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900-14 THE LAB-LAB 49 WALKER La. QUEENS’by, NY 12804 PR O .

MINNE (MEMORY)

AD R .

6963 DALE I SUNNFJORD NO

MAR 2012

D ES. AV

T E G . AV

S J E K . AV

THE LAB-LAB

MUSTAFA FARUKI

INGEN

SC AL E

STØ.

TEG No.

MULT.

US B

900-14

SKR .

900-14 DA 04202012-1

N O T.

T h e n i ght of union h a s c o m e

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301

14-301 MUSTAFA FARUKI MA SOAS London, MArch Columbia GSAPP Portfolio of Design Work, 2010 - 2013


TABLE of CONTENTS

1

RIOTECTURE

Inter-Religious Housing for a Riot-Prone City

1

Columbia GSAPP Advanced Studio 6 Reinhold Martin, Critic (2010)

2

EQUALITYGARDEN Pop-Up Chapel

6

Entry for Design Competition hosted by Architizer (2011)

3

COLD WALL, HOT WALL

Monument for Cold War Victory

8

Entry for Design Competition hosted by The Committee for Tacit History (2012)

4

CELEBATORIUM

Housing Solution for the Involuntarily Un-Married

12

Published in Pidgin Magazine Issue 16: “Fiction” (2013)

MUSTAFA FARUKI MA SOAS London, MArch Columbia GSAPP Portfolio of Design Work, 2010 - 2013

5

SUPERMASS STUDIO

14

6

NORDIC KUNSTNARSENTER DALE

18

Junior Designer (2012)

Designer in Residence (2012)


1

My proposal foregrounds the relationship between housing and citizenship in this context of communal tension and violence. Citizens displaced by rioting and its aftermath are assembled into a new electoral ward that stands on the thresholds of three existing such wards in Central Bombay. Housing becomes a machine for the promulgation of Indian democracy, with all of its idealism and shortcomings, as politicians are encouraged to battle for the support of this newly consolidated constituency. More importantly, the (formally) visible nature of this ward should remind government institutions of their accountability to even the more vulnerable electoral bodies. Finally, the contestation of citizenship is (hopefully) de-activated, as the very fact of habitation in the new architecturalelectoral ward affirms that its residents are undoubtedly Indianscitizens who are home to stay.

MYTH, BORN OF 60+ YRS PARTITION ANXIETY

10

11

12

{“MAKE THOSE MOTHERFUCKERS RUN OFF TO PAKISTAN”}

EMERGENCY HOUSING / EVAC. TOWER HT. 525’

This studio asked participants to produce schemes for public housing in Bombay. The task is problematic, in that the imagined “combination of government and civil society charged with administering” the right to housing could simultaneously be “charged” with overseeing the slaughter of thousands of its own citizens. Moreover, the very notion of “right” becomes unhinged when (Muslim) victims of violence seek refuge in what amount to Muslim ghettos, and in so doing, are accused of abandoning the (secular) polity upon which such rights are normally conferred.

EVAC

EvacTower: Evacuation-Ready Housing

In 1992, a mob of right wing Hindu nationalists dismantled the Babri Masjid in Ayodha, claiming that the mosque was situated on “Ramjanambhumi”, literally, the birthplace of the Hindu god Ram. This event stoked incidents of communal violence across India, most notably in Bombay, where close to 1000 people, mainly Muslims, were killed. The heinous nature of these riots was exacerbated by the role of municipal and state government institutions, such as the police and army, that did little to stem the violence, and in many cases, decisively aided in its progress.

9 8 7 6 5 4

RIOTECTURE

10’ FL to FL

3

13.5’ UNIT

2 1

4.5’ PIER

1. BACK BAY 2. JETTY TO BOMBAY CENTRAL / MARINE LINES 3. ELEV. HYDRAULIC MOTOR 4. ELEVATOR PUMPS 5. FREIGHT DOOR (BEYOND) 6. FREIGHT ELEVATOR 7. UNIT ENTRY & EMERGENCY LOADING 8. MARBLE SCREEN ENVELOPE 9.EVACUATION HELEPAD 10. WOULD-BE EVACUEES 11. DENIED ENTRY, BECAUSE PAKISTAN HAS NO INTEREST IN SAID MOTHERFUCKERS, NOR DOES ANY OTHER COUNTRY, FOR THAT MATTER 12. PAKISTAN

11

Inter-religious Housing Housing for for aa Riot-Prone Riot-prone City City Inter-Religious Columbia 2010 Columbia GSAPP, GSAPP,Advanced AdvancedStudio Studio6 6(Reinhold (ReinholdMartin) Martin) 2010

1

1


1

Political Assembly Hall & Housing Lottery Staging Areas (Gate of Longing)

T UL S I D AS R O A D

6 5

9

E

4

F

7 4 8

3

4

D C .P. T AN K R OA

2

L LY

PNE

CA AT I UM TING A V S ELE CHER A BLE

1

F C

A

A

B

C

E

D

20’

1. BLEACHER ELEVATOR POLE 2. PNEUMATICALLY ELEVATING BLEACHER 3. TERRA COTTA SCREEN 4. PROOF OF DISPLACEMENT CHAMBERS (SUSPENDED GLASS BOXES) 5. ACCESS RAMP 6. POLITICAL HALL 7. GATE OF LONGING (LOTTERY QUEUE RAMPS) 8. SOUTH SCREENS & EXTENDING FLOOR-WAY 9. RAMP UP TO POLITICAL HALL OR HOUSING

E

A E

F

C 6

7

SCREEN FABRIC COVER METAL EXTENDOR ARM

10’

8

POLITICAL ASSEMBLY HALL (6) ACTS AS A VENUE FOR POLITICAL RALLIES & OTHER PUBLIC EVENTS, AS WELL AS STAGING AREA FOR DISPLACED PERSONS’ HOUSING LOTTERY. GLASS BOXES (4) ARE AREAS FOR PROOF OF CITIZENSHIP & DISPLACEMENT-- ACCESSIBLE ON LOTTERY NIGHTS ONLY, WHEN BLEACHERS ARE ELEVATED. SCREENS (8) DISPLAY LOTTERY RESULTS, AND CAN ALSO BE USED FOR POLITICAL ADVERTISING.

RIOTECTURE

22

Inter-religious Housing Housing for for aa Riot-Prone Riot-prone City City Inter-Religious Columbia 2010 Columbia GSAPP, GSAPP,Advanced AdvancedStudio Studio6 6(Reinhold (ReinholdMartin) Martin) 2010

2

2


1

3

Pol: literally “gate”, but the term denotes “neighborhood” or “community” in Bombay.

I

P AN J IRA P OL 3 RD L AN E

L A NE P A N J I RA P O L 2 ND

H

G

J

5

1 2

6

POL Z.A. KAR IM

PO L J. WAG H PO L K. KHEDEKAR

P O L S . N . H . WA G LE PO L M. KHA N

F

P U B LI C H A LL

PO L H. BANG I

AD C . P. T A NK R O

3

J

4

6

20’

7

20’ POLS (COMMUNITIES) CONSIST OF SELF-CONTAINED UNITS. UNITS HAVE METAL WINDOW PANELS AT ENVELOPE, FOR MAX. PRIVACY. POL COMMON AREAS HAVE CHIKH BAMBOO BLINDS AT ENVELOPE. MULTIPLE POLS HAVE TERRA COTTA SCREENS AS SHARED ENVELOPE

1. BAMBOO CHIKH BLIND 2. MTL. WINDOW PANEL 3. TERRA COTTA SCREEN 4. RETRACTABLE ACCESS RAMP 5. POL JAIWANT WAGH 6. ACCESS RAMP 7. VIEW TO PUBLIC HALL POL WITH INDIV UNIT TO STREET

J

POL TO STREET

SHARED POL 1 3 5

RIOTECTURE

7

33

Inter-religious Housing Housing for for aa Riot-Prone Riot-prone City City Inter-Religious Columbia 2010 Columbia GSAPP, GSAPP,Advanced AdvancedStudio Studio6 6(Reinhold (ReinholdMartin) Martin) 2010

3


1

a

Multiple Pols share multi-storey open spaces; these spaces have terra-cotta screens at envelope. 20’

B

1

P OL A . ME NON

10’

C

P OL N. D. MULYA

2

3

N

a P OL NA ZA R B A I G

a

3 B

3

1. 2. 3. 4.

MTL. WINDOW PANEL TERRA COTTA SCREEN BAMBOO CHIKH BLIND RETRACTABLE ACCESS RAMP

C

4 POL NAZAR BAIG

A

2

1

3

C . P. T A NK R O AD

R

RIOTECTURE

A

44

Inter-religious Housing Housing for for aa Riot-Prone Riot-prone City City Inter-Religious Columbia 2010 Columbia GSAPP, GSAPP,Advanced AdvancedStudio Studio6 6(Reinhold (ReinholdMartin) Martin) 2010

4

4


1

a

Entry steps to residential Pols are always retractrable for added security in the event of a riot.

L

M

N 40’

60’

WARNING TORCHING ANY ONE AREA WILL RESULT IN THE ENTIRE BUILDING CATCHING FIRE.

+63’

+54’

+45’

+36’

+27’

+18’

+18’ (CTR of SLAB)

1

2

3

4

5

6

7

a

4.C

1. BAMBOO CHIKH BLIND 2. CERAMIC SPANDREL PART 3. MTL. WINDOW PANEL 4. TERRA COTTA SCREEN PANEL 5. CONC. ARCH 6. ACCESS RAMP 7. DOOR

20’

RIOTECTURE

55

Inter-religious Housing Housing for for aa Riot-Prone Riot-prone City City Inter-Religious Columbia 2010 Columbia GSAPP, GSAPP,Advanced AdvancedStudio Studio6 6(Reinhold (ReinholdMartin) Martin) 2010

5

5


2

Laws are architectural. They are designed and constructed; they can be broken, or even torn down. The words in our law books act as walls that can safeguard or hinder; and while some laws restrict our actions, others can make us more free. Equalitygarden celebrates New York State's Marriage Equality Act by building an ephemeral shelter out of text lifted from this new law. The shelter includes twelve panels containing language from the Act- some readable from inside the structure, others to those simply passing by. These panels will be connected with rope and hung from a basic, wood-framed pergola. Together, the panels will form an enclosure for the performance of civil marriage ceremonies, thus referencing the protective, life-changing power of these few and small words.

EQUALITYGARDEN Pop-Up Chapel Chapelin Commemoration of Marriage Equality A Pop-Up Entry for Design Competition Architizer Competition Entry,hosted 2011 by Architizer, 2011

1 6

•

1


+ 10 ’ - 0”

2

3

4

5

6

7

2

COR

6 - 1/2 “

1

+ 5 ’ - 6”

1

25 - 1/2” O.C.

2 3

100 ”

25 - 1/2” O.C. 81 - 3/8”

1

5

SEC

SEC

23 - 1/4” O.C.

7

86 - 1/2 “

1

20 “

38 ” 23 - 1/4” O.C.

7

1

18-1/4” O.C.

EQ

EQ

EQ

74 - 1/2” 81 - 1/2” 84 - 1/2”

1 2 3 4 5 6 7 8 9 10 11

POSTS GIRDER A GIRDER B ROPE COVER CARNATIONS PANELS

CEDAR WHITE WD. CEDAR WHITE WD. CEDAR WHITE WD. CANVAS FOAM, YUPO, ACRYLIC ACRYLIC SCORED YUPO (WATERPRF) LASER-CUT FOAM FOAM

4” x 4” x 85” 2” x 2” x 99“ 2” x 4” x 99” 1/2 ” D. 85” x 85” 36” x 20” x vars. 1/16” 1/32” 3/16” 1/2”

x6 x5 7 8

x1 x x x x x

16 32 16 96 16

(12 with text)

EQUALITYGARDEN Pop-Up Chapel Chapelin Commemoration of Marriage Equality A Pop-Up Entry for Design Competition Architizer Competition Entry,hosted 2011 by Architizer, 2011

9

10 11

2 PANEL

COR

7

2


3 Premise: The Cold War was not won only by battle, but also performance. Because of the nature of "mutually assured destruction", the Cold War required its two major protagonists to act in two critical theaters, simultaneously: one was a neatly packaged and for the most part sterile battlefield containing the continuous performance of competing ideologies, brinksmanship, summit diplomacy and detentes. Through the multiple channels of mainstream news media, these symbolic clashes were normally organized into a series of monumental images that were narrated to the American public and subsequently branded into the nation's Cold War imaginary: the jaunty "Kitchen Debates", the rancorous rhetoric at the Brandenburg Gate, the hammers, the sickles, the specter of the mushroom cloud. In this crucial theater of War, the keenly choreographed performance of images convinced us that the battle was necessary and ongoing, and that victory was possible. Hidden behind this theater, however, was a second, equally crucial stage. There, a motley cast of puppet regimes, client states, contras, guerrillas and the like engaged in countless localized proxy wars. Being that they were mostly removed from the optics of America's Cold War perceptions, these battles had little need for the bloodless pomp and circumstance afforded to their counterparts in Theater Number One, and as such, were enacted with an uncensored, gruesome severity. The instigation and continuity of these armed conflicts allowed the superpowers to engage in a mutually assured depletion of resources- a game of covert check-writing aimed at driving the opponent as fast as possible to financial ruin.

Cold Wall, Hot Wall is a traveling, performative double-monument that re-plays competing images culled from the Cold War. Cold Wall confronts one set of visitors with the historic, probably familiar still images that recount major flash points in America's road to victory. Faintly visible on this large display, however, is the appearance of slight movement and shadows behind the screen. These begin to suggest the presence of Hot Wall, a narrow corridor enveloped within Cold Wall, that broadcasts- to a second set of visitors- images and video gathered from the less-known yet extremely pertinent conflicts that populated the undisclosed enactment of the Cold War. As Cold Wall and Hot Wall are approached separately, visitors to each one would not immediately be aware of the presence of the other. Thus, the monument as a whole replicates the situation of the Cold War and its double-performance, where seemingly isolated scenes were in fact undeniably interwoven. Cold Wall, Hot Wall builds on existing tropes of Cold War imagery (the Berlin Wall, the Iron Curtain) by literally inhabiting these to demonstrate the complexity behind images that could otherwise be oversimplified to West or East, Right or Left, black or white. The result is a monument that is not a static, single-punchline ode to the moment of victory, but instead a didactic commemoration of the manner in which the Cold War was actually won: by thus highlighting the performative nature of Cold War images, the monument attempts to emphasize the battle strategies of two inseparable theaters of the Cold War.

COLD WALL, HOT WALL

11

AMonument Monumentfor forCold ColdWar WarVictory Victory Entry for Design Competition hosted by The Committee for Tacit History, 2013 Competition Entry, 2013

8

•

1


3 Cold Wall

GREEK IRON CURTAIN PEOPLES FREEDOM LIBERATION TYRANNY ARMY COMMUNISM CAPITALISM VIETNAM LEBANESE CIVIL WAR CARNATION KOREA ARMS RACE MAN ON THE MOON REVOLUTION NATIONAL LIBERATION CUBAN MISSILE CRISISMOZAMBIQUE NATO WARSAW FRONT OF ANGOLA PACT REAGAN GORBACHEV BERLIN NATIONAL RESISTANCE AFGHANISTAN WALL CIA KGB USA SOVIET UNION MUJAHIDEEN MOSSADEGH PINOCHET DEFECTOR ICBM SALT FREE MARKETS SALVADORAN CIVIL WAR SANDANISTAS PLANNED ECONOMY BREZHNEV KHMER ROUGE HAILE SELASSIESPACE MAR COLD WALL, HOT WALL

22

AMonument Monumentfor forCold ColdWar WarVictory Victory Entry for Design Competition hosted by The Committee for Tacit History, 2013 Competition Entry, 2013

9

2


3 Hot Wall

GREEK IRON CURTAIN PEOPLES FREEDOM LIBERATION TYRANNY ARMY COMMUNISM CAPITALISM VIETNAM LEBANESE CIVIL WAR CARNATION KOREA ARMS RACE MAN ON THE MOON REVOLUTION NATIONAL LIBERATION CUBAN MISSILE CRISISMOZAMBIQUE NATO WARSAW FRONT OF ANGOLA PACT REAGAN GORBACHEV BERLIN NATIONAL RESISTANCE AFGHANISTAN WALL CIA KGB USA SOVIET UNION MUJAHIDEEN MOSSADEGH PINOCHET DEFECTOR ICBM SALT FREE MARKETS SALVADORAN CIVIL WAR SANDANISTAS PLANNED ECONOMY BREZHNEV KHMER ROUGE HAILE SELASSIESPACE MAR COLD WALL, HOT WALL

33

AMonument Monumentfor forCold ColdWar WarVictory Victory Entry for Design Competition hosted by The Committee for Tacit History, 2013 Competition Entry, 2013

10

3


3 1. 2. 3. 4. 5.

TRANSLUCENT PANEL (OR SUBSTITUTE STRETCHED CANVAS) RIGID METAL STRUCTURE HOT WALL ENTRY POINT HOT WALL SCREEN ASSEMBLY COLD WALL DISPLAY

1

2

5

4

3

1 5

ASSEMBLY: Cold Wall, Hot Wall is composed of translucent panels that are attached to a metal grid. One full side of the monument (Cold Wall) is dedicated to over-sized, film-projected images; inside the monument, a wood and metal base allows for the stable installation of Hot Wall's array of flat screens. The monument would act as a forever-expanding archive of Cold War imagery, from all of its relevant (and perhaps still unknown) theaters. Additionally, because it is designed towards the goal of existing as a traveling spectacle, the monument has qualities of straightforward assembly and flexibility in scale.

2

3

4

COLD WALL, HOT WALL

44

AMonument Monumentfor forCold ColdWar WarVictory Victory Entry for Design Competition hosted by The Committee for Tacit History, 2013 Competition Entry, 2013

3

11

•

4


4 301: Moonshinemaker CL

R 5.25

24.5

HH 3.125

4

28.25

CELEBATORIUM is a final housing solution for the Involuntarily Un-married. This project imagines a group of users in need of shelter from the ongoing, probably permanent effects of longing and un-requited (or simply impossible) love. Taking some design cues from the architectures of basements and gravesites, the project creates a semi-productive subterranean existence for the Involuntarily Un-Married: it converts the latent energy of desire and grief into tangible benefits for the happily coupled inhabitants of the above-ground world. The project is intended as a network of dwellings that are remotely connected to each other by videoconferencing technology.

+ 60

15

1

5

16 17 18

2

19

3

20

1

21

2

22

3 4

Ø 10.75 (CARBOY)

14

27.5

21. 22.

7 8 9

31

20.

5 6

7

5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19.

ALUM. SILL BREW-BELT HEATER STEEL HOLDER FOR CARBOY TIME ACTIVATED CARBOY RELEASE KEG ROPE & HOOKS CORNELIUS KEG CARBON FILTER FINAL SIPHONING TUBEHOLDER CONC. MASONRY UNIT FIBREGLS. INSUL CNTRL. JOINT GRAVEL BED CONC. FOOTNG. GROUND LEV. SCREEN 3 GROUND LEV. SCREEN 2 SCREEN PLATFRM. ASSMBLY BUBBLER AIR-LOCK ISINGLASS FINING AGENT (TIMED RELEASE DOOR) 7.50 GAL. GLASS CARBOY FOR FERMENTATION STIRRING WHEEL TEAK BOARD

10 11 12 13 14

8.5

- 120

500

1. 2. 3. 4.

CL

1. SCREENS ARE WEBCAM ENABLED; VIDEO FEED/ EXCHANGE FR. OTHER UNITS COURTESY OF CHATROULETTE.COM 2. AIRLOCK CAN BE FILLED WITH VODKA FOLLOWNG. ADDITION OF YEAST (OPTIONAL) 3. CLEARING AGENT WILL BE RELEASD. 48 HRS. AFT. ADDITION OF YEAST (TIMED RELEASE REL. TO HATCH CLOSING) 4. GUEST TO ADD SUGAR & WATER 5. STIR USING WHEEL, ADD YEAST, THEN CLOSE HATCH AND GASKET SEAL. ISINGLASS TIMER AND HEATING BELT WILL BE ACTIVATED

CELEBATORIUM Final Housing Housing Solution Solutionfor forthe theInvoluntarily InvoluntarilyUn-Married Un-Married Final Published Published inin Pidgin, Pidgin,Issue Issue16, 16:2013 “Fiction”, 2013

11 12

1


4 906: Aas-Raah Photo Delivery Tube

503: Aas-Raah Photo Delivery Tube

8.50

2

R

20.40

503

.25

4.00

503 1

4.00

7 .25

5.50

503 1

6.50

1.75

1 Ø

6.50 7.50 Ø 9.00 R 4.80

2

Ø

3.50

Ø

3

4.00

4

.25

5

6.00

503 3

14

.75

503

5

2

6 7 8

3.25

7’4”

3 2

7 10 11

8

503

4

4 1

9 A

503

3.50

3

10.45 6.00

4

4 2.00 23.25 11.55

MAX EXTNSION

10 12

78.00

1 13

1. 2. 3. 4. 5. 6. 7. 8.

METAL CYLINDER CIRCUL’r PLUNG’r AAS RAAH OPEN’ng & DOOR LOWER MTL. BRACE AAS RAAH CARRIER BODY CARRIER CAPS PHOTO FRAME EXTRUS’n AAS RAAH TUBE

8. 9. 10. 11. 12. 13. 14.

40.75

AAS RAAH TUBE ACRYLIC PHOTO COV’r ANNULAR RUBBER BUMPER LOCKING SOLENOID (LOCAT’d in REAR- ROTAT’d INTO VIEW) CIRCUL’r STOPS PISTON PUMP (to CONVEY’r)

AAS-RAAH MODEL NO. 400 ALLOWS FOR HIGH SPEED DEPLOYMENT OF PHOTOGRAPHS AND OTHER IMAGES THROUGH A NETWORK OF PNEUMATIC TUBES.

CELEBATORIUM Final Housing Housing Solution Solutionfor forthe theInvoluntarily InvoluntarilyUn-Married Un-Married Final Published Published inin Pidgin, Pidgin,Issue Issue16, 16:2013 “Fiction”, 2013

22 13

2


5 Masterplan: Land Use & Roads

PLOT PLOT PLOT

L

PLOT

PLOT

J

H

I

K

PLOT

PLOT

E

G

PLOT

A

PLOT

C

PLOT

F

PLOT

D

PLOT

B

PROTECTED WETLAND (DVPT. PROHIBITED) LEGAL PRESERVATION (DVPT. PROHIBITED) PROTECTED FOREST (NO DVPT) TREE PLANTATION (SITE BUFFER) AGRICULTURAL PLOTS ECO-TOWN: VILLAGES ECO-TOWN INFRA-HUBS ECO-TOWN TOWN CENTER MAJOR ROADS (PAVED) SECONDARY ROADS (PAVED OR GRAVEL) ECO-TOWN VILLAGE ROADS

PLOT

AREA (ha)

A B C D E F G H I J K L

261 360 206 154 143 540 950 882 813 648 565 246

Phase 1 See Dwg

2

N

SUPERMASS STUDIO

11

Junior Designer Designer Junior Brazil Oasis Oasis Agricultural Agricultural Eco-Town Eco-Town,Masterplan, 2012 Brazil 2012

5 km 1

14

1


5 ACCESS

Phase 1: Illustrated Site Plan

Phase 1 Area (1000 ha)

A

1

Eco-Town Site

B

2 PLOT E

Eco-Town Ctr See Dwg 3

C 12 3

D

PLOT A

9

6

E

F

7

13 5

4

10

G

8

H

J K

2

3

PROTECTED WETLAND PROTECTED FOREST AGRICULTURAL PLOTS EMERGENCY AIR FIELD AGRICULTURE CTR. INFRASTRUCTURE CTR/ SOLAR FLD. 7. CHURCH COMPLEX 8 ECO-TOWN CENTER 9. V.I.P. VILLAGE 10. RESERVOIR 11. GOLF COURSE/CLUB HOUSE 12. EQUESTRIAN TRAILS 13. ECO-TOURISM CTR 14. ALT. MEDICINE RETREAT A-M: 12 VILLAGE CENTERS

L

PLOT B PLOT D

1. 2. 3. 4. 5. 6.

11

M 14

ACCESS

SUPERMASS STUDIO

N

1000 m

22

Junior Designer Designer Junior Brazil Oasis Oasis Agricultural Agricultural Eco-Town Eco-Town,Masterplan, 2012 Brazil 2012

15

2


5 Phase 1: Church Complex, VIP Village, Eco-Town Center & Village J A

B

C

D

E

F

G

H

I

J

ECO-TOURISM CTR

1. 2. 3. 4. 5. 6.

K

VILLAGES K-M

1

7. 8. 9. 10. 11.

2 3

VIP Village

S 2

S

1

2 2

14

1 2

1 2

1 1

1 1

15 13

18 4

12

12

1

VILLAGES A-D

13

S

S

12

S

14

2 1

2 1

1 1

1 1

1 1

5

10

1 2

1

18

1

1

1

1

1

1 1

2 1

1

10

1

1

1

1

1

2

1

1 1

18

2

M

1

1

2

3

1

1

1

1

1

1

2

1 1 2 1 1 1 1 1 1 1 1 1 1 1 1 1 1 2 2

S

S

10 9

2 7

1 1

2 S

6

1

1

2 1

L

1

17

1 1

1 1

16

1

S

12. 13. 14. 15. 16. 17. 18.

1

S

3

GRAND CHURCH RECREATION CENTER GUEST HOUSE RETAIL SUPERMARKET AUDITORIUM & WEDDING HALL AMPHITHEATER BANQUET HALL SCHOOLS TOWN REC. FIELDS GAS STATION & SERVICE YARD VILLAGE COMMON VILLAGE CHURCH VILLAGE CIVIC CENTER SWIMMING POOL FUTSAL COURT BASKETBALL COURT NEIGHBORHOOD CORE (POCKET PARK & NEIGHBORHOOD PAVILLION)

6

1

4 3

18 7

1 1 1 1 2 1 1 1 1

2 2 1 1 1 1

18

S

5

8

S

S

S 1 1 1 1 1 1 1 1

1 1 1

S

S

8 VILLAGE J PLOT BREAKDOWN

9

EQUESTRIAN TRAILS

VILLAGES F, E & AGRICULTURAL CTR.

VILLAGES G, H & RESERVOIR

= 1 HA

N

SUPERMASS SUPERMASSSTUDIO STUDIO

STUDIO 1 BEDROOM 2 BEDROOM 3 BEDROOM 4 BEDROOM

15 88 20 2 0

TOTAL PLOTS

117

(x4 = 60)

200 m

33

Junior Designer Designer Junior Brazil Oasis Oasis Agricultural Agricultural Eco-Town Eco-Town,Masterplan, 2012 Brazil 2012

16

3


5 Masterpan design for review by Architect, for a collaborative entry in an invited, one-stage competition hosted by KLHC

1 4 5

7

9 13

2 8

6

10 11

3 5 14

6 12

1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18.

SPORT MUSEUM FOOTBAL & TRACKFIELD NEW HOUSING GALLERY ARCHERY TENNIS (UPP’R & LOWER) WATER RETENTION ECO-POND FOOTSAL GYMNASIUM MAJOR PARKING AREAS TO UNDERGROUND PARKING LIBRARY CAFETERIA EXERCISE PARK ENTRY PLAZA SCULPTURE GARDEN PRIMARY SCHOOL & DAYCARE PLAY GARDEN AUDITORIUM

15 9 18

16

17

N

SUPERMASS STUDIO

100 m

44

Junior Designer Designer Junior Korea Land Land Housing Korea Housing Corp Corp (KLHC) (KLHC) Masterplan, Masterplan, 2011 2011

17

4


6 No. 7: Sink

This project renders the presence of memory as a kind of architectural intervention. Completed during the period of an artist's residency on the west coast of Norway, the images borrow verses from the poem "Memory" by Pakistani poet and activist Faiz Ahmed Faiz and install them in the built environments of the residence and studio. The appearance of the poem alternately in its original Urdu as well as in Norwegian is meant to highlight the position of memory as a hieroglyphic system that, if "read", might be easily understood, confusing, or even inscrutable. By integrating the verse deep into the architecture -as opposed to designing more decorative "inscriptions"- my aim was to develop the idea of memory (and its correlated emotions of happiness, pain, anxiety, etc.) as a concrete abstraction, an aspect of subjectivity that is quite alive- and to varying degrees visible- in the objects of everyday life.

NORDIC KUNSTNARSENTER DALE the Desert Desert ofofAlone-ness Alone-ness In the Designer-in-Residence Designer-in-ResidenceProject, Project,NKD, NKD,Norway, Norway,2012 2012

11 18

•

1


6 No. 5: Floor

No. 6: Wall

R .75 1.15

4.25

4.5

2.0

5.75

3.5

.75

.66

6-201

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3.25

22 19

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2


6 No. 12: Window

No. 11: Ceiling

cL

12-201 5

2 ½

12-101

NORDIC KUNSTNARSENTER DALE the Desert Desert ofofAlone-ness Alone-ness In the Designer-in-Residence Designer-in-ResidenceProject, Project,NKD, NKD,Norway, Norway,2012 2012

33 20

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NO D E S. AV

T E G . AV

S J E K . AV

THE LAB-LAB

MUSTAFA FARUKI

INGEN

S C AL E

STØ.

TEG No.

MULT.

US B

900-4

S K R.

900-04 DA 04202012-1

N OT.

T h e m i r a g e o f yo u r l i p s

4-301

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CONTACT INFORMATION 315 Seigel Street, #313, Brooklyn, NY 11206 518.260.5259 - Mustafa@theLab-lab.com

Mustafa Faruki :: Portfolio  

Design Work, 2010-13

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