1.
METHODOLOGY :
1. DATA COLLECTION about what are the healing element in nature and built environment
1.1 Healing And Sensory
• Through the evidence based design few healing elements are framing the view ,landscapes,
,landscapes, water, light ventilation ,natural material , fractal, abstract of nature ,Sensory
elements ,Texture Color, Smell etc.
• every healing elements lead to create a significant experience of architecture which is multi-
multi-sensory; qualities of matter, space and scale are measured by the kinesthetic ,eye, ear,
nose, skin, tongue, skeleton and muscle.”
1.2 Analysis of the sensory element involved along with the functional spaces in church , temple
, mosque
1.3- Tabulating the function space, sensory experience and the healing elements and its
significance in healing .
2.LITERATURE STUDY
2.1 Temple : Water temple,
2.2 Church : Church Of Light ,Church On Water
2.3 Mosque :Jama Masjid In Delhi,
Tabulating the sensory and healing aspects
3.CASE STUDY
3.1 Temple :Brihadeeswara temple, Airavatesvara temple.
3.2Church: Schwartz church ,Our Lady of Lourdes Church
3.3 Mosque: Triplicane Big Mosque, wallajah
Tabulating the sensory and healing aspects
4. QUESTIONARIE SURVEY -about the healing aspect to general public
5.CONCLUSION

2.
DATA COLLECTION: from articles and research papers
1. https://introducingmedievalchristianity.wordpress.com/20
19/10/05/the-sensory-experience-of-visiting-a-medieval-
shrine/
2. https://www.jstor.org/stable/23488709
3. https://blogs.depaul.edu/dmm/2013/01/22/the-five-
senses-in-worship/
SENSORY
EXPERIENCE OF
CHURCH
SENSORY
EXPERIENCE OF
TEMPLE
1. .https://timesofindia.indiatimes.com/readersblog/word
sandverses/temples-a-sensory-delight-1123/
2.
https://www.taylorfrancis.com/chapters/edit/10.4324/
9780429280207-20/jerusalem-temple-christine-
elizabeth-palmer
3. https://www.jstor.org/stable/10.3764/aja.117.2.0163
(Space, Sound, and Light: Toward a Sensory
Experience of Ancient Monumental Architecture)
4. . http://dl.lib.uom.lk/handle/123/17175.
SENSORY
EXPERIENCE
OF MOSQUE
https://www.baytalfann.com/post/islamic-architecture-a-
multi-sensory-experience-dr-patricia-blessing
HEALING ELEMENT
Rasmussen Steen Eiler
Experiencing Architecture

3.
Shalini Nivetha .D / M.arch – 2nd Year / Dissertation
SENSORY EXPERIENCE IN RELIGIOUS STRUCTURE
AND THEIR HEALING CHARACTERS

4.
SENSORY EXPERIENCE IN RELIGIOUS STRUCTURE AS HEALING ENVIRONMENT AND TOWARDS
THE STATE OF TRANQUILITY
ABSTRACT: Religious place are not just considered as medium of God, but also to connect with
ourself, by stimulating the human senses. so, people visit to religious spaces to soothe the soul and
to attain the tranquility, here comes the question
1. Does the religious space heal the people& bring tranquility?
2. What are all the healing elements in the religious space?
3. What is the sensory stimulating element along with the function?
AIM: The aim of the study is to define the senses that induced in religious places (the temple, church
and mosque) as a sensory experience and figuring out the healing elements accompanied with the
sense which helps the people to achieve an inner peace.
OBJECTIVE:
 The objective of this qualitative study is to determine whether the healing elements exist in the
religious space, does it create impact on the users
 healing quality of spaces
 Sensory elements of the space will be studied and to understand the relation between the
human and his environment.
 Comparing the sensory experience of different religion to understand its uniqueness of space
and its sensory perception
 Framing the questionaries and investigate the user whether the element really create the
impact in them

5.
1.INTRODUCTION
INTRODUCTION :
• Architectural space communicate with the spatial tool which are
associated with the user at three levels -sensorial, experiential and
associational.
• To remember emotional happening – one’s mind i.e. relating
oneself with space and time, supported by the sense to perceive
information from the surroundings.
• Sight, hearing, smell and touch are the sensory elements that play
a dominating role in spatial perception
• Touch, smell and taste provides information on the so called ‘near
space’ (termed also haptic space), whereas vision and hearing
(sociable senses) are capable of yielding percept, representing
objects or events in the so called ‘far space’.
• The religious Spaces are the best examples with a multi-sensory
approach, which can potentially nourish the spirituals and healing
environment , but it has to be experienced with proper perception.
• Every sensory spaces has a potential element to heal the occupant
in a sequence .

6.
SENSE THE SPACE
1.INTRODUCTION
SENSORY PERCEPTION OF THE SPACES
• As the Jorge Luis Borges mentioned,
• “Experience/feel of the users only starts when the senses get it’s contact with the space”
• Juhani Plasma, in his book ‘The Eyes of the Skin’ describes, “instead of creating mere objects of
visual seduction, architecture like every meaningful art, relates, mediates and projects meanings
that directs our consciousness back to the world and towards our own sense of self and being”.
• But current architectural spaces are mere an visual seduction ocular-centric paradigm
• So, I have chosen religious structure in earlier times and renowned architects whose vision is to
stimulate sensory experience have studied
“THE TASTE
OF THE
APPLE... LIES
IN THE
CONTACT OF
THE FRUIT
WITH THE
PALATE, NOT
IN THE FRUIT
ITSELF; IN A
SIMILAR
WAY...—
JORGE LUIS
BORGES
HEALING ELEMENTS

7.
1. INTORDUCTION
SENSE AND STIMULI
• Human body is an transmitter , receiver and
responder of the external environment .The senses
are the receiver of signals which involved in
sensation , and transmitted to the brain and the
response by the body.
• The sensory information can influence the state of
mind and the response
• sensation refers to physical stimulation of the sensory
receptor , The sensory information is detected by the
receptor and realized by mind
• perception involves interpreting the sensory
information , the mind understand the information
gathered by the sensation
1. VISUAL
2. AUDITORY
3. OLFACTORY
4. GUSTATORY
5. TACTILE
6. VESTIBULAR
7. PROPRIOCEPTION
8. INTEROCEPTION
SENSORY
INFORMATION
EIGHT
HUMAN
SENSE

8.
SENSORY PERCEPTION OF
THE SPACES
2.DATA COLLECTION

9.
• The eye is the organ of distance and separation, also
it surveys, controls and investigates that which it
perceives.
• Eye tries to touch the shapes, contours, profiles,
textures and colors , the depth , the smoothness ,
softness of nearby as well as far away objects, to
communicate the quality of the surrounding to the
brain.
• Eyes are able to perceive this due to the presence
and absence of light.
• Vision reveal what touch already knows , eyes
strokes faces, contours and edge
unconscious tactile sensation determination . The
unpleasant of the experience
The distant and near the experienced with the
intensity and the merge into coherent experience
VISUAL PERCEPTION THROUGH LIGHT AND SHADOW , COLOUR PATTERN AND TEXTURE
• sense : sight
• sensory stimuli :perceive healing element (light
shadow, colour, pattern &material texture )
“ SIGHT IS WHAT ALLOW TO PERCEIVE
THE LIGHT , FORM AND COLOUR”
2.DATA COLLECTION
SENSATION------------------------------------------->PERCEPTION
SENSORY PERCEPTION OF THE SPACES

10.
• Sensory Receptor: Eye
• Sensory Stimuli: Light
• Light, either a natural or artificial,
it contributes to the character and Ambience
of a space and manipulates design to identify
places.
• The natural light gets high degree of
response comparing artificial light, even
employing natural light in space provide major
spatial experience comparing artificial light.
• The brain process the natural light better and
have the potential to affect the performance
and mood through the sensory receptors.
SENSORY STIMULI: LIGHT AND THE VISUAL PERCEPTION
2.DATA COLLECTION
Natural and artifical lighting in
meenakshi amman temple
and temple of stone and light

11.
• The intensity and color of the light can modify the
ambience of the space and create significant response
from the user accordance with them.
• The varying light intensity as Soft even
light, strong brightness light, sharp Shadows,
darkness create character to a space like active ,
leisure , intimate and cozy , and scary feeling to the
people who get exposed to these light intensity .
• Color of the lighting are in three prominent
tone – warm, cool and neutral
• Warm light of the light in space, make Space to feel
cozy, and hot, as it Associate with the heat in nature
and
• Neutral light reflect the state of nature, and
tranquility to the space, subtle
• Cold lights in the space, induce the active working
environment as it restrict the production of melanin
2.DATA COLLECTION
VISUAL PERCEPTION THROUGH LIGHT AND SHADOW , COLOUR, PATTERN AND TEXTURE
SENSORY PERCEPTION OF THE SPACES

12.
2.DATA COLLECTION
SHADOW , COLOUR, PATTERN AND TEXTURE
SENSORY PERCEPTION OF THE SPACES
• Shadow perceived by sight, it play
along with the light.
• Deep shadows and darkness are essential along
with light, because they dim the sharpness of
vision, make depth and distance ambiguous, and
invite unconscious peripheral vision and tactile
fantasy.
• Shadow is not just mere opposite of
light, but it can create a mystical and
mythological sense (2) and also can create the
sense of Solidarity
• Shadow gives volume and depth to the space. It
is a path of transition or refining the sense
towards the more archaic, from vision down to
hearing, touching and smell, from light to
shadow.
• The efficient mental torture is the
use of constantly high level of illumination (2)
that leaves no space for mental withdrawal and
privacy, but
• Darkness is gives a sense of withdrawal, privacy,
rest

13.
Sensory Receptor: Eye
Sensory Stimuli: Color
• Color are all perceived by the sight, colors
express the character of the material in space , natural material
used to have its own color and it highly recognizable by the
human receptors , and degree of connection with the space
difference with the color of application
• In architecture color is used to emphasize the character of a
building, to accentuate its form and material, and to elucidate its
divisions. (1)
• There will be connection an inexplicable connection between
materials and color, they can’t be conceived differently and color.
We do not experience color separately but only as one of various
characteristics of a certain material.
SENSORY STIMULI: COLOUR AND THE VISUAL PERCEPTION
2.DATA COLLECTION

14.
• Every Hue itself have a value to affect the perception of a human.
• Every colours have a strong individual character of inducing human
receptor, but it might varies with various outcomes when it played
between varied color, texture and material.
• The response to the particular outcome will be assessed differently
in brain
• If we are painting red paint in a wall, if it is individually perceived, if
has a strong character of inducing the appetite, create sense of
intimacy, power and furiousness,
• but when we see it in a black wall with a white flowers over it, which
is done with a pop material, then the subtitle character of material is
also felt and diffuse the character of the colours and can create
different sensory experience
SENSORY STIMULI: COLOUR AND THE VISUAL PERCEPTION
2.DATA COLLECTION
• EYE SOARING COLOUR
AND PATTERN

15.
Sensory Receptor: Eye
Sensory Stimuli: TEXTURE
• Even the though textural perception is through the
touch, the first encountering done only through the eyes, prior
to sensing things through the touch, eye encounters it and gives
the information of the texture.
• So, texture is also comes under visual perception and we
evaluate the texture of same kind in different for person to
person
• Sometimes if things are not visible doesn’t mean they didn’t
exist, but the perception of existence will be address through the
senses Sensitive eye can perceive the difference between the
texture, even when there is no surface pattern and the materials
are of the same stuff. We cannot give a reason for our different
evaluations but the difference we perceive is real enough (1)
2.DATA COLLECTION
2.2.1.4 SENSORY STIMULI: TEXTURE AND THE VISUAL PERCEPTION

16.
• Visual perception of texture might be processed or evaluated
wrong if there is no record of the experience with the material.
• Texture carries a characters, if the texture is rough, than it
might perceived as heavy and massed,
• if it is smooth, then it will be perceived as light and weak, if it
is glossy and smooth, it will be felt like weak and breakable
• There are regular and irregular and stochastic texture and
plays character. They carries formal, negligible And eye
engage character (Figure below)
• so texture is dictate the character of the material and it always
preconceived theory in mind. This is why we fails to experience
the haptic in most place, because of visual perception take
over the texture.
2.DATA COLLECTION
2.2.1.4 SENSORY STIMULI: TEXTURE AND THE VISUAL PERCEPTION
• PATTERN
AND TEXTURE

17.
• Sensory Receptor: Ear
Sensory Stimuli: sound
• Ears’s hearing structure articulate the experience
and understanding of the space, the sound
reflected in the spaces,
• we are not normally aware of the significance of
hearing in spatial experience, Yet sound are often
provides the temporal continuum in which visual
impression are embedded
• The reflection of sounds give us an impression of
form and material. The differential reverberation
felt with the differently shaped rooms and
different materials
2.DATA COLLECTION
2. THE SENSORY RECEPTORS: (HEAR) AUDITORY PERCEPTION -INTIMACY AND TRANQUILITY
• THROUGH SOUND
PICTURIZE ELEMENT
• VARIOUS FREQUENCY
CREATE VARIOUS FEEL

18.
Sensory Receptor: Ear
Sensory Stimuli: sound
• Sound is Omni-directional and creates an experience of interiority.(2)
When eye reaches and isolates objects, sound tries to receive and incorporate it.
• Spaces never respond to gaze, but it always refracts sound to connect and bring affinity
in us.
• The space accommodates the perceiver and can feel the response of a space when being
Intimate and silent.
• Sound and silence is like an art, makes us aware of our fundamental solitude. The most
essential auditory experience created by architecture is tranquility.
It helps them to construct an understanding of forms, objects, and distances. The
interplay between aural and visual architecture creates captivating spatial experiences.
2.DATA COLLECTION
2.2.2.1 SENSORY STIMULI: SOUND AND THE AUDITORY PERCEPTION

19.
• The Music Hall at the Ali Qapu Palace, in
Iran, constructed of mud bricks, has
magnificent vaulted ceilings which are
ideal for low reverberation of sound.
• (Figure) and Tvísöngur, Iceland is a
concrete structure of five vaulted domes
which amplify resonance distant from
each other and produce a five-tone
traditional harmony. (Figure)
• The sound differs from these two
building is respect to the form, details
and size, the sound are the median
which explain the space in its own form
(reverberation)
2.DATA COLLECTION
2.2.2.1 SENSORY STIMULI: SOUND AND THE AUDITORY PERCEPTION

20.
Sensory Receptor: nose
Sensory Stimuli: smell
Nose receptor can collect impulse of smell through the nerve ending and can differentiate
the odor and bring in the image of the object responsible for it
“Memory and imagination remain associated” (2)
Nose create stronger sense of memory, the nose make eye to remember. It is dominant
comparing to the retinal memory, Smell unknowly processed through brain and captured the
hint of place,
smell can induce the imagination, example opening an empty cookie box , the smell from the
cookie box brings in the cookie that enjoyed eating ,
SMELL = STIMULATE IMAGINATION AND MEMORY
2.DATA COLLECTION
2.2.3 THE SENSORY RECEPTORS: OLFACTORY PERCEPTION THROUGH SMELL CREATE MEMORY & IMAGINATION

21.
2.2.3.1 SENSORY STIMULI: SMELL- OLFACTORY PERCEPTION
Sensory Receptor: nose
Sensory Stimuli: smell
• The most persistent memory of any space is often its smell, the
odor of a space remains the remembering character of it and the
perceiver tries to imagine the space from the memory.
• A particular smell makes us unknowingly re-enter a space
completely forgotten by the retinal memory. The retinal images of
contemporary Architecture certainly appear sterile and Lifeless when
compared with the emotional and associative power of olfactory
imagery.
• Smell could be the natural result of chance and purpose, but
sometimes it may be Intentional with the use of materials. It could
stimulate emotions, guide or distract the perceiver smell can
emphasize any emotion, but relating the smell towards the past or
enjoying the smell itself by creating a new memory
- churches ,restaurants have their authentic order that remind the
person , even many restaurants use scent as their image and
identity .
2.DATA COLLECTION

22.
Sensory Receptor: Tongue
Sensory Stimuli: smell, edible things
• Vision emote to taste certain colors and delicate
details and even evoke oral sensations
• Tactile and taste experience has a subtle transference being
felt through intricacy and detailing.
• Color, texture and finishing of those details present
themselves to the appreciation of the Tongue.
This might recorded in memory, similar to the smell it sets
memories and can change mood
• The sensuous materials, colors and skillfully drafted details
evoke oral experiences in the perceiver, most often tongue
doesn’t have anything to do with the sensory experience
but, it get evoked through vision and smell while
approaching or within a space.
2.DATA COLLECTION
2.2.4 THE SENSORY RECEPTORS: COLOUR, SMELL, VISION DETAILING GUSTATORY PERCEPTION

23.
Sensory Receptor: skin (Touch) hand or feet
Sensory stimuli: profiles, textures
• Every touching experience of architecture is multi-sensory,
qualities of matter, Space, scale are measured equally by eye,
ear, nose, skin, tongue, skeleton and muscle.
• Feeling the profile and texture by touch is the unconscious of
vision that provides three dimensional information of the
materials and spaces.
• The skin reads the texture, weight, density and temperature of
matter. (2)
Whenever touching the floor of the temple with forehead, not just
the touching, it create the tactile sense of connection with connects
with the time and the tradition, it reminds the place got used by
our generations
2.DATA COLLECTION
• 2.2.5 THE SENSORY RECEPTORS: HAPTIC PERCEPTION THROUGH PROFILES AND TEXTURES
The Gravity is measured by the bottom of the foot; we
trace the density and texture of the found through our
solves .Rubbing the hands on the wall reading all the
textural and patterns and the fascination and the small
cut and breakage, undulation connects to the one self
and running the hand over a statue , through the
touch , we could sense the shape and character of the
object .

24.
Sensory Receptor: skin (Touch) hand or feet
Sensory Stimuli: texture
• Apart from encountering the presence of the object through the
form, texture what is what necessary, skin need to receive the
sensation then it should be perceived
• When the contact of materials occurs, the texture is what felt first,
the texture of the material explain the characters.
• The texture hold character, which might not be concluded through
vision,
if a coarse filed steel plate of same kind is given , by the vision we
could conclude it as saying as mention it same , but through the
textural bumps , it can be differentiated , similar yet difference can
only be explained through the olfactory perception .
2.DATA COLLECTION
2.2.5.1 SENSORY STIMULI: SMELL- HAPTIC PERCEPTION

25.
ULRICH THEORY OF
HEALING ELEMENT
2.DATA COLLECTION

26.
2.Data Collection
ROGER ULRICH THEORY OF HEALING ELEMENTS
From the Ulrich roger theory and the
evidence based design certain parameters
and element are considered as healing
elements and healing isn’t just for hospital ,
but they need to considered in designing
any kind of space
“This Is How Nature Work And Space Should
Work”
• LIGHT
• CONNECTION WITH THE
NATURE AND SENSE
• FRAMING THE VIEW
• WATER
• MATERIAL & TEXTURE
• FRACTALS
• SOUND
• COLOR

27.
2.3.1 HEALING PROPERITES OF LIGHT
• There is a significant amount of clinical and non-clinical
Evidence showing the effect of light on human health recovery
and well-being.
• Light can impact: pain, stress, depression, mood and orientation
and have potential of improving a person physiological processes
and overall health.
•
• Lighting regulate the body and mind, Influence the release of
chemical which is associated with the mood and health, exposure
of light in particular period of the time, might influence the mood.
• Our body follows a circadian cycle and respond accordance to it
.so,
• the variation in the lighting might evident in performance and
mood
similarly, the intensity, color and natural and artificial light
can impact a mood and Health.
ROGER ULRICH THEORY OF HEALING ELEMENTS

28.
2.Data Collection
ROGER ULRICH THEORY OF HEALING ELEMENTS
2.3.1.1 LIGHT IN RELIGIOUS SPACE:
• Light play in religious structure – the Structure itself
design in a way which is more open towards the nature
and sunlight.
• In all religious structure, light is considered a divine
element and more priority were given, light wells in
temple and clearstory windows in church encourage
natural light, which were set in balance with light and
shadow.
• Every religious structure have balance between the
darkness and light transition and people tend to spend
major part of their time in outdoor.
• This life style made people to survive for longer period
than present peoples.
• LIGHT TEMPLE
• KARNAK TEMPLE

29.
2.Data Collection
ROGER ULRICH THEORY OF HEALING ELEMENTS
View of nature
• Views of nature in buildings are obviously connected to the
subject of windows.
• According to Devlin access to windows and views helps
people develop a perceptual and cognitive link with the
external environment
.
TEMPLE- The mandapas and kula karai act as the spot of getting a
visual connection with the nature
and a spot to stare with serenity
figure2.3.1.1 explains the Hindu temple

30.
2.Data Collection
ROGER ULRICH THEORY OF HEALING ELEMENTS
2.3.3 HEALING PROPERITES OF THERAPEUTIC GARDENS
TEMPLE – Nandavanam is the mandatory setting placed to collect flowers to the
god as well as to people to get relaxed , the scented flowers and colors in the
flower induce the sense of pleasure and increase the sense of serenity in the
space
MOSQUE-Islamic gardens present a variety of devices that contribute to the
stimulation of several senses and the mind, to enhance a person's experience
within the garden. These devices include the manipulation of water and the use
of aromatic plants
the role of scented Plants as a mood booster, describing scent as "the food of
the spirit". Scent enhances one's perceptions stirs memories, and makes the
experience of visiting the garden more personal and intimate.
CHURCH – Irrespective of the nature character, church itself make church garden
as a community space to get relieved over their mental illness
the openness and the serenity in the environment make the perceiver to attain
the desired mental state .

31.
2.Data Collection
ROGER ULRICH THEORY OF HEALING ELEMENTS
• Aromatherapy is applying compounds for improving
psychological or physical well-being through inhalation.
• Independ of religious structure , every religion have
their own aroma in the space.
• warm amber-based scent of incense stick helps to
create an ambience which helps the user to Relax and
unwind, Increase Focus, Reduce stress and anxiety, to
purify the air
• The smell stimulate the memory ,which further absorb
the space and reciprocate the ambience subconsciously
2.3.4 HEALING PROPERITES OF SMELL (AROMA)
The figure 2.3.4 Explains the olfactory
process

32.
2.Data Collection
ROGER ULRICH THEORY OF HEALING ELEMENTS
2.3.5 HEALING PROPERITES OF NATURAL COLOURS
• Colors can have a significant impact on the psyche of patients;
certain colors intend to encourage activities, while others promote
passive behavior.
• According to color therapy, colors have the ability to influence many
facets of our lives, including our emotions, mental state, mood, and
energy level.
Each color is considered to be in line with the seven energy centers or
chakras. The concept of color therapy is based on the fact that our
Physiological behavior responds and functions in a predictable
defined manner to colors.
• Impact of natural color palette, particularly the color green, has on
cognitive performance.
• Different colours can relax, stimulate or invigorate the body and
mind with the external environment
The figure2.3.5 explains the colour
therapy and healing properties

33.
2.Data Collection
ROGER ULRICH THEORY OF HEALING ELEMENTS
Materials are considered to leave a direct influence on the overall sense of the
environment like the ability to affect the sound environment, circulate movement,
increase /decrease comfort and various other actions.
• Natural materials used in a space have not only a healing benefit but also an
ecological one. If a building is harmonious and close to nature, it has a positive
effect on the environment too.
2.3.6.1 MATERIAL CONNECTION WITH NATURE
Material and elements from nature that, through minimal processing,
reflect the local ecology or geology to create a distinct sense of place.
The Experience
• A space with a good Material Connection with Nature feels rich, warm and
authentic, and sometimes stimulating to the touch.
• Natural materials can be decorative or functional, and are typically processed
or extensively altered (e.g., wood plank, granite countertop) from their
original ‘natural’ state, and while they may be extracted from nature, they are
only analogous of the items in their ‘natural’ state.
The figure 2.3.6 explains the texture
of the temple and church
2.3.6 HEALING PROPERTIES OF NATURAL MATERIAL

34.
2.3.7 HEALING PROPERITES OF WATER
 The Presence of Water pattern has evolved visual
preference and positive emotional responses to
environments containing water elements.
 Reduced stress, increased feelings of tranquility, lower
heart rate and blood pressure, and recovered skin
conductance from exposure to water features
 Improved concentration and memory restoration induced
by complex, naturally fluctuating visual stimuli
 Taking advantage of the sounds created by small-scale
running water, and our capacity to touch it, will amplify the
desired health response with a multi-sensory experience.
2.Data Collection
ROGER ULRICH THEORY OF HEALING ELEMENTS
The figure2.3.7.1
explains the pond of Meenakshi temple

35.
2.3.7.1 WATER IN THE RELIGIOUS PLACE
TEMPLE-Pond is the waterbody act as point of
interaction and engage with the temple activity the cool water
in the pond, reduce the stress and relieve the tension prior to
approaching into the temple
The figure2.3.7.1 explains the pond of Meenakshi temple
2.Data Collection
ROGER ULRICH THEORY OF HEALING ELEMENTS
MASJID -The ablutions pond in contact with
person create the cool and clean feel and relive
the state of pressure
the figure 2.3.7.2explains the pond of Jama
masjid

36.
2.Data Collection
ROGER ULRICH THEORY OF HEALING ELEMENTS
Healing elements Stress Reduction Emotion, Mood &
Preference
Visual Connection with Nature
A view to elements of nature, living
systems and natural processes
Lowered blood pressure and heart rate Positively impacted
attitude and overall
happiness
Non-Visual Connection with Nature
Auditory, haptic, olfactory, or gustatory
stimuli that engender a deliberate and
positive reference to nature, living systems
or natural processes
Reduced systolic blood pressure and stress Perceived
improvements in
mental health and
tranquility
Thermal & Airflow Variability
A condition that enhances the experience
of a place through seeing, hearing or
touching water.
Positively impacted comfort, well-being and
productivity
Improved perception
of temporal and
pleasure
Presence of Water
based on the state of water
Reduced stress, increased feelings of tranquility,
heart rate and blood pressure
Observed preferences
and positive emotional
responses
Dynamic & Diffuse Light Positively impacted circadian system functioning -------------
Connection with Natural Systems ----------- Enhanced positive
responses; Shifted
perception of
environment

37.
LITERATURE STUDY OF
RELIGIOUS SPACES
2.DATA COLLECTION

38.
WATER TEMPLE IN JAPAN

39.
WATER TEMPLE IN JAPAN

40.
WATER TEMPLE IN JAPAN

41.
WATER TEMPLE IN JAPAN

42.
WATER TEMPLE IN JAPAN

43.
(A) Situation; (B) Building; (C) Entrance; (D) Worship Place of Water
Temple
• Sequential approach to the space
• 1.SOLID AND VOID : tall wall create
interest to move forward
2. WATER :the empty pool create the
shock yet serenity in the space
3. FRAME AND FIND exploration of path
to access enhance the interest
4.COLOUR :the red colours wall induce
the power and holiness of the space
5.LIGHT:diffused natural light enhance
reflected by the red surface and red
ambience have maintained
6.MATERIAL : the screen allow the light
to spread evenly with mild diffusion
• 7. the movement to sacredness if felt
through the approach
• 8. all the senses very induced in entry to
the destination
WATER TEMPLE IN JAPAN
SENSORY EXPERIENCE OF TEMPLE

44.
Presence of Water
still state of water (immovable )
Reduced stress, increased
feelings of tranquility, lower
heart rate and blood
pressure
Observed preferences and
positive emotional responses
Connection with Nature
haptic, olfactory, or stimuli that
engender a deliberate and
positive reference to nature,
living systems or natural
processes
Reduced systolic blood
pressure and stress
hormones
Perceived improvements in
mental health and tranquility
Solid and void
indicate the presence and
absence
Induce curiosity and
interest and eye engager
Improve the visual perception and
induce brain activeness
Material
the boldness of concrete and
softness of glass diffused with
the light
Induce mystery ,divine and
fearful
Make a serenity in space , and
peace in mind , increase the
concentration
.1.6 HEALING CHARACTERS FOUND
WATER TEMPLE IN JAPAN

45.
CHURCH OF THE LIGHT IN IBARAKI, OSAKA
(1989)
• this chapel is a freestanding annex to an
existing church and vicarage in a quiet
residential suburb of osaka.
• it consists of a rectangular concrete volume
(a triple cube), penetrated at two points by
an obliquely-angled freestanding wall that
divides the space into the chapel and a
small triangular entry space.
• glazed openings at the
points of intersection —
approximately the mid-
point of the side wall and at
the end wall nearest the
entry — provide light for
the otherwise dark interior.

46.
CHURCH OF THE LIGHT IN IBARAKI, OSAKA (1989)

47.
• inside, the tall narrow space slopes downward to the
altar at the south end.
• the entire height and width of the wall behind the altar
is penetrated by horizontal and vertical glazed openings
that form a cross.
• the glowing light of the large cross creates a powerful
image facing the seated worshippers.
• the floor and benches, made of the rough wood planks
used for the scaffolding, complement and contrast with
the cast-concrete walls.
• enter into glass cube room
• descend darkened curved stairway
• open to dramatic vista
• cross in water
• open end to nature
• church on the water hokkaido

48.
SENSORY EXPERIENCE OF THE CHURCH
• The Church of Light is an architecture of duality - the dual nature
of existence - solid / empty, light / dark, tension / calm.
• The darkness –while perceived by sight it play along with the light
• the darkness of the church creating a more humble and
meditative place of worship.
• The intersection of light and matter increases the awareness of the
occupants of the spiritual and secular within themselves.
• The rough and unfinished texture - devoid of any ornament,
creating a pure and unadorned space.
• Volume variation – the incline wall constraint the movement , it
create the tension in movement and the exposure of light varies
along the movement of the spaces
• perfectly smooth surface interior is aligned joints.
The east sun light on the cross perforation , clear the sacred and
divine mindset
• The box get illuminated with the slit ,light is an important control
factor. Which set the divine character into the space
• The calmness and serenity – once the movement through the
confined space relieves there is sense of relaxation ,
• Opening dictate the light and shadow in the space
• materials reinforces the duality of space; the concrete structure
eliminates any distinction of traditional Christian motifs and
aesthetics.
CHURCH OF THE LIGHT IN IBARAKI, OSAKA (1989)
TENSION /CALM
SOLID AND VOID
LIGHT AND DARK

49.
CASE STUDY OF
RELIGIOUS SPACES
CASE STUDY OF TEMPLE

50.
ANALYSIS OF
RELIGIOUS SPACES
5.FINDINGS OF STUDY
• Religious SPACES were using multi-sensory strategies to shape the
pilgrim’s experience which also promote the healing characters of the
space
• range of sensory stimuli, played not just at the site of the shrine but
throughout their journey through the spaces
“keep the sensory ‘gates’ closed against sin but open to allow the
good and the holy in.” saying of saints
• the shrine was an amalgamation of sensory devices, (sight, touch and
movement, smell and taste,taste,touch ) designed to stimulate
healing powers

51.
CASE STUDY OF TEMPLE
BIG TEMPLE , THANJAVUR – SENSORY EXPERIENCE
SENSORY PERCEPTION OF THE SPACES
• ABOUT THE TEMPLE :
• Dravidian temple architecture
• Devoted to lord shiva
• the temple has 4 divisions
-enclosure with gopurams,
-open courts, attached and detached mandapas
- sanctum with shikhara.
-an axial and symmetrical geometry rules the
temple layout, with exceptions in the subsidiary
shrines.

52.
SEQUENTIAL SPACES IN THE
TEMPLE
SENSORY INVOLVED IN THE
EXPERIENCES
HEALING CHARACTER OF THE SENSORY STIMULI
1. ENTRANCE AXIS
array of petty shop arranged with the
vibrant ambience which hold flower
garland , doll shop and materials related
to worship
The sense of sight ,smell and
touch were induced with the
approach to the landmark or the
entrance profile
these senses merge and mingle
,the smell of burning lamp and
incense stick gives the image of
light deepam and stick prior
actual image that fall to the
sight
the smell of flower and sandal
wood in the entrance set a
record in the memory , the
image of the entrance captured
when it got stimulated and felt
by various receptors
• The sight of colours , lights
the smell of sandal, flowers
touch of Archana plate
( which hold element of smooth and rough texture )
these three element link with the receptor to make
memories and image
• vibrant colour induce visual sense and processed in
mind to identify the object, the vibrant colour brings in
joy and enthusiasm
• olfactory stimulation of garland and smells of spices
,herbs triggers the sense of activeness , and the energy
level will be high , the various odorants stimulate the
brain and induce the energy
• The visual sight explain the texture prior to touch , the
haptic sense induced , when it come to contact with the
Archana plate
that create the sense of time and connection and
tranquillity.
EXPERIENCE WITH HEALING IN SEQUENCE IN TEMPLE
Array of shop to the
entrance of the
temple
Gopuram (the entry
gate of temple)
5.FINDINGS OF STUDY

53.
SEQUENTIAL SPACES IN THE
TEMPLE
SENSORY INVOLVED IN THE EXPERIENCES HEALING CHARACTER OF THE SENSORY STIMULI
2.THE BOUNDARY OF SACREDNESS AND
PROFANE
The gopuram is the landmark that
demarcate the divine environment from
the mundane surrounding ,
it is the gateway to the divine .
• The entrance towards the gopuram is
more of ocular centric approach , until
the foot comes contact with the stone
flooring or pavement which lead to the
next following spaces
• The profile of the gopuram make a solid
void play, void of sky , solid of profile ,
and void of opening , the balance in
the opening apart from material , the
darkness and light create the sense of
transition .
• The haptic sense is induced when the
eye see the texture prior to the contact
of the wall or flooring
statue and painting , pattern in the wall create
the image of nature and create the refreshment
material – the natural material like stone , brick
, wood , depict their age and carries own
stories with their scars , this create sense of
connection towards the nature , because of
the raw character and we are more likely to
love the nature than manmade material
material depict time and spatial quality ,
harder the texture , make it more durable and
more engaged and feel one self
EXPERIENCE WITH HEALING IN SEQUENCE IN TEMPLE
Array of shop to the
entrance of the
temple
Gopuram (the entry
gate of temple)
5.FINDINGS OF STUDY

54.
SEQUENTIAL SPACES IN THE
TEMPLE
SENSORY INVOLVED IN THE EXPERIENCES HEALING CHARACTER OF THE SENSORY STIMULI
3.ABHINGAMANA ( WAY TO THE
INTERIOR )
This place hold lot of pavilion
Mandapas and pond for various
activities ,like dance music , relax
,meditate and eat
• prior to reaching the main
mandapas , water tank will be
placed inside many temple for
the ablution
• Mandapas are the transition
space lead towards the sanctum
• Mandapas leads towards the
main deity space
• Mandapas are the enclosed space
which create the transition and
temperature difference , which were
felt by the haptic receptor ,
• Drastic movement into the Madaba's
create the sense of
outside and inside ,with the transition
the light and shadows
• The dimness of light and darkness felt
along the movement into the
mandapas
• The darkness balanced with the
deepam which create a visual pleasure
of seeing again
• The olfactory and haptic sense are
predominantly involved
• the statue of deity and the imagery of god , and
boldness of the stone , the volume of interior space
decreases inside every move , the transition from light
to dark , bigger to smaller , outside to inside ,
significantly create the serenity and induce the sense
of focus
• The water in pond , create soothing effect when it
comes in contact as well as the stagnant state of
water, bring in the serenity .
• the rough material , with mild lighting , either from
the oil lamps or small fenestration , those variation in
light forced to concentrate in a path.
• the light , material , sound vibration , in the mandapas
, induce brain activities and create the solitude and
sense of lost
EXPERIENCE WITH HEALING IN SEQUENCE IN TEMPLE
Array of shop to the
entrance of the
temple
Gopuram (the entry
gate of temple) Mandapa and pond
5.FINDINGS OF STUDY

55.
SEQUENTIAL SPACES IN THE
TEMPLE
SENSORY INVOLVED IN THE EXPERIENCES HEALING CHARACTER OF THE SENSORY STIMULI
• 4.SANCTUM SANTORUM
• from the mandapa , towards the
small and conceived space
• The ultimate destination to be
worshipped , hold various sensory
stimuli,
the exterior of the temple sanctum is
designed in a to where the gaze
upwards , where as the interior
spaces decreases .
The sanctum approaches have only
the gaze focused on the deity
• This particular space carries
various experience
auditory – the ringing of temple bells or
chanting of prayer , musical instruments
,
olfactory and visual ( the scent of
flower and incense )
tactile (the surface of the wall and
pillars , which are richly carved with
the floral patterns and image of the
animal and plant, celestial beings
the gustatory sense were induced by
the Teertha ( holy water )
the oil lamp is gives a faint illumination
, along with the multiple oil lamp
catches the olfactory sense
Vibration of bells is a scientific phenomena; It is
made of various metals earth including
cadmium, lead, copper, zinc, nickel, chromium,
and manganese. it can create unity of your left
and right brain.
Dimness in the sanctum with stone imagery ,
obscured by shadow , it helps to focus on one
,increase the concentration
in sanctum there is no particular place to focus
except the deity , the wall left plan and dark ,
this ambience induce the brain cell activity , and
increase intimacy .
EXPERIENCE WITH HEALING IN SEQUENCE IN TEMPLE
Array of shop to the
entrance of the
temple
Gopuram (the entry
gate of temple) Mandapa and pond Sanctum Santorum
5.FINDINGS OF STUDY

56.
SEQUENTIAL SPACES IN THE
TEMPLE
SENSORY INVOLVED IN THE
EXPERIENCES
HEALING CHARACTER OF THE SENSORY STIMULI
5.PRADHAKSHANA .
( circumambulation )
from the divine mind
to the mundaneness , while coming out of the
sanctum
circumambulatory spaces run right from the
sanctum , the walls of this pathway are
sculpted with the image of celestial beings ,
touching of the deity statue in the wall and
touching the wall and deity in the
circumambulation
after the circumambulation , the people walk
out the Nanda vanam(temple garden ) which
act as a buffer space between the temple and
mere environment.
• The movement of body with the
eye and mind laid on the images in
the path ,
the visuals of the deity around
circumambulation space ,engages
the eyes and record the
surrounding
the vibration of the space absorbed
with the bare foot,
• The kinesthetic movement of body along
the temple circumambulatory spaces.
• The transition of enclosure from closed to
open space, gives the moment of
realization and
• The meditation or non mobile state
coordinate mind and soul and increase the
serenity
Nanda vanam act as the therapeutic garden ,
which engage all the sense .
EXPERIENCE WITH HEALING IN SEQUENCE IN TEMPLE
5.FINDINGS OF STUDY

57.
4.Sanctum Santorum
EXPERIENCE WITH HEALING IN SEQUENCE IN TEMPLE
1. Entrance axis
2. Gopuram approach
3.Mandapam
4.Sanctum Santorum
5. pradakshana (circumbulation
)
6.Nandhavanam
1. Entrance axis
2. Gopuram approach
6.Nandhavanam
5. pradakshana (circumbulation )
3.Mandapam
1.source to see (light)
2 darkness
3. vibrance of space
4. material of time
5.water – coolness
6. temperature
7.enclosure and open
8. solid and void
9. sound of chanting and
music
10. taste bud stimulant
SPATIAL
SEQUENCE
ELEMENT
OF
CURE
SENSORY STIMULI
5.FINDINGS OF STUDY

58.
CASE STUDY OF TEMPLE
ST PETERS CHURCH , THANJAVUR – SENSORY EXPERIENCE
SENSORY PERCEPTION OF THE SPACES
ABOUT
St Peter's church in Manumbuchavadi (Maharnonbu
Chavadi or M. Chavadi),
F.C Schwartz, an Angelo-Saxon missionary was
instrumental in getting a suitable land in
M.Chavadi for the proposed church. The Christ
Church (Schwartz Church), adjacent to the famous
Sivaganga park in Thanjavur, was constructed on a
land granted by Maharajah Serfoji in honor of Fr.
Schwartz.

59.
SEQUENTIAL SPACES IN THE
CHURCH
SENSORY INVOLVED IN THE EXPERIENCES HEALING CHARACTER OF THE SENSORY STIMULI
1. ENTRANCE AXIS
the entrance arches indicate the point
of entrance and leading the space in axis
to the actual entrance to body of god
• Right from the entrance , the ocular
centrism is emphasized , the sight will
be recorder
• the eye evaluate the scale , proportion
, symmetry of the elevation profile ,
and gives enough time to get the
image od the building
• the eyes draw the gradual movement
of sight from the base to the pinnacle
• the colour of the building drags the
eyes and make it as its essential
• the white colour of the building brings
in the serenity and positive look the
building
sense involved: eyes and touch
• the plain white colours bring in the thought of
purity , sacredness and divine spaces
• The symmetrical space induce the intellectual
characteristic as well as the activeness
• The approach via the pavement or garden, record
the character of profile and induce the sense of
memory.
EXPERIENCE WITH HEALING IN SEQUENCE IN CHURCH
5.FINDINGS OF STUDY

60.
SEQUENTIAL SPACES IN THE
CHURCH
SENSORY INVOLVED IN THE
EXPERIENCES
HEALING CHARACTER OF THE SENSORY STIMULI
• 2.NAVE
a linear axis towards the main focal
gaze of god, this particular space very
the circulation spaces and segregate
the aisles and brings the balance in
the seating and framing in the vision
the lighting in the space with the
fenestration balance make the space
divine
• The sense of vision lead into
the following spaces , the
vision recognize the material
of the space , the smoothness
of the wall were felt through
the eyes and the information
transferred from the eye to
the haptic sense .
• sense of recognition ,helps to
identify the element of the
space
• The lightness of the space
• The arched or plain for ceiling with intricate painting of
anxiety historic, those patterns or painting have a strong
healing characters ,
• The mild change of warmth in colours ,light ,changes with
increased darkness and shadow
• Transition of temperature while moving into the space
can ne felt
repetition and balance create a formal ambience and
allow the person to behave formally accordance with the
interior
• Aisles were located parallel to the nave , more focus were
gives even after moving out from
EXPERIENCE WITH HEALING IN SEQUENCE IN CHURCH
5.FINDINGS OF STUDY

61.
SEQUENTIAL SPACES IN THE
CHURCH
SENSORY INVOLVED IN THE EXPERIENCES HEALING CHARACTER OF THE SENSORY STIMULI
3.CROSSING AND TOWER
this space is the heart spot of
the whole church plan , this is
where the crossing tower
located over the top , based on
the designed it could be
anything
• The majestic cover would be raised high
up, allowing the pilgrims to catch a
glimpse of the shrine as they processed
around the cathedral before they
reached it, heightening anticipation and
acting as a mnemonic device.
• smelling was understood as a form of
internal ‘tasting’ because it acted as a
metaphor for the sacred and the holy”
(: “Taste and see that the Lord is
sweet”.
• Incense was thus considered symbolic
of prayer and of Paradise,
• The sweet-smelling oil miraculously
excreted from shrines,
• Sense involves – EYES ANS SMELLING
LIGHT AND SHADOWS.
SMELL – The smell of wood , or fruity odour
Visio evoke oral sensations. Prior to its vision
• Tactile and taste experience has a subtle transference
being felt through intricacy and detailing.
• Colours, texture and finishing of those details present
themselves to the appreciation of the tongue.
• The sensuous materials, colors and skillfully drafted
details evoke oral experiences in the perceiver.
• Details try to express belonging or separation, tension
or lightness, friction, solidity, fragility etc.
• The light from the tower show chase its important , this
particular point , the escape divided are separate the
movement in opposite direction
EXPERIENCE WITH HEALING IN SEQUENCE IN CHURCH
5.FINDINGS OF STUDY

62.
SEQUENTIAL SPACES IN THE
CHURCH
SENSORY INVOLVED IN THE
EXPERIENCES
HEALING CHARACTER OF THE SENSORY STIMULI
4. CHOIR
an area which is placed in prior to the
ambulatory space.
This where a group of people sung song
and read the bible
ampullae and pilgrim badges
would be touched against
shrines, relics, and sacred
objects within the church, as
physical proximity could
enhance the intercessory nature
of the saints
the acoustical vibration made in
the chapel from this area ,
increase the brain auditory
stimuli and vibration of nerves
will be triggered
the colorful painting on the wall
in this zone demarcate the
seater space and the location of
the god
• These objects served as memory devices for the pilgrim
but were also believed to have amuletic powers, being
able to cure sickness and ensure salvation.
• Miracle stories also speak of other devotional gestures,
such as kissing columns and tombs, genuflections,
touching reliquaries and shrines, and making the sign
of the cross, all of which were thought to call on the
powers of the saint and create the healing
the giant windows with the colorful stained glass bring
in the vibrance and admiration of sunlight in colour got
emphasized ,
the entrance of balanced amout of sunlight through the
clerestory window make a lot of temperature difference
• The cold frozern darkness were touched with the warm
of sunray , which create positive ambience and give the
happiness .
EXPERIENCE WITH HEALING IN SEQUENCE IN CHURCH
5.FINDINGS OF STUDY

63.
Sound
• Medieval cathedrals were often designed
with a curving apse to reverberate noise,
and the masonry was designed to echo even
the quietest sounds.
• Pilgrimage was a noisy affair, with lots of
people, lots of prayer and lots of
excitement.
• Services and mass may also have taken
place, adding a note of solemnity to the
plethora of sounds within the cathedral.
• Music too might have been played, chanted
or sung, and musical harmonies were
thought to correspond to the harmonies
both of the body and of the heavens.
• music would heighten spiritual excitement
and form another mnemonic device.
• Due to the carefully designed architecture,
architecture, all these noises would be
turned into ‘chants’, and the “loss of high
frequencies and the resulting impossibility
of localizing the sound makes the believer
part of a world of sound”
• ethereal, spiritual sound surrounded the
pilgrim, creating a sacred atmosphere.
SENSORY STUMILI IN CATHEDRAL
• The shrine itself used sound to signify its divine, thaumaturgic (miracle-
working) state.
• Bells on the pulleys of the cover of the shrine would ring out into the
cathedral when moved and signify when the shrine was being unveiled
• Foramina tombs would reverberate noise around the tomb but those
standing outside the shrine would not be able to hear, so pilgrims could
say private prayers directly to the tomb without worrying about others
hearing.
• It would echo the pilgrim’s voice back to them, giving it a mystical quality,
as if it had been altered by the sanctity of the saint and made divine.

64.
SEQUENTIAL SPACES IN THE
CHURCH
SENSORY INVOLVED IN THE
EXPERIENCES
HEALING CHARACTER OF THE SENSORY STIMULI
5. AMBULATORY
the location were the deity places , an
area where the ornamentation will be
high
• shrines were intensely colorful,
with wall paintings in vivid hues,
polychromed and gilded statues,
luminous stained glass windows,
painted and carved ceilings, and
enameled , induced the eye
• The shrine itself could be a
theatrical ocular event.
• The sense of eye , the acoustical
induce the auditory and gustary
were satisfied with the holy
water
the lightness of the material is
felt and it make the user to
maintain silent indirectly without
saying
• The visual was used to alert the senses of the pilgrim
and imprint upon them the sanctity of the shrine
• The highly ornamented area demarcate it from the
mundane environment
• The light over the arch of ambulatory space segregate
and emphasized the light
• The ornamental detail and colours pattern created
the impact , the artificial lighting also matters into the
healing
• The cozy ambience is best for curing of one selves
when they sit in a place to
• light
• pattern
• symmetrical fenestration
• large stained glass window
• balanced path way aisle smoothing colours
• play of material to emphasize the worth
EXPERIENCE WITH HEALING IN SEQUENCE IN CHURCH
5.FINDINGS OF STUDY

65.
EXPERIENCE WITH HEALING IN SEQUENCE IN CHURCH
5.FINDINGS OF STUDY
SENSORY STIMULI
1. Entrance axis
2. Nave
3.Crossing
4. Choir
5. Ambulatory
1. Axial vision
2. Realm
3. Symmetry and
geometry
4. acoustics and silence
5.light
6. solid and void
7.textural effect
8.colours
SPATIAL
SEQUENCE
ELEMENT
OF
CURE
4. Choir space
1. Entrance axis
2.Nave approaches
3.Crossing
5. Ambulatory

66.
EXPERIENCE WITH HEALING IN SEQUENCE IN MOSQUE
5.FINDINGS OF STUDY
WALLAJAH MOSQUE@CHENNAI– SENSORY EXPERIENCE
Triplicane Big Mosque (also called Wallajah Mosque) is a mosque located in
Triplicane IN Chennai, the capital of the South Indian state of Tamil Nadu.
Constructed in the Mughal architectural style, the mosque was built in 1795 by the
family of Muhammad Ali Khan Wallajah, the Nawab of Arcot during 1765. It has a
large prayer hall, a tank and a large ground in front. The entire structure is
constructed with granite without the use of iron or wood.

67.
SEQUENTIAL SPACES IN THE
MOSQUE
SENSORY INVOLVED IN THE EXPERIENCES HEALING CHARACTER OF THE SENSORY
STIMULI
1.. ENTRANCE TOWARDS THE MOSQUE
SIMILAR TO THE OTHER RELIGIOUS
STRUCTURE , THE AXIS IS Mostly
STRAIGHT , MIGHT TILTED TO WEST
IN SOME CASES
 The visual perception was higher while
approaches the entrance of the mosque
 the main entrance gate frames a view and
covered by the liwan or the cloister
which create a solid sense
with one fenestration towards the almighty
 The asymmetrical balanced profile captured
until entering the mosque
 The visual pleasure of balance can be seen
while approaching towards mosque
 The pavement via the garden induce the
relaxed movement
• the symmentrical profile and the solid
and void form , with the balance in the
colours , minimalistic patterns are highly
subtle and create a visual pleasure,
wonder on the sight
once the foot come in contact with the
actual flowering the sense of oneness
could be felt
• The tactile surface play of recognition and
captured in the memory when the sight
and massive profile come to sight
EXPERIENCE WITH HEALING IN SEQUENCE IN MOSQUE
5.FINDINGS OF STUDY

68.
SEQUENTIAL SPACES IN THE
MOSQUE
SENSORY INVOLVED IN THE
EXPERIENCES
HEALING CHARACTER OF THE SENSORY STIMULI
• 2. SAHN ( COURTYARD )
the large courtyard for the festival
gathering or for prayer
• the central space were ablution tank ,
someone the ablution space were
placed separate from the sight of
access
• the courtyard might hold garden with
symmentrical profile garden with the
local flowering or non flowering plant
The solid plane of liwan once
entered get into a complete vast
openness,
when the eyes meets the
openness , it indirectly feel the
silence .
the haptic sense and visual
recognition material through
eyes dictate the character of
material either it is smooth and
weak or hard and bold .
The vision of flower in the garden
Openness
– induce the serenity and observation
water body
– The Presence of Water pattern has evolved visual
preference and positive emotional responses to
environments containing water elements
-reduced stress, increased feelings of tranquility, lower heart
rate and blood pressure, and recovered skin conductance
from exposure to water features .
Garden
- These devices include the manipulation of water and the
use of aromatic plants
the role of scented Plants as a mood booster, describing
scent as "the food of the spirit". Scent enhances one's
perceptions stirs memories, and makes the experience of
visiting the garden more personal and intimate.
EXPERIENCE WITH HEALING IN SEQUENCE IN MOSQUE
5.FINDINGS OF STUDY

69.
SEQUENTIAL SPACES IN THE
MOSQUE
SENSORY INVOLVED IN THE EXPERIENCES HEALING CHARACTER OF THE SENSORY
STIMULI
3.ABLUTION TANK FOR
WUDU
the water body in the center ,
for the ablution called wudu
process
done in this space
4. entrance to actual
deity hall
array of arches lead the main
hall
each arches indicate the
movement to the next level in
the transition
• The coolness of the water and felt through the eye prior
to contact the haptic receptor ,
when the water come in contact with the skin
• ,the temperature of the water ,is determined
even the visual appearance of water bring the idea of
chillness in sight
• the haptic sense evaluate the character of the water
• The humidity leave varies while the movement proceeds
The arches in a sequence play with the light and shadow
gives the movement into the space, and strongly represent
the time and emphasise the fenestration gets the attention
and more of ocular centrism
• Water – it relieve the state of pressure
and stress, it cools down the person
prior to the entrance
• improved concentration and memory
restoration induced by complex, naturally
fluctuating visual stimuli
• enhanced perception and psychological
and physiological responsiveness when
multiple senses are stimulated
simultaneously
• the opaque surface and the openness
in a sequence and the diffused lighting
• shadow create a mystical and
mythological sense
EXPERIENCE WITH HEALING IN SEQUENCE IN MOSQUE
5.FINDINGS OF STUDY

70.
SEQUENTIAL SPACES IN THE
MOSQUE
SENSORY INVOLVED IN THE
EXPERIENCES
HEALING CHARACTER OF THE SENSORY
STIMULI
5.THE SANCTUARY SPACE
THE MIHRAB
•
the hall of prayer and the wall of
god (mihrab ) is the placed.
• the warm illuminated space with the
golden Arabic font on the wall draw
the attention and focus on the
mihrab
the solid and void is clearly felt
through the vision
the movement kinetics and the
bodily action for the rituals induced
the haptic sense
the contact the flooring , and close
the vision , to activate the other
sense were seen
haptic , auditory ,olfactory sense are
predominantly evokes during the
prayer
• The sound of prayer and lighting, increase
the serenity within one selves
• The ornamentation of the mihrab
induce the brain cell activity , the fractal and
geometrical induce the cognitive activity in
the brain
EXPERIENCE WITH HEALING IN SEQUENCE IN MOSQUE
5.FINDINGS OF STUDY

71.
EXPERIENCE WITH HEALING IN SEQUENCE IN MASJID
5.FINDINGS OF STUDY
SENSORY STIMULI
1. Entrance axis
2. Sahn courtyard
3. Ablution tank for wudu
4.jallied entrance
5.hall of worship
1. Axial vision
2. Realm
3. Symmetry and
geometry
4. acoustics and silence
5.light
6. solid and void
7.textural effect
8.colours
SPATIAL
SEQUENCE
ELEMENT
OF
CURE
Jalli enclosure
1. Entrance axis
2.Nave approaches
Abulution
tank
5. Hall of worship

72.
COMPARITIVE ANALYSIS OF HEALING ELEMENT WITH THE SENSES
5.FINDINGS OF STUDY
SENSORY
ELEMENT
TEMPLE CHURCH MASJID -MOSQUE
Visual The vibrance of colours and material is highly
dominating throughout the journey of the
temple .
subltle colours yet the form of the structure
articulate the movement of eye from
downwards, the raised plinth create the sense of
realm
the large stained glass make the space lit during
the day , the fenestration play important part of
The symmetry in the façade ,
vibrant material and colours , and
massiveness of the entrance,
texture felt through vision , the
intensity of light amplified with the
jalli and fenestrations
auditory The chanting of mantras and sound of bells,
music and vibration , and particularly the
reverberation of ohm sound impact the
autonomous brain activity.
The acoustics of the church have a character of
vibration , which heard , during the prayer , and
the silence maintained in the hall.
THE CALL FOR PRAYER from the
minaret and word of Quran
reverberates the sound , stimulate
the brain cell and activates the
brain
Olfactory The smells of incense stick , kumkumam, sandal
, and various flowers and faint smell of oil lamp
, burned wood , these smell is unusual for
mundane environment and it create an
aromatic therapy
The scent of church is unique because burning
scented candles and incense stick , transition of
mundane to aromatic environment switches the
instant changes in the mind and the silence
already existing create the sense of focus
Scent of burned wood and scented
sticks in the space induce the
serenity into the space
Haptic The touch of fruits , flower ,touching of the
deity in pradakshana , is complete experience
to absorption of the vibration and the
recognition of space
The contact of holy water ,and holding the warm
candle, and switching of temperature , the
church have the warmth due to the lamps and
sticks & by the fenestration
pacify the people within the space
Switching of flooring to the fabric
matt in the mosque , induce the
comfy and warmth in the space ,
the darkness were felt with the
temperature difference and the
mihrab grabs the eyes
Gustary the holy water from the copper vessel , and
tulsi stimulate the taste bud.
The holy water is the only sensory stimuli
involved in the church
gustary stimuli only during the
festival time
There are variation in the experience in each spaces, yet each have it own sensory stimuli and element of healing

73.
CONCLUSION OF THE RESEARCH
5.FINDINGS OF STUDY
• The study tried to analyze and perceive RELIGIOUS
SPACES through various senses, understand the
emotions, meanings and HEALING CHARACTER of the
space
• The spaces should not just experience as a segregated
retinal pictures but integral material and spiritual essence
• This aspect is highlighted through the study, and also the
involvement of all senses in space perception for healing
was hence purposeful, and an important aspect in
RELIGIOUS SPACES .
• The study concludes with how senses help in connecting
spaces directly between the individual and the
surrounding making SUBCONCIOUS SELF HEALING
CONCLUSION