osman bari selected works
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dear reader, My name is a third year of Waterloo Cambridge,
Osman Bari and I am currently student at the Universit y School of Architecture in Canada.
My hope is to explore, preser ve and adapt our collective stories and identities, in response to the ever changing ecological, social and spatial fabrics of our world. This is in search of substance ; the manifestation of positive and genuine narratives for our planet and its people through activism, appropriate change and sensitivit y. The following is a selection of academic and personal work, highlighting my skills and sensibilities.
osman bari
Toronto, Canada osman.bari@gmail.com
educ a ti on Sept ‘15 - present Cambridge, Canada Sept ‘18 - present Milan, Italy
University of Waterloo Bachelor of Architectural Studies, Honours
Politecnico di Milano Study Abroad Term
experi enc e May - Aug ‘18 Ghent, Belgium
Veldwerk Architecten
Sept - Dec ‘17 Amsterdam, NL
Space&Matter
Jan - Aug ‘17 Toronto, Canada Jan - Apr ‘17 Hamilton, Canada
Junior Designer
Architectural Intern
ArchDaily News Intern
Thier + Curran Architects Architectural Assistant
di s ti nc ti ons 2018
Non-Architecture Competitions Winner
2017
Moriyama RAIC International Scholarship Winner
2017
Ideas For ward 24H Competition Honourable Mention
s k i lls Digital Adobe Suite, AutoCAD, GIS , Houdini, Rhinoceros, SketchUp, Unreal Engine, Vector works, V-Ray
Other Journalism, Model Making, Laser Cutting
table of contents
01 n ew wave p an o pt i c i s m
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08 - 15
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16 - 23
02 f lot at i o n mot at i o n
03 the c o nfe c t i o n a l
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24 - 27
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28 - 33
04 fair y r i ng s n o. 1 . . . . .
05 t he m a d ra s a & p av i l i o n . .
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34 - 39
01
new wave panopticism Towards An Emergetic Urbanism
type Mixed Use
course 3A Design Studio
location Toronto, Canada
New Wave Panopticism isn’t in fact new wave ; rather, it is the modern mutation of English philosopher Jeremy Bentham’s model for behavioural control through sur veillance. Whereas the original Panopticon was concieved as the circular prison plus obser vation tower combo, sur veillance and by extension isolation, have ceased to rely on the physicalit y of space, meaning that we simultaneously watch and are watched, and tread the line bet ween physical isolation and vir tual omnipresence. This project seeks to address the intangible spatialit y of digital space and how it may manifest a physical presence in our daily lives, through technology, infrastructure and visual overload. The building pivots around three info-centric lungs, with living walls that filter the air before recirculating it through the building. The biophysical atmospheres of the lungs are dependent on users’ data exchange, which feeds the ser ver rooms that in turn heat the air within the lungs. Laden with various forms of digital information, the lungs ser ve as the active cores of the programs, with open plan spaces organised around them. At the residential level, they satisf y visual and vir tual needs, with units simply ser ving the physical necessities of the body. Thus, New Wave Panopticism promotes an overload of social emergies, as the collective physically band together to vir tually interact with one another. Whether that is isolation, or non-isolation, remains to be seen.
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l e f t g round f loor pla n r i g h t t y pic al of f ice f loo r plan 11
ser vers radiate heat from data
lungs harness heat for microclimate
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living walls filter air through structure
repeat cycle
t o p energ y d iag ram b o t t o m unfold ed s ect ion 13
l e f t vi ews r i g h t a xono m et ri c
unit
lung
exterior 14
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flotation motation Reimagining Ontario Place
type Recreational
course 2B Design Studio
location Toronto, Canada
Despite an almost omnipresence, water seems to remain a largely ignored substance during our daily dealings, connected simply through drinking and bathing. Our relationship with water is distant and alien ; we view it as the land’s antimat ter and treat it with a cer tain rigidit y and disassociation. Flotation Motation’s intention is to challenge the notion of ‘ground’ as simply terra firma, instead proposing that water is the new ground, creating an environment of constant flux. The basis of the floating piers is the relationship bet ween water and solid ground : v.s., as and is. Within the building, which re -imagines the historical precedent of seaside dancing pavilions, users are open to experience these dualities bet ween water and land, through dr y and wet dancing programs. By frequently changing platform densities and floor heights relative to the water, the terra fluxus is activated and creates var ying levels of stabilit y and motion, fur ther manifested through the ecological identit y of the wetland. What happens when our motion coincides with that of what lies beneath us?
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l e f t m aste rp l a n r i g h t w et l an d a xo n o m et ri c b o t t o m se ct i o n a l b a l l ro o m
land : 10% land : 50% land : 75% we t land : 90 % lake : 100%
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t o p s ect ional pools b o t t o m s ect ional stu dios 21
l e f t interior pool r i g h t dance studio
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the confectional Non Architecture Competition: Eating Winner
type Hospitalit y
location Unspecified
Memor y is the most potent of ingredients. Par t confessional, par t automat, with a peppering of telephone box, The Confectional is a proposed respite within the future urban landscape of hungr y souls and forgot ten pasts. Finding itself in the face of commodification and food scarcit y, this mechanical booth seeks to combat these societal ef fects, through the process of conver ting tangible memories into food for the consumption of the soul, thereby reviving iconic meals of old and evoking the sweet taste of nostalgia. Users enter the now commonplace confectional with their dearest objects, placing them inside the booth’s decomposition chambers, confessing their fond memories and creating a kitchen of curiosities. The combination of memor y laced ar tifacts and additional input of information provides a confectional with the impetus to conver t the object’s mat ter into the desired meal to which it corresponds, for the user to enjoy. Ultimately, each meal is catalogued in the booth’s internal system as a record of iconic indulgences and a testament to collective human memor y. Satisfied with your own nostalgia? See the menu for a selection of fresh ingredients.
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fairy rings no. 1 The Home Competition 2018
It begins with mycelium. Growing, secreting and absorbing the riches of underground nutrients, continuing out wards until the soil in the centre is exhausted. What arose from this were circular formations of mushrooms, which they called “fair y rings”. But the rings of today are not what they once were. Bit ten by the Anthropocene, the fair y rings took on a new mutant form. The mycelium, once spreading underground, now baked ver tically, encased in a thin transparent skin. If you look closely, you can find traces of yourself in the walls – plastics of the past now an amalgamated test tube. Sometimes, when the mycelium hasn’t fully matured, it reveals its framework – a skeletal lat tice anchoring the fungi in walls and floors, cupboards and beds.
type Residential
location Unspecified
collaborator Caitlin Paridy
It ends with mycelium. Af ter a lifespan, the fungi sheds its plastic skin, to be reused and shed many times over. As for the mycelium, it returns to its mythical roots, decomposing downwards into the maternal ear th. The phenomenon is quite commonplace now ; in alleys and laneways, yards and fields, you can see the fair y rings wither away, only to crop up in their reincarnations someplace else.
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ground : kitchen & living
mezzanine: bathroom 30
third: bedroom one
four th: bedroom t wo 31
t o p s ect ion b o t t o m plans
l e f t p e rsp e ct i ves r i g h t const ruct i o n a xo n o m et ri c
kitchen
entrance
bedroom
mezzanine
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cla my
dd ing
pa
ne ce liu m sawdust
inf ill
l
agricultural waste
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ingredients for grow th
mycelium
3D pr int ed str uc tur al lat tic e
recycled plastic to panel
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the madrasa & pavilion Moriyama RAIC International Scholarship
Small lips par ted, with brows furrowed
in concentration, directing a stream of cool breathy air through pudgy fingers against a sof t peach wall. I was around the age of five in Pakistan, when I blew what I liked
Winner
to term a “time column�. The physical act emulated the motions of smoking an invisible cigaret te, while the metaphysical act was the first element in creating an invisible web of places and memories, linking my personal journey through spatial experiences. The web was a constant companion that followed me wherever I went, recording locations and events. I would inevitably forget about the its existence, and at later points in life, recall its origin and consider all that had elapsed bet ween then and now, channelled in a vessel of time ; a time column. Born of inexplicable rationale, it was an exercise that anchored and acknowledged my existential state in a given space and moment, and revisited all the set tings through which I had come, along with their associated memories. I don’t know where this habit came from, but reminiscing now, it was an early manifestation of a cer tain infatuation with ideas of narrative, memor y, and place.
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While living in Saudi Arabia, I
respite in the heat, we would sit on
spent a year studying at a local
the hard ground outside just before
madrasa, a segregated school that
noon, and tuck into a daily deliver y of
specifically teaches the memorization
naan and channa. In that cour t yard,
of the Qur’an. It was located in a
at that moment, there were no social
highly dense district of the cit y –
dif ferences, barriers or hierarchies ;
the underdeveloped urban fabric
just a communit y of young boys
composed of narrow dir t lanes
together in an atmosphere laden with
weaving through a misshapen grid of
inter t wined aspirations and journeys,
stone structures. The school was no
as we tried to get by. I lef t the school
dif ferent ; it existed within a (barely)
a year later, but the waf ts of hot
gated compound, upon sand and
breakfast and youthful conversation
rocks, surrounded by the homes of
still linger.
its teachers. The building lacked air conditioning and proper doors ; its
Years later, under extraordinar y
walls were punctured with cracks
circumstances, I was brought from
and gaps that did lit tle to keep the
hours of Qur’anic recitation, to
heav y Arabian heat out. Despite its
those spent in The Pavilion ; the
exterior, the place was defined by
sanctum of cricket at my high school
the happenings on the inside ; walls
in Toronto, and another extremely
reverberated with the recitation
impactful space, rich with histor y and
of the Qur’an, masking schoolboy
ar tefacts. Despite being overshadowed
chat ter and carpeted footsteps as we
by popular Nor th American spor ts
cycled through teachers, rooms and
following the waning of the school’s
chapters. Sadly, the boys were subject
British roots, cricket’s legacy at Upper
to punishment, their mistakes of ten
Canada College remains unsurpassed
rewarded with quick flicks of a cane
since its inception in 1863, and much
and in some instances, silent tears. I
of this is at tributed to the lit tle red
was luck y to be exempt from this, but
bricked sentinel overlooking the field.
only because of my socio-economic
Exceeding its obvious responsibilit y
background. Yet despite this realit y,
of equipment storage, The Pavilion
the one space in which we were truly
was more of a museum and shrine ; its
equal was the cour t yard. Escaping the
walls were adorned with aged team
clutches of the teachers and finding
photos, posters of iconic international
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tours and relics of yester year. More
the significance of places of all
impor tantly, the space was the soul of
kinds in my life. Constantly forming
Resurgence ; a three - year movement
strong, and sometimes irrational,
reviving the game’s legacy, driven
at tachments to set tings nur tured my
by spor tsmanship and class, while
underlying state of wistful nostalgia,
opposing the racial stereot yping
and I discovered that the ‘place’ and
cricket was subject to. Our team spent
by extension, architecture, is essential
many af ternoons in that dressing
to the existence of our individual and
room, envisioning and idealising,
collective histories, and vice versa.
witnessed by our cricketing ancestors
For architecture is a “time column” in
and enveloped by a histor y continuing
itself ; ser ving not only as shelter, but
to etch itself into the walls.
also as a record and testament to the interconnected realities that define its
I recall a par ticularly incredible
ver y soul and rid it of any neutralit y. I
moment – when I was just about to go
believe the madrasa and the pavilion
out to bat in my final match as captain,
led me to architecture ; showing me
with the team on the cusp of a historic
that there exists the possibilit y to
championship win. Facing an extremely
create transformative and emotional
precarious match situation, I stood
spaces for all of our lives to unfold.
alone in the dressing room, staring
Yet, I recognise architecture’s
out onto the pitch, per fectly framed
potential as a double -edged sword,
by a single window, hear t racing and
facilitating a coexistence of positive
palms sweat y. It was the final time I
and negative narratives. For behind
was to experience this moment. I truly
the walls of madrasas, dwelled lives
felt The Pavilion’s influence, its histor y
of pover t y and injustice, and even
and tradition egging me on to fulfil
my beloved pavilion will forever
the team’s narrative, born in this ver y
remain in the shadow of a historic
space. I returned to the room hours
institution existing in the af termath of
later, now filled with animated voices
a decade -long sexual abuse scandal.
of victor y, which had been unheard in
We are seeing this on global scale
The Pavilion for almost 10 years.
too ; Donald Trump’s proposal for a border wall is a per fect example of
Having been conditioned by these t wo
architecture’s politically charged
places and their narratives, I realised
capacit y to divide.
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And so, in hope
the positive narr deser ves,
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I fou
es of manifesting
ratives ever yone
und architecture.
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osman.bari@gmail.com