Ritika Singhal | Undergraduate Architecture portfolio | S.P.A Bhopal by Ritika Singhal

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LI RITIKA SINGHAL

School of Planning and Architecture Bhopal Selected works from 2017-2021

HELLO! I am Ritika Singhal, a fourth year architecture student at School of planning and architecture, Bhopal. This portfolio is compilation of some of my selected and close to heart projects which present my idelogies and approach towards architecture. I believe that architecture needs a lot of hardwork and a good design needs a lot of patience. It is always fun when done by heart and always better when done by brain. It is an exploration which can never end. The more I learn about it, more things feel unexplored. How architecture affects humans and its surroundings is what intrigues the most. For me,the beauty of architecture lies in how it solves the issues of present, carries the grandeur of its past and moves towards the future of growth. As an architecture student, I want my designs to mature over time and learn the mistakes they have made and their consequences. ‘Everything can be designed better than it is now’, we just need to put more effort. Every typology I design, bring an entire new thought process out of me. A new task is always exciting. I am interested in people centric design and architecture. What and how people feel in and around a space and how it impacts them has always intrigued me. I also love experimenting with different presentation styles and improve upon my communication of ideas. Apart from these, Origami is an art form I connect myself to. Folding is a meditative process for me and contributes in my creative process. I hope you enjoy my work!

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//Ritika Singhal Portfolio//

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CONTENTS 00

CURRICULAM VITAE+

06-07

AAROGYAM- Hospital Design

08-15

BHOPAL AUTOMATIVE MUSEUM

16-21

METANOIA- Sacred Space

22-27

RAO SAHAB KI BAKHAR- LIK

28-35

TOMBSTONE OF WASTE

36-41

MANOSHYAM- Cemetry Ground

42-47

TARANG

48-53

ORIGAMI- Architecture of folds

54-59

Jaipur, Rajasthan | India

Bhopal, Madhya Pradesh | India

Bangalore, Karnataka | India

Narsinghpur, Madhya Pradesh | India

Worldwide

Bhopal, Madhya Pradesh | India

//Ritika Singhal Portfolio//

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EDUCATION 2017- Present

Bachleors in Architecture School of Planning and Architecture Bhopal, Madhya Pradesh

2012-2016

Higher Secondary Education Central Public Sr. Sec. School Udaipur, Rajasthan

2001-2011

Primary Education

Aggarwal Public School Faridabad, Haryana

DISTINCTIONS AND EXPERIENCE 2018-2019

Ritika Singhal CONTACT

Literature Secretary Litsock School of Planning and Architecture Bhopal, Madhya Pradesh

2020

Cultural Reseacher

India lost and found Bhopal, Madhya Pradesh

SOFTWARE SKILLS

30, Balaji Park Society, Sabrakantha District, Talod, Gujarat, India, 383215 +91-8800543202

BIM

ritikasinghal1998@gmail.com

D.O.B 28th August 1998

NATIONALITY

DRAFTING 3D MODELLING

Indian

LANGUAGE Hindi, English

RENDERING

INTERESTS Reading, origami, movies, cooking, gardening, sketching, travelling

ARCHITECTURE COMPETENCE Conceptualisation, Working drawings, documentatiovn, visualisation, 3d modelling, post production

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GRAPHICS

VIDEO EDITING OTHERS

Autodesk Revit Archicad (basic) Autodesk Autocad Trimble Sketchup Rhino 3d Autodesk 3d Max (basic) Grasshopper (basic) Vray Lumion Enscape Adobe Photoshop Adobe Illustrator Adobe Indesign Adobe Premiere Pro Microsoft suite Pepakura

//Curriculum Vitae//

ACADEMIC PROJECTS 2021

URBAN DESIGN STUDY | Udaipur, Rajasthan (ongoing)

2020

AAROGYAM | Multispeciality Hospital | Jaipur, Rajasthan SANGAM | High Rise Housing | Bhopal, Madhya Pradesh

2019

2018

2017

BASIC DESIGN

COMPETITIONS AND ACHIEVEMENTS 2020

2019

Top 25| World

2018

Top 10| India Top 6| RIBA

Top 67 | India

WORKSHOPS AND CONVENTIONS 2018

60th Annual NASA (National Association of Students of Architecture) Convention

2019

61st Annual NASA (National Association of Students of Architecture) Convention

2020

ORITECTURE workshop by Ankon Mitra curated by Oneistox

Vagamon, Kerela

Bangalore, Karnataka Delhi

//Ritika Singhal Portfolio//

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AAROGYAM Hospital Design //aa · rrog · ayam//

200 bed Multispeciality Hospital Jaipur, Rajasthan 2020-2021 Academic Project (Individual)

/what heal when medicine dont : Nature/

Designing a hospital is a critical task. A hospital’s job is to treat sick while keeping it safe and healthy for all the other healthy users supporting those who are in need of treatment. The environment of a hospital can be stressful and exhausting. Nature and natural elements have been termed as important healing elements. The aim of Aarogyam Hospital is to keep the users in touch with those natural elements specially the daylighting. All the major public spaces and rooms have been kept naturally and abundantly daylit, while keeping the climatic conditions in mind. The 200 bed multispecility hospital is equipped with all modern diagonstic, pathological and treatment facilities. It consists with over 20 specialist O.P.Ds, highly equipped radiology department, own pathology labs, C.S.S.D etc. Abundant Waiting areas, pantry services, lounges available for visitors and doctors to create comfotable working and stay circumstances. Hospital is a civic building and must carry civic proud of the city. The structure adapts critical regionalism to be the proud of Jaipur city.

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//AAROGYAM- Hospital Design//

//Ritika Singhal Portfolio//

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10. 6.

5. 3.

4. 10. 8.

9. 1. Main visitors entrance 2. 2 wheeler parking and security office 3. Shopping Complex 4. Main building

01 Site is open and accesible from three sides with area of 4.5 acres.

Basic site massing according to climate and movement patterns.

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5. Ambulance and emergency parking 6. Emergency entrance 7. Visitors exit and service entry

02 Basic site analysis including sun path study, wind movement and vegetation mapping and drainage study.

Modifying building mass according to plan layouts and circulation.

8. Service Block 9. Service Exit 10. Ramp to and from basement

03 Defining building footprint location along with green patches location.

Final building mass with terraced roofs and and maximum opening towards the north.

//AAROGYAM- Hospital Design |Site, Form development and Volumetric planning//

[

Private, semiprivate and V.I.P rooms with individual toilets.

[

Private, semiprivate and V.I.P rooms with individual toilets.

[ [

Fifth Floor

[

Fourth Floor

Service Floor

Includes shafts, ducting for air conditioning and water pipes

Third Floor

This floor includes general wards, and speciality wards like burn unit, Paediatric, isolation and surgery wards along with lounge for doctors and visitors.

G+5

[

G+4 [ [

SF G+3

[

Anciallary and Support services

Second Floor

This floor includes treatment areas, operating units, materinity unit and I.C.Us and C.C.Us with well connected to diagonstics and Pathology.

[

G+2

First Floor

[

G+1

Ground Floor

[

Upper Basement

[

Lower Basement

[

Common O.P.Ds and specialised O.P.Ds along with pathology department. Admin services located as well.

[

Emergency department connected to Diagonstics unit and administration, canteen and pharmacy.

[

Support services like mortury, C.S.S.D, laundry and Parking for Visitors included connecting through ramps.

Vertical Circulation cores

Administration

Diagonstic and Treatment

Patient care Division

[

Main storage spaces, waste management system, electrical rooms, pump rooms and building management system.

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UPPER BASEMENT PLAN

GROUND FLOOR PLAN

IPD FLOOR PLAN

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//AAROGYAM- Hospital Design | Plans and Exploded//

TR G+5 G+4 SF G+3 G+2 G+1 “The very first requirement in a hospital is that it should do sick no harm”

GR UB LB //Ritika Singhal Portfolio//

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// Waiting area on ground floor with direct access to outer lawns well lit with natural light.//

//Lift lobby and waiting areas on I.P.D floors and corridor with well lit northern curtain walls and terrace.//

// V.I.P private room well equipped with required facilities and natural daylighting.//

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//AAROGYAM- Hospital Design | Views//

Louvred facade covering the windows on the southern side of the building to reduce heat gain and allow for daylighting.

Jaali facade on the ramp core to allow natural ventilation and daylighting. Jaalis cause venturi effect to the summer winds allowing cool winds inside.

A hospital is a civic building and hence should be a structure that carries civic pride. Local contextual elements like arches to add a sense of local pride.

//Front isometric view of the hospital with arched curtain walls and terraces.//

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BHOPAL AUTOMATIVE MUSEUM

//aa·tuh·mow·tuhv | myoo·zee·uhm// Auto Expo and Museum Design Bhopal, Madhya Pradesh 2019

Academic-Semester Vth (Individual)

/Every car was once a special car, what changed now?/

Bhopal Automative Museum is designed on the concept that every car was once a special one and time only adds it to the beauty of the automobile instead of depriciating it. This appreciation is foremost reflected in the facade of the structure. The outer facade of the building is used as a parking ring. The image a user gets when entering the premise is of cars. Galleries in the museum are designed following the characteristics of different typologies of cars. On one side vintage cars seems ver well preserved, sports and adventure cars are kept in semi open areas depicting their importance with road . A car represents the personality of its owner and similar things must be kept in the mind while designing a expo or museum space for such cars. A special section in the core is given for people who like to collect cars and need a secure place to keep them and present them. The collectibles gallery is one of a kind display. Apart from this, the importance of cars are even further highlighted with Indias second drive in cinema.

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//Auto Expo | Cover//

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//Auto Expo |Site and Floor plans//

Circle is a shape and form that allows for free and uninteruptted movement. The form is chosen for for expo so that when a user moves through the space it feels like an endless journey.

Parking parking contributes to building facade and emphasise on importance of every car.

Luxury Cars

0. Ground Floor

One floor dedicated to luxury cars and their displays.

Future cars One floor dedicated to future cars and their displays.

1. First Floor

Collectibles One central core dedicated for important collectible cars and V.I.P parking.

Vintage Cars One central core dedicated for vintage cars and their display.

All of those cars were once just a dream in somebody’s head.

2. Second Floor

Adventure cars

Adventure cars kept in one side open view to engage customers with atmosphere.

Sports Cars Sports cars kept in one side open view to engage customers with atmosphere.

Junk Cars Sculpture of old junk cars to display the after life beauty of cars and their steelpunk aesthetics.

3. Third Floor //Ritika Singhal Portfolio//

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1 The top floor of the museum is reserved for administrative functions like conference rooms and public functions like cafes, rooftop restaurants and gift shops.

2 An intermediate floors which connect the

two towers and open terrace garden for site views and vegetation. It also has installation for junk cars.

3 The first floor is reserved for luxury and future cars with

outer rim for parking through Helical ramps which creates a dynamic facade. Cores inside these ramps are used for services, vertical circulation and toilets

4 First floor of smaller tower is for luxury sports cars. This one side open pavillion connects people to trail track and air to aloow for seeing these cars made for road in that context.

6 The second pavillion on ground floor displays of

Adventure cars and a small museum gallery of automative parts. A ramp runs at back of pavillion which give a 4th dimensional experiance of the site.

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Ground floor of the first tower consists of luxury cars at the display with entrance to the vintage core that is a ramp displaying the vintage cars.

//Auto Expo//

//Vintage core display is the most special feature of the museum. It is artistic as well as symbolic. The vintage cars known for their history appears to be frozen in time. Hanging in air in a glass case adds to their preciousness.//

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METANOIA Sacred Space //meh · tah · noy · ah//

Secular Sacred Space Design Bangalore | India 2019-2020 Archdias competition (Group work)

/journey of changing one’s mind, heart, or way of life/

In the past, the symbiosis between religion and architecture alleviated the self to the beyond. In the contemporary world, such desires of self are lost amidst the illusion of chaos. The need today is to rediscover the self, to pause, rethink, relive, retrospect, introspect and then proceed to the journey beyond. Today, architecture of the sacred resonates with the timeless diversity of ‘ personal faith’ and celebrates what it is to be ‘human’. It does not offer solutions, but induces a series of questions that dwell within the intra and inter-personal self: What do I really seek? Why does it hurt? Am I alone? Metanoia is a pilgrimage, divided into three facets- nature, self and the community. which congregate to define new meanings, and new beginnings.

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//METANOIA- Sacred Space//

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//METANOIA- Sacred Space | Concept//

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The history of religious skirmishes in India demands a space to foster a conversation between the spirit and the self beyond the realm of religion, but not away from it. The national psyche focuses in the spirit of being human, before being religious. Bangalore is a multicultural hub with a perennial influx from all over the nation, and hence home to diverse, open minded youth to embrace the metanoia. In Metanoia, the first facet is of nature. The experience of nature in the raw wild form is to create a disconnect from what we know about the world. Its a transition from known to this new ‘unknown’ dimension. The second facet of Metanoia is about self. All the things which make you dive into yourself, explore the depths of your heart and mind and do a self-introspection and exploration. Its a journey of self awareness. The third facet is about community. What you offer to the world around you? Its about sharing, caring and respect of each other. To learn the meaning of being together and growing together. In the end, the metanoia is about a belief. A belief in self? in others? in something beyond? in nature? in universe? in humanity? Its about freedom of choosing what you believe in. Choice of where your Faith lies.

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//METANOIA- Sacred Space | The Journey//

//The three facets of Metanoia: Nature, Self and Community//

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RAO SAHAB KI BAKHAR Louis I Kahn Trophy

//rao | s · haab | kii | baa · kh rr//

Heritage documentation: Dwelling Narsinghpur, Madhya pradesh 2018-2019 Louis I Kahn Trophy, NASA India (Group work) //what consists of a dwelling//

Bakhar is a form of a dwelling used by the prominent members of the community. It is grander than a simple dwelling or haveli (which were common in earlier eras), however they lack the scale and the defence mechanisms as seen in forts. The Bakhar is locally known as Rao Raj Kishore Singh ji ki Bakhar and was the residence of the malguzar of the town. The malguzar being the renowned and respected throughout the town and the Bakhar being one of the largest dwelling complex of the area gained a prominent position on its own. Although extensively used earlier, it has been lost in the mists of time due to reduced usage. The construction techniques that have brought about these changes have also varied according to the needs and climatic understanding affected by the people who brought forth these changes. The dwelling continues to house the descendants of Rao Jagbharat, who originally built this bakhar, which proves its efficiency by being still habitable yet susceptible to change.

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//Rao Sahab Ki Bakhar//

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“I not only inhabit my body, but also in my dwelling. The dwelling, the house where I abide, is the

manner in which my body and soul interact” -Rene Descartes

A dwelling is not just a part of the inhabitants’ life, but also of the community. This makes living a communal activity and the dwelling reflects the changes in the whole scenario overtime. It therefore becomes imperative to understand how a dwelling unit has evolved over time, not only from the inside but also considering external factors. Rao Sahab ki Bakhar, in Narsinghpur is one such exemplary dwelling unit. Since its construction in 1780s it has evolved continually with changing needs of its dwellers brought upon by factors such as economy, external conflict, family expansion, culture etc. The Bakhar has a major role in the social structure of the district, housing the family that had also constructed the Narsingh temple, from which the district derives its current name. Along with proving to be the village’s primary granary, the community well present beside the Bakhar provides commoners access to water from the ground floor. The Bakhar thus becomes a part of the daily routine of every resident of the village and continues to be a part of the oral history associated with the area.

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//Rao Sahab Ki Bakhar | Concept and Evolution//

PHASE 1: 1782- 1797 Rao Jagbharat, a former samant of maratha Bhosle, settled in Narsinghpur and constructed Bakhar andNarsingh temple in the Bundeli architecture style. Necessity for a space to accomodate living, working and storage spaces led to the conception of the Bakhar.

PHASE 2: 1797- 1820 Under Rao, village saw great economic growth which led to further expansion of the Bakhar to accomodate extending family. increased business and power required further security and protection and hence bastions were added to further secure the house. Ataris at roof were created foe security and storage puposes.

PHASE 3: 1820-1840 When Narsinghpur came under British category, revenue and taxes increased and Bakhar needed additional storage spaces. With the help of britishers, Rao turned the ground floor into an arched and vaulted basement. The Brahamsthal structure shifted from groundfloor to first floor.

PHASE 4: 1782- 1797 After the british raj, families split the bakhar, persoanlising their divided areas. Long term negligence turned Bakhar into its current dilapidated state. Back and side portion of the Bakhar is almost ruined and its in severe need of restoration.

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FRONT DOOR- BAKHAR

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//Rao Sahab Ki Bakhar | Door detail, Plan and Section//

SECTION A-A’

GROUND FLOOR PLAN

FRONT ELEVATION

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FIRST FLOOR PLAN

SECTION A-A’

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//Rao Sahab Ki Bakhar | Plan, Elevation, Details and Temple//

DETAILS OF ARCHES, COLUMNS AND BRACKETS

NARSINGH TEMPLE Marathas, Jagbharat Rao built a temple dedicated to lord Narsingh here. Thereafter, the district’s name was changed from Gadariakheda to Narsinghpur. The prominence of this temple is evident from the fact that the region around this temple came to be known as Narsinghpur and is still called so till date. Narsingh Jayanti is the major festival celebrated in the region. Ram navami, Janamashtmi and Mahashivratri are some other festivals celebrated in the temple complex. It is said that there are two tunnels underneath the Bakhar, connecting to the temple of lord Narsingh and the ghat. There is a basement in this temple which has a circumambulatory path and a sanctum sanctorum containing the pillar which has a photo of lord Narsingh placed in it. It was used by women of the aristocracy, who travelled through the underground tunnel which runs from the Bakhar to the ghat at Singri river and to the Narsingh temple. Now the tunnel has been sealed, so the talghar of the temple is opened for the public on Narsingh Jayanti.

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TOMBSTONE OF WASTE

//toom · stown | awf | we · ist//

Installation design for Plastic waste awareness Worldwide 2019 Switch: Tomb of waste competition

//How will we kill plastic before it kills us//

“What I saw in the morning as a blank abstraction of an ocean wave, while heading to work is now, a piece of junk pile. It happens every day. The blank ocean wave in morning turns to this ugly junk wave by night. I stick my early morning coffee cup daily as its asks me to and it’s invisible in that wave of waste by night. The next morning, I get a blank canvas again. Maybe today I will skip my coffee. At night I noticed the junk pile - one cup less ugly.” A tombstone represents the life of the dead, but what about something that never dies? Plastic never dies! Tombstone of waste is an ephemeral, poetic and interactive installation which brings out the life of something which we believe dies after its use, whereas it’s one of the longest existing things on the planet right now, slowly killing us all. The installation is like a canvas for people to paint art from their waste and kill it in real. With every new piece added to the installation, it starts bringing out the worse form of it. It becomes a part of visual culture of the city which brings out the life of the waste. Instead of lying into dustbins, dump yards and oceans the plastic we throw, now looks at our face directly.

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// Tombstone of Waste | Need //

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Tombstone of waste is a wall that stands at every important junction in the city. Its a constant visual reminder of plastic around you. Its a symbol of caution, A warning to use less plastic, else it will drown us. Apart from being an installation, the tombstone also works as a waste collection mechanism that runs in the city. In cities where dustbins are ignored and hardly looked after an installation catches the attention. A dynamic installation with ever changing face is hardly to miss. Thousands of kids, spend their lives in dumpyards, picking plastic metal and garbage that could be recycled in the very harmful conditions just to earn living. Tombstone of waste makes their lives easy. Every night they can go take the plastic film of the tombstone and bring all the garbage home and sort and sell what could be recycled and dump the rest properly.

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// Tombstone of Waste | Journey //

// Journey of plastic from waste to recycled product throughout the day//

It show the process of collection through installation, sorting and recycling to better products

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//Morning time : Tombstone acting as an installation, a piece of art and a waste collecting product.//

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// Tombstone of Waste | Beggining vs End //

//Night time: Tombstone being swiped clean of junk, garbage picked up by ragpickers, ready to face world again!//

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MANOSHYAM A.N.D.C //M·an·nyo·shi·aam//

Grief in Architecture- Journey in a Cremation ground Bhopal, Madhya Pradesh 2018 Annual NASA Design Competition (Group work) / what is actually liminal and what seems to be/

Architecture defines spaces, which when bridge the gap between the end of one and beginning of another entity become transitional. However, it is one’s mindscape that renders a transitional space liminal. User’s perception and psychological experience defines the space and its liminality. Life, full of mental, physical and spiritual transitions, what we cherish the most for a lifetime are the psychological impacts that they leave on us. Death is unbiased to all and treats everybody the same as in a hindu cremation ground where every body lies on the very same death bed, the ultimate destination. The death bed, surrounded by rituals, hymns and emotions is not a liminal place, however the paths leading to that pyre are. They are meant to give emotions a buffer space but the effects aren’t always positive. The paths being liminal both mentally and physically provide us with an opportunity to cater, through design, to the users’ mental distress in that moment.

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//Manoshyam | Introduction//

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Starting from the very beginning When I came into this world, People assembled around me, While they were happy, I was nervous, But being the centre was fun. I grew up in a regular neighbourhood, Made friends for life Soon I became old enough to get married, Being the centre once again That was fun. Seeing happy faces made me happy. Eventually people started leaving, First my father, then mother, then my peers and other loved ones More often than ever I ended up at places, Places which are only visited on account of social obligations, Places that had passed into oblivion These places were cut-off, harsh and rough, Unmaintained. But I had a responsibility on my shoulders, On entering these spaces Thoughts like, “I should pay my last farewell without any mistake” “Am I doing this correctly?” Were the only ones that occupied my mind. Undefined entrances and vague paths made me question “Am I at the right place?” “Is this place supposed to be like this?” The dead stillness of the place wasn’t inviting, Apart from passing al eerie sensation. I shortly reach the ultimate destination, The beginning of the very end. ‘The celebrated place’, Though it felt quite opposing. If I were to be honest, I thought ‘I have nothing more to lose’ Soon that time came When I had to leave,

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//Manoshyam | The Journey//

Farewell to my loved one, Beginning a new journey, With passed on duties. The irreversible departure, The path looked like an unending road, Bare and adorned, Leading to nowhere. Leaving that space was hard, Parting from that place wasn’t the only parting I was undergoing The path taken reflected dejection, Making me feel abandoned, Subsequently misery prevailed, And sorrow settled upon me. This path was blank, “What will happen when I die?” Times have changed, so have these spaces, Perhaps, affected by my similar state of being, This, eventually, felt unreal, not right, This very path was leading me back to a dark reality The concrete jungle, the place, I had left, a while back, wishing never to return But there was no other way, I had to go back to my family at home All surpassed my emotions. My thoughts often wander, Towards the question, spaces have developed, Maybe the path now isn’t that lifeless, The departure isn’t that painful, And the reality isn’t that harsh, Maybe it has changed To what my grandmother used to say ‘A celebrated place’, I wonder if I’ll be happy again, To be the centre again, And will my loved ones who were happy on seeing me Be the centre of attention Be happy again? On my last farewell?

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//Manoshyam | The Destination//

The pessimistic picture of death takes away the identity of cremation grounds as a sacred place. A body after death leaves all materialistic and social holdings and unites back with nature. The design entwines nature and death in the same manner. Nature presents the death bed in a positive environment regaining its identity of a holy place. The user enters in a subconscious state only aware of the destination- the burning pyre. The designed path intends on bringing the user from materialistic world to the lap of nature, keeping the path liminal, focusing solely on the pyre, comforting the user subliminally. The same path later aids in regaining his consciousness into the reality, distracting his mind from the current gloomy outlook by incorporating natural element for subtle transition. It demands users attention, fading away the liminality.

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TARANG Aanganwadi Furniture // t·uh·r·uh·n·g//

Hands On Design Build Bhopal, Madhya Pradesh 2018-2019 Academic: Product Design (Group work) /what do you need, want or desire/

Aanganwadi means ‘courtyard shelters’, they are rural child care centres to cater to children’s health and nutrition and intiate their mental and physical development. These rural aanganwadi’s often fail to fulfill their purpose due to lack of facilties and infrastructure. The purpose of this project is to provide such infrastructure by understanding the user aspect of design. What a place, a person, and a situation demands, expects and wishes, the needs, wants and desires. The children in Saadhna aanganwadi faced lack of proper furniture for kids to study and play equipments for development of motor skills. The economic conditions of the aanganwadi demanded cheap and easy to make yourself design and materials. Majority of the materials used were wastes and scarps which could be collected from local printing, cloth and tailor shops. The technique of contruction was made simpler for teachers to make or any local carpenter to follow. in the end the focus was to make it fun and interesting for kids to use. the element of curiosity and fun generated from modularity of product is what keeps kids involved.

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//TARANG-Aanganwadi furniture | View//

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//TARANG-Aanganwadi furniture | Concept and Assembly//

LET’S START? STEP 1

Start with a 6mm Plyboard and fillet the edges round. Plyboard 6mm

STEP 2

Mark the dia of the carboard tubes on each corner and make a depression.

STEP 3

Fix the cardboard tubes in the depressions with adhesive.

Cardboard Tubes

STEP 4

Use L joints and screws to bolt the cardboard tubes securely to the board.

L joints, Screws, Bolts

STEP 5

Use thinner paper tubes as horizontal braces and fix them with adhesives. Cover the L-joints with ropes or threads to avoid sharp edges.

Carboard sheets

Fabric patchwork

STEP 6

turn over the “patta”. Use carboard sheet to add cushioning to it. Use flex sheet as waterproof material.

STEP 7

Sew a patchwork fabric from waste cloth cuttings and use it as a decorative cover.

STEP 8

Sit and test for any weak joints and fix them!

Flexsheet

Rope orThread

ITS READY!! Plastic Mesh, Rubber balls

PATTA- DO IT YOURSELF!

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//TARANG-Aanganwadi furniture | Photographs//

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ORIGAMI Architecture Of Folds //o · ruh · gaa · mee//

Magic Of Folds India 2019-2021 ORITECTURE-Research Paper (Academics) /How folds work in Architecture?/

‘Ori’ in Japanese stands for folding. Folding as a tool to develop forms, create connections and enhance motions was developed by nature. All morphogenesis and evolution in nature is in fact an attempt to constantly improve upon the act of folding and unfolding. The beauty of transforming any 2d shape to neat, stable 3d forms with couple of creases is what make folding today a popular design tool. Humans started folding with fragile materials, learned the effect of folding on those materials and experimented with more vast materials at different scales. For designers and architects, acts of physical folding can be a powerful and illustrative process of design. There is a need to explore how ‘ORI’ can be integrated with Architecture to create a new style with its own aesthetics, materials, qualities and technology.

o.ri.gami

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//ORIGAMI-Architecture Of Folds//

10 SIDED WHIRPOOL SPIRAL By Tomoko Fuse

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TAJ MAHAL KUSUDUMA

TRUNCATED ICOSAHEDRON WHIRPOOL STAR

This beautiful cube ring is folded with 144 units of 12 colour papers. It is one of the very popular model in modular origami. As the name suggests the folds as inspired by islamic patterns.

One of the most beautiful models ever folded with spirals. Its a modular spiral kusudama folded from 32 units. As in the first look the model represents the sun.

PIGGY?

GALAXY IN FOLDS

Folded in traditional origami style. No glue or instruments used.

Folded with 4 colours and V- pleating in herrignbone tessellation. The form represents the night sky with outer galaxy in view.

By Lewis Simon

By Jo Nakashima

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By Tomoko Fuse

Self

//ORIGAMI-Architecture Of Folds//

GREEN HELIX SPRING

RISING FROM THvE SEA

Inspired from the folded leaves on plant the helix collapse and reopens showcasing the amazing proeprties of paper.

This 44 unit structure folded from the triamgular units. It represents a rising water tornado from the sea.

By Jeff Beynon

By Tomoko Fuse

COMPOUND OF 5 OCTAHEDRA

DIAMOND WINDOW CUBE TORUS

Excellent modular model folded with 30 units of 5 colours.

This beautiful cube ring is folded with 144 units of 12 colour papers.

By Meenakshi Mukherji

By Lewis Simon

//Ritika Singhal Portfolio//

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//ORIGAMI-Architecture Of Folds | Oritecture-Research Paper//

ORITECTURE

//Approaching Architectural Design from learnings of Origami// Seminar VII semester

Origami for years have been considered as an art form and it wasn’t until 20th century that its potentials in sciences and mathematics were explored. It was the work and study of various mathematicians which lead to application of origami/folding into structural design. There are hundreds of examples where folding has been used in nature as a structural and functional form. Plant leaves, insect wings, human limbs, flowers etc have been using the deployable mechanisms for stability and efficiency. “Even DNA is folded- you are I are born from folding” -Paul Jackson, excerpt from ‘between the folds.’ Over the years, such acts of folding and unfolding allowed us to achieve better suitable and desired connections, structurally efficient forms and useful and smooth motions. Kostas Terzidis, in his book ‘Expressive Form’, defines the act of folding as: “an intricate process that addresses one of form’s most existential qualities: the cross from one dimension into another. It is a process that involves changes that extend the geometrical properties of an object while preserving its topology. A piece of aluminium foil, for instance, when crumpled to form a ball-like shape, embodies the properties of a three-dimensional solid object despite the fact that it is a two-dimensional surface.” Oritecture is a term coined by Ar. Ankon Mitra, which combines Architecture with Origami. In the fields of architecture, design and structures, the capabilities of folding strategies were explored and methods were generated to achieve spatial and structural concepts. The impact of folding knowledge in the field of architecture often goes un-noticed. Every student, professional has in some or other way used the knowledge to achieve the desired form. The recent developments in the field of origami can be very useful for these students while seeking inspiration behind a design problem. In a typical origami inspired design problems, the goal is usually to achieve 3 dimensional forms or objects from some 2-dimensional material or sheets, or the reverse of deploying a 3-dimensional form to compact 2-dimension folded form. To achieve results like this, a good amount of experimentation to the existing forms and exploration of new form goes. The desired form or proposed solutions have to be compatible with existing technologies or new ideas for the same are also explored and developed. Such experimentation today has led to development of numerous tools and media, which helps designers and architects through computational design. “In the beginning we didn’t know what would be possible, but then we tried to push the limits and eventually found that everything could be made” – Erik Demaine, excerpt from ‘between the folds’ Origami as an art forms also corresponds to various design problems. The colours, patterns, tessellations also sometimes become a source of inspiration to designers. It has been very often noticed, how very geometric designs, or polygonal designs are often compared to origami or said to be inspired by it even when they barely incorporate folding. With this art form gaining attention and popularity in recent times allows for more opportunities of development in the field and it can be easily foreseen that this art will make significance contribution in the near future.

//Ritika Singhal Portfolio//

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//Ritika Singhal Portfolio//

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RITIKA SINGHAL +91-8800543202

ritikasinghal1998@gmail.com