Hiba Zubairi Portfolio Vol. IV (2021) by Hiba Zubairi

SOME THINGS OF HIBA ZUBAIRI’S

vol. 4

here are some things of hiba zubairi’s in a design portfolio

TABLE OF CONTENTS 2021

HHZ

03 PREFACE 05 RESUME

07 WELCOME WAGON

19 WHO’S MARBLES ARE THEY ANYWAYS?

35 AKWE

E:GON 53 WHAT LANGUAGE DO I SPEAK? 43 SERVICE BLUEPRINT

49 A DRINK OF WATER TAKES A VILLAGE

vol. 4

57 THE SCENT OF THE COURTYARD

here are some things of hiba zubairi’s in a design portfolio

45 TAKE ME TO THE HINDU KUSH

TABLE OF CONTENTS

2021

HHZ

vol. 4

here are some things of hiba zubairi’s in a design portfolio

P R E FAC E : HIBA ZUBAIRI 2021

HHZ

2021

HHZ

Last Name:

Zubairi

First Name:

Hiba

Length: Status: Last Known Location: Strengths:

22 years 5’9” / 175 cm Student (seeking work) 43.6532° N, 79.3832° W Can design, draw and paint to a dangerous level High creativity Willing to take risks

Weaknesses:

Is a perfectionist Is detail oriented Has no sense of direction Trouble distinguishing left from right

Ideal Candidate For:

Design Publications Architecture and Design Firms Spatial Research Design and Spatial Justice Writing, Filming and Interviewing

P R E FAC E : HIBA ZUBAIRI

Age:

31.5204° N, 74.3587° E

vol. 4

Production Site:

21 September 1999

here are some things of hiba zubairi’s in a design portfolio

Production Date:

HHZ

R E S U M E

2021

HHZ

vol. 4

here are some things of hiba zubairi’s in a design portfolio

HHZ

SUMMARY OF R E L E V A N T QUALIFICATIONS E X P E R I E N C E 2+ years of experience working in the design publication industry, with 1+ years of applicable experience working at architectural design firms Highly skilled in Adobe Creative Suite (Photoshop, Illustrator, InDesign, Lightroom, After Effects, Premiere Pro), WordPress, iMovie, Rhinoceros, AutoCAD, SketchUp Proficiently trained in mass printing/publishing, screen printing, film/digital photography, model making, laser cutting, CNC milling, 3D printing Published written work in 3 design publications and the 1st place recipient of the ‘HeForShe’ Writing Contest 2019, Non-Fiction category

JAN – SEPT 2021

Editorial Assistant and Writer Design Exchange Magazine, London, United Kingdom

Wrote and researched numerous features on design, architecture, technology, film and socio-political movements for publication on the magazine’s website and in its print editions Created monthly promotional short films for distribution across the magazine’s social media platforms Interviewed relevant individuals and organizations as primary sources for research into our focus topics in the upcoming print issue

Graphic Designer

JAN – AUG 2021

University of Waterloo Library Department, Waterloo, Canada

E D U C AT I O N Candidate for Bachelors of Architectural Studies, Honours, Co-op

2017 – 2022

University of Waterloo School of Architecture, Cambridge, Ontario, Canada

Designed a modular housing system on wheels, a contemporary longhouse, an affordable housing scheme for low-income Toronto families, etc. Wrote a critical analysis of museums’ artifact collection practices rooted in colonialism, a spatial analysis of Sufi shrines in rural Pakistan, a research piece on the partition of British India, etc. Relevant Courses: Design Studio, Cultural History, Power and Architecture, Writing and the Written, Design Visualization, Critical Algorithms Dean’s Honour List: Fall 2020 (academic average above 90%), President’s Scholarship: 2017 (entrance scholarship for academic average above 90%)

Designed infographics for distribution across the academic departments Made official documents ADA accessibility compliant through rigorous accessibility tagging and editing Created learning modules for various academic courses and training seminars Designed logos and icons for university wide distribution Designed diverse avatars for a province wide research grant project

Writer/Content Creator

2019 – 2021

Chutney Magazine, Toronto, Canada

Writing 2 think pieces for the first and second issue of Chutney Magazine Researching the history of marijuana and recreational drug use in British colonies Collecting research and images focused on South Asian female identity

Architectural Intern

SEPT – DEC 2019

Farrow Partners Inc., Toronto, Canada

Managing the company website in WordPress and helping organize and grow its online presence Creating presentations, publications, drawings and promotional material for clientele using Adobe Creative Suite Working on master plans, design developments and building proposals in AutoCAD and Rhinoceros

Design Intern

JAN – MAY 2019

Atelier Tsuyoshi Tane Architectes, Paris, France

Adobe Suite

2019

L A

S L

WordPress iMovie Rhinoceros 3D AutoCAD SketchUp Maxwell Render V-Ray

Photoshop Illustrator InDesign LightRoom After Effects Premiere

Mass Printing/ Publishing Screen Printing Hand Drafting

Photography Painting Sculpting 3D Model Making

F A B R I C A T I O N Laser Cutting CNC Milling

Collecting research and organizing it into publications, narrative boards and presentations Creating developmental and final models and construction drawings for fashion, brand and experimental installations

Content Creator

3-D Printing

L A N G U A G E S English, Fluent Urdu, Fluent Hindi, Fluent

French, Intermediate Korean, Beginner

Zindagi Trust, Lahore, Pakistan

Playwright and Actor

2019

HHZ

2021

R E S U M E

06 here are some things of hiba zubairi’s in a design portfolio

A D D I T I O N A L S E X P E R I E N C E

I N T E R E S T S

Writer and Member

2017 – 2020

BRIDGE Centre for Architecture + Design, Cambridge, Canada

Writer galt. Publication, Cambridge, Canada

2020

Literature Romanticism, French Philosophy Film Tarsem Singh, Taika Watiti, Yorgos Lanthimos Drawing Illustrations, Line Drawings, Still Life

Script Writing Screenplays, Pilots Poetry Personal works, Rumi, Iqbal, T.S. Eliot Music Drums, Flute, Violin, Cello, Piano

vol. 4

Leviathan, Cambridge, Canada

HHZ

1914/04/14

HHZ

Driver’s Licence Permis de conduire FULLER, BUCKMINSTER 118 FRONT STREET, TORONTO, ON, N5N 6G6

N5333-111111-900002

Driver’s Licence Permis de conduire

THE WELCOME W A G O N

2021

1914/04/14

vol. 4

here are some things of hiba zubairi’s in a design portfolio

HHZ

FULLER, BUCKMINSTER 118 FRONT STREET, TORONTO, ON, N5N 6G6

N5333-111111-900002

1914/04/14

ALMONTE, ONTARIO, CANADA Canada is known as a mosaic of cultures. People from all over the world can be found here, practicing their own cultural traditions and proudly honing their identities while successfully operating within Canadian society. However, certain factors in our built environment and wealth distribution patterns forces Canadian immigrants to remain in less than satisfactory, expensive and undignified housing. From small one bedroom apartments housing five member families to basements being occupied by seven to eight young men, the plethora of cultural exposure, strength of community and available resources are significantly stunted for immigrants who cannot afford housing in a growingly steep market. The Welcome Wagon, beta tested in Almonte, Ontario, is a community settlement scheme which seeks to provide immigrant families the ability to maintain their strong cultural networks while also increasing their likelihood of employment, self-run businesses, home ownership and class mobility. For this reason, the program is specifically geared towards new immigrants who are having trouble finding jobs and providing a sustainable income for their dependents. The Welcome Wagon is a recycled and re-purposed transport trailer which comes fitted with all the utilities a family of five would need to live in a trailer indefinitely, as well as the base construction material to build an 80m2 house. Welcome Wagons come with a plethora of tools/instructions/materials that can be used to construct the structure proposed by the manual. All that is left to do is collect your friends and plug in!

vol. 4

FALL 2020 3B A4PBP DESIGN STUDIO INSTRUCTOR: JONATHAN ENNS SKILLS: RHINOCEROS, INDESIGN, PHOTOSHOP, ILLUSTRATOR

here are some things of hiba zubairi’s in a design portfolio

THE WELCOME WAGON

THE WELCOME W A G O N

2021

HHZ

vol. 4

here are some things of hiba zubairi’s in a design portfolio

THE WELCOME W A G O N

2021

HHZ

vol. 4

here are some things of hiba zubairi’s in a design portfolio

THE WELCOME W A G O N

2021

HHZ

vol. 4

here are some things of hiba zubairi’s in a design portfolio

THE WELCOME W A G O N

2021

HHZ

vol. 4

here are some things of hiba zubairi’s in a design portfolio

THE WELCOME W A G O N

2021

HHZ

vol. 4

here are some things of hiba zubairi’s in a design portfolio

THE WELCOME W A G O N

2021

HHZ

vol. 4

here are some things of hiba zubairi’s in a design portfolio

THE WELCOME W A G O N

2021

HHZ

vol. 4

here are some things of hiba zubairi’s in a design portfolio

THE WELCOME W A G O N

2021

HHZ

vol. 4

here are some things of hiba zubairi’s in a design portfolio

THE WELCOME W A G O N

2021

HHZ

THE WELCOME W A G O N

2021

HHZ

vol. 4

here are some things of hiba zubairi’s in a design portfolio

HHZ

PRELIMINARY WORK: HOW? The beta site for this project is Almonte, Ontario, a small town in Southern Ontario, with the parcel of land being relatively flat, covered with little vegetation other than wild grass and a few shrubs, but rich soil and open skies. Scouts and government officials have partnered with local real estate agents across the province to make a database of affordable plots of land for sale suitable for the program. Municipal hydro and infrastructural authorities have been contacted for selected/bought plots of land to run waterlines and electrical grids through the site in order to residentially occupy. The seed of the house is the Welcome Wagon, it comes with everything the user would need to build the structure, and whatever it does not come with, a detailed manual and accompanying appendix provide sources, contacts and tips on where you can find material, tools and/or expertises. The Welcome Wagon is essentially a transport trailer, so its mobility allows the occupant full control of the location and orientation of the building, while also serving as a movable shelter. The Welcome Wagon has double face panels cut into three sides, one face being a typical, steel structure and insulation layer to shelter from the elements. The other is frame behind that initial layer which could house windows, screens or semi-mediated partitions of the occupant’s choice. A hinge in the middle of these panels allows for flexible integration between the wagon and the outdoor site, making it convenient on a construction site and enjoyable on a summer’s day. At the back of the wagon, a service core plugs into a full bathroom, that under the bottom of the trailer, connects to the mainline grid of the city itself.

From the seed unfolds a timber frame house, typically single story, with the standard five bay configuration providing enough space for four bedrooms as well as living and dining space. The timber frame is centered on the robust interlocking connection of four slotted 2” x 6” that are cut in order to allow continuous growth and addition in the pattern of a four meter by four meter grid. The simplicity of the grid allows for continuous expansion and the dimension of four meters is designed to slot and align with the panelized system of the Welcome Wagon so docking and interconnecting of the two spaces is easy, useful, and wholly removable. The construction of the house as a team build exercise, which is strongly recommended due to the precise nature of the connection and the heaviness of the members, takes roughly four weeks with teams of four working on the project incrementally. Additions on to this initial structure are on a smaller scale and are predicted to be easier to execute and take less time.

vol. 4

here are some things of hiba zubairi’s in a design portfolio

THE WELCOME W A G O N

2021

HHZ

PERSONA 1: VALENTINA

PERSONA 2: HAMMED

HHZ

vol. 4

here are some things of hiba zubairi’s in a design portfolio

WHO’S MARBLES ARE THESE A N Y W A Y S ?

2021

HHZ

WHO’S MARBLES ARE THEY ANYWAYS?: REDISTRIBUTING THE MODERN MUSEUM FALL 2020 3B CRITICAL ALGORITHMS INSTRUCTOR: MATTHEW ALLEN SKILLS: MS EXCEL, INDESIGN, PHOTOSHOP, ILLUSTRATOR

WHO’S MARBLES ARE THESE A N Y W A Y S ?

2021

HHZ

vol. 4

An exploration of space and narrative through the manifestation of the museum as a metaphorical digital space rather than a physical one. Inspired by a vast number of sources, thinkers and events, the discourse about museums and their role in a new era of transnational networks and global connectivity is deeply linked to global struggles for colonial reparation. A sizeable number of the artifacts in the possession of notable Western museums come from colonized, settled and/or invaded countries and were taken under violent and/or extortionist circumstances. The curatorial assemblage of these artifacts, added to the method in which they were acquired, displace these items from the regional history of their producers and places them in a Euro-centric narrative. Now experiencing the aftermath of independence and an emerging global economy and public forum in the form of the Internet, nations and communities are beginning to demand their items be returned to their origins. These struggles have raised to light questions of ownership and geographical vs ethnic lineage. Who has claim over a material history? the The project’s intent is to redistribute museums’ artifacts according to their sourced origin by transforming online museums from virtual models or catalogs, to interactive maps accessed through a website.

here are some things of hiba zubairi’s in a design portfolio

LONDON, UNITED KINGDOM

HHZ

vol. 4

here are some things of hiba zubairi’s in a design portfolio

WHO’S MARBLES ARE THESE A N Y W A Y S ?

2021

HHZ

vol. 4

here are some things of hiba zubairi’s in a design portfolio

WHO’S MARBLES ARE THESE A N Y W A Y S ?

2021

HHZ

vol. 4

here are some things of hiba zubairi’s in a design portfolio

WHO’S MARBLES ARE THESE A N Y W A Y S ?

2021

HHZ

vol. 4

here are some things of hiba zubairi’s in a design portfolio

WHO’S MARBLES ARE THESE A N Y W A Y S ?

2021

HHZ

vol. 4

here are some things of hiba zubairi’s in a design portfolio

WHO’S MARBLES ARE THESE A N Y W A Y S ?

2021

HHZ

vol. 4

here are some things of hiba zubairi’s in a design portfolio

WHO’S MARBLES ARE THESE A N Y W A Y S ?

2021

HHZ

vol. 4

here are some things of hiba zubairi’s in a design portfolio

WHO’S MARBLES ARE THESE A N Y W A Y S ?

2021

HHZ

vol. 4

here are some things of hiba zubairi’s in a design portfolio

WHO’S MARBLES ARE THESE A N Y W A Y S ?

2021

HHZ

vol. 4

here are some things of hiba zubairi’s in a design portfolio

WHO’S MARBLES ARE THESE A N Y W A Y S ?

2021

HHZ

vol. 4

here are some things of hiba zubairi’s in a design portfolio

WHO’S MARBLES ARE THESE A N Y W A Y S ?

2021

HHZ

vol. 4

here are some things of hiba zubairi’s in a design portfolio

WHO’S MARBLES ARE THESE A N Y W A Y S ?

2021

HHZ

vol. 4

here are some things of hiba zubairi’s in a design portfolio

WHO’S MARBLES ARE THESE A N Y W A Y S ?

2021

HHZ

vol. 4

here are some things of hiba zubairi’s in a design portfolio

WHO’S MARBLES ARE THESE A N Y W A Y S ?

2021

HHZ

vol. 4

here are some things of hiba zubairi’s in a design portfolio

WHO’S MARBLES ARE THESE A N Y W A Y S ?

2021

HHZ

vol. 4

here are some things of hiba zubairi’s in a design portfolio

A K W E : G O N CONTEMPORARY LONGHOUSE

2021

HHZ

AKWE:GON

FALL 2020 3B TWELVE ARCHITECTURES INSTRUCTOR: WILLIAM WOODWORTH SKILLS: RHINOCEROS, INDESIGN, PHOTOSHOP, ILLUSTRATOR, ENSCAPE

A K W E : G O N CONTEMPORARY LONGHOUSE

2021

HHZ

Each stage and conception of the building of the great house will be framed by a continual Burning Tobacco and Thanksgiving [Ohon:ton Karihwateh:kwen]. Located upon a high ridge overlooking a bend in the Grand River – on the original land of the Haldimand Proclamation of the British Crown, designating six miles either side of the Grand River as the land of the Mohawks and the Six Nations (for ever), this longhouse will be a place of prospect and refuge. A central corridor provides an open sight line down the longhouse, connecting the space from beginning to end: one collective journey. Exposed structural systems connect ground to sky. The central gathering space sits at the heart of the project – a sacred place of storytelling and sharing knowledge, visibly present in the other communal spaces of the longhouse. Our design humbly seeks to learn from and respect traditional Haudenosaunee knowledge, cosmology, construction, and ways of knowing and being as we design a home for 12 families, seeking community engagement and living.

vol. 4

The Chief expresses the need to move and let our present longhouse occupation return to the body of our mother. Introduction of the “doctor(s) of the building” [Ionte:tsients] (in training...): Sophie Chaoran Fan, Christa Hu, Shannon Kennelly, Peter Kwak, Hiba Zubairi.

here are some things of hiba zubairi’s in a design portfolio

CAMBRIDGE, ONTARIO, CANADA

HHZ

vol. 4

here are some things of hiba zubairi’s in a design portfolio

A K W E : G O N CONTEMPORARY LONGHOUSE

2021

HHZ

NORTH/SOUTH SECTION: DINING

HHZ

vol. 4

here are some things of hiba zubairi’s in a design portfolio

A K W E : G O N CONTEMPORARY LONGHOUSE

2021

HHZ

NORTH/SOUTH SECTION: GATHERING

HHZ

vol. 4

here are some things of hiba zubairi’s in a design portfolio

A K W E : G O N CONTEMPORARY LONGHOUSE

2021

HHZ

FLOOR PLAN: UPPER MEZZANINE

HHZ FLOOR PLAN: MAIN LEVEL

EXTERIOR NIGHTTIME RENDER

vol. 4

here are some things of hiba zubairi’s in a design portfolio

A K W E : G O N CONTEMPORARY LONGHOUSE

2021

HHZ

INTERIOR DAYTIME RENDER

HHZ

vol. 4

here are some things of hiba zubairi’s in a design portfolio

ADDITIONAL W O R K 2021

HHZ

ADDITIONAL W O R K

2021

HHZ

here are some things of hiba zubairi’s in a design portfolio

THE FOLLOWING WORK WAS MADE WITHIN THE CONTEXT OF LARGER ACADEMIC PROJECTS, AS PERSONAL PROJECTS OR TO BE PUBLISHED IN A DESIGN AND/OR ACADEMIC PUBLICATION.

vol. 4

ADDITIONAL WORK

HHZ

SERVICE BLUEPRINT: MOSQUE-CATHEDRAL OF CORDOBA

A SERVICE STUDY: THE MOSQUE-CATHEDRAL OF CORDOBA

2021

STAKEHOLDERS

primary users of the building: the individuals occupying the space on a daily basis, those who hold a personal stake in the alteration, degradation and expansion of the building. Includes: Worshippers (Christian, Muslim + Jewish) Students Teachers Service Staff Clergy Priests, Bishops + Cardinals

ARIAN CHRISTIANS PRAY IN BASILICA

CATHOLIC WORSHIPPERS PRAY IN BASILICA

CHAPEL + ALTAR BOYS, SERVICE STAFF

CARDINALS + BISHOPS + PRIESTS CONDUCT MASS, DELIVER SERMONS

PRIESTS LEAD SERVICE

CATHOLIC BAPTISM FOR ARIAN CHRISTIANS IS OFFERED

MUSLIM WORSHIPPERS PRAYED 5x A DAY IN CONGREGATION

FRIDAY PRAYER LED BYTHE IMAM

BASILICA IS CROWDED WITH MULTIFAITH WORSHIPPERS

MULTIFAITH SPACES FOR CHRISTIAN + JEWISH WORSHIPPERS + STUDENTS THEOLOGICAL LIBRARIES SET UP FOR STUDENTS + CLERGY

A SERVICE STUDY: MOSQUE CATHEDRAL OF CORDOBA

MOSQUE-CATHERAL changes within the building itself, represented as additions of key architectural elements, expansions, changes + addition to ornamentation and the scope of the landscape architecture present on site.

ADDITION OF TRADITIONAL MUSLIM ORNAMENTATION

ADDITION OF ARCHES TO ELONGATE SPACE VERTICALLY

CONVERSION OF TEMPLE TO CHURCH

CONSTRUCTION OF THE DOOR OF FORGIVENESS

ADDITION OF 8 SECTIONS TO PRAYER HALL

REUSE OF THE ORIGINAL VISIGOTH COLUMNS

BIBLICAL IMAGERY IN FRESCOS

LOCAL RESOURCES + LABOUR the localized process of construction in altering + adding on to the building. represented by the individuals who worked hands-on the construction, including artisans, masons and smiths. also represented by the locally sourced material and its manufacturing, speciﬁcally the nature or style in which it is manufactured, for the purpose of the building.

ADDITION OF MIHRAB ARAB ARTISANS CONSTRUCT MOSAICS FOR THE MISRAH

LOCAL ARTISANS PAINT FRESCOS BLACKSMITHS FORGE BRONZE PANELLED DOORS

43 here are some things of hiba zubairi’s in a design portfolio

ADDITION OF 11 LONGITUDINAL HALLS FACING NORTH/SOUTH

ADDITION OF CATHOLIC IMAGERY (ST. PAUL)

ADDITION OF AN ALTAR

MOORISH METALWORKERS + CRAFTSMEN ORNATE MOSQUE + DOORS

MASONS CONSTRUCTTHE DOOR DETAILING

STONE WORKERS CRAFT TRADITION ARAB ARCHES

ARTISANS CONSTRUCT THE ALTAR

LOCAL STONEMASONS CONSTRUCT ADDITIONAL COLUMNS FOR HALLS

STONEMASONS CONSTRUCT THE BASE

REGIONAL RESOURCES + TRADE the broader regionalized process of resource mining, material sourcing, and assemblage, for the purpose of the constructing the building. this includes migration and travel of labourers, mining of metals, sourcing of timber, and transcontinental trade. also including the larger political/religious entities that control and facilitate these processes.

LABOURERS BROUGHT IN FROM NORTHERN EUROPE

BRONZE BROUGHT IN FROM THE ANDALUSCIAN MINES

ARTISANS WERE FRANKISH EUROPEAN

ANDALUSCIA/SOUTHERN SPAIN WAS VISIGOTH TERRITORY

THE VISIGOTH CITIES OF MELILA, CEUTA + CORDOBA WERE CONQUERED BY MUSLIM BERBERS

STONE BROUGHT IN FROM NORTHERN SPAIN

LOCAL STONE MINED + REUSED FROM OLD VISIGOTH STRUCTURES BRONZE + TIMBER SOURCED FROM SOUTHERN SPAIN/MURCIA

MUSLIM BERBER FORCES, LED BYTHE UMAYYAD, INVADE CORDOBA WHILE TAKING OVER THE BULK OF AL-ANDALUS

STONE MINES + DEPOSITS ALONG THE NORTHERN COAST OF VISIGOTH SPAIN

MUSLIM CA CONTROLS AL-ANDALUS IT’S RESOUR

GLOBAL PLAYERS VISIGOTH KING IS UNIFIED + CONVERTED TO ROMAN CATHOLICISM

VISIGOTHS FROM NORTH-EASTERN EUROPE CONQUER CORDOBA (410 AD)

the governing bodies and heads of those bodies that inﬂuence the broader global acts of movement. these entities represent land claims, stately jurisdiction, imperial allegiances and larger global religious networks. these are represented by kings, emirs, caliphs, as well as muslim + christian clergy, and religious bodies such as the catholic church. this also represents global phenomena such as large scale, mass migration.

TARIQ IBN ZIYAD HAS A SERIES OF VICTORIES AGAINSTTHE VISIGOTHS, BEGINS MOVING HIS FORCES THROUGH THE SOUTHERN IBERIAN PENINSULA

vol. 4

BYZANTINE EMPIRE OF SPAIN (522 - 624 AD)

HHZ

ROMAN BYZANTINE EMPIRE, CAPITAL IS CONSTANTINOPLE (330 - 1204 AD)

“ACTION STAGES”

GREGORIAN ISLAMIC

VISIGOTH KING RODERIC IS KILLED ON JULY 19, SECURING MUSLIM BERBER VICTORY OVER THE IBERIAN PENINSULA

CORDOBA BECOMES CAPITAL O CALIPHATE IN AL-ANDALUS, BOOMING IN TRADE + ECONOM GROWING IN POPULATION ABD-AR RAHMAN I BECOMES THE EMIR OF CORDOBA, ESTABLISHING THE INDEPENDENT RULE OF AL-ANDALUS

UMAYYAD OF DAMASCUS EXILES PRINCE WHO SEPERATES HIMSELF + THE PROVINCE OF AL-ANDALUS

RASHIDIN + UMAYYAD CAPLIHATES HAVE TAKEN TANGIERS,TUNIS,ALGIERS + BEGAN MOVING UP THE MEDITERRANEAN

MASS MIGRATION OF CHRISTIAN 5 YEARS

570AD ~

590AD 12 AH

FALL 2020 3B A4PBP DESIGN STUDIO INSTRUCTOR: JONATHAN ENNS

710AD 132 AH

730AD 154AH

750AD 172 AH

HHZ CHRISTIAN

CATHOLIC + JEWISH WORSHIPPERS ARE NO LONGER WELCOME

MUSLIM + JEWISH WORSHIPPERS ARE NOT WELCOME

(visigoth, catholic)

MUSLIM MULTI-FAITH

(arab, berber)

(christian, muslim, jewish)

ﬁxed end, within timeline no end, unknown end, or ending outside of timeline irregular presence or occurence rare presence or occurence

PEAK POPULATION, SERVICING 400,000+ CITIZENS OF THE CITY

ADDITION OF 8 SECTIONS TO PRAYER HALL

ADDITION OF AN ALTAR

A SERVICE STUDY: MOSQUE CATHEDRAL OF CORDOBA

PRAYER HALL EXTENDED CLOSER TO THE RIVER

EXPANSION OF THE DOME

the graph to the left illustrates the capacity and religious demographic changes throughout the chosen timeline of the mosque.

ADDITION OF 10 CHAPELS

EXPANSION OF THE MINARET

CONSTRUCTION OF NEW MINARET

ADDITION OF FOUNTAINS EXPANSION OF THE COURTYARD

DEVELOPMENT OF THE COURTYARD

INSTALLATION OF CISTERN FOR THE COURTYARD

GLASS MOSAIC WORK TO ALLOW LIGHT IN

STONEMASONS WORK ON THE BASE, CHAPELS + ST. MARY’S FOUNTAINS

ORNAMENTATION OF THE EXPANDED MINARET

NEW ARCHITECTURAL ELEMENT OF POLYLOBED ARCHES, INTERTWINED ARCHES + DOMES MOUNTED ON RIBS

ARTISANS CONSTRUCT FRESCOS + DETAILING FOR ALTAR + CHAPELS

LOCAL STONEMASONS CONSTRUCT ADDITIONAL COLUMNS FOR HALLS

STONE WORK OF TRADITIONAL NORTH AFRICAN MINARETS

ORANGE, DATE, PALM + CYPRESS TREES BROUGHT FROM NORTH AFRICA + ARABIAN PENINSULA

IVORY, JASPER, PORPHYRY SOURCED FROM NORTH AFRICA

GOLD, SILVER, COPPER, BRASS SOURCED FROM THE MINES OF TINTO, THARSIS, ZARZA RIVERS OF AL-ANDALUS

GOLD, SILVER, COPPER, BRASS SOURCED FROM THE MINES OF TINTO,THARSIS, ZARZA RIVERS OF ANDALUSCIA

LOCAL HOUSES EXPROPRIATED TO MAKE WAY FOR EXPANSION

CHRISTIAN FORCES CAME FROM NOTHERN KINGDOMS OF CASTILE + LEON

AL-MANSUR BURNS MOST OF THE BOOKS ON PHILOSOPHYTO APPEASE THE CLERGY EXILED CALIPH WANTED TO MAKE THE COURTYARD IN THE IMAGE OF HIS HOME, DAMASCUS

AL-HAKAM II GAINED PEACE WITH THE NORTHERN CATHOLIC FORCES,AGRICULTURALTRADE PROSPERED IN AL-ANDALUS

990AD 412 AH

CHRISTIAN FORCES CONTROL MAJORITY OF CENTRAL + COASTAL AL-ANDALUS

FERDINAND III OF CASTILE TAKES CORDOBA FROM THE MUSLIM FORCES

MUSLIM CLERGY GROWS INCREASING INTOLERANT TOWARDS MULTI-FAITH COMMUNITY

NORTHERN SPANISH ROYAL DYNASTIES BEGIN CONQUERING LAND FROM WEAKENING MUSLIM FORCES

CONFLICTS BETWEEN MUSLIM CALIPHATE + NORTHERN CATHOLIC FORCES ARE ON THE RISE NORTHERN CHRISTIAN FORCES CONTINUE TO GROW IN STRENGTH

N SPANIARDS TO THE NORTH BEGINS

910AD 332 AH

LABOURERS BROUGHT IN FROM NOTHERN SPAIN + ITALY

AGRICULTURALTRADE BETWEEN NORTH AFRICA + SPAIN FLOURISHES, MANY CROPS ARE IMPORTED TO GROW IN AL-ANDALUS

ABD-AR RAHMAN III BECOMES FIRST CALIPH OF CORDOBA, SECURING UMAYYAD CONTROL OVER AL-ANDALUS

STONE BROUGHT INTO THE CITY FROM THE NORTH OF SPAIN

LOCALLY SOURCED LIMESTONE FROM AL-ANDALUS

MUSLIM CALIPHATE IMPORTS + TRADES MATERIAL FROM NORTH AFRICA

AS THE NEW CAPITAL, CORDOBA SEES AN INFLUX OF MIGRANTS FROM ACROSS THE CALIPHATE OF DAMASCUS (ARAB+BERBER) ABD-AR RAHMAN I PURCHASES REMAINING BASILICA + BEGINS CONSTRUCTION ON ONE OF THE LARGEST MOSQUES IN THE WORLD ATTHE TIME

SLIVERSMITHS DETAILTHE NEW ADDITIONS, ALTAR + CHAPELS

here are some things of hiba zubairi’s in a design portfolio

ARAB ARTISANS CONSTRUCT MOSAICS + ORNAMENTATION

CATHOLIC CHURCH DECLARES THE FIGHT WITH MUSLIM FORCES IN SPAIN A FIGHT FOR ALL OF CHRISTENDOM. POPE URBAN I DECLARES FIRST CRUSADE

1270AD 692 AH

DISCLAIMER: Throughout the course of this research process we have aimed to be bipartisan and openminded in regards to the multiple religious and political forces interwoven into the legacy of the Great Mosque Cathedral of Cordoba. However, due to lack of time and our primary source of information being English + Spanish resources found online, an unintentional bias may have worked it’s way into this service blueprint. This may be evident in the images sourced, due to the depiction of Moorish Spain being heavily painted with a Spanish Catholic perspective in the contemporary timeframe. Resource material on Catholic involvement far outnumbers the resource material available for other religious demographics. We hope you keep this in mind while reading the service blueprint, as well as the implicit biases you may carry into your own work.

1570AD 992 AH

vol. 4

MY,

CATHOLIC WORSHIPPERS PRAY IN BASILICA

TIMEFRAME LINEATION:

ALIPHATE ALL OF S+ RCES

OF THE

THE USE OF BOOKS AND STUDYING HAS SLOWED/STOPPED

2021

RELIGIOUS DEMOGRAPHICS OUTLINED IN THE DIAGRAM:

HHZ

vol. 4

here are some things of hiba zubairi’s in a design portfolio

CHUTNEY ISSUE 2: TAKE ME TO THE HINDU KUSH

2021

HHZ

HHZ Photo Credit: @thechutneymag

TAKE ME TO THE HINDU KUSH

SUMMER 2021 CHUTNEY MAGAZINE, ISSUE no.2

2021

HHZ

CHUTNEY ISSUE 2: TAKE ME TO THE HINDU KUSH

vol. 4

was used for its medical and psychological effects, earning it a sacred duty across various communities, cultures and religions. In early Vedic texts from 3000 BCE, cannabis is listed as the fifth Ayurvedic plant, the Elixir of Life which the god Shiva churned the oceans to produce. In the books of the Vedas, ancient texts which outline and document medicine in the Indus Valley Civilization, cannabis is mentioned multiple times as the treatment to a number of diseases including but not limited to: “epilepsy, delirium and insanity, rheumatism, nausea, fever, jaundice, leprosy, anemia, menstrual pain, tuberculosis…” Within a millennium, as the population of South Asia diversified, cannabis found a central role in the region’s religious landscape. Sufism, the leading cultural movement of Islam on the subcontinent, brought to life trance-inducing religious rituals through the consumption of bhaang and charas at shrines. Cannabis was believed to enhance the worshipper’s connection to the divine by reducing their worldly anxieties and elevating their inherent euphoria. In Sikhism, the Nihang, a sect of Sikhs who are considered “The Defenders of Sikh Shrines”, drank bhaang to enhance their warrior abilities by eliminating fear and improving performance as worshippers. These cannabis practices were observed across sects, particularly on holy days. Outside of the religious environment, bhaang and charas were commonly used as a reliable fix to daily ailments and worries. The multifunctional therapeutic and recreational nature of cannabis became known to the western canon through observations of human and plant life in colonial India by early European tradesmen. William O’Shaughnessy, an Irish botanist stationed in Bengal, had a keen interest in cannabis, its various forms and uses in the region. He collected and documented the effects of charas and hashish in different states, quantities and medical situations, on both humans and animals. Encouraged by these results, he used cannabis to treat patients with rheumatism, rabies, cholera and tetanus, with successful recoveries. In 1839, these results were published in a paper titled ‘On the Preparations of the Indian Hemp, or Gunjah’, which concluded that cannabis was “an anti-convulsive remedy of the greatest value”. These findings were received with great enthusiasm in Britain and prompted experimental cannabis cultivation in various medical colleges. Up until this point, colonial authorities had only recognized cannabis for its fibre qualities in making rope and netting, yet now the deep rooted dependency and widespread use of cannabis in India was an economic opportunity British occupants became determined to seize. Regulation of cannabis began as British authority grew in the region, however, a contrasting effect concurrently spread. Britain sought to grow a workforce large enough to cultivate its vast colonies, and with a thriving South Asian population, many poor people were pushed into indentured labour, displacing them across the colonies. With them, they brought their cannabis traditions to places such as the Caribbean,

here are some things of hiba zubairi’s in a design portfolio

It’s not easy talking about weed. A lot of personal context is entrenched bombarded in words like “marijuana”, “cannabis”, “ganja” or “pot”, which makes weed seem like anything from a wellness fix to a criminal offence. Tucked into the shows we watch, the music we stream, plastered on billboards and highlighted in government policy, cannabis continues to carry an infamous mantle in our global gaze. As the climate begins to change and widespread health crises threaten countless lives, the debate around cannabis still remains relevant, leading you, reader, to perhaps wonder: what’s weed got to do with it? When the United Nations was formed at the end of WW2, a globalized effort to regulate and police the use of narcotic drugs began. In 1961, the UN published the Single Convention on Narcotic Drugs, branding “cannabis” as an illicit drug alongside opium and coca, to be prohibited from production and supply. South Asian countries such as India, Pakistan, and Nepal, pushed for weak restrictions due to the importance of drug production in trade. In these states, cannabis was a socio-cultural element which dated back millennia. Existing restrictions came from foreign regulation imposed by western nations in efforts to control the international drug industry, and the effects were felt deeply by local farming populations and lower income communities. Similar struggles across the world framed cannabis as a low-income drug which served as a gateway, erroneously equating it, to opioids and other harmful drugs. The usual suspect, the United States, built and supported cannabis criminalization policies in countries across the world, using its far reaching military influence, in order to facilitate a global war on drugs. A beloved plant, soaked in the layered and diverse history of the South Asian subcontinent, became a criminalized tool of class warfare. Turns out, reader: weed has got a lot to do with it. Let’s take it back to the golden days of the Neolithic Period, when cannabis cultivation was first documented in the northeastern corner of Asia. Evidence of large scale cultivation for the harvesting of cannabis-fibres reveal the importance cannabis had in transitioning the local population from nomadic tribes and small-scale farming communities to agricultural villages and regional trade networks. Fibres from cannabis are strong, durable and easy to work with, making them key for textile production, which provided most people clothing and a developing method of rope and net making. The ease of production caused cannabis cultivation to spread across Asia, first to the west, where it took on an entirely different persona in northern South Asia. At this stage of cultivation, humans had discovered three separate species. Cannabis Ruderalis, a short, easy to grow variant which served as cattle fodder; Cannabis Sativa, a long stalky variant which allowed for fibre production; and Cannabis Indica, with leaves coated in a special kind of resin. Cannabis Indica grew indigenously in northern South Asia, where farmers began cultivating en masse to harness the resin found on its leaves. This resin, known as hashish or bhaang,

HHZ

CHUTNEY ISSUE 2: TAKE ME TO THE HINDU KUSH

2021

HHZ

vol. 4

here are some things of hiba zubairi’s in a design portfolio

HHZ

East Africa and the Pacific Islands, where the local cultures became imbued with a reverence for cannabis, harnessing solidarity amongst different communities. This was considered a threat to the British Empire. Drug regulation launched parallel to the widespread colonial cultivation of opium, coca and cannabis. An uneven trade output in China made the British anxious to find a product the Chinese market would enjoy. Thus, the exporting of opium was met with the importing of Indian cannabis, a product which quickly gained popularity. Eager to expand the market, British authorities in India began mixing the two to get the local population addicted to opioids unknowingly. Policies, licenses and taxation were meant to ensure all drug consumption resulted in profit for Britain. Taxation was heaviest in Bengal, where cannabis farming grew as large as a 60,000 acre tract of land called the Ganja Mahal. Farmers and wholesalers required two licenses, to grow and harvest for the former, and to store and distribute for the latter. These tedious regulations pushed farmers to rebel by growing undeclared crops, lying about their outputs and concealing shipments. A smuggling network formed down the Jamuna River developing cannabis’ association with criminal activity in the eyes of the Empire. In 1858, the Lunacy Acts prompted the construction of mental asylums across British India and allowed police authorities the discretion of admitting anyone they deemed insane. Fakirs, sadhus, and shrine keepers, who were often prominent figures within rural communities, were admitted to these institutions under the rationale that their cannabis usage made them insane, despite medical evidence at the time pointing to the contrary. The false stigma around cannabis and its effects on mental health was used to socio-politically control rural communities, while culturally conditioning the urban population and elites to distance themselves from cannabis and begin using alcohol and opium, in order to isolate the plant as a low-income substance and criminalize it in an act of class warfare. Today, cannabis, beyond hemp cultivation, remains largely illegal across the subcontinent, despite its prevalent usage amongst the population. Due to a longstanding precedent of cannabis being mixed with opium, the drug is considered harmful and addictive. Terms such as “charsi”— meaning ‘the one who smokes charas’— are used derogatorily due to the implied connection to opium and low-income usage. Bhaang is widely consumed during festivals and holy days, but everyday spiritual and medicinal usage can still be found in rural communities and indigenous tribes. Internationally, a caricature of South Asian culture shadows the consumption of weed, with strain names like Afghan and Hindu Kush marked on plastic baggies with small stickers of Hindu gods like Ganesh. With a recent wave of legalization making its way across the Western world, ideas of reclamation, repatriation and restitution are being brought to the forefront of the cannabis debate. The ensuing renaissance of cannabis strips the plant of its native

roots, history and reverence, and replaces it with a Western-centric outlook on wellness which mimics traditions, lifestyles and rituals from the Global South and rebrands them as enlightened, secular Western practices. As the first hosts of cannabis, South Asians across the diaspora must extend their role in this dialogue beyond the caricature to re-establish indigenous ties and begin processes of repatriation, which is directly tied to the release of thousands of imprisoned individuals who have been charged for marijuana possession and distribution. On a long term scale, re-establishing the ancestral knowledge of the plant will ensure de-stigmatized, safe, and beneficial use of cannabis. Out on the horizon, just beyond the Himalayas, strong stocks and green leaves beckon us to taste the Elixir of Life. All that is left is to take me to the Hindu Kush.

The Uses and Consequences of Bhaang, 1825 Portrait of East India Company Official

CHUTNEY ISSUE 2: TAKE ME TO THE HINDU KUSH

2021

HHZ

Opium Factory, Patna, 1840s

here are some things of hiba zubairi’s in a design portfolio

vol. 4

William O’Shaugenessy, Cannabis Profile

Ganja Farmers, Calcutta, 1930s

HHZ

vol. 4

here are some things of hiba zubairi’s in a design portfolio

GALT ISSUE 3: A DRINK OF WATER TAKES A VILLAGE

2021

HHZ

HHZ Photo Credit: @galt.publication

A DRINK OF WATER TAKES A VILLAGE

FALL 2020 GALT PUBLICATION ISSUE no. 3

2021

HHZ

GALT ISSUE 3: A DRINK OF WATER TAKES A VILLAGE

vol. 4

water practices and looming water-crisis will be more harshly felt. Due to a cultural demand for and historical reliance on water-extensive crops, 95% of the water coming into the country is spent by unsustainable agricultural practices. The two most commonly farmed crops in Pakistan are rice and sugarcane, both of which ravage the land as well as water supplies. To produce a kilogram of sugarcane, Pakistani farmers use more water than can be held in an Olympic sized swimming pool. Similarly, Pakistan’s rice-water productivity rate is 55% lower than the average rice-water productivity in Asian countries. However, sugarcane and rice will remain popular due to their importance in the livelihood of so many people, as well as the country’s economy. Without proper education into how to sustainably farm and prevent water wastage, the damage will persist. The government has continually struggled to supply everyone, particularly those in urban environments, with clean water and adequate toilets. In the 1998 census, it was reported that only 79% of households received water from municipal sources or by drawing it from the ground. Low-income communities fared significantly worse than the national average. It also reported that 51% of Pakistanis do not have access to an adequate toilet, with a clear gender imbalance since most women reported not having adequate facilities to maintain menstrual hygiene. These findings, more than two decades old, are predicted to have exponentially worsened. With rapidly expanding urban sprawl in cities such as Karachi (which has grown 22 fold in the last sixty years), maintaining an official municipal authority has proven to be difficult. Much of the urban development in the city is based on “squatters’ rights” and manifests in peri-urban, informal settlements called abadis. In recent years, the Sindh provincial government has made efforts to formalize these settlements and append them to the urban fabric. In 1987, the province developed the Sindh Katchi Abadi Authority (SKAA), whose main function is “to survey and map these abadis, plan for their improvement with minimum demolitions, and issue leases or legal titles of the plots of land to those living there.” However widespread success is far from reality. More than six million people live in Karachi’s informal settlements (less than half the city’s population) and most of whom do not have access to safe drinking water or sanitary facilities. The lack of access to water infrastructure has created a void that is being filled by a black-market trade across the country, controlled by mafias and territorial gangs. These “tanker gangs”, which get their name from the tanks of water they bring into the city, charge a premium price that averages at five rupees for 35 liters. Low-income communities across the country pay almost two million rupees a year to “tanker-gangs” for water, much higher than what residents of formal city neighbourhoods pay for their water supply. The PCRWR has found that the majority of the water supplied by these gangs is not

here are some things of hiba zubairi’s in a design portfolio

During the summer of 2019 I visited my hometown, Lahore, Pakistan’s second largest city and home to over six million people. It was the come down of one of the hottest summers in decades and I was constantly finding myself seeking water. Coming from a middle-class family that lives relatively close to the centre of the city, our water at home was attached to a private filtration system, individually installed by most households in the neighbourhood; The filter is changed once a month to ensure optimally clean water. Despite this, and out of concern for my health, my family would only allow me to drink from well-known mineral water bottles with sealed caps. The water we used to wash ourselves went through a separate filtration system, with a bucket of emergency water in every washroom in case the water lines were shut off. Over these two weeks, the amount of thought I had to put to where my water was coming from and whether it was hazardous to my health seemed overly cautious and paranoid. This outlined my privilege as someone who grew up in Canada, the country with the largest fresh water supply in the world. Unfortunately, these “overly cautious” precautions failed to keep my family safe. My cousin fell ill when he contracted Hepatitis E from a water borne disease while drinking water at a friend’s wedding; he was hospitalized and kept in the ICU for four days. My cousin’s illness was not an isolated event in my family, with stories of uncles, aunts, cousins, and others contracting Hepatitis A, E-Coli, and Typhoid over the years. Each case tracing back to someone drinking water from the city’s water supply that was not filtered. Despite the many water borne illnesses experienced by my own family, the neighbourhood we live in has relatively few cases, especially in comparison to Pakistanis who live in low income neighbourhoods or informal urban settlements. In Pakistan, a country of more than 220 million people, an estimated three million people contract a water borne disease every year. With water scarcity rapidly increasing in conjunction with expeditious national urbanization, water safety and availability are becoming an unattainable luxury for the overwhelming majority. Pakistan’s water is mostly supplied by the Indus River Basin, which is fed by snow and glacial melting of the Hindu Kush range in the Himalayan Mountains. With the rise of global temperatures, it is predicted that the glacial supply that is feeding the Indus River Basin is likely to dry up in the next two centuries. The impact of a depleting water source is already being felt, from small rural communities to national foreign policies. At the beginning of 2019, the Pakistan Council of Research in Water Resource (PCRWR) published a report stating that A The PCRWR describes that Pakistan reached the ‘water stress line’ in 1990 and crossed the ‘water scarcity line’ in 2005. These reports and their urgency have been echoed by the United Nations Development Program (UNDP) and WaterAid. As Pakistan’s population continues to exponentially rise, the severity of these unsustainable

HHZ

GALT ISSUE 3: A DRINK OF WATER TAKES A VILLAGE

2021

HHZ

vol. 4

here are some things of hiba zubairi’s in a design portfolio

HHZ

potable and unsafe for hygienic use. Tired of the lack of infrastructure from the government and the growing monopoly of “tanker-gangs”, communities such as the informal neighborhood of Orangi in Karachi or Hasanpura outside of Faisalabad have begun developing grass roots infrastructure on a local level in order to alleviate the local population from poor hygiene, social discrimination, degrading properties, and constant illnesses. Anjuman Samaji Behbood (ASB) is a non-profit organization that founded the Organi Pilot Project (OPP) and later facilitated similar water projects in Hasanpura and other low-income communities across Pakistan. The organization, partnered with WaterAid, facilitates community led initiatives that develop water infrastructure in neglected communities. They also support gender sensitive outreach programs that seek to provide water and hygiene education, as well as a forum of discussion, for the local community. With its first project in the Karachi neighborhood of Organi, home to 1.25 million people, ASB sought to find and implement a low-cost community water scheme. Their philosophy included the mobilization of the community through crowd funding and pooling of resources to develop community participation in the quest to develop water infrastructure. ASB’s infrastructure development is split into two, distinct sectors: internal development, which includes inhome and street infrastructure, and external development, which includes larger collector sewers. In the OPP and Hasanpura Project, internal development was self-financed by each household, with WaterAid providing short term loans to households unable to financially support such developments. In both projects, the majority of the short-term loans have been paid back. External development was crowd funded, with ASB working closely with key community leaders to gain more attention, support, and monetary funding for the projects. The mobilization of the community led to a greater turnout for outreach initiatives and a cross-generational interest in the community’s use and right to water. ASB continues to work with different low-income communities across Pakistan, creating a local platform for outreach initiatives in rural communities to provide education and resources to promote sustainable farming practices. Encouragingly, grass roots movements and organizations similar to ASB are beginning to manifest across the country, gaining significant traction across classes and communities. On a legislative level, the federal government of Pakistan, with the new Prime Minister, Imran Khan, backed by the Supreme Court, are directing national funds as well as crowdfunding to make a series of dams that would be key to providing the states of Baluchistan and Sindh with water in the coming years of water scarcity. The dam infrastructure, which is in full speed development, will help Pakistan prevent disastrous droughts and destructive floods in the future;in the past these events have displaced entire villages and led to the death of thousands of people.

The future of Pakistan looks scarce in terms of water, but with a mobilized population and an eager activism spreading across the nation, a world of innovation and possibilities is on the horizon. The country’s water crisis has highlighted the disparity between classes, filled for a long time by the illegal and exploitive “tanker gangs”. However, as awareness and education grows around the social, humanitarian and hygienic need for better water practices, neighborhoods across the nation work towards making water a beverage to cool you off in the summer heat, rather than a tool to disenfranchise and harm low-income Pakistanis. Someday, I hope to return to Pakistan and see the people around me not having to worry about where their water is coming from. The emergence of a global pandemic has provided the federal government of Pakistan with an opportunity. Partnered with organizations such as ASB, who work tirelessly to promote better water infrastructure and mobilize the masses, the government is hiring agricultural worker, who previously lost their jobs due to the COVID-19 pandemic, to plant 10 billion trees and create better irrigation channels in a sustainable farming and reforestation project aimed to lower the country’s carbon footprint. As Pakistan struggles to meet the water crisis head on, the disenfranchised masses lead the way to a more socially and environmentally equitable future. One drink of water at a time.

vol. 4

here are some things of hiba zubairi’s in a design portfolio

GALT ISSUE 3: A DRINK OF WATER TAKES A VILLAGE

2021

HHZ

Protests in Karachi against “tanker gangs”, DAWN National, Pakistan, 2019

HHZ

vol. 4

here are some things of hiba zubairi’s in a design portfolio

WHAT LANGUAGE DO I SPEAK?

2021

HHZ

WHAT LANGUAGE DO I SPEAK?

2021

HHZ

NOVEMBER 2019 PERSONAL WORK SKILLS: ILLUSTRATOR, PHOTOSHOP, INDESIGN, MASS PRINTING Examining oneself through the linguistic lens leads to the question of identity and the aspects of our culture(s) we have the most deeply absorbed. In a globalized world, the immigrant speaks English and no other language compares in usability, accessibility and content. In this process of globalization, we often lose characteristics of culture to the loss of language and the linguistic discourse along with it. How do we preserve linguistic diversity?

vol. 4

WHAT LANGUAGE DO I SPEAK?

here are some things of hiba zubairi’s in a design portfolio

HHZ

2021

HHZ

(MY) LANGUAGE AND (MY) IDENTITY:

WHAT

GLOBALIZED, COLONIAL DRIVEN IMMIGRATION IN:

EXAMINING ONESELF THROUGH THE LINGUISTIC LENS LEADS TO THE QUESTION OF IDENTITY AND THE ASPECTS OF OUR CULTURE(S) WE HAVE THE MOST DEEPLY ABSORBED. IN A GLOBALIZED WORLD, THE IMMIGRANT SPEAKS ENGLISH AND NO OTHER LANGUAGE COMPARES IN USABILITY, ACCESSIBILITY AND CONTENT. IN THIS PROCESS OF GLOBALIZATION, WE OFTEN LOSE CHARACTERISTICS OF CULTURE TO THE LOSS OF LANGUAGE AND THE LINGUISTIC DISCOURSE ALONG WITH IT. HOW DO WE PRESERVE LINGUISTIC DIVERSITY?

LANGUAGE DO

THE WESTERN WORLD; THE WESTERN WORLD, ALSO KNOWN AS “THE WEST”, REFERS TO VARIOUS REGIONS, NATIONS AND STATES, MOST OFTEN INCLUDING AT LEAST PARTS OF EUROPE, AUSTRALASIA, AND THE AMERICAS. THE WESTERN WORLD IS ALSO KNOWN AS “THE OCCIDENT”, FROM THE LATIN WORD “OCCIDENS“ MEANING SUNSET OR THE WEST, IN CONTRAST TO THE ORIENT, FROM THE LATIN WORD “ORIENS“ MEANING SUNRISE OR THE EAST. THE WEST HAS HEAVILY EXPORTED ITS CULTURE THROUGH IMPERIALISM, COLONIZATION AND CHRISTIANIZATION.

DO YOU HAVE A (MOTHER) TONGUE?

A LINGUISTIC EXPLORATION

HELLO READER; THE JOB OF THIS TITLE COVER IS TO OVERWHELM YOU, OVERLOAD YOUR MIND WITH INFORMATION AND LET YOUR GRASP ON THE ENGLISH LANGUAGE AS A KEY LINGUISTIC TOOL DIMINISH TILL IT BECOMES NOTHING MORE THAN A SERIES OF AESTHETIC MARKINGS. HOW ELSE MAY WE LEARN TO BE AWARE OF THE LINGUISTIC HIERARCHY?

DO YOU HAVE A (MOTHER) TONGUE?

WHAT IS THE HIERARCHY?

SPEAK

DO YOU HAVE A (MOTHER) TONGUE? DO YOU HAVE A (MOTHER) TONGUE?

LANGUAGE IS A KEY/TOOL LANGUAGE DEFINES LANGUAGE DICTATES

IMPLICATION #1: LANGUAGE IS A CULTURAL TOOL

(YOUR/MY) NAME:

LANGUAGES THAT WE SPEAK...

THE ORIGIN, SPELLING, PRONUNCIATION OR MISPRONUNCIATION OF A NAME FORMS THE BRIDGE BETWEEN AN INDIVIDUAL’S INNER IDENTITY VERSUS THE IDENTITY THE EXTERIOR WORLD HAS FORMED FOR THEM. WHERE DOES YOUR/MY NAME COME FROM? ARE THESE OUR REAL NAMES?

WHERE TO SPEAK WHO TO SPEAK TO HOW TO FEEL HOW TO EXPRESS WHAT WORDS WHAT RHYTHMS

“BI/MULTI-LINGUAL”

IMPLICATION #2: LANGUAGE DEFINES/DICTATES REALITY

WORDS IN VISUAL VS. AUDITORY SPACE (WRITTEN VS. SPOKEN WORD)

IMPLICATION #3: THERE IS A LINGUISTIC HIERARCHY

WHAT LANGUAGE DO I SPEAK?

(MY) NAME IN (YOUR) LANGUAGE.

vol. 4

here are some things of hiba zubairi’s in a design portfolio

HHZ

DO WORDS GRANT SILENCE SIGNIFICANCE?

ENOUGH; ENOUGH; ENOUGH; ENOUGH; ENOUGH; ENOUGH; ENOUGH; ENOUGH; ENOUGH;

HHZ

(OUR) IDENTITY CRISIS

STEP #99: N/A

EX; THE JAPANESE CULTURE WAVE

(OUR) IDENTITY CRISIS (OUR) IDENTITY CRISIS (OUR) IDENTITY CRISIS

HOW DO WE DEFINE THE BOUNDARIES BETWEEN LANGUAGES?

WORDS IN SPACES & THEIR SPATIAL CONSEQUENCES

WHAT GIVES WORDS THERE MEANING? THE CLOSER AN INDIVIDUAL IS TO A LANGUAGE, THE DEEPER THE MEANING OF THE LANGUAGE BECOMES, HOWEVER, EXPOSURE WITH A LACK OF ATTACHMENT TO A LANGUAGE REDUCES IT TO VISUAL AND AUDITORY MARKINGS, OFTEN EXPLOITED AS AESTHETICALLY STIMULI.

STEP #1: N/A

MEANING VS. MARKINGS:

WHEN I SAY A WORD ALOUD TO YOU I TRUST THAT THE IMAGE THAT MANIFESTS IN MY HEAD AT THE THOUGHT OF THAT WORD, BASED ON MY PERSONAL EXPERIENCES IS THE SAME AS THE IMAGE IN YOUR HEAD.

I AM (UN)CULTURED.

THIS BOX IS FOR YOU. DO WITH IT AS YOU PLEASE. IT MIGHT NOT BE MUCH BUT SINGLE WORDS MOVE PEOPLE TO VIOLENCE. TO CRISIS. (YOUR) WORD:

vol. 4

here are some things of hiba zubairi’s in a design portfolio

WHAT LANGUAGE DO I SPEAK?

2021

HHZ

vol. 4

here are some things of hiba zubairi’s in a design portfolio

THE SCENT OF THE COURTYARD

2021

HHZ

THE SCENT OF THE COURTYARD

2021

HHZ

DECEMBER 2019 PERSONAL WORK SKILLS: ILLUSTRATOR, PHOTOSHOP, INDESIGN, MASS PRINTING This is a brief editorial and literary journey to revisiting the romantic, feminine landscape of 20th century Hindi cinema. Throughout the next few pages, the cinema of a newly independent subcontinent will be explored and its focal position in developing a culture of aesthetics amid high religious, political and cultural tension. Within that cinema, the role of the feminine heroine in cultivating a romantic landscape is critical to the development of the artistic medium.

vol. 4

THE SCENT OF THE COURTYARD

here are some things of hiba zubairi’s in a design portfolio

HHZ

vol. 4

here are some things of hiba zubairi’s in a design portfolio

THE SCENT OF THE COURTYARD

2021

HHZ

vol. 4

here are some things of hiba zubairi’s in a design portfolio

THE SCENT OF THE COURTYARD

2021

HHZ

zubairihib@gmail.com 1 905-226-4929