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Sa·fi·ra (sα’firα)
n. 1. ambassador, traveller | 2. unabashedly bookish almost-architect striving to save the world through design, one exhilarated breath at a time | 3. victorious, successful syn. dreamer, doer, creator, practitioner, prime mover
ref. “in supervising students for at least ten years, it is rare to find a calibre of person as Safira,” – Shafraaz Kaba, Manasc Isaac Architects
Experience is the initial encounter, observing the world and its details as sources of knowledge and inspiration.
I am propelled then to engage with these happenings, to involve myself and become an active participant.
Creativity is triggered and I aspire to generate interventions and solutions that will transform design into a greater vehicle for social change.
revitalizing bamyan
a chair for salvador dali
sketches from rome
comFORT downtown
museo della citta
morphology of sacred spaces
unfolding
dencity: rethinking slums
s a f i r a
janna
l a k h a n i
revitalizing bamyan
revitalizing bamyan what. a research and design proposal that responds to a set of existing conditions to foster a culture of self-sustainability. The project speaks to two principal issues; rebuilding the local agricultural industry to increase self-sufficiency, and to incorporate within that, the notion of personal safety and security that is achieved through the construct of a home, of dwelling. where. Bamyan (alt. Bamiyan), Afghanistan when. Fall 2013 recognition. Award of Merit; Winner of Peoples Choice Award, Azure Magazine AZ International Design Awards 2014. Recognized by UNEP to collaborate on future sustainability-based projects in Afghanistan.
bamyan province
light taliban / insurgent activity
major rivers
bamyan town
substantial taliban / insurgent activity
major roads
major cities
heavy taliban / insurgent activity
context map, afghanistan
Suffering from significant devastation of infrastructure, ethnic discrimination and challenging climate conditions, the people of Bamyan have become increasingly dependent upon the presence of foreign aid and troops which, while contributing significantly to the decrease of Taliban activity in the region, has instigated a move away from local means of income. Revitalizing Bamyan proposes a three-fold programme consisting of multigenerational housing that regenerates vernacular typologies (5, 6), locally constructed greenhouses which will extend the growing season and allow for crop diversification (3), and water-retention infrastructure including built (1) and planted (2) snow fences, additions and renovations to destroyed canal routes (4) , and underground cisterns. The focus on infrastructure embedded within architecture speaks to Afghanistan’s resource issues: Bamyan is today significantly impoverished, subject to an arid climate with a single growing season where water acquired principally from snow melt is not managed effectively, resulting in gradual desertification of the area.
revitalizing bamyan
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fetch: area upwind of snow fence. must be relatively free from tall vegetation
when wind passes through a porous snow fence, its velocity slows, causing heavy snow particles to fall and accumulate on the downwind side of the snow fence
1 metric ton of snow = 1 m3 of water if the fence is 50% porous, the snow storage capacity in metric tons per meter-width of fence is given as Q = 8.5 (h)^2.2 where h = fence height.
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height: 3 m | width: 50 m | net water accumulation: 4765 m3 of water *based on the guidelines outlined by the US Army Corps of Engineers, 2009
snow fence design
The design proposal begins with the larger-scale issue of water retention, implementing snow fences, fifty-percent porous membranes of lightframe timber construction oriented perpendicular to the prevailing winds, to efficiently capture snow. Snow accumulates on the land, where it percolates into the ground water supply and into canals which lead to underground storage cisterns. Placed at specific topographic intervals on the given site, these snow fences begin to carve out areas for built program. Localized planted snow fences stretch along horizontal planes delineated by topographic lines, parallel to greenhouses whose construction involves simple wooden arches over which a sheet of plastic can be draped to intensify growing conditions. The use of inexpensive and local materials is at the core of this design proposal, as further exemplified in the dwelling complexes which revisit vernacular mud-brick courtyard and cave typologies. Dwellings are oriented for optimum sunlight exposure while burrowing partially into the earth. Supportive of multiple generations, the dwelling’s basic functions are met through simple systems of energy, water and waste movement in and out of the landscape.
revitalizing bamyan
bamyan town plan
greenhouses in summer
snow fences in winter
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active-living_solar energy is harnessed through four 185 w solar panels which are connected to a local solar battery, wiring, and various fixtures to meet lighting and other related needs. active-heating_domestic cooking is done by burning firewood, vegetation, animal excreta, and agricultural residue as fuel in the tandor a below-floor oven. excess heat from this oven is channelled through a serpentine duct system to heat the floor below the family room.
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passive-winter_solar energy is captured and retained to heat the home via direct gain through thermal mass construction. the lower floor is buried into the hillside for heat retention purposes. proximity of the animal stable to the family room provides additional warmth.
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passive-summer_shading devices protect from direct thermal gain into the home. small courtyards surrounded by high walls serve to perserve the nighttime coolness of the interiors. interior vertical circulation makes use of the stack effect to expel heat in the summer, and melt snow in the winter.
water systems precipitation filtered greywater
used water waste water
1_precipitation collects in a landscaped canal. snow is melted by waste heat from the home. 2_water passes through a filter before entering cistern. 3_filtered water is pumped into the home, used for cooking, bathing, and washing. drinking water is further boiled. 4_used water from aforementioned activities passes through a biosand filtration pipe. 5_the now filtered grey water collects in a second cistern. 6_filtered greywater is used for the composting toilet, and is directed out to irrigation channels. 7_waste collects in a storage bin for compost. 8_nutrient-packed urine is diverted directly to the greenhouse. not shown_water collected via built snow fences collects in similar ditches which carry into the existing irrigation channels.
revitalizing bamyan
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a_animal area b_latrine [composting toilet & traditional washing area] c_washing a_animal area d_kitchen b_latrine [composting toilet & traditional washing area] e_storage c_washing f_family area d_kitchen g_winter courtyard e_storage h_summer courtyard f_family area i_solar panels g_winter courtyard j_precipitation catchment area h_summer courtyard k_greenhouse i_solar panels j_precipitation catchment area k_greenhouse
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revitalizing bamyan
Revitalizing Bamyan is a design proposal that capitalizes on the existing and the essential to uncover the transformational potential of architecture by simultaneously respecting and challenging forces at play in the given society. The project generates a culture of self-sustainability through the marriage of vernacular and modern technologies to respond to pressing social issues, foster growth of the local economy, and improve the livelihoods of the people of Bamyan.
site section
a chai r f or dal i
a chair for salvador dali what. design, construction, and structural analysis of a chair catered to the questionably whimsical lifestyle of Spanish surrealist artist Salvador Dali. when. Fall 2013 in collaboration with. Maryia Sakharevich recognition. Annual Alternative Design Exhibition ‘Come Up to My Room’ Toronto, 2014
POSITION B
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POSITION C
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construction
Created as part of a structural design-build workshop, a chair for Salvador Dali is a versatile furniture piece designed to reflect the daily life style needs of the prominent 20th century artist. The chair allows for three positions which closely reflect three states of mind acutely associated with the owner. Position A, used as a desk chair, necessitates the user be alert, and therefore, productive at all times. This is accomplished under the premise that the chair is not a chair; that is, it does not function unless someone is seated on it. Position B, like a bench, is used to tap into one’s subconscious, to allow the mind to float loosely, and is accordingly the most stable of the three configurations. Finally, Position C, as a stylish bar stool, facilitates Dali’s frequent and elaborate drinking habits, designated under a tipsy state of mind in which stability of the chair is reliant on the occupant’s position on the chair. The means through which each of these transformations occur is based on the location of loads upon the chair, and how those forces are then transferred through the chair to the ground. An in-depth structural analysis of the chair was carried out during the iterative design process to examine, understand, and improve the structural, comfort, and aesthetic integrity of the chair.
a chai r f or dal i
sketches from rome
sketches from rome what. selections from a daily sketchbook where. Italy, principally Rome when. Fall 2014
Cave of the Sybil, Cumae
On the way to Capri
Rooftops, Gubbio
sketches from rome
Thursday morning market, Mantova
Piazza Navona, Rome
what. a series of playful pop-up furniture fort-building installations creatively inviting citizens to mingle, relax, or build their own fort. The intent was to foster serendipitous opportunities for people to interact, smile, and be creative, using a meaningful, yet playful analogy of the city: Forts! where. Edmonton, Alberta when. Fall 2012 in collaboration with. Jonny Leger, Tara McCashin, Michael Zabinski. sponsors. MacEwan University, Good Earth Cafe, Manasc Isaac Architects, NextGen, Edmonton Economic Development Corporation. recognition. featured online on YEGDT, MADE, Edmonton Flavor, Construction Canada, MacEwan The Griff, Back Words, Fark, Montreal Gazette, Metro News, Edmonton Journal, Manasc Isaac Architects, Connect to Edmonton Forum. featured in print, radio, and television on CKUA Radio, CTV, City TV, CBC Radio Active.
comFORT downtown
comFORT downtown
the logo
the formula
What begins as a child’s whimsical endeavour at space making is, in its purest form, architecture – and the allure and enchantment that accompanies such quirky and intuitive spaces persists over generations. ComFORT brought this same charisma to the city, inviting citizens to be the critical ingredient to make their city not just livable, but to make it even more loveable. The key to our project was the engagement of the citizen in their urban environment. ComFORT catered to all demographics and all social and income groups. Spending a day on the 101 Street Pedway at City Centre Mall, ComFORT met thousands of people who would stop for hot chocolate, or stay and chat, many of whom would then linger to play board games over their coffee breaks and lunch hours. At less prevalent locations, ComFORT appealed to citizens’ innate sense of curiosity. We experienced, over and over again, people who would stop and share their stories of living in Edmonton. This was exactly the type of conversation we were hoping to start; the very same personal interaction and emotional connection that we crave from the places we live.
comFORT downtown
comFORT at Churchill Square
comFORT at Kitchener Park
comFORT downtown
ComFORT was a social experiment to bring people together, and, in short, it did! That something so simple could appeal to so many was inspiring. ComFORT was a lesson in the true value of time, effort, and enthusiasm: we are all catalysts of change, and those three ingredients are all we need to make a difference in the world. marketing render
what. a museum based on movement, on the premise of the experience of walking in the city of Rome. The project follows the idea that there is no single path to any destination. Four themed spaces correspond to four different paths through the museum, with a distinct relationship to one another and the site that is guided by the Aurelian wall. A fifth, pedestrian path, moves through the ground plane of the building. Conceptual design stemmed from an urban plan and site strategy developed in phase one. where. along the historic Aurelian Wall near Porta Maggiore in Rome, Italy when. Fall 2014 in collaboration with. Snehanjali Sumanth
museo della citta
museo della citta
urban plan site nodes
museum concept diagram
Following a thorough mapping of context, light, noise, traffic, and more along the site, a site strategy was developed, identifying nodes and arteries, to capture the sense of dynamism and movement that characterized the site. Accordingly, the museum design solves the problem of pedestrian flow through this area. Each path of the museum explores the notion of sensory versus axial movement. Where axial movement is related to a methodical, deliberate and direct path, sensory movement draws upon instinct, the subconscious, and a resulting wayward, loose path. In Rome this is experienced especially through materiality, light, change in levels, and views. The various movements through the museum create a unique interaction for each visitor. Light and architectural elements guide axial movement forward while articulated views and materials tempt sensory tastes. The themed spaces thus form the arteries of the building, linked together by three nodes, the entrance space, the temporary exhibit space, and the library which act as points of chance, change, gathering and reflection. Museo della Citta aspires to create a walk along the wall that is considerably more public, more engaging, and reflective as a microcosm of the experience of the city as a whole.
density map, morning
museo della citta
density map, afternoon
density map, night
facade
lightwells
pathways
private program
museum nodes
section through entrance lobby
section through galleries
museo della citta
section through temporary exhibit spaces
section through galleries
section through library
morphology of sacred spaces
where. Istanbul, Turkey when. Fall 2012 in collaboration with. Wade Brown, Rachel Bruijns, Monty De Luna Stephane Gaulin-Brown, Patrick Verkley. recognition. published in Archnet International Journal for Architecture Research
sacred spaces
what. sacred spaces have long served to accumulate layers of culture, geography, politics, technology, and interpretation of belief. The Hagia Sophia in Istanbul is a space that has undergone a series of transformations over time, both structurally and culturally. At a 1:100 scale, this model picks out key details of these transformations, noting specifically the dome, pendentives, columns, Islamic and Christian iconography, and the juxtaposition of the experience of the two occupant groups over time. This was further elaborated upon in a research paper.
sacred spaces
unfolding
janna
what. Janna is the root word in Arabic for both Paradise, Jannah, and for gardens, Jannat. The Cultural Centre for Bamiyan finds its premise here, envisioned as a pause in the expansive landscape, and a catalytic hub for the community. Design of the Centre is a considered approach of two parts; the concept of Jannat garden courtyards which serve as an organizing morphology, and embedded infrastructure resource issues unique to the site, including the integration and adaptation of local building technologies and harvesting snow and solar energy, which cultivate holistic practices toward a sustainable future.
when. Winter 2015 in collaboration with. Tammy Gaber, Katherine Holbrook-Smith, Snehanjali Sumanth.
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where. Bamiyan (alt. Bamyan), Afghanistan
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Area of programme shown is indicative of the estimated frequency of use, and corelates to an approximate ratio of programme distribution over the site. administration + services special programming
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programming outdoor teahouse + gallery n o i ibit oms exh classroo librar + studioy p o h s k wortre cen entre ch rence c r a fe aud on ito services n+ tio
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Assuming a maximum energy requirement in which the building is lit for eight hours (where watts per room is calculated as room area * 1.5), a minimum of 347 kWh of energy is required daily. summer sun | longest day receives ~14 hours of sunlight
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WATER REQUIREMENTS
At a point of full occupancy, the building requires 4,188 litres of water daily. This is equivalent to 1.53 million litres, or 1,530 cubic meters, of water annually, not inclusive of water required for landscaping and features.
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almond 0.000009 m3/yr
mulberry 0.00002 m3/yr
wheat 0.00003 m3/yr
cowpeas 0.0002 m3/yr
apple 0.00006 m3/yr
cash crops
people human 4.4 m3/yr
The spaces of the Centre are a series of unfolding garden courtyards, each with its own edible arboreal themes. The complex is flanked with a lively sports and recreational field on one end, and educational micro-farming plots on the other. The organization of the complex also acts as a spatial hub, with a shift in the geometry of the layout to frame sequential vistas of the Buddha cliffs and landscape beyond. The Centre is a dynamic place of learning and promotes the exchange of knowledge at all scales, planned or impromptu, ensuring programme adaptability that serves multiple functions. Programme distribution extends over the length of the site, with principal public spaces situated on the upper plateau. Public permeability exists through the entirety of the building; a multi-purpose perforated circulation spine runs the length of the building, intersected and expanded by key programmatic elements which interact with and begin to define exterior courtyards. The Bamiyan Cultural Centre is self-sufficient, capitalizing on the availability of solar energy, as well as Bamiyan’s significant annual snowfall. Annual electricity requirements are maintained by way of a 50 kW solar panel system which doubles as a shaded viewing pavilion to the south of the recreation field. Yearly water requirements are met through a snow fence system which is integrated as a secondary function of the perimeter wall. Water is collected, filtered, and stored for use throughout the year, and eventually cycles back into the landscape.
Feature wall; L-shape block can be variously articulated to form interesting patterned and perforated walls.
Feature wall; faceted module creates a highly textured interactive facade.
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The building system is Compressed Stabilized Earth Block (CSEB), a material composed of local components including dry soil, clay, and aggregate, with the supplemental addition of 10% cement. This material resists moisture and has significant thermal qualities that will delay the effect of external temperatures on interior spaces. Moreover, CSEB is sustainable in its resourcing (excavated material will be a prime ingredient) and importantly, in the fabrication and construction which will employ and empower local inhabitants of Bamiyan. The material is resilient, and through the construction of the Centre, will inspire an innovative development of local approaches to building construction. By utilizing local materials, complimented with inventive building technologies that capitalize on existing conditions, the Bamiyan Cultural Centre articulates directly an intrinsic notion of sustainable and regenerative living. Not only will the Centre be economical in its construction, it will utilize financial resources to empower local inhabitants to learn, manufacture, and construct the centre. Simultaneously the Centre will focus on an investment in a landscape of edible gardens that can become incubators not only of food production, but of didactic methods for self-reliance in the community.
VAULTS Continuing the use of indigenous materials into the roofing of the building naturally designates the use of the vault. Along the circulation spine, the vault is perforated to allow natural light to enter the building. The overall form of the vaulted space subtly makes reference to the Bamiyan Buddha niches and caves. The heights of the vaults delineate activity within the building.
INTERIOR Large open inter-connected spaces ensure multi-function use throughout the building. Ample circulation widths can facilitate a further expansion of activities. Linear glazing elements allow for continuity from interior to exterior spaces.
ENCLOSURE The primary building material is Compressed Earth Block (CEB), a construction material made from dry inorganic soil, non-expansive clay, and aggregate. For further strength and resistance to moisture, the mixture can include 10% cement to make Compressed Stabilized Earth Block (CSEB). This method innovates on the vernacular pakhsa building typology and makes use of local materials and labour. For seismic resistance in poor soil conditions, a stepped poured concrete foundation is used.
WATER COLLECTION + DISTRIBUTION Intervals of the perimeter wall perpendicular to the prevailing wind act as snow fences, concentrating blowing snow into a ‘water harvest.’
fence length: 96m water harvest: 1,600 m3
fence length: 84m water harvest: 1,400 m3
A slight slope in the site guides snow melt into a lined drainage canal. Some snow melt is allowed to permeate back into the landscape. Collected water passes through a filter as it enters storage cisterns below-grade. Larger particles of dirt are captured by this filter. Smaller particles, through the natural sedimentation process, will settle at the bottom of the filter. Water is taken from above this level. Building users have access to this non-potable water. Water for drinking must be further cleansed within the building. Used water from building activities is collected through a biosand filtration pipe which removes pathogens, chemicals, and other undesirable substances. This filtered graywater is then available as a secondary source of water for toilets and irrigation. Proposed toilets for the project are based on the Sulabh Two-Pit Toilet System, an eco-friendly compost toilet system constructed from indigenous materials. Digested sludge can later be safely removed for use as a fertilizer and soil-conditioner.
fence length: 58m water harvest: 960 m3
DESIGN SCHEME
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50 kW solar system provides 450 kWh daily for lighting and, appliance needs, an accessibility lift, and more.
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The project is grounded in its existing conditions and finds its premise in the vernacular courtyard typology. The building is designed as a series of courtyards, small and large, which are given definition by key programmatic elements inserted into a circulation spine.
1_200mm Compressed Earth Block 2_Eavestrough 3_Double Glazing w/ air space 4_Timber Lintel 5_200mm Compressed Earth Block 6_100mm Air Space 7_200mm Stabilized Compressed Earth Block 8_Waterproofing 9_Tamped Earth 10_Reinforced Concrete Beam 11_Poured Concrete Foundation w/ large aggregate 12_Render Concrete w/ waterproof film
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Area of high air pressure created by airflow over and around the building.
Solar energy is captured and retained to heat the building via direct gain through thermal mass construction.
Vaulted spaces ensure continuous convective airflow.
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Snow accumulation in the winter provides additional insulation.
Area of lower air pressure is accordingly generated within, thus pulling a constant stream of air inside the building.
PASSIVE COOLING Large openings on the leeward side combined with small openings to windward will ensure a steady airflow through the building.
When wind hits a solid snow fence, its velocity slows, causing heavy snow particles to fall and accumulate on either side of the fence.
High R-value of mud-brick wall ensures minimal energy loss to the exterior.
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A slight slope in the site ensures that maximum snow melt is accumulated.
Taba Khana: excess heat from the tandor, a belowfloor oven, is channelled through a serpentine duct system to heat floors.
PASSIVE HEATING Use of local materials with high thermal mass regulates diurnal temperature changes from inside to outside. This is coupled with an adaptation of vernacular materials and strategies.
Snow melt percolates into a lined drainage canal which guides the water into storage cisterns below ground.
SNOW COLLECTION Snow fences capitalize on Bamiyan’s seasonal snowfall by concentrating blowing snow into a ‘water harvest.’ 1 metric ton of snow is equal to 1 cubic meter of water. If a snow fence is 100% solid, the snow storage capacity in metric tons per meter-width of fence is given as Q = (0.175)(8.5)(h)^2.2 where h = fence height. At a fence height of 3 meters, 95 cubic meters of water can be captured per meter-width of fence. This is a conservative estimate based on a snow density of 0.25. *based on guidelines provided by the US Army Corps of Engineers, 2009
upper terrace
view of complex from buddha cliffs
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amphitheatre
The Bamiyan Cultural Centre can truly manifest itself as a Janna, an inspirational and influential hub for the community that revitalizes the contextual landscape, and empowers the people with skill-building activities and cultural exchange. The Centre is an architecture that arises from enduring social, physical, and tectonic conditions, and reinforces Bamiyan’s position as a place of exchange, knowledge, and production. Accordingly, the Centre will underscore the pride the community has in its distinct local heritage, as well as its national identity. In its ability to foster human potential and capacity building, the Bamiyan Cultural Centre will become a thriving space for civil society.
u n folding ja nna section through teahouse
dencity: rethinking slums what. a brief intervention that proposes to improve slum conditions, better handle the growing density of unplanned cities, and to capitalize on the potential that exists in these places. The project simultaneously addresses infrastructure and social issues to improve the standard of living for slum inhabitants. Work in Progress. where. Dharavi Slum in Mumbai, India when. Winter 2015 in collaboration with. Snehanjali Sumanth.
d e n c i t y
[Image Credit to Kounosu via Wikipedia]
s a f ira
lakhani
origins. I’ve always wanted to save the world. When I was eight, my grandmother taught me to knit, and I dreamt of making scarves for the homeless in Calgary. This endeavour barely came to fruition. But my desire to change the world never wavered. In 2007, I met with ten Nobel Peace Prize Laureates; I was inspired and learned how to take action. In 2008, I travelled to Ottawa to meet with students from across Canada to discuss Canada’s role in International Affairs. In 2009, I spent three weeks in Ecuador, travelling, sweating, learning, eating, exploring, replanting, and rebuilding; hard labour, every day, with locals the majority of who were significantly impoverished. Our goal, in three weeks, was to sustainably uplift and revive their communities. This was my first tangible understanding of architecture and design as a means of transforming the quality of human existence. I was hooked. qualifications. Candidate for Bachelor of Architectural Studies, Honours University of Waterloo, Faculty of Engineering, Waterloo ON Excellent Academic Standing recognized via President’s Scholarship (2010), Jo Beglo Book Prize (2013), Dean’s Honour List (2013) Alberta High School Gifted Education Diploma with Distinction Westmount Charter School, Calgary AB Advanced Placement (AP) Honour Roll Student s a f
[Image Credit to Victor Poon , 2014]
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relevant work experience Lacina Heitler Architects, New York City NY
Jan. – Aug. 2014 Architectural Intern Extensive work on a number of residential, retail, commercial and social-housing projects, with emphasis on detail drawings, Construction, RCP and Finish Plans, Interior Elevations, and Schedules.Integral part of the design and build teams from schematic design through bid documents.
Grinham Architects, Guelph ON May - Aug. 2013 Junior Designer Significant work on a number of residential and institutional projects in areas of Pre-Design, Schematic Design, Working Drawings and Post-Construction as well as Office Management and Promotion. Develop experience in space-planning, site visits, as-built drawings, specifications, heritage design, 3D modelling and rendering. Manasc Isaac Architects, Edmonton AB Aug. - Dec. 2012 Architectural Assistant Specific work in Design Development and Construction Documents, inclusive of attending client meetings, designing solutions for programme requirements, preparing and compiling LEED documentation, developing detailed 3D models, and drawing and redlining architectural and electrical drawings. Kuwabara Payne McKenna Blumberg Architects, Toronto ON
Jan. - April 2012 Marketing and Architectural Assistant Promotional graphics design work for client/public presentations, and awards and publications media. Preparation of presentation drawings, establishing a graphic standard; Design development and building of detail models at 1:1 scale
volunteer experience United Nations Environmental Program
Present Collaboration with the UNEP and other organizations to create a Greentech Handbook for sustainability strategies in Afghanistan that focuses on disaster risk reduction instead of disaster response.
Imara Ltd 2012 – Present Schematic design, design development, and specifications work, creating base and presentation drawings for jamatkhana design and multigenerational housing projects. Calgary Ismaili Community, Calgary AB Jan – April 2015 Tutoring underprivileged ESL students in areas of basic literacy and math skills Manhattan Ismaili Community, New York NY
Jan - Aug 2014 Religious Education Teacher, working with students ages 3-9 to learn about the Ismaili faith within the greater context of Islam. Dance choreographer, working with students and adults to actively participate in festive community events. Curriculum designer within a small team to develop skill building exercises for a week-long day camp in August
ACADIA Adaptive Architecture Conference, Cambridge ON Sept - Oct 2013 Space planning, graphics, and event logistics and coordination for an international conference hosted at the School of Architecture Ismaili Volunteer Corps. 2000 - Present Assist with appropriate administration, organization, and maintenance of Mosque; engage youth as active volunteers Humanitarian Aid Project, Ecuador South America
s a f i r
March 2009; Social and Environmental Action Work Projects included: reforestation, refurbishing of school sites, building fences, painting, and more, working with impoverished locals of the area to uplift and sustainably revive their communities. Enrolled in the Open Architecture Competition project, directing a team to design a sustainable, modular school building in Manta, Ecuador, mimicking vernacular design practices of the area
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write. safira.lakhani@gmail.com follow. @saflkhn blog. saflkhn.tumblr.com
[cover photo copyright to safira lakhani. Š 2013]