RAGA ANUBHAVA

(INDIAN MUSIC EXPERIENCE CENTRE)

 PROJECT JUSTIFICATION
 RESEARCH COMPONENT
 CASESTUDIES
 SITE SELECTION

MANSI RAJU ADSUL

5TH YR
B-01
 PROJECT JUSTIFICATION
• As there are so many places which relate to music such as museums,
Amphitheatre, galleries with many different displays of cultural heritages,
GALLERI
ES traditions related to music, concert halls, auditorium, exhibitions with light,
SINGERS,
MUSICIA
EXHIBITI
ONS/
color and sound which relate to music but these spaces are not present in
NS,
PIONEER
INSTALLA
TIONS
one place all at once.
S
• This project will include all these types using the design aspects and a
project in which every style and type of music can be displayed.
STYLES
CONCER
T
• All the instruments, cultural heritage, traditions, evolution of instruments,
AND
TYPES
HALL/AU
DITORIU
music and cultures with respect to music in India. Just a place where every
EXPERIENC
E CENTRE
M music can be seen and shown and experienced.
• This project focuses more on the experience rather than the educational
aspect.
VISUAL, CULTUR • Visual, sensual, Virtual, Live experience space in which a person can
VIRTUAL AL
, HERITAG experience music using so many different aspects.
SENSUAL ES
 NEED OF THE PROJECT
LIGHT,C
INSTRU
MENTS OLOR,SO • Different instruments
UND
• Different culture , music, arts and performance which cant be seen
• People enjoy the music but without the instruments there wont be any music
(understanding of instruments )
• Unseen music styles and unseen arts and performances can be seen
• Music and arts heritage and the evolution with different aspects
• Many different pioneers involving in music
• An opportunity for many budding artists
 AIM
To design a center in which every aspect related to music is shown through
visual, virtual and live experience for every age group.
 OBJECTIVE  SCOPE
(How different spaces can be involved with many interesting areas also displaying the • An opportunity for new budding artists.
important aspects in music and how they can be used to design a space accordingly) • Where so many styles of music can be introduced.
(The best virtual, real, free, calm, experience in music which will be public oriented and • Different types of instruments can be introduced.
mostly focused on the experience of the space.) • Different cultures, arts and performance can be introduced.
• Display Area for Many Different Instruments • The pioneers, musicians can be introduced.
• An Area for The Manufacture of Instruments Where People Can Also See How • The evolution and aspects through the evolution can be
Different introduced.
Instruments Are Made • How music is in every building can be introduced.
• An Area Where the Techniques for Designing Instruments from The Ancient Times till • How music can help in healing a person can also be introduced.
Now How It Has Evolved
• An Area Which Displays How in A Culture, Society, Etc. Has Its Own Music and How
Music Gave
 LIMITATIONS
It an Identity with Different Traditions, Dances, Songs with Different Languages. • The research is limited to the study of instruments, pioneers,
• How Music Can Be Connected to Colors and Different Sounds singers.
• How Using Different Styles of Music Can Make Its Own Scheme of Colors or A Painting • The research is focusing more on the experience part rather than
• How Colors Can Make Their Own Sounds educational part.
• Interactive Spaces Using Installations and Advanced Technology Where People Can Be • The research is also limited to these aspects:
Social and a) Data collection
How A Space Can Be Interactive to The User b) Architectural aspect
• How Music is used as a healing center through design aspect c) Music as a healing concept
• There Are So Many Different Styles of Music Also Arts and Performance Which Has
Not Been
Seen:
A Place Where All Types of Music Can Be Enjoyed and Dances of So Many Identities Can
Be shown
o Amphitheatre
o Concert Hall
o Auditorium
• Leisure outdoor spaces
RESEARCH COMPONENT
a) Data collection
b) Architectural aspect
c) Music as a healing concept
A. DATA COLLECTION
(SHOWN THROUGH TIMELINES, FLOWCHARTS.)
– ORIGIN OF MUSIC
– MYTHS OF MUSIC
– MUSIC THROUGH TIMES
– EVOLUTION AND INFLUENCE OF MUSIC
– TYPES AND STYLES OF MUSIC
– FAMOUS MUSICIANS, ARTISTS, COMPOSERS, STYLE OF MUSIC,
DIFFERENT
INSTRUMENTS, ETC IN ALL THE ABOVE TYPES AND STYLES.
– PIONEERS OF SINGERS, MUSICIANS, COMPOSERS, ARTS AND
PERFORMANCE
OF DIFFERENT CULTURE AND TRADITIONS THROUGHTOUT TIME.
– INSTRUMENTS USED, INSTRUMENTS EVOLVED, EXTINCT
INSTRUMENTS
– INSTRUMENTS USED BY FAMOUS MUSICIANS, SINGERS,
CULTURES,
TRADITIONS, ETC
B. ARCHITECTURAL ASPECT
(BASED ON SOME CASESTUDIES)
a) FACADE
DYNAMIC FAÇADE
KINETIC FAÇADE
FAÇADE DESIGNING USING MUSIC
ELEMENTS

THE BUND FINANCE CENTER, CHINA

AL BAHAR TOWER, ABU DHABI

GALLERIA CENTERCITY, SOUTH KOREA

 b) INTERIOR DETAILS AND AREAS
(BASED ON THE CASESTUDIES AND OBJECTIVES.)

VIRASAT –E- KHALSA , PUNJAB MUSEUM OF MECHANICAL MUSIC INTERACTIVE MUSIC EXPERIENCE,BENGALURU

MUSICAL INSTRUMENT MUSEUM, INDIAN MUSIC EXPERIENCE, BANGALORE WELCOME COLLECTION,LONDON

NORTH PHOENIX
 c) STRUCTURAL ELEMENTS, INSTALLATIONS, VIRTUAL (ALL THESE DETAILS RELATED TO
SOUND, COLOR AND MUSIC)

FEELINGS ARE FACT (OLAFUR NETHERLANDS MEDIA ART INSTITUTE IN AMSTERDAM.

 ELIASSON AND MA YANSONG)

INTERACTIVE WALL AT A CHILDREN’S HOSPITAL BOUNDARY FUNCTIONS (SCOTT SNIBBE)

LINES-INTERACTIVE SOUND ART
A corridor of the Netherlands Media Art​Institute in Amsterdam. 

• THERE ARE SEVERAL MOODS WITHIN

THE LANDSCAPE; WHEN NOBODY IS THERE,
IT WILL FALL ASLEEP– GLOOMING SOFTLY – BUT
THEN AS SOON AS YOU ENTER,
LIGHT APPEARS WHERE YOU WALK, AS AN
EXTENSION OF YOUR ACTIVITIES .

• IN THIS LED GRID OF 46 COLUMNS, EACH OF

WHICH PLAYS ITS OWN PIECE OF MUSIC,THE NOTES
GENERATE CHANGING COLOURS IN REAL TIME. UVA
DESIGNED THE​
INSTALLATION TO WORK WELL AS AN EXPERIENCE
ON DIFFERENT SCALES: WITH NO PEOPLE,​
WITH ONE PERSON, WITH LESS THAN 10 AND WITH
MUCH LARGER NUMBERS OF PEOPLE.
 M
SY USI
NE C
ST IN
HE BU
SIA ILD
AR IN
T GS
 C. MUSIC AS HEALING CONCEPT
SO M
UN USI
D C
TH TH
ER ER
AP AP
Y Y

SINGING BOWLS THERAPY TUNING FORK THERAPY HARP SOUND THERAPY

SINGING BOWLS THERAPY PAN FLUTE THERAPY DRUMS MUSIC THERAPY

 CASESTUDIES IDENTIFICATION
• SANGEET NATAK AKADEMI, GALLERY OF MUSIC INSTRUMENTS
AND MASKS, NEW DELHI
Display and collection of instruments. • VIRASAT- E- KHALSA, PUNJAB
Mask gallery. Information about the place
Information about the museum. History of the place
All the list of instruments displayed. Plans, sections.
Proposed activities and events. Pictures
Pictures.
• INDIAN MUSIC EXPERIENCE, BENGALURU
• SHARAN RANI GALLERY OF MUSICAL INSTRUMENTS, NATIONAL Layouts, design, spaces, elements, facade, exhibits, galleries, architectural aspects.
MUSEUM DELHI
Instruments from across India. • INDIAN MUSIC EXPERIENCE, BANGALORE
Information and history about the place. Layouts, design, spaces, elements, facade, exhibits, galleries, architectural aspects.
Pictures.
Instruments of famous people. • MUSICAL INSTRUMENT MUSEUM- RSP ARCHITECTS, NORTH PHOENIX
Layouts, design, spaces, elements, facade, exhibits, galleries, architectural aspects.
• NORTH CAOLINA MUSEUM OF ART: YOU ARE HERE,
LIGHT COLOR AND SOUND EXHIBITION • MUSEUM OF MECHANICAL MUSIC
Different exhibitions. Layouts, design, spaces, elements, facade, exhibits, galleries, architectural aspects.
Information about the museum.
Floor plan. • MUSEUM DISPLAY CASES, GLASBAU HAHN
Pictures. For galleries and exhibitions cases material case study as to how the cases can be custom
Different installations of many artists. made
of any shape and size.
• WELCOME COLLECTION, LONDON
Exhibitions, activities, different programs.
Information about the place.
Plans, sections, drawings of the place.
Different spaces for exhibitions.
Pictures.
 SANGEET NATAK AKADEMI, GALLERY OF MASKS AND MUSICAL
DESCRIPTION INSTRUMENTS FOCUS/INFLUENCE
• ESTABLISHED IN 1964, LOCATED IN NEW DELHI, RABINDRA
BHAWAN, 35 FEROZESHAH ROAD
• THE SANGEET NATAK AKADEMI ESTABLISHED THEIR
MUSEUM WITH THE AIM OF PRESERVING AND PROMOTING
THE PERFORMING ARTS OF INDIA.
• GALLERY OF MUSICAL INSTRUMENTS WAS INAUGURATED
BY VIOLINIST YEHUDI MENUHIN IN 1964.
• THE GALLERY OF MUSICAL INSTRUMENTS IS ALSO CALLED
‘ASAVARI’, MEANING ‘SPIRIT OF THE HEAVENS’.
• THE GALLERY OF MUSICAL INSTRUMENTS HAS OVER 200
INSTRUMENTS ON PERMANENT DISPLAY. THE COLLECTION
IS DIVIDED INTO PERCUSSION, WIND AND STRING
INSTRUMENTS.
• THERE ARE ABOUT 600 MUSICAL INSTRUMENTS, OUT OF
WHICH 250 ARE ON PERMANENT DISPLAY.
• THE MUSEUM ALSO HAS A COLLECTION OF RARE
INSTRUMENTS, INCLUDING THE KACHWA SITAR (NORTH
INDIA) AND GETTU VADYAM (TAMIL NADU), WHICH ARE
MUST-SEE EXHIBITS.
• IT HAS SO MANY VARIETY OF MASKS FROM ALL OVER
INDIA,THE FAMOUS ONES ARE THE CHHAU MASKS OF
JHARKHAND. 
• IT HAS WHEELCHAIR FRIENDLY ARCHITECTURE.
• AS THE MUSEUM HAS ABOUT SO MANY
DIFFERENT INSTRUMENTS IT WOULD BE
OF SO MUCH HELP IN THE THESIS AS
THE TOPIC HAS INSTRUMENTS OF SO
MANY DIFFERENT TYPES.
• RARE INSTRUMENTS
• TYPES OF INSTRUMENTS FROM ALL
OVER INDIA
• AS THE LIST OF INSTRUMENTS ARE
AVAILABLE
• SO MANY DIFFERENT ACTIVITIES,
EVENTS, PERFORMING ARTS IS HELD
• THE MAIN FOCUS OF THIS CASESTUDY
WILL BE THE INSTRUMENTS AND HOW
SO MANY INSTRUMENTS ARE DISPLAYED
FROM ALL OVER INDIA.
 SHARAN RANI GALLERY OF MUSICAL INSTRUMENTS ,
DESCRIPTION NATIONAL MUSEUM DELHI
FOCUS/INFLUENCE
• THE MUSEUM HAS A COLLECTION OF 450 OLD AND RARE
INSTRUMENTS FROM VARIOUS REGIONS OF INDIA,
DEPICTING DIFFERENT MUSICAL TRADITIONS.
• OF THESE, 207 OBJECTS ARE CURRENTLY ON DISPLAY.
• MOST INSTRUMENTS BELONG TO THE 17TH -19TH CENTURY
PERIOD,BUT THERE ARE SOME THAT DATE AS FAR BACK AS
THE 15TH CENTURY.
• ‘SHARAN RANI BACKLIWAL’- BORN INTO A FAMILY OF
DELHI’S BUSINESSMEN AND EDUCATIONISTS, WENT ON TO
BECOME INDIA’S FIRST SAROD PLAYER.
• SHE TRAVELLED EXTENSIVELY FOR PERFORMANCES AND
COLLECTED OLD AND RARE INSTRUMENTS FROM
WHEREEVER SHE WENT.
• SHE DONATED HER ENTIRE COLLECTION TO THE NATIONAL
MUSEUM, FIRST IN 1980, THEN IN 1982 AND AGAIN IN 2003.
• THEREFORE, THE GALLERY OF MUSICAL INSTRUMENTS IS
THEREFORE NAMED AFTER HER, AS A TRIBUTE.
• AS THE MUSEUM HAS ABOUT SO MANY
DIFFERENT INSTRUMENTS IT WOULD BE
OF SO MUCH HELP IN THE THESIS AS
THE TOPIC HAS INSTRUMENTS OF SO
MANY DIFFERENT TYPES.
• RARE INSTRUMENTS.
• TYPES OF INSTRUMENTS FROM ALL
OVER INDIA.
• THE MAIN FOCUS OF THIS CASESTUDY
WILL BE THE INSTRUMENTS AND HOW
SO MANY INSTRUMENTS ARE DISPLAYED
FROM ALL OVER INDIA.
 NORTH CAROLINA MUSEUM
•OF ART BLUE RIDGE ROAD
LOCATION: 2110 VISITORS
RALEIGH, NORTH CAROLINA 27607  PARKING
• ARCHITECT: THOMAS PHIFER AND PARTNERS
• PROJECT TYPE: MUSEUM/CULTURAL CENTER
PARKING
PARK/OPEN SPACE
• SIZE: 38 ACRES / 1,53,781 SQ.M 
• LANDSCAPE ARCHITECT: LAPPAS + HAVENER, PA, DURHAM, N.C. MUSEUM
• ENTRY
CLIENT: NORTH CAROLINA MUSEUM OF ART
• COMPLETION DATE: 2010
SITE ENTRY
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• THE NORTH CAROLINA MUSEUM OF ART IS SITUATED ON 164-ACRES OF PICTURESQUE ROLLING HILLS IN
ONE OF THE FASTEST GROWING URBAN REGIONS IN THE COUNTRY.
• THE MUSEUM EMBODIES THE HEART OF VISUAL ARTS AND DESIGN FOR THE ENTIRE STATE. IN ADDITION TO
EXTENSIVE INTERIOR GALLERIES, THE MUSEUM HAS CREATED ONE OF THE LARGEST CURATED ART PARKS
IN THE WORLD.
• THE LANDSCAPE ARCHITECT WAS ENGAGED TO DEVELOP A COMPREHENSIVE MASTER PLAN FOR THE
PARK, AS WELL AS THE DESIGN AND CONSTRUCTION OF THIS PROJECT, WHICH ENCOMPASSES 28.3 ACRES
OF SCULPTED \ LANDSCAPES, GARDENS AND PROGRESSIVE STORMWATER FEATURES THAT COMBINE TO
CREATE A SYSTEMS-BASED LANDSCAPE 
• THE PROJECT WAS A MAJOR COMPONENT OF AN AMBITIOUS MUSEUM EXPANSION THAT INCLUDES A
127,000-SQUARE-FOOT WING HOUSING NEW GALLERIES.
•  A SUCCESSION OF WALL PLANES, MANY FREESTANDING WITHOUT REACHING THE CEILING, DELINEATE
SEPARATE GALLERIES. INSTEAD OF FULLY ENCLOSED ROOMS, EACH GALLERY HAS AT LEAST ONE OPEN
CORNER, INVITING FLUID MOVEMENT.
• THE MUSEUM’S LAYOUT IS NON-CHRONOLOGICAL, PRESCRIBING NO SPECIFIC ROUTE OR SEQUENCE.
• THE FACADE—A RAIN SCREEN OF PALE, MATTE ANODIZED-ALUMINUM PANELS—CARRIES ON THE
DISCOURSE WITH THE LANDSCAPE. THESE ALUMINUM SHEETS, ARRAYED LIKE GREAT VERTICAL PLEATS OR
SHINGLES, SOFTLY PICK UP SURROUNDING COLORS AND MOVEMENT.
 CONTEMPERORY
MODERN AND
MUSEUM STORE

ZONING
INFORMATION

EXIT
EUROPEAN

CLASSICAL
ANCIENT EGYPTIAN
ANCIENT
AMERICAN
PORTRAITS
EUROPEAN

AMERICAN
PLAN JUDALC

SECTIONS
WELLCOME COLLECTION ,
•LONDON
LOCATION: 183 EUSTON ROAD, LONDON NW1 2BE, UK 
• ARCHITECT: WILKONSON EYRE
• PROJECT TYPE: EXHIBITION/STUDIO/HUB/EVENTS
• SIZE: 4 ACRES / 16,000SQ.M
• COMPLETION DATE: 2015

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• WELLCOME COLLECTION IS A WORLD FIRST. IT COMBINES THREE
CONTEMPORARY GALLERIES TOGETHER WITH THE WORLD-FAMOUS
WELLCOME LIBRARY, PUBLIC EVENTS FORUM, CAFÉ, BOOKSHOP, CONFERENCE
CENTRE AND MEMBERS’ CLUB, TO PROVIDE VISITORS WITH RADICAL INSIGHT
INTO THE HUMAN CONDITION.
• WELLCOME COLLECTION BUILDS ON THE VISION, LEGACY AND PERSONAL
COLLECTION OF WELLCOME TRUST FOUNDER SIR HENRY WELLCOME, AND IS
PART OF THE TRUST’S MISSION TO FOSTER UNDERSTANDING AND PROMOTE
RESEARCH TO IMPROVE HUMAN AND ANIMAL HEALTH.
• THE NINE-STOREY BUILDING HOUSES MORE THAN 1,300 EXHIBITS ACROSS
THREE GALLERIES. BRINGING TOGETHER THE WORLDS OF ART, SCIENCE AND
HISTORY THEY RANGE FROM THE BIZARRE TO THE BEAUTIFUL, THE ANCIENT TO
THE FUTURISTIC.
• EXAMPLES INCLUDE WORK BY ARTISTS SUCH AS ANTONY GORMLEY,
LEONARDO DA VINCI, ANDY WARHOL, MARC QUINN, JOHN ISAACS, CHRISTINE
BORLAND AND MARTIN PARR, AS WELL AS AZTEC SACRIFICIAL KNIVES,
19THCENTURY SEX AIDS, AMPUTATION SAWS, NELSON’S RAZOR AND A DNA-
SEQUENCING ROBOT.
• ORIGINALLY WELLCOME COLLECTION WAS PREDICTED TO RECEIVE VISITOR
NUMBERS OF AROUND 100,000 A YEAR, BUT BEFORE DEVELOPMENT WORKS
BEGAN IN 2013 THE VENUE WELCOMED MORE THAN 550,000 PEOPLE A YEAR.
• WELLCOME COLLECTION, TOTAL SIZE 16 000 M2, IS CENTRED AROUND ON
SUBSTANTIAL GALLERIES TOTALLING 1350 M2
1. SPECIAL EXHIBITIONS (650 M2).
2. MEDICINE MAN (350 M2)
3. MEDICINE NOW (350 M2)
•  WORKING WITHIN THE CONFINES, WILKINSON EYRE THE ARCHITECT HAS
SUCCEEDED IN CREATING 40% MORE EXHIBITION SPACE, ALONG WITH A NEW
READING ROOM, A NEW YOUTH EVENTS SPACE (THE STUDIO), AND A NEW
RESEARCH AREA (THE HUB). GROUND FLOOR PLAN
FIRST FLOOR PLAN SECOND FLOOR PLAN

THIRDFLOOR PLAN SECTION

MUSICAL INSTRUMENT
•MUSEUM
LOCATION: 4725 E. MAYO BLVD.
PHOENIX, AZ 85050  PARKING
• ARCHITECT: : RSP ARCHITECTS
• PROJECT TYPE: MUSEUM
MUSEUM
• SIZE: 22 ACRES / 17,650 SQ.M 
ENTRY
• COMPLETION DATE: 2010

SITE ENTRY
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 S T
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FIRST FLOOR PLAN

• THE NEW 190,000 SFT MUSICAL INSTRUMENT MUSEUM (MIM),

DESIGNED BY RSP ARCHITECTS OPENED IN APRIL 2010 ON A 22-ACRE
SITE IN NORTH PHOENIX. DESIGNED BY RSP ARCHITECTS WITH
RICHARD VARDA, FAIA, MIM WAS COMPLETED IN 39 MONTHS. 
• THE MODERN MASSING AND MIX OF SIMPLE FORMS .
• THE CENTRAL CIRCULATION SPACE, WHICH CUTS NORTH-SOUTH
THROUGH THE SOLID MASSES OF THE MUSEUM, ACTS AS THE
PRIMARY ORGANIZING ELEMENT.
• IT GRACEFULLY CONNECTS THE THEATER, GALLERIES AND
COURTYARDS.
• MIM’S HAS APPROXIMATELY 3,000 OF THEIR 12,000 INSTRUMENTS
AND OBJECTS COLLECTION ON DISPLAY IN GALLERIES THAT FOCUS ON
FIVE GLOBAL REGIONS. THERE IS ALSO A SPECIAL ARTIST GALLERY
THAT FEATURES NOTEWORTHY INSTRUMENTS PLAYED BY MANY OF
THE WORLD’S LEADING MUSICIANS.
• SUSTAINABLE FEATURES INCLUDE AN EXTERIOR SUNSCREEN WALL
APPLICATION FOR THE STONE, FLY ASH IN THE CONCRETE, 25,000 SF
OF PHOTOVOLTAIC SOLAR PANELS ON THE SECOND-STORY ROOF
AREAS, A CHEMICAL-FREE CHILLED WATER SYSTEM AND A GREY
WATER IRRIGATION SYSTEM.
• 450-FOOT-LONG FLOWING RIVER-LIKE CORRIDOR CALLED “EL RIO”
THAT CREATES THE SPINE OF THE MUSEUM, LINKS THE CENTRAL
ATRIUM TO THE INTERIOR GALLERIES, AND OFFERS CHANGING
VIEWS OF THE SPACE. GROUND FLOOR PLAN
MUSEUM OF MECHANICAL
•MUSIC
LOCATION: RUA DOS ALEGRIAS, QUINTA DO REI - ARRAIADOS, 1955-281
PINHAL NOVO, PORTUGAL  PARKING
• ARCHITECT: MIGUEL MARCELINO
• PROJECT TYPE: MUSEUM/EXHIBITON
• SIZE: 1 ACRES / 1040 SQ.M  SITE ENTRY
• LANDSCAPE ARCHITECT: VIVIANA RODRIGUES + MIGUEL MARCELINO
• COMPLETION DATE: 2016 SITE EXIT
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POOL/ TENNIS
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• MUSEUM FOUNDER LUÍS CANGUEIRO’S CHILDHOOD HOUSE HAD AN ORGANETTE IN IT—
A HAND-CRANKED, TABLE-TOP MUSIC INSTRUMENT THAT IS MUSIC BOX AND RECORD
PLAYER ALL ROLLED INTO ONE. FOND MEMORIES OF THIS 19TH-CENTURY INSTRUMENT
TURNED CANGUEIRO INTO A COLLECTOR LATER IN LIFE.
• STARTING HIS COLLECTION IN 1986, IT HAS GROWN TO MORE THAN 600 PIECES RANGING
FROM MECHANICAL ZITHERS, TO GRAMOPHONES, TO EXAMPLES OF THE ONE THAT
STARTED IT ALL, THE ORGANETTE.
• THE MUSEUM CONSISTS OF A COMPLETELY CLOSED, OPAQUE AND ABSTRACT BOX. JUST
THE MAIN FAÇADE HAS A CONCAVITY THAT MARKS THE ENTRANCE OF THE BUILDING. IT
HOUSES A PRIVATE COLECTION OF MECHANICAL MUSIC BOXES.
• THE ORGANIZATION IS CRUCIFORM, AROUND A CENTRAL PATIO, THAT DISTRIBUTES TO
THE BUILDINGS FOUR SIDES.
• IN ONE SIDE THERE IS THE LOBBY, THAT WORKS AS A VERTICAL DISTRIBUTION SPACE, AND
TO THE OTHER SIDES ARE THREE GALLERIES OF VARYING SIZES. THE TRANSITION
BETWEEN EACH OF THESE FOUR SPACES IS DONE THROUGH FOUR ANTECHAMBERS.
 SECTION CC’ SECTION DD’

LOBBY (VERTICAL DISTRIBUTION)

ANTECHAMBERS
CENTRAL PATIO

GALLERIES
GR. FLOOR AUDITORIUM

SECTION AA’ SECTION BB’ FI. FLOOR

 VIRASAT-E-KHALSA (KHALSA
HERITAGE CENTRE) SAHIB,PUNJAB 
• LOCATION: ANANDPUR
PARKING
• ARCHITECT: MOSHE SAFDIE
PROJECT TYPE: CULTURAL HISTORIC MUSEUM
• SIZE: 100 ACRES / 4,04,686 SQ.M  SITE ENTRY
• BUILT UP: 40 ACRES
• COMPLETION DATE: 2008
SITE EXIT
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MUSEUM

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WATERBODY
 BRIDGE WESTERN COMPLEX
EASTERN COMPLEX
WESTERN COMPLEX
COMPLEX C
16%

EASTERN COMPLEX
50%
34%

AUDITORIUM, LIBRARY, TEMPORARY EXHIBIT

GALLERY, MEETING ROOMS, MECHANICAL ROOMS

PERMANENT EXHIBIT BUILDING,HERITAGE

BUILDING, PETAL BUILDING,OFFICE AREAS, STORES

KITCHEN, CAFETERIA
SITE PLAN
SITE PLAN

1. Permanent exhibit gallery

2. Multimedia gallery
3. Heritage museum
4. Porch
5. Entrance plaza
6. Entry
7. Bridge
 • ARCHITECT MOSHE SAFDIE, WHO IS A BOSTON BASED ISRAELI ARCHITECT, ALONG WITH HIS ASSOCIATE ARCHITECT, MR. ASHOK
DHAWAN AND EXHIBITION DESIGNER, MR. AMARDEEP BEHL, FROM DELHI, CONCEPTUALIZED EACH SPACE BEAUTIFULLY BY
BALANCING THE RELIGIOUS FACTORS, THE REQUISITES OF THE VISITORS AND THE AESTHETICS OF THE SITE ITSELF. BY
DESIGNING THE MUSEUM AS AN ICONIC STRUCTURE, THEY MANAGED TO KEEP THE SENTIMENTS OF THE PEOPLE, THE
SIGNIFICANCE OF THE SITE CONTEXT AND THE SPIRIT OF THE SIKH HISTORY INTACT.
• THE WESTERN ZONE IS COMPARATIVELY SMALLER AND COMPRISES OF THE ENTRANCE PLAZA, AN AUDITORIUM OF 400 SEATS,
TEMPORARY EXHIBITION GALLERIES, A TWO-STORIED RESEARCH CENTRE AND A LIBRARY FULL OF JOURNALS, BOOKS AND
PERIODICALS ON SIKHISM, FOR A VAST VARIETY OF PEOPLE. THE EASTERN COMPLEX COMPRISES OF PERMANENT EXHIBIT
GALLERIES CELEBRATING 500 YEARS OF SIKH HISTORY AND 300 TH ANNIVERSARY OF THE KHALSA, THE SIKH ARMY. 
• AFTER A METICULOUS STUDY OF SIKHISM, THE ARCHITECTS DESIGNED THE FLOWER BUILDING THAT CONSISTS OF FIVE
INDIVIDUAL TOWERS, DEPICTING THE LIVES OF THE FIVE BELOVED SIKH GURUS OF GURU GOBIND SINGH. THE ROOFS THESE
TOWERS, MADE OF STAINLESS STEEL, ARE IN THE SHAPE OF THE PETALS OF A FLOWER. EACH PETAL HOUSES A GALLERY
TRACING THE LIFE HISTORY OF THE GURUS FROM BIRTH TO MARTYRDOM, AND ALSO CONTAINS THE HOLY BOOK OF SIKHS,
GURU GRANTH SAHIB, AT THE HIGHEST ALTITUDE IN THIS BUILDING OF THE EASTERN ZONE.
•  A 165-METRE BRIDGE FROM THE WESTERN COMPLEX PROVIDES PEDESTRIAN ACCESS TO THE EASTERN COMPLEX
LOWER LEVEL PLAN • A SERIES OF REFLECTING POOLS CREATE A SEVEN-ACRE WATER BODY BETWEEN THE TWO COMPLEXES. ARCADED WALKWAYS
AND GARDENS ON EITHER SIDE GENTLY CASCADE TOWARDS THE SERENE POOLS.
 

SECTIONS
UPPER LEVEL PLAN
 INDIAN MUSIC EXPERIENCE
•MUSEUM
LOCATION: BRIGADE MILLENIUM AVENUE, OPP.WOOD ROSE
CLUB, NAGAR 7 PHASE, BENGALURU, KARNATAKA - 560078
TH

• ARCHITECT: : ARCHITECTURE PARADIGM PVT LTD

• THE MUSEUM DESIGNER: GALLAGHER AND ASSOCIATES
• SOUND GARDEN DESIGNER: SVARAM MUSICAL INSTRUMENTS SITE ENTRY
AND RESEARCH
• PROJECT TYPE: MUSEUM, EXHIBITION.
• SIZE: 1.15 ACRES / 50,000 SQ.FT/ 4645SQ.M SITE EXIT
• CLIENT: BRIGADE GROUP
• COMPLETION DATE: 2018
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VACANTLAND
1- ENTRY
2- LOBBY/ SOUND GARDEN
3- TICKET COUNTER
4- BAGGAE AREA
5- RETAIL AREA
6- PANTRY
7- CAFÉ 8
8- OFFICE 9
9- CLASSROOMS
10- TOILET 7 10
11- DINING HALL 11
12- SERVICE ROOMS 6 12
13- ELECTRICAL ROOM
14- PLAZA 5
2
14 1 3 4 13

GR. FLOOR
5
1- PLAZA
3 2- MUSIC STORE
3- CAFÉ BELOW
4- BRIDGE
5- CLASSROOMS
4 7 6- THEATRE
7- WATER BODIES
2 7
5
6
1

FI. FLOOR
 • INDIAN MUSIC EXPERIENCE WHICH IS SUPPORTED BY THE GROUP KNOWN AS
BRIGADE GROUP IS A NON-PROFITABLE ORGANIZATION WHICH PRESERVES THE
1- GALLERY 01 MUSICAL HERITAGE OF OUR COUNTRY AND HELPING PEOPLE UNDERSTAND THE
2- AHU ROOM MUSIC CULTURE THROUGH EXHIBITS, INTERACTIVE ELEMENTS, GALLERIES.
3- TOILET • GIVING BACK TO THE FUTURE GENRATIONS AS THEY NEED TO HAVE THE
4- GALLERY 02 KNOWLEDGE OF OUR MUSICAL HISTORY SAYS THE CHAIRMAN AND THE

1 2 MANAGING DIRECTOR OF THE BRIGADE GROUP.

• SOUND GARDEN NEAR THE ENTRANCE HAS VARIETY OF INTERACTIVE ELEMENTS
3 SUCH AS SINGING STONES, TUBULAR BELLS, HUMMING STONES, XYLOPHONES.
• THIS HELPS THE USER TO FEEL THE MUSIC IN DIFFERENT WAYS BEFORE THEY
ENTER THE GALLERIES.
• A BUILDING OF THREE FLOORS COVERS AROUND 50,000 SQ.FT HAS TOTAL OF 9
GALLERIES WHICH SHOW DIFFERENT ASPECTS, HISTORY , EVOLUTION, ARTISTS IN
INDIAN MUSIC.
4 • THERE ARE OVER 100 INSTRUMENTS DISPLAYED IN ONE GALLERY WHILE THE
OTHERS DISPLAY THE MUSIC SCENE DURING FREEDOM STRUGGLE.
• SOME SPACES ALSO INCLUDE THE ORIGIN OF INDIAN CINEMA MUSIC AS WELL AS
THE SOUND RECORDING JOURNEY.
SEC.FLOOR • 8 THEMATIC GALLERIES, ONE INSTRUMENTS GALLERY WITH 250 INSTRUMENTS,
AND MANY TECHNICAL BASED INTERACTIVE INSTALLATION WHICH ALLOWS THE
1- OPEN AIR THEATER USER TO HAVE THE FULL EXPERIENCE.
3 2- GRAVEL COURT • THE BUILDING ALSO CONSISTS OF A LEARNING CENTER WHERE THE
3- RESTAURANT CURRICULUM IS BASED ON THE MUSIC EDUCATION ALSO THE DEVELOPMENT OF
2 4 4- PANTRY MUSIC TEACHING SCHOOLS.
5- TEMPERORY GALLERY • THE LEARNING CENTER HAS ABOUT 5 CLASSROOMS, A SEMINAR HALL AND
6- AHU ROOM LIBRARY TO HAVE WORKSHOPS AND LECTURES.
• THE BUILDING HAS AMENITIES ALSO SUCH AS CAFÉ, RESTAURANT, GIFT STORE
1 AND MUSICAL STORE.
5
6

TER.FLOOR
COMPARATIVE ANALYSIS
PLACE LOCATION
NORTH CAROLINA • RALEIGH, NORTH CAROLINA
• SITUATED ON 164-ACRES OF
MUSEUM OF ART PICTURESQUE ROLLING HILLS IN ONE
OF THE FASTEST GROWING URBAN
REGIONS IN THE COUNTRY.
WELLCOME • EUSTON ROAD, LONDON
• TRANSFORMATION OF THE
COLLECTION LONDON WELLCOME BUILDING, THE FORMER
HEADQUARTERS OF THE WELLCOME
TRUST, BUILT IN 1932 TO THE
SPECIFICATION OF SIR HENRY
SOLOMON WELLCOME (1853–1936).
MUSICAL INSTRUMENT • ON A 22-ACRE SITE IN NORTH
PHOENIX
MUSEUM • SITUATED IN A DESERT CLIMATE
REGION WITH MANY ISSUES
PLANNING INTERNAL PLANNING
• NON-CHRONOLOGICAL,
PRESCRIBING NO SPECIFIC
ROUTE OR SEQUENCE.
• , EACH GALLERY HAS AT LEAST
ONE OPEN CORNER, INVITING
FLUID MOVEMENT.
• NINE-STOREY BUILDING HOUSES
MORE THAN 1,300 EXHIBITS
ACROSS THREE GALLERIES.
• 40% MORE EXHIBITION SPACE,
ALONG WITH A NEW READING
ROOM, A NEW YOUTH EVENTS
SPACE (THE STUDIO), AND A NEW
RESEARCH AREA (THE HUB).
• 450-FOOT-LONG FLOWING RIVER-LIKE
CORRIDOR CALLED “EL RIO” THAT
CREATES THE SPINE OF THE MUSEUM,
LINKS THE CENTRAL ATRIUM TO THE
INTERIOR GALLERIES, AND OFFERS
CHANGING VIEWS OF THE SPACE.
MATERIALS SUSTAINABLE
FEATURES
• GLASS, ALUMINIUM • DUE THE SITE’S
SHEETS, STAINLESS PROMINENT LOCATION AT
STEEL, CONCRETE, ETC. THE TOP OF A REGIONAL
WATERSHED
• A SYSTEM OF BOTH
REQUIRED AND
VOLUNTARY
STORMWATER BEST
MANAGEMENT
PRACTICES INCLUDING
HIGH-INFILTRATION AND
STRUCTURAL SOILS,
PERVIOUS GRAVEL, AND
CISTERNS.
• LIMESTONE AND MAPLE
FLOORING, MARBLE,
MAPLE AND AMERICAN
WALNUT WALLS,
CONCRETE, STEEL AND ___
GLASS.
• INDIAN TEAK SANDSTONE • AN EXTERIOR
AND STUCCO SUNSCREEN WALL
•  FLY ASH , MULTI- COLORED APPLICATION FOR THE
STONES STONE, FLY ASH IN THE
• CONCRETE CONCRETE, 25,000 SF OF
PHOTOVOLTAIC SOLAR
PANELS ON THE SECOND-
STORY ROOF AREAS, A
CHEMICAL-FREE CHILLED
WATER SYSTEM AND A
GREY WATER IRRIGATION
SYSTEM.
PLACE LOCATION PLANNING INTERNAL PLANNING MATERIALS SUSTAINABLE
FEATURES

MUSEUM OF • PINHAL NOVO, PORTUGAL • THE ORGANIZATION IS • CONCRETE

• PINHAL NOVO, A TOWN IN THE CRUCIFORM, AROUND A
MECHANICAL SETÚBAL DISTRICT CENTRAL PATIO, THAT
INSTRUMENTS DISTRIBUTES TO THE BUILDINGS
FOUR SIDES.
• THE TRANSITION BETWEEN
EACH OF THESE FOUR SPACES ___
IS DONE THROUGH FOUR
ANTECHAMBERS.

VIRASAT-E-KHALSA • ANANDPUR SAHIB,PUNJAB • EASTERN COMPLEX- • SANDSTONE, STAINLESS

• MUSEUM IS A SIKH COMLEX AUDITORIUM, LIBRARY, STEEL
LOCATED ON A 100 ACRE SITE IN TEMPORARY EXHIBIT
ANANDPUR SAHIB. GALLERY, MEETING ROOMS,
MECHANICAL ROOMS.
• WESTERN COMPLEX-
PERMANENT EXHIBIT
BUILDING,HERITAGE
BUILDING, PETAL ___
BUILDING,OFFICE AREAS,
STORES.
• COMPLEX- C-KITCHEN,
CAFETERIA

INDIAN MUSIC • BENGALURU, KARNATAKA • 8 THEMATIC GALLERIES, 1 • CONCRETE, METAL, GLASS,

• MUSUEM NEAR BRIGADE MILENNIUM INSTRUMENT GALLERY, TOTAL ETC.
EXPERIENCE AVENUE SITUATED OPP.ROSE WOOD OF 9 GALLERIES.
CLUB, NAGAR 7TH PHASE • LEARNING CENTRE WITH
CLASSROOMS, CONFERENCE,
LIBRARY, ETC.
___
• CAFÉ, RESTAURANT, GIFT STORE,
MUSICAL STORE
Site is at Karjat, Maharashtra-410206, nearby ND Film world.
● As the site has an existing film world with many different spaces
relating to films in India and the user group or the crowd of people
SITE SELECTION
is more in numbers and families. So, an existing film world with an
attractive amount of people and a tourist attraction spot can be of
advantage for the site selection nearby the film world. Shoots of
movies also takes place which also can be of advantage.

● The film world has visitors daily, so the statistics of the user group
is more and can be of advantage for the project as the site is
selected near the film world.

● Film world nearby with many different spaces related to films in

India can also be of advantage as the crowd can also be diverted to
the project which consists of spaces related to music as films and
music is also related.

● The group of people can also be attracted towards the project.

ND FILM WORLD

SITE 1 – 19,472.68 sq. m (4.8 ACRES)

SITE 2 – 10,267.57 sq. m (2.5 ACRES)

SITE 3 – 24, 576.66 sq. m (6 ACRES)

 BIBLIOGRAPHY/REFERENCES/SOURCES
https://www.digitalmeetsculture.net/tag/interactive-installation/ 

https://www.academia.edu/9567737/4dsocial_Interactive_Design_Environments 

https://www.designboom.com/art/olafur-eliasson-and-ma-yansong-feelings-are-facts/#:~:text=designboom%20was%20in%20beijing%20at,everyday%20pattern
s%20of%20spatial%20orientation.
 

https://www.snibbe.com/projects/interactive/boundaryfunctions 

https://www.archdaily.com/181955/musical-instrument-museum-rsp-architects?ad_source=search&ad_medium=search_result_all

https://www.museumsofindia.org/museum/638/sangeet-natak-akademi-gallery-of-musical-instruments-and-masks

https://www.theheritagelab.in/musical-instruments-national-museum/

https://www.archdaily.com/80719/north-carolina-museum-of-art-thomas-phifer

https://www.archdaily.com/642210/wellcome-collection-london-transformation-wilkinson-eyre-architects?ad_medium=gallery

https://www.tfod.in/art-design-articles/7316/virasat-e-khalsa-punjab-by-moshe-safdie-architects

https://www.archdaily.com/181955/musical-instrument-museum-rsp-architects?ad_source=search&ad_medium=search_result_all

https://www.archdaily.com/803340/museum-of-mechanical-music-miguel-marcelino?ad_source=search&ad_medium=search_result_all

https://www.archdaily.com/catalog/us/products/19003/museum-display-cases-glasbau-hahn?ad_source=search&ad_medium=search_result_all