port folio.
Ritika Singh
ABOUT ME
Birth- 19 April 2000
Lives in- Delhi
2010-2016 Primary education-ITL Public School
2016- 2018 Secondary Education- Bal Bhawan International School
2018-2023- UID School Of Architecture, GD Goenka University
Language- English and Hindi
DESCRIPTION
Highly motivated and innovative fresher architect with exceptional research and problem-solving abilities. Possesses a creative mindset and the ability to adapt to changing project requirements. A diligent and organized team player with a strong work ethic.
INTERESTS
SOFT SKILLS
Graphic Design
Interior Design Travel Handmade Crafts Research Music Photography
DESIGN EXPOSURE
SEM 1- Elements Of Design
SEM 2- Exhibition Design
SEM 3- Hatt Design
SEM 4- School Of Architecture
SEM 5- Co-Working Hub
SEM 6- Psychiatric Hospital
SEM 7- Group Housing
SEM 8- Urban Design
SEM 9- Internship
Sem 10- Thesis
EXPERIENCE
Six months internship in Garg And Associates
Freelance interior of dance studio
CONTACT
Phone Number- 7678630791
Email- riti2925@gmail.com
C O N T E N T . .
1. INTRODUCTION
2. LITERATURE REVIEW
3. SITE ANALYSIS
4. CASE STUDY
3. CONCEPT
4. AREA STATEMENT
5. PLANS
6. SECTIONS AND ELEVATIONS
7. VIEWS
The cultural diversity of India is tremendous, and there are many cultural centers where one can experience it. If one pays close attention, one can see how important music and musical instruments are to Indian culture. They have developed more than 200 instruments throughout Indian music's history. Thesis emphasizes music experience as a means of disseminating information about our musical heritage.
Introduction to project vision
"Sound connects us to the dynamic events of our life, thereby bringing remote events into consciousness." (Blesser and Linda, 2008)
Visions For Sang Rang
•There is only one of this kind in India
•To preserve India’s rich musical heritage
•A place to Come and leave memory
•A place to unite musicians
•Give people a look to take inspiration from old music
Needs Of Project
1. Religious Reason
Can we ever think of Krishna without his flute, Devi Saraswati without a Veena, Shiva without a Damru, or Narada without his Tambura?
The Indian Musical Instruments have been associated, not only with our God’s & Goddesses but are also an indispensable part of our Indian culture and traditions since ancient times.
2. Other Reason
Where temples have no chants, lovers have no melodies, babies have no lullabies? In a country where no celebration is complete without music, it gives us life. We all have music that we listen to and say, ‘Ah, that’s my song’. But just as we are different and yet connected to each other, our music, though diverse, shares common roots and continue to evolve.
3. Educational Based Reason-
There are more than 200 types of musical instruments used in Indian music. These instruments can be broadly classified into four categories:
3.1 Percussion Instruments - such as tabla, mridangam, dholak, and pakhawaj.
3.2 String Instruments - such as sitar, sarod, veena, and sarangi.
3.3 Wind Instruments - such as bansuri, shehnai, and nadaswaram.
3.4 Keyboard Instruments - such as harmonium.
Each of these categories has several subcategories, and there are many variations of each instrument depending on the region and style of music.
Acoustic Study
“There are four major acoustic materials
1. Sound Absorbers
2. Sound Diffusers
3. Noise Barriers
4. Sound Reflectors
1. Sound Absorbers-
These are employed to diminish standing waves, avoid comb filtering, and eliminate sound reflections in order to enhance speech comprehension.
1.1 Types:
1. Acoustical foam panels
2. White paintable acoustic wall panels
3. Fabric wrapped panels and blankets
4. Acoustic wall coverings
5. Ceiling Tiles
Ceiling Tiles Acoustic wall coverings
2. Sound diffusers-
It scatter the sound over expanded area to reduce the intensity of sound, rather than eliminating the sound reflections as an absorber would.
2.1 Types:
1. Quadra Pyramid
2. Pyramidal
3. Double duty
4. Quadratic
Quadra Pyramid
3. Noise Barriers-
Acoustical foam panels White paintable acoustic wall panels Fabric wrapped panels and blankets
These materials include devices and compounds designed to isolate structures from one another and lessen impact noise, as well as dense materials to hinder the transmission of airborne sound.
3.1 Types:
1. Barriers
2. Composites
3. Vibration control
Double duty Quadratic Composites
4. Sound Reflectors-
The sound reflector is shipped as a flat panel and is bent on site to the specifications of the architects or acoustical consultants. The bent surfaces create broader coverage and more scattered reflections.
COLLABORATIVE- A hub to connect musicians to jam and record songs.
Music Inspired Facade
The building form is further formed by 3 architecture and music elements
1. Connection- Which represent the connection of different types of functions in a single building, From museum to theatre to music school to therapy center all connected through one lobby
2. Repetition- The repetition of single element used in the facade to make a wave form.
3. Movement- The repetition of elements are comings together to form a movement
Connectivity Devepolment Targeted Group
The museum is designed to be accessible to all visitors, but its main focus is on helping young people advance their understanding of the history of music.
Generations- Gen Z
Born- 1997-2012 (11-26 age)
LEARN- Learning center for music
ZONING
EXPERIENCE- Giving an experience of sounds
MITIGATE- Exploring the healing benefits of music
1. The zoning was divided in three built spaces for zoning and planning of spaces.
2. The planning is based on the functionality of the built space
3. The Museum and the Theatre are placed after looking the entrance.
4. The entry is placed somewhere in between both the buildings so the car dropoff can be served properly.
5. The sound theraphy above these two buildings to maintain its privacy.
SITE ANALYSIS 04
The DUAC proposed a museum on the site. The type of museum is not mentioned.
CURRENT SITE SCENARIO-
Lado Sarai road connectivity
SITE DETAILS-
Location: Lado Sarai, Delhi
Climate: Composite climate
Site Texture: Loamy Soil
DEVELOPMENT CONTROLS-
Land use: public/semi-public (socio-cultural institution)
Site area: 12800 sqm
Built Up Area: 15360 sqm
Maximum ground coverage: 35%
Maximum floor area ratio: 1.2
Maximum height: 26mParking: 2 ECS
per 100 sqm
Setbacks: 9m on all sides (NBC 2016)
ACCESSIBILTY-
Saket metro- 750m
Bus stop- 100m
Qutub Minar metro- 1.8km
Lado Sarai road historical context
UNDER 5 KM-
Road Connectivity
Qutub Minar
Azim Khan’s Tomb
Mehrauli Archaeological park
PROPOSAL FROM DUAC-
LANDUSE-
Dumping yard
Parking and Vegetable Stalls
SWOT ANALYSISSTRENGTH-
1. Location- Strong historical context and good connectivity with public transport and Mehrauli-Badarpur Road.
2. Quitter- As it is not located on MB road.
WEAKNESS-
1. Not exactly located on MB road which makes difficult to make it an important landmark.
2. No physical connection with any historical places.
OPPORTUNITY-
1. Possible visual cinnectivity with Qutub Minar and Ahinsa Sthal after a certain height of 12 to 15m.
2. The site has a lot of tourists attractions surrounding it which will add on a new tourist attraction.
THREAT-
1. Response toorganic settlement of Lado Sarai, acceptance by locals.
Proposed Site
