

Fig 6.1: Mujib Mood Concept Collage

Fig 6.12: Author on first design renovation project

Soundscapes Healing Sacred Landscapes - Thesis by Zain Kossous

Fig 7.1: Author’s sketch after a Conscious Drumming Circle in Segovia

Illustrated People: Erika Moreno - Studio Alternativi

quantum physics, throughout the world, all matter at the subatomic

Soundscapes Healing Sacred Landscapes - Thesis by Zain Kossous

Fig 1.1: Rhythms of the Dead Sea / Source: Author

the harmony behind them which is music. What poetry suggests to us is

Soundscapes Healing Sacred Landscapes - Thesis by Zain Kossous

-From The Mysticism of Sound and Music by Hazrat Inayat Khan

Fig 1.2: Portrait of Hazrat Inayat Khan / Source: Author

Keywords: Sound, BioGeometry®, sacred power spots, Earth, harmony, resonance

Soundscapes Healing Sacred Landscapes - Thesis by Zain Kossous

From an architectural scale, every room has a particular resonance or frequency

Soundscapes Healing Sacred Landscapes - Thesis by Zain Kossous

Fig 1.4: Natural Rythem / Source: Author

Soundscapes Healing Sacred Landscapes - Thesis by Zain Kossous

Soundscapes Healing Sacred Landscapes - Thesis by Zain Kossous

Soundscapes Healing Sacred Landscapes - Thesis by Zain Kossous

Fig 1.7: Sounds of Chichen Itza / Source: Author

Soundscapes Healing Sacred Landscapes - Thesis by Zain Kossous

Soundscapes Healing Sacred Landscapes - Thesis by Zain Kossous

Soundscapes Healing Sacred Landscapes - Thesis by Zain Kossous

Soundscapes Healing Sacred Landscapes - Thesis by Zain Kossous

Throughout time, humans have cultivated strong bonds to spaces of particular

Soundscapes Healing Sacred Landscapes - Thesis by Zain Kossous

“Music and architecture are intimately joined by a cosmic connection.

Soundscapes Healing Sacred Landscapes - Thesis by Zain Kossous

Fig 2.1: Salt Formations / Source: Author’s Photography

These pressure waves move as a series of compressions and rarefactions,

Sound can be produced naturally, such as when an animal vocalizes or

A soundscape can be described in terms of its acoustic properties, such

Soundscapes Healing Sacred Landscapes - Thesis by Zain Kossous

Soundscape studies have become increasingly important in fields such as

Fig 2.1e: Light Painting / Source: Author as dancer captured by ByrdByte

Soundscapes Healing Sacred Landscapes - Thesis by Zain Kossous

Cymatic experiments have documented the ever-changing forms and designs

A cymatic garden is imagined for a landscape design as an experimental

Soundscapes Healing Sacred Landscapes - Thesis by Zain Kossous

Fig 2.6: Kandinsky’s Composition VIII (1923)

Soundscapes Healing Sacred Landscapes - Thesis by Zain Kossous

Fig 2.8: Piet Mondrians’s Broadway Boogie Woogie (1942)

Soundscapes Healing Sacred Landscapes - Thesis by Zain Kossous