Tawakal_artworks portfolio

M.I.TAW Selected artwork

Muhammad Iqbal Tawakal A spatial designer with an architecture background focused on human-centric design. He graduated with his master degree in Spatial Design from The Bartlett School of Architecture, University College London in 2017. Since 2020, he based in Stuttgart, Germany.

LinkedIn: https://www.linkedin.com/in/muhammad-iqbal-tawakal/ Email: mitawakal.90@gmail.com Phone: +49 176 68875917

Current Work

The Red Folly The red folly is a series of works to re-thinking a geometric subtractive on the basic form of a folly or pavilion in other term, which drives people’s perceptions in seeing the scenery. The idea comes up with spectacle colours which act as a divider between everyday scenery and the point that people stand. Is the everyday scenery will be noticeable where people see it behind a vista frame? Are people more aware of their everyday scenery which they did not take into account while they are rushing daily?

Using various mediums for experessing the idea, from painting and paper experiment, I would like to emphasize ideas in finding the artistic way that comes up from brainstorming the ideas and playing the possibilites forms with subtractive geometries.

The Red Folly: The subtractive possibilities 2021 Art paper installation

Previous Works

Pe(t)riscope We as a human gradually started to adopt an animal as a pet or some animals domesticated by themselves to humans. According to Greger Larson, the domestication of animals being a pet is a cultural continuum taken from the wild to the domestic human life. For the first time, human tends to keep cute baby animals for entertainment and gradually thrown back to the wild as they become matured. Over and over, more animals are adopted to our living world and being culturally formed as a human status.

This is how for many centuries; animals are forced to adjust to our human-scale living world. We always built our environment from our perspective and human scale. For centuries, the human living world adjusted into human-scale centric, the average height between 100 cm until 180 cm.

Did we as a human consider what they feel about our big, massive fences? How do they see our gigantic park bench? our lavish monstrous statue? Our dangerous machine wheels that speed on the corner?

How our water fountain is tall enough for them to drink? The device will broaden our thinking as human beings to build our built environment more friendly for pets and wild animals that live side by side in our city.

A playground for non-humans Runner-Up, exhibition participant curated by Toyo Ito Architectural Association, London, United Kingdom 2020 (Due to Covid-19 regulation, the exhibition was shortened to 7 days and the prototype has not been built)

Experiences pet eye level

Eye to eye interaction with pets

28 cm

28 cm

28 cm

34 cm Wide eye-inlet for better sight.

45

52 cm Font: Coolvetica

130 cm Wide inlet for pet view.

Soft grip handle

10 cm 20 cm

45

20 cm

Height adjuster

32.5 cm 39 cm

28 cm

29 cm

Solitude Vista Solitude vista is an installation that emphasizes our perspective on seeing riverfront scenery. The installation is a part of the reflective and contemplating feeling in which our sight has become limited seeing the river through the portico windows. Will people realise that they feel of connection with the river by seeing through the portico window?

The portico window on the installation created based on the projection of the window in the Casa de las Ciencias. With the deconstructive variations, the windows create different unique experiences for seeing the river and scenery surrounding.

The installation will be adjusting the culture of interaction during the pandemic. The zig-zag form is inspired by the water ripple amplitude which starts from a smaller space and expands bigger through in the end. The form will shape solitude spaces for the visitor with 1.5 in proximity to the other space. Thus, it will minimise contact with other visitors.

Concéntrico 7 2021 International Architecture Festival of Logrono, Spain Selection Phase Entry

Elipsoid Juxtaposition Ellipsoid Juxtaposition is an antithesis spectacle object that contrasting the surrounding woods area. It aims to engage public curiosity when explored the woodlands while generating visual distortion in the surrounding shrubs and trees. Ellipsoid is a surface that arises from sphere form with affine transformation. With 3 dimensional axes, ellipsoid formed a sphere volume with a convex surface with each of the surface segments.

In everyday life, we often seeing ellipsoid or sphere in the shape of things, e.g egg, ball, seed on a different scale. This artwork comes with a playful scale which we are rarely seen in our life. It will engaging visitor minds to the imaginative state, imagine what the object should be. It could be a Dinosaur egg, a meteor or anything the public can imagine. I think good artwork is artwork that can make the visitor freely imagine what the artwork is.

The placement of ellipsoid with the 25-degree angle from the top of soil also creates a juxtaposition place. It aims to create a sense of place, a spectacle that easy to remember. With the chrome painted finishing surface, the Ellipsoid formed as a big 360 degree convex mirror. The ideas are to distort the trees, shrubs, and visitor themselves, creating co-presence in the interdimensional sense of mind Poldra | Public Sclupture Project Viseu Open-Call 2021 Viseu, Portugal Selection Phase Entry

Coevality of golden ratio in La Serenissima Does the existence of golden ratio still exist in the future? Are we as a city planner still using the golden ratio proportion to design our next utopian? The map re-thinking the golden ratio proportion in the city configuration of Venice or “La Serenissima” as a past utopian built in 10 BC. KooZA/rch Future Map Design Open Call 2020 Competition Entry

The Serpentin’s Summer Pavilion Codes The research project comprises two studies i.e. comparative and case study, which seek the shared principles and the relation of geometry with visitor movement in the Serpentine Summer Pavilions as temporary exhibition space. Serpentine Summer Pavilion as an architecture laboratory has many spatial configuration and geometry since 2000. The comparative study compares 17 pavilions and the case study focused only on 2017 Serpentine’s Summer Pavilion with on-site observation. Utilising Space Syntax methodology along with observation in a real site, this research focuses on finding the pattern of spatial configuration among pavilion. Following the theory of Espace Synthetique by Davalon (2003), this research looks for the possibility of pavilions to become a participatory element with visitors.

It is shown from the comparative study of pavilions that several shared principles among pavilions emerged from specific variables. Moreover, by adopting Psarra’s (2009) idea of narrative and sequence in the spatial configuration of exhibition space, the present research looks at the possibility of changing visitor narrative affected by the pavilion presence. By the data resulted from Space Syntax and observation, the case study of 2017 Serpentine’s Summer Pavilion shows that pavilion has a strategy to distribute visitor movement from all entrances affecting the access of visitors to the Serpentine Gallery. Furthermore, the two studies found a range of architectural spatial codes on the site.

Master’s Dissertation MSc Spatial Design: Architecture and Cities with distinction 2017 The Bartlett School of Architecture, University College London United Kingdom

Spatial uniqueness arising from A.I spatial data

The analysis was made by visual graph analysis from Depthmap X Space Syntax based on pavilion plans. It aims to seen the difference and shared principles among the pavilion spaces and to explore the character and language of spaces. The hotter colour indicates that the space ability to drive visitor movements while the cold colour shows less integrated and more secluded.

The analysis below made by agent analysis A.I Space Syntax. The analysis shows the character of each pavilion in a response to creates user behaviour pattern. This also related to the hotspot area, which is denser by user occupying space. The hotter colour indicates that the high-intensity numbers of A.I pass the space than the cooler space which less A.I movement.

The Pavilion Character

Based on the Space Syntax Visual Graph analysis result, the research can define the pavilion character based on Carls Jung theory of extrovert and introvert. The more integrated visually space means that the certain space, indicated by hotter colour, has a higher possibility of generated visitor movement towards the space shaping agglomeration of people. The less visually connected space generated less visitor movement, indicated with blue colour. The hypothesis will be connected to the extrovert and introvert theory which based on Jungs (1921) said that extraverts will gravitate their energy towards and gain much energy on encounter while the introvert will circle his inner energy and comfortable with the less encounter. This means that the higher integrated visually connected space creating a higher chance of encounter which suitable for extraverts character while the less visitor movement space perfect space with introverts character.

2001 Daniel Libeskind Pavilion Extrovert: 60% Introvert: 40%

2000 Zaha Hadid Pavilion Extrovert: 40% Introvert: 60%

2003 Oscar Niemeyer Pavilion Extrovert: 70% Introvert: 30%

2002 Toyo Ito Pavilion Extrovert: 70% Introvert: 30%

2006 OMA & Cecil Baldmon Pavilion Extrovert: 90% Introvert: 10%

2005 Álvaro Siza, and Eduardo Souto de Moura Pavilion Extrovert: 95% Introvert: 5%

2008 Frank Gehry Pavilion Extrovert: 95% Introvert: 5%

2007 Olafur Eliasson & Kjetil Thorsen Pavilion Extrovert: 55% Introvert: 45%

2010 Jean Nouvel Pavilion Extrovert: 85% Introvert: 15%

2009 SANAA Pavilion Extrovert: 50% Introvert: 50% Ambivert ?

2012 Herzog & De Meuron Pavilion Extrovert: 70% Introvert: 30%

2011 Renzo Piano Pavilion Extrovert: 30% Introvert: 70%

2014 Smiljan Radic Pavilion Extrovert: 60% Introvert: 40%

2013 Sou Fujimoto Pavilion Extrovert: 30% Introvert: 70%

2016 BIG Pavilion Extrovert: 80% Introvert: 20%

2015 Selgascano Pavilion Extrovert: 55% Introvert: 45%

2017 Francis Kere Pavilion Extrovert: 55% Introvert: 45%

The classification of pavilions based on its shape and geometrical form.

Data diagram

Adobe Photoshop

The comparison for all pavilions based on metric measured 2-dimention form.

Memento Mori Memento Mori is a Latin idiom from Ancient Rome to remember that we will die, and can also be used as an expression of death. Starting from The Isola di San Michele Cemetery which is an island in the middle of Veneto lagoon, this project rethinks about the presence of cemetery in Venice and its relation to the city. It studies the relation of the culture and people to the cemetery. This project also looks at the procession of the burial as a celebration that could eventually contribute to the larger culture identity. Looking into the relation of the cemetery to the entire Venice, this cemetery is functionally and culturally connected to religious buildings. By mapping the churches within Venice, this projects would find the route from the churches to the cemetery.

There are two design interventions which become the part of the procession route to the cemetery. Firstly, this project tries to bring the memorial ambience along the routes. By using rope, which is usually used by people to dry their clothes, the rope could be similarly used to hang flowers, photos and others memoriabilia. It aims to create a spatial experience along the procession route to the cemetery.

This project also proposes a space that can be created for people to gather and celebrate the life and also the death, such as a pavillion.

The pavilion concept is a space which is created by a temporary shed that gives shade to people gathering underneath.

E-merging Design Research Studio MSc Spatial Design: Architecture and Cities with distinction 2017 The Bartlett School of Architecture, University College London United Kingdom

1. Catholic Section 2. Eastern Orthodox Section 3. Protestan Section 4. Drawer Vertical Grave 5. David Chipperfield’s Extension 6. Chiesa di San Michele in Isola 7. Vaporette Station - Cimitero

Campo Santo Stefano

Campo Santa Maria Formosa