Acoustic structure of irregular heptagonal polyhedron

Abstract

 This invention relates to acoustic architectonic design for recording rooms and, in particular, the architectonic design for prefabricated studios where techniques of mechanical and non-mechanical devices are applied to acoustic manipulation in musical recordings.
The present design is characterised in that it has an irregular heptagonal shape (a polyhedron inscribed within a sphere), a grill-style flooring and structural tubular links for its construction, which are also beneficial for sound control thanks to its concentric hollow corners.

Description

[0001] This invention relates to acoustic architecture design for recording rooms and more precisely, architectural design for prefabricated acoustic studios where techniques of mechanical and non-mechanical devices are applied for acoustic manipulation in music recording.

[0002] In our research, we have categorically stated that professional designers and constructors the world over always commit the same error: to plan and build acoustic recording studios as if they were residential dwellings; as if they were comfortable, functional and even sophisticated residences. An acoustic recording studio must first and foremost act as a "house for sound", as a habitat devoted to sound.

[0003] Emotionally, human beings need to listen to music. Under this emotional pressure, we have been forced to record music electronically, but unfortunately this process has come with a price. It has deprived us of the contact with the most natural and exiting experience: the appreciation of listening to Acoustics in a place that exclusively convokes its Prodigious presence. We cannot seriously record live music without convoking acoustics in its most natural state, without hearing it first in its most prodigious state.

[0004] Firstly, one of the biggest, but necessary culprits, is the use (and abuse) of electronics in musical recordings. Electronics has seriously altered true architectural acoustic design and true acoustic recording development.

[0005] Secondly, our custom of building recording studios that satisfy our material needs, for example, comfort, is incompatible with the spherical nature of sound and its consequent architectural design.

[0006] The Cube or Hexahedron, the archetype of a typical acoustic studio: "hexahedron: 6-faced polyhedron, synonymous: cube. Volumetric 6-faced figure, 1 superior, 1 inferior and 4 lateral faces".

[0007] A- Analysis of the flooring. As you know, the flooring of your house is comfortable, solid and compact, but the flooring of a hexahedral or cubic room acts as yet another "wall" and has the same anti-acoustic function as the other five walls. The solid and compact flooring of a hexahedral studio acts as an inferior wall which impedes the spherical and expansive course of sound (because the first place at which sound arrives from a musical instrument is the floor.)

[0008] Sound powerfully bounces off the floor to the ceiling and the surrounded walls in a repeated way. The proximity of the Origin of sound to the floor causes an acute problem in the reflection of sound; at this short distance the sound of an instrument suffers imbalances in its volume and its tessitura. In band recording sessions sound reflects on to solid flooring becoming distorted, losing its individual tessitura, breaking the natural interaction of notes and melodies and the transparency as fused sounds.

[0009] B -. Analysis of the -Noisy Corners- of a cubical room: All the corners of a hexahedral room have a conflicting closed 90° angle. Corners (1) of a hexahedral room are the 8 edges that are formed with the near encounter between their 3 walls at 90°; walls that conform their architectonic structure. It is defined as corner (2) of a hexahedral room as the result of the near encounter between 2 planes or walls at 90°.

[0010] The corners (1) of a hexahedral or cubical room act as a convergent funnel where the reflection of the sound bounces repeatedly in a short, quick and confused manner; making these zones of the room acoustically critical. The 90° x 90° x 90° corners cause acute sound turbulence where waves suffer ruptures in their flow and rhythmic reflection creating background noise.

[0011] The corners of any acoustic room, even more so those of a cubic one, require sound holes allowing the decompression of acoustic pressure at the corners of a closed place. In a room of a house it would be impossible to have such holes, since it would cause us (among other problems) hostile relations with neighbours.

[0012] C-. Analysis of the Reflection or Reverberation of sound in a hexahedral or cubic room: The nature of sound is that of a multidirectional expansion phenomenon that starts from its point of Origin and expands towards infinity surrounding it.

[0013] The structure of a cubic room poses its 6 walls geometrically in opposition to the spherical nature of sound: this phenomenon causes musical acoustics to seriously degenerate as the sounds lose clarity, quality and power; as the sound waves to crash into each other. This phenomenon is perceivable to the human ear as a "dirty background noise" opaquing the colourful sounds of musical instruments and mixing up the coloratura of the ensemble.

[0014] D -. Analysis of the Synchronism of sound waves and the strengthening of the acoustic Weave in a hexahedral room or residence:

1-. Music acoustics means - Rhythm of Reflexions -.

2-. Rhythm of reflexions means measurement of time and space at the same time.

3-. Music acoustics is the uniform and compact synchronic Body of sound.

4-. Music acoustics is the expansive and implosive synchronic Weave of sound in the interior of a closed space:

Within a hexahedral room, none of these dynamics can be achieved as sound in its space-time relation just doesn't permit it; in other words, the relation between the source of sound and the surrounding non-polyhydric walls are asymmetric, unequal and random.

[0015] The "Irregular Heptagonal Polyhedron - Acoustic Quartz" (IHP-Acoustic Quartz).

[0016] The Heptagon: From the graphic of the regular 7-sided polygon inscribed within a circle or heptagon, the polygon is divided into two equal parts drawing a perpendicular line from the centre of its base, a line that agrees with its superior angle. One of the halves of the heptagon is taken and rotated on its axis 7 times, fixing one half to each point multiple of 51. 43°. Seven concentric meridians in this three-dimensional figure are formed, the basis for the construction of the Irregular Heptagonal Polyhedron - Acoustic Quartz. (Fig. 2.1).

[0017] Next, each meridian vertex is horizontally joined to its contiguous vertex, this operation results in three horizontal line sequences that conforms the body of the IHP-Acoustic Quartz. (Fig. 2.2).

Structural architectonic plans as a result of the above procedure:

[0018] Irregular Heptagonal Polyhedral design of the Acoustic Quartz:

. Structural plan of aerial view     (Fig. 5.1)

. Structural plan of head-on view.     (Fig. 5.2)

. Structural plan of right-hand side and left-hand side views.     (Fig. 5.3 and 5.4)

. Structural plan of isometric superior and isometric inferior views. (Fig. 5.5 and 5.6)

[0019] The architectonic structure of the IHP-Acoustic Quartz consists of 45 tubular links that hold 119 beams together. The studio's 23 pipe-like links (Fig. 9.1) also offer the possibility of manipulating acoustics from its interior thanks to its hollow corners and their generous 28 cm. orifice diameter. These links allow for the evacuation of excess sound pressure through the studio's 22 corners, as well as to acoustically manipulating with regards to sound reflections.
The structural links of the IHP-Acoustic Quartz are distributed in the following way:

.23 Tubular links for construction.     (Fig. 9.1)

.8 Floor or stage links. (Grill-style flooring)     (Fig. 9.2)

.14 Triangulation links. (At stage level)     (Fig. 9.3)

[0020] The architectonic structure of the IHP-Acoustic Quartz is composed of 22 concentric walls housed within a sphere (Fig. 4); they are distributed in the following way:

.7 superior concentric triangular walls (ceiling).     (Fig. 4.1)

.7 medium concentric trapezoidal walls.     (Fig. 4.2)

.7 inferior concentric trapezoidal walls.     (Fig. 4.3)

.1 base concentric heptagonal face.     (Fig. 4.4)

[0021] A-. Analysis of the -grill-style flooring-: The IHP-Acoustic Quartz consists of grill-style flooring, a studio designed as a habitat for sound. Due to its polyhydric design we have subjected ourselves to the conditions of the natural spherical sound expansion phenomenon. The conception of the expansion of sound (PointSphere) forms the basis of our studio's architectural design that prioritises the sound's natural necessities as opposed to those of a human dwelling. The grill-style flooring is located midway up the IHP-AQ structure. (Fig. 8.1)

[0022] The IHP-Acoustic Quartz grill-style flooring does not act as a solid floor. Its holes or perforations allow for the passage of sound waves through it; the sound of a musical instrument can travel towards the inferior zones of the studio. In our studio, musical acoustics do not encounter any obstacle in their spherical and free expansion (Fig. 3.1). Sound waves descend until they reach the water base; a zone in which sound is recepted by water. *Aquaphonic Acoustic Action. (Fig. 12.1).

[0023] *Aquaphonic Acoustic Action occurs in the heptagonal base of the structure, where water is located, whose function is to receive the sound reflecting scoria of low frequencies. (Aquaphonic Acoustic Action of low ends). (Fig. 3.1 and 12.1)

[0024] B -. The -Healthy Corners- of the Acoustic Quartz: All the corners of the IHP-Acoustic Quartz have a generous and obtuse angle of + - 128°. A corner (1) is defined as the 22 edges formed by the interaction of 3, 4 and 7 walls. Each corner in the IHP Acoustic Quartz is distributed in the following way (Fig. 6.1):

• 1 superior pole corner of + - 128° at the top of the room, corner formed by joining its 7 triangular superior walls. (Fig. 6.1).
• 7 superior corners of + - 128° each, formed by joining 4 walls each: 2 superior triangular walls plus 2 medium trapezoidal walls. (Fig. 6.1).
• 7 medium corners of + - 128° each, formed by joining 4 walls each: 2 medium trapezoidal walls plus 2 inferior trapezoidal walls. (Fig. 6.1).
• 7 inferior corners of + - 128° each, formed by joining 3 walls each: 2 inferior trapezoidal walls plus 1 heptagonal side of the base. (Fig.6.1).

[0025] The IHP-Acoustic Quartz corners have 42 obtuse angles of + - 128°. A corner (2) is defined as the 42 angles formed by it 22 concentric walls in pairs:

• 21 corners of + - 128 ° forming the horizontal sequences of the walls. (Fig. 7.1)
• 21 corners of + - 128° forming the vertical sequences of the walls. (Fig. 7.2)

[0026] The IHP-Acoustic Quartz has 23 tubular links whose function as studios' hollow corners allow for acoustic manipulation. The excess sound pressure at the interior of the room can be evacuated through these corners and we are able as well to attenuate sound turbulence relating to the corners:

1 through its superior polar corner link.

2 through its 7 superior corner links.

3 through its 7 medium corner links.

4 through its 7 inferior corner links. (Fig. 9.1)

[0027] . The architectonic structure of the IHP-Acoustic Quartz is characterized in that its form and its construction links can be adapted to the necessities of users: thanks to its links it is possible to alter the size of the structure, and therefore vary its volumetric area (Fig. 13.1, 13.2 and 13.3). The prototype of the IHP-Acoustic Quartz constructed in Quito-Ecuador measures 7.90 meters in diameter.

[0028] C -. Analysis of the Reflection or Reverberation of sound: The IHP-Acoustic Quartz has a polyhedral design consisting of a heptagon, a 7-sided polygon; this is why the studio does not present any parallelism between its 22 concentric walls housed within a sphere.

[0029] Sound expands from its point of Origin towards its concentric surrounding walls and returns to it. The IHP-Acoustic Quartz grill-style flooring allows this spherical reflection phenomenon to occur in the whole volumetric area at its interior.

[0030] In the IHP-Acoustic Quartz's interior, sound reflexion behaves centripetally and has implosive wave reflexions; the sound produces "inverted spherical" reflections; waves appear from its central source and centripetally return to it. (Fig. 3.1). The expansive waves in our structure's interior are sequences of combined and intervalled expansive and implosive reflections, of equal distance from the centre. (Fig. 3.1).

[0031] D -. Analysis of the Synchronism of sound waves and the strengthening of the Acoustic Weave in the IHP-Acoustic Quartz recording studio:

1-. Music acoustics means - Rhythm of Reflexions -.

2-. Rhythm of reflexions means measurement of time and measurement of space at the same time.

3-. Music acoustics are the uniform and compact synchronic Body of sound.

4-. Music acoustics are the expansive and implosive synchronic Weave of sound in the interior of a closed space.

[0032] Let's take a look at the interior of the IHP-Acoustic Quartz: the distances that separate the Origin of sound from the walls are similar and uniform (Fig. 3.1), therefore the sound wave synchronisms have an acoustic dynamic of expansive-implosive rhythmic reflexions. Due to similar distances within the studio's volumetric space and thanks to our grill-style flooring (Fig. 8.1), homogeneity of space-time displacement and reflection of sound in the studio's volumetric area are allowed. It's possible to produce a sound Weave due to synchronism of sound emissions and sound reflections thanks to its polyhedral structure housed within a sphere.

[0033] The complex balance between direct and reflected sound in live music requires the aid of vents or holes to decompress sound pressure at the corners of the closed space; holes that allow the 22 tubular links of the IHP- Acoustic Quartz (Fig. 9.1) and thanks to the Acoustic Aquaphonic Action, action that attenuates low frequency tonalities (from 0 to + - 800hz) at the wide underground water zone at the base of its structure. (Fig. 12.1)

[0034] The architectonic structure of the IHP-AQ consists of 45 links holding 119 beams distributed in the following way (Fig. 14.1 to Fig. 14.14):

Construction:	23 links supporting 49 beams.
Grill-style flooring:	8 links supporting 42 beams.
Structural triangulation:	14 links supporting 28 beams.
Total	45 links supporting 119 beams.

[0035] Structural links of the IHP-Acoustic Quartz recording studio:

Description	Codes	Quantity	Drawing
Inferior Polar Tubular Link	CTPi	1	(Fig. 10.1)
Base Tubular Link	CTb	7	(Fig. 10.2)
Medium Tubular Link	CTm	7	(Fig. 10.3)
Superior Tubular Link	CTs	7	(Fig. 10.4)
Superior Polar Tubular Link	CTPs	1	(Fig. 10.5)
	Total	23 links
Inferior Triangulation Link	CTRi	7	(Fig. 10.6)
Superior Triangulation Link	CTRs	7	(Fig. 10.7)
	Total	14 links
Interior Floor Link	CIp	7	(Fig. 10.8)
Central Floor Link	CCp	1	(Fig. 10.9)
	Total	8 links
Total 45 links

[0036] Construction method for the IHP-Acoustic Quartz recording studio:

1 The Inferior Polar Tubular (CTPi) link is laid on the concrete or stone foundations, in the centre of "the heptagonal water zone ".

2 To each of the 7 leaves of the (CTPi) link, is connected and bolted in a clockwise direction the end that corresponds to the 7 inferior (VPi) polar beams. (Fig. 14.1)

3 To each corresponding end of the 7 (VPi) beams is connected and bolted the 7 Base Tubular (CTb) links to the corresponding leaf in a clockwise direction. (Fig. 14.1)

4 To each corresponding leaf of the (CTb) link, is connected and bolted the 7 horizontal base (VHb) beams clockwise. (Fig. 14.2)

5 To each corresponding leaf of the (CTb) link, is connected and bolted the 7 inferior vertical (VVi) beams, in a clockwise direction. (Fig. 14.3)

6 To each corresponding end of the 7 (VVi) beam, is connected and bolted the 7 Medium Tubular (CTm) links to the correspondig leaf in a clockwise direction. (Fig. 14.3)

7 To each corresponding leaf of the (CTm) link, is connected and bolted the 7 medium horizontal (VHm) beams in a clockwise direction. (Fig. 14.5)

8 To each of the 7 (VHm) beams is bolted each of the 7 corresponding Inferior Triangulation (CTRi) links is a clockwise direction. (Fig. 14.4)

9 To each of the 7 (VHm) beams is bolted the 7 corresponding Superior Triangulation (CTRs) links in a clockwise direction. (Fig. 14.7)

10 To each corresponding leaf of the (CTRi) link, is connected and bolted the 14 inferior triangulation (VTi) beams and to the opposite end, the Base Tubular (CTb) link in a clockwise direction. (Fig. 14.4)

11 To each corresponding leaf of the (CTm) link, is connected and bolted the 7 medium vertical beams (Wm) in a clockwise direction. (Fig. 14.6)

12 To each corresponding leaf of the 7 Superior Tubular (CTs) link is connected and bolted the 7 (Wm) beams in a clockwise direction. (Fig. 14.8)

13 To each corresponding leaf of the (CTs) link, is connected and bolted the 7 superior horizontal (VHs) beams in a clockwise direction. (Fig. 14.8)

14 To each corresponding leaf of the 7 Superior Triangulation (CTRs) link, is connected and bolted the 14 superior triangulation (VTs) beams and to the opposite end, the 7 Superior Tubular (CTs) links in a clockwise direction. (Fig. 14.7)

15 To each corresponding leaf of the (CTs) link, is connected and bolted the 7 superior vertical (Ws) beams in a clockwise direction. (Fig.14.9)

16 To each of the 7 leaves of the Superior Polar Tubular (CTPs) link is connected and bolted the 7 superior vertical (Ws) beams in a clockwise direction. (Fig. 14.9)

[0037] In order to build the structure of the IHP-Acoustic Quartz grill-style flooring:

17 -. To each corresponding leaf of the Base Tubular (CTb) link, is connected and bolted the 7 base floor (VBp) beams and its opposed end to each corresponding leaf of the Interior Floor (CIp) link in a clockwise direction (Fig. 14. 10)

18 -. To each corresponding leaf of the (CIp) link, is connected and bolted the 7 concentric floor (VCp) beams and its opposed end, to the corresponding leaf of the (CTm) link in a clockwise direction. (Fig.14.11)

19 -. To the corresponding leaves of the (CIp) link, is connected and bolted the 7 inner floor (VIp) beams in a clockwise direction. (Fig. 14.12)

20 -. To each corresponding leaf of the (CIp) link, is connected and bolted the 14 triangulation floor (VTp) beams, and its opposed end to the corresponding leaf of the (CTRi) link in a clockwise direction. (Fig. 14.13)

21 -. To each corresponding leaf of the (CIp) link, is finally connected and bolted the 7 central floor (VCp) beams and to its opposite end, is bolted the seven leaves of the Central Floor (CCp) link in a clockwise direction. (Fig. 14.14)

[0038] The industrial application focuses on the manufacturing of the 45 IHP-Acoustic Quartz links; allowing the client to easily construct the recording studio and to enjoy priviledged acoustic conditions. The 45 IHP-Acoustic Quartz structural links can be made through artisan welding or conventional techniques using iron or steel smelting in moulds for their serial production.

[0039] The IHP-Acoustic Quartz recording studio is available to the client as follows:

1 45 IHP-Acoustic Quartz structural metallic links.

2 45 IHP-Acoustic Quartz links and 119 wood or bamboo beams for its construction.

3 Complete IHP-Acoustic Quartz studio, including its prefabricated structure (links and beams), covering external and acoustic internal panels and a standard acoustic microphone system.

Claims

1. Acoustic architectonic structure characterised in that its irregular heptagonal shape is housed within a sphere, its stage has grill-style flooring, and its tubular links are useful for its construction, as well as they are useful for sound control thanks to its concentric hollow corners. (Fig. 1.1)

2. Acoustic architectonic structure which according to claim 1 is characterised in that its irregular polyhydric shape, consisting of 22 concentric faces, is the result of an operation in space geometry in which one turns seven halves of the heptagon on its axis at an angle of 51.43°. (Fig. 2.1)

3. Acoustic architectonic structure which according to claims 1 and 2 is characterised in that a heptagonal body (with an unequal number of sides) has a polyhydric structure which does not present any parallelism between its 22 faces or walls (Fig. 4). As a result, the sound waves at the interior of this structure describe combined expansive and implosive reflections sequences, due to its 22 concentric walls. (Fig.3.1)

4. Acoustic architectonic structure which according to claims 1, 2 and 3 is characterised in that its 22 faces or walls are inscribed within a sphere (Fig. 4). These walls are distributed in the following way:

-. 7 superior concentric triangular walls (ceiling).     (Fig. 4.1)

-. 7 medium concentric trapezoidal walls.     (Fig. 4.2)

-. 7 inferior concentric trapezoidal walls.     (Fig. 4.3)

-. 1 base concentric heptagonal face.     (Fig. 4.4)

5. Acoustic architectonic structure which according to claims 1, 2 and 3 is characterised in that an irregular heptagonal body consists of 4 architectonic plans as follows:

. Structural plan of aerial view.     (Fig. 5.1)

. Structural plan of head-on view.     (Fig. 5.2)

. Structural plan of right lateral and left lateral views.     (Fig. 5.3 and 5.4)

. Structural plan of isometric superior and isometric inferior views. (Fig. 5.5 and 5.6)

6. Acoustic architectonic structure which according to claims 1, 2 and 3 is characterised in that its 22 non-parallel and non-perpendicular walls form between them 22 concentric corners at an angle of + - 128°. Each of these corners is formed by 3, 4 and 7 walls. (Fig. 6.1)

7. Acoustic architectonic structure which according to claims 1, 2 and 3 is characterised in that its 22 non-parallel and non-perpendicular walls form between them 42 concentric corners at an angle of + - 128°. Each of these corners is formed by walls in pairs: 21 corners are horizontal (fig. 7.1) and 21 corners are vertical (fig. 7.2).

8. Acoustic architectonic structure which according to claim 1 is characterised in that its grill-style flooring allows sound waves to pass through it. The grill-style flooring is located midway up the polyhydric structure. (Fig. 8.1)

9. Acoustic architectonic structure which according to claim 1 is characterised in that its 45 pipe-like links support 119 beams. The supportive links are distributed in the following way:

.23 Tubular links for the construction.     (Fig. 9.1)

.8 Floor links.     (Fig. 9.2)

.14 Triangulation links at stage level.     (Fig. 9.3)

10. Acoustic architectonic structure which according to claims 1 and 9 is characterised by 45 links as follows:

Description	Codes	Quantity	Drawing
Inferior Polar Tubular Link	CTPi	1	(Fig. 10.1)
Base Tubular Link	CTb	7	(Fig. 10.2)
Medium Tubular Link	CTm	7	(Fig. 10.3)
Superior Tubular Link	CTs	7	(Fig. 10.4)
Superior Polar Tubular Link	CTPs	1	(Fig. 10.5)
	Total	23 links
Inferior Triangulation Link	CTRi	7	(Fig. 10.6)
Superior Triangulation Link	CTRs	7	(Fig. 10.7)
	Total	14 links
Interior Floor Link	CIp	7	(Fig. 10.8)
Central Floor Link	CCp	1	(Fig.10.9)
	Total	8 Links
Total 45 links

11. Acoustic architectonic structure which according to claims 1, 9 and 10 is characterised in that its 23 pipe-like links measure 28 cm in diameter. These 23 devices provide us with freedom for acoustic experimentation:

.they enable us to evacuate excess sound pressure from inside the structure,

.they enable us to manipulate sound reflections relating to the corners. (Fig. 10.1 to Fig. 10.5).

12. Acoustic architectonic structure which according to claim 4 is characterised by a concentric heptagonal base, a water base, whose role is to eliminate sound reflecting scoria (Acoustic Aquaphonic Action of low ends). (Fig. 12.1)

13. Acoustic architectonic structure which according to claim 1 is characterised by a heptagonal shape and construction links, being able to be adapted to the necessities of users: thanks to its links, it is possible to alter measurements and vary its volumetric surface. (Fig. 13.1 - Fig. 13.2 - Fig. 13.3).

Amended claims

Amended claims in accordance with Rule 137(2) EPC.

1. Body of an IHP-Acoustic quartz whereas said body comprises a grill style floor, whereas said grill style floor is located midway up to the IHP- Acoustic quartz.

2. Body of an IHP-Acoustic quartz according claim 1, said body comprises beams and tubular links whereas beams are placed at the edges of the body and links are placed at the corners.

3. Body of an IHP-Acoustic quartz according to one of the prior claims whereas said links comprises hollow corners so that sound pressure is allowed to evacuate.

4. Body of an IHP-Acoustic quartz according to one of the prior claims whereas said body has a light underground water zone at its base.

5. Body of an IHP-Acoustic quartz according to one of the prior claims whereas said body is housed within a sphere.

6. Method for constructing an IHP-Acoustic quartz recording studio the method comprises

1. The inferior polar tubular link CTPi is laid on the concrete or stone foundations, in the centre of the heptagonal water zone.

2. To each of the seven leaves of the CTPi link, is connected and bolted in a clockwise direction the end that corresponds to the seven inferior VPi polar beams.

3. To each corresponding end of the seven VPi beams is connected and bolted the seven base tubular CTb links to the corresponding leaf in a clockwise direction.

4. To each corresponding leaf of the CTb link, if connected and bolted the seven horizontal base VHb beams clockwise.

5. To each corresponding leaf of the CTb link, if connected and bolted the seven inferior vertical VVi beams, in a clockwise direction.

6. To each corresponding end of the seven VVi beams, is connected and bolted the seven medium tubular CTm links to the corresponding leaf in a clockwise direction.

7. To each corresponding leaf of the CTm link, is connected and bolted the seven medium horizontal VHm beams in a clockwise direction.

8. To each of the seven VHm beams is bolted each of the seven corresponding inferior triangulation CTRi links is a clockwise direction.

9. To each of the seven VHm beams is bolted the seven corresponding superior triangulation CTRs links in a clockwise direction.

10. To each corresponding leaf of the CTRi link, is connected and bolted the 14 inferior triangulation VTi beams and to the opposite end, the base tubular CTB link in a clockwise direction.

11. To each corresponding leaf of the CTm link, is connected and bolted the seven medium vertical beams VVm in a clockwise direction.

12. To each corresponding leaf of the seven superior tubular CTs link is connected and bolted the seven VVm beams in a clockwise direction.

13. To each corresponding leave of the CTs link, is connected and bolted the seven superior horizontal VHs beams in a clockwise direction.

14. To each corresponding leaf of the seven superior triangulation CTRs link, is connected and bolted the 14 superior triangulation VTs beams and to the opposite end, the seven superior tubular CTs links in a clockwise direction.

15. To each corresponding leaf of the CTs link, is connected and bolted the seven superior vertical VVs beams in a clockwise direction.

16. To each of the seven leaves of the superior polar tubular CTPs link is connected and bolted the seven superior vertical VVs beams in a clockwise direction.

7. Method according claim 6 said method comprises also a method for building a grill-style flooring, whereas the following steps are used:

1. To each corresponding leaf of the base tubular CTb link, is connected and bolted the seven base floor VBp beams and its opposed end to each corresponding leaf of the inferior floor CIp link in a clockwise direction.

2. To each corresponding leaf of the CIp link, is connected and bolted seven concentric floor VCp beams and its opposed end, to the corresponding leaf of the CTm link in a clockwise direction.

3. To the corresponding leaves of the CIp link, is connected and bolted to the seven inner floor VIp beams in a clockwise direction.

4. To each corresponding leaf of the CIp link, is connected and bolted the 14 triangulation floor VTp beams, and its opposed end to the corresponding leaf of the CTRi link in a clockwise direction.

5. To each corresponding leaf of the CIp link, is finally connected and bolted the seven central floor VCp beams and to its opposite end, is bolted the seven leaves of the central floor CCp link in a clockwise direction.

8. Tubular link for a Body of an IHP-Acoustic quartz according one of the claims 1 to 5, whereas said links comprise hollow corners so that sound pressure is allowed to evacuate the body of an IHP-Acoustic quartz.

9. Tubular link according claim 8, whereas the hollow corners comprise a 28cm orifice.

Drawing