Design Portfolio 2017 by Safira Lakhani

SAFIRA

architecture + design portfolio

Sa·fi·ra (sα’firα)

n. 1. ambassador, traveller; 2. voraciously bookish architect-in-progress 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 (2012) ref. “as a researcher, designer, and general problem solver, Safira stands out as one of the few I have worked with that exceeds expectations and proactively searches for higher levels of development in all her work....Seriously, she is a rockstar,” - Dr. Tammy Gaber, Laurentian University (2017)

S A FIRA LAKHANI

B.AS,M.ARCH 06_Curriculum Vitae

08_The River is for Washing Carpets

30_ComFort

36_A Chair for Salvador Dali

40_Morphology of Sacred Space

44_Unfolding Janna

54_Grow: The Lodge at Dreki

62_Sampling

E D U C AT I O N Planning and Design with Water for Sustainability (2017) TU Delft, Faculty of Architecture and the Built Environment, Delft, Netherlands Master of Architecture, Water (2015-2017) University of Waterloo, Faculty of Engineering, Waterloo, Ontario Bachelor of Architectural Studies, Honours with Distinction (2010-2015) University of Waterloo, Faculty of Engineering, Waterloo, Ontario

PROFESSIONAL EXPERIENCE Laurentian University McEwen School of Architecture, Sudbury, Ontario (2016-2017) Research Assistant, Beyond the Divide: Canadian Mosque Design and Gender Allocation United Nations Environment Programme, Afghanistan (2016) Environment Architect (Junior Expert), Post-Conflict and Disaster Management Branch, FIELD Unit University of Waterloo School of Architecture, Cambridge ON (2016) Teaching Assistant, Second-year Cultural History Lecture Course Teaching Assistant, Third-year Large Urban Building Design Studio Lacina Heitler Architects, New York, New York (2014) Architectural Intern Grinham Architects, Guelph, Ontario (2013) Junior Designer Manasc Isaac Architects, Edmonton, Alberta (2012) Architectural Assistant Kuwabara Payne McKenna Blumberg Architects, Toronto, Ontario (2012) Marketing and Architectural Assistant

ACADEMIC PUBLICATIONS Lakhani, S., “Towards a Feminine Peace,” in Site Magazine v. 38. Toronto, Canada. Forthcoming. Gaber, T., Lakhani, S., and Lam., J., “An Argument of Craft for Prayer: A Contemporary Mosque Design in Northern Canada.” Architecture, Culture, and Spirituality Forum. Deer Isle, Maine. May 2017.

AWA R D S Ontario Graduate Scholarship in support of exemplary thesis research (2016-2017) University of Waterloo Graduate Scholarship and President’s Graduate Scholarship (2015-2017) Urban Strategies Inc. Graduate Award for architectural thesis work in exemplary urban design (2016) RBC Water Scholarship for academic excellence in a water-focused program of study (2016) University of Waterloo Outstanding Teaching Assistant Award (2016) Azure Magazine AZ International Design Awards, People’s Choice Award for “Revitalizing Bamyan” (2014) Provident Energy Ltd./Pembina Pipeline Corp. Scholarships for exemplary all-round achievements (2010-2013)

SUMMARY OF QUALIFICATIONS Versatile capability in manual and digital rendering to portray experiential aspects of design. Excellent time management and organizational skills developed by strong involvement in volunteer and extracurricular activities while maintaining a high academic average. Successful interpersonal, communication, and leadership skills; persistent and energetic with numerous years of teamwork experience in academic, professional, and volunteer project teams; adept at planning, executing, and delegating multidisciplinary group activities. Superb work ethic, relationship builder with infectious positive attitude and enthusiasm; prepared and punctual. Strong advocate for the agency of good design to create positive change in the world. Strengths in: written and spoken word, innovative design, design-research, working with people, taking initiative. Languages: English (native speaker), Gujarati (conversational), French (beginner), Dari (beginner). Excellent knowledge: AutoCAD; Rhinoceros with V-Ray; Sketchup; Adobe Photoshop, Illustrator, and InDesign; Microsoft Office; Model Making by hand; Laser Cutting Intermediate Knowledge: GIS, Revit; ArchiCAD; CNC Modelling. Professional Courses and Certification: 200-hour Registered Yoga Teacher Training (ongoing)

COMMUNITY ENGAGEMENT Imara Ltd, Calgary, Alberta (2012-Present) Architectural Assistant Henna Artist (2007-Present) Calgary Ismaili Community, Calgary, Alberta (2000-Present) Tutor; Ismaili Volunteer Corp. Classical and Contemporary Indian Dance (1996-Present) Dancer; Choreographer BRIDGE Centre for Architecture + Design, Cambridge, Ontario (2013-2017) Director; Author; Editor; Event Planner. Notable events: ArtCOP21, a gallery and speaker event in solidarity with the Climate Conference in Paris (Dec 2015) and Art for Change, an exhibition and discussion on the role of art in dispelling a narrative of violence in Afghanistan (Nov 2016) University of Waterloo School of Architecture, Cambridge, Ontario (2010-2017) Mentor, Peer Support Group Logistics Coordinator, â&#x20AC;&#x153;Representing Ambienceâ&#x20AC;? Symposium Class Representative; Vice President; President, Waterloo Architecture Student Association United Nations Environment Programme, Afghanistan (2015-2016) Remote support assistant Manhattan Ismaili Community, New York, New York (2014) Religious Education Teacher; Dance Choreographer Humanitarian Aid Project, Ecuador (2009) Social and environment volunteer

THE RIVER IS FOR WASHING CARPETS what. 1. a network of decentralised physical, ecological, and social infrastructures throughout the local watershed of Bamyan; 2. detailed design of one node in the network, a washing house along Bamyan River; 3. a design and research thesis submitted for the degree of Master of Architecture in Engineering

materials. water, community participation, mud-brick, concrete

where. Bamyan, Afghanistan

skills. design, research, integrated water management, community engagement, ecological urbanism, conflict urbanism

when. 2015-2017 why. 1. conceive a practice of design that can appropriately engage in, and foster, sustainable peace in fragile states; 2. the intersection of participatory architecture, decentralised infrastructure, and local ecology creates a grounded framework for enduring peace and sustainable development in Bamyan

committee. Dr. Anne Bordeleau, University of Waterloo; Dr. Mona El-Khafif, University of Virginia; Dr. Tammy Gaber, Laurentian University; Hadi Husani, CEO Aga Khan Agency for Habitat [external reader]

publication. Lakhani, Safira. â&#x20AC;&#x153;The River is for Washing Carpets.â&#x20AC;? Master of Architecture thesis, University of Waterloo, 2017.

Site analysis: urban development in Bamyan c. 2015.

Site analysis: urban development per UNESCOâ&#x20AC;&#x2122;s Bamyan Cultural Master Plan

Site analysis: local watershed and hydrology in Bamyan.

Network design scheme.

Matrix of network interventions [not to scale].

Design site photo with stakeholder analysis and material palette.

Plan of washing house and complex.

Section through washing house and gathering space.

Section through water collection and bus terminal.

Section through river access stairs and washing house threshold.

COMFORT DOWNTOWN what. 1. a series of pop-up furniture fort-building installations; 2. tactical urbanism where. Edmonton, Alberta when. Fall 2012 why. 1. foster serendipitous opportunities for human interaction and creativity; 2. generate conversation about public space, citizen engagement, and city liveability using a meaningful and playful analogy of the city: forts! (build your fort, build your city); 3. inspired by Peter Kageyamaâ&#x20AC;&#x2122;s For the Love of Cities initiative materials. unoccupied public space, donated furniture, bedding, board games, hot chocolate, people

in collaboration with. Jonny Leger, Tara McCashin, Michael Zabinski skills. event planning, project management, marketing, design, logistics, fundraising sponsors. MacEwan University, Good Earth Cafe, Manasc Isaac Architects, NextGen, Edmonton Economic Development Corporation publicity. online: 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; print, radio, television: CKUA Radio, CTV, City TV, CBC Radio Active

ComFORT logo

ComFORT marketing render.

ComFORT at the 101 Street Pedway, at City Centre Mall [November 21, 2012].

ComFORT at Winston Churchill Square during the annual Holiday Light Up [November 17, 2012].

ComFORT at Kitchener Park [November 18, 2012].

A CHAIR FOR S A LVA D O R D A L I what. design-build and structural analysis of a chair catered to the questionably whimsical lifestyle of Spanish surrealist artist Salvador Dali when. Fall 2013 why. 1. [design manifesto] reality is not reality, object is not an object, while art is materialisation of concrete irrationality. Juxtaposition of frailty and power generates infinite weightlessness supported on sublime and monstrous pillars, materialising as distortions in space; 2. the three configurations of the chair (based upon location of loads upon the chair) reflect three states of mind acutely associated with Dali, alert, loose, and tipsy materials. plywood

in collaboration Sakharevich

with.

Maryia

skills. design, model-making, CNC, wood-working, structural calculations recognition. exhibited at The Gladstone Hotelâ&#x20AC;&#x2122;s annual Alternative Design Exhibition Come Up to My Room, Toronto, 2014

POSITION B

Alert

POSITION A

Loose

POSITION B

Tipsy

POSITION C

Iterative design process.

Chair construction.

MORPHOLOGY OF S A C R E D S PA C E what. 1:100 scale model of the Hagia Sophia where. Istanbul, Turkey

in collaboration with. Wade Brown, Rachel Bruijns, Monty De Luna Stephane Gaulin-Brown, Patrick Verkley

when. Fall 2012

skills. model-making, laser-cutting

why. sacred spaces have long served to accumulate layers of culture, geography, politics, technology, and interpretation of belief. This model picks out key details of structural and cultural transformations, noting specifically the dome, pendentives, columns, Islamic and Christian iconography, and the juxtaposition of the experience of the two occupant groups over time, which was further elaborated upon in a corresponding research paper

publication. Gaber,Tammy. â&#x20AC;&#x153;Mythic Foundations: Engaging History for Architecture Education.â&#x20AC;? Archnet-IJAR International Journal of Architectural Research, 6, no. 2 (2012): 7-23.

materials. plywood, basswood

View from upper gallery.

Complete model.

UNFOLDING JANNA what. 1. a cultural centre for Bamyan; 2. submitted as an entry to UNESCOâ&#x20AC;&#x2122;s open international competition where. Bamyan, Afghanistan when. Winter 2015 why. 1. culture plays an important role in revitalising a society, and empowering people following conflict; 2. [design concept] janna is the root word in Arabic for both Paradise, Jannah, and for gardens, Jannat. Finding its premise here, the Centre is envisioned as a pause in the expansive landscape, and a catalytic hub for the community; 3. the design 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; 4. beyond its role as a cultural hub, the centre

will become a thriving space for civil society, cultivating holistic practices towards a sustainable and self-sufficient future for the people of Bamyan materials. compressed stabilised earth block (CESB) composed of local components including dry soil, clay, and aggregate, with the supplemental addition of 10% cement sustainability. integration and adaptation of local passive building technologies, snow harvest, solar energy in collaboration with. Dr. Tammy Gaber, Katherine Holbrook-Smith, Snehanjali Sumanth skills. project management, design, building technology

View of the Cultural Centre complex from the Buddha niches.

Plan, 1:800.

3 The R-value of a double layer 200mm CEB construction with 100mm air space ranges from 48.4 to 59.2. 4 5 6 7 8 9 10 11 12

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

Wall section at public gallery.

PROGRAMMATIC REQUIREMENTS 22

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 learning + skills development

public programming

04 m riu

programming outdoor teahouse + gallery ition b i s m o exh classroo library kshop + studio wonrtre e e r t c en ch ce c ar feren aud on ito services + n tio c

summer sun | longest day receives ~14 hours of sunlight winter sun | shortest day receives ~9 hours of sunlight

06 pri va te

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.

res

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.

admini str a

ENERGY REQUIREMENTS

16 15

bli c

fruit + nuts

09 14

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

Design parameters.

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.

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.

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

Sustainability features.

View of lower terrace (learning and skills development programme).

Axonometric.

Sectional render through teahouse, with view of Buddha cliffs.

GROW:THE LODGE AT DREKI what. a natural outcrop of barren Icelandâ&#x20AC;&#x2122;s mythological and geological origins, weaving the tense tale of fire and ice, separation and creation, rock and water, to culminate in a place of restorative growth where. Dreki, Iceland when. Spring 2015 why. 1. the focus is community, and the program is broken down as such into healing, administrative, sleeping, and at the crux, living, or being. Program elements are separated by water, and points of crossover become points of creation, of interaction, of growth. 2. presence of water is balanced by the underlying motif of rock; volcanic pumice on site comprises the majority of the landscape and further promotes growth on site; its lightweight qualities and multi-

faceted structure can trap and hold impurities and act as a growing medium. materials. water, concrete, berm, pumice (used as an aggregate in the concrete structure and is the primary element of the gabion wall faĂ§ade, simultaneously calling attention to the potential of the site, as well as significantly improving the R values of the wall assemblies) sustainability. 1. geothermal energy; 2. coupling of passive and active strategies for massing, programme, cooling, and heating, including microclimates within courtyards, earth sheltering, temperature and daylight zoning, wall assemblies skills. design, building technology

Hikersâ&#x20AC;&#x2122; vantage point.

Plan, 1:500.

Section aa: through great room and recreational pool, 1:250.

Section bb: through admin residence, inner vestibule, and spa pool, 1:250.

Section cc: through bridges (greenhouse and library, dining, entry), 1:250.

Wall section at entrance bridge.

View of the Great Room.

View of geothermal pool in spa.

SAMPLING

what. travel sketches where. all over the world when. ongoing why. 1. a means of understanding myself, and the world around me; 2. documentation of growth and personal experience

Clockwise from top left: the 2nd Hera Temple in Paestum; Piazza Navona in Rome; Cave of the Sybil in Cumae; Mantova Market [2014].

Clockwise from top left: Band-e-Amir in Bamyan; Piazza della Rotunda in Rome; Kinderdijk UNESCO World Heritage Site in the Netherlands; on the way to Capri; five minute sketches in Prague [2014-2017].