“Svara Mandala”, a music composition, consists of musical pieces that were derived from the composer’s intention to study the element of the musical creativity process by focusing only on the spatial property of sound. This compositional study has brought together three significant elements of spatial perception - Distance, Direction and Movement, as a fundamental of spatial music. By designing the performance point and space, which contain the audience space, the composer has planned the distance to affect the audience on purpose in various ways. Together with pitch, duration and the intensity of sound, I have developed the compositional method of spatial music under a 3-piece separated musical as Svara Mandala I, II and III. In Svara Mandala I for brass ensemble, I used the spatial content by changing the fabric of spatial singularity to plurality and vice versa to determine the sentence, section and climax. In Svara Mandala II for orchestra, I used the spatial material for orchestrating music which makes the piece genuinely attractive on the surface texture under the idea of an echo and a cyclic form. And, in Svara Mandala III for flute, clarinet, horn, violin, violoncello and percussion, I especially used the spatial element to support the sound arrangement and Thai-inspired melodic orchestration. This method enhances the localization of sound, benefitting the heterophonic and pointillistic aspects of Thai-inspired contemporary classical music.