Thesis (M.Arch.A.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1980. / MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH. / Bibliography: p. 68. / by Fauzia Qureshi. / M.Arch.A.S.

published_or_final_version / Urban Planning / Master / Master of Science in Urban Planning

published_or_final_version / Urban Planning / Master / Master of Science in Urban Planning

Thesis. 1979. M.Arch.A.S.--Massachusetts Institute of Technology. Dept. of Architecture. / MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH. / Bibliography: p. 58. / by Parvez L. Qureshi. / M.Arch.A.S.

published_or_final_version / Urban Design / Master / Master of Urban Design

published_or_final_version / Urban Planning / Master / Master of Science in Urban Planning

published_or_final_version / Urban Planning / Master / Master of Science in Urban Planning

Mina is a young girl in a rural village called Tobay in Pakistan when her only friend Dhaaga, a family servant around her age, suddenly leaves. After a betrayal by her father’s second, much younger wife, Mina starts her long journey. She becomes a prostitute in Heera Mandi, the famed red light district of Lahore, and unexpectedly finds friends in a nearby transvestite brothel. Mina suddenly ends up with her life in danger when she tries to take revenge on the man who ruined Dhaaga’s life. She gets help from a human rights lawyer and escapes to safety in America with a New Orleans cabbie, who she met during her Heera Mandi days. She is eventually forced to come back to Pakistan and finally returns to her home in Tobay, where she finds that everything has changed as much as she has. The novel is set in 1980s Pakistan, when the country faced increasing religious pressure from its military government, and girls like Mina got caught up in stricter standards of honor. It is a coming-of-age novel that takes the protagonist around the world before she is able to finally face her djinns and demons.

Master of Science / Architecture / Gary J. Coates / Sustainability is essential for survival on this planet but only focusing on the green aspects is not a comprehensive solution. The idea of Deep Beauty provides a more thorough and complete framework that is the answer to the sustainability problem of today. This framework is comprised of three levels: functional, typological and archetypal. These three levels combined, look at a building in terms of its functionality, its relevance to its region and the universal beauty that it must possess to exist long term. The union of aesthetics with function is what can save the planet. For this research, the focus of study is the traditional residential architecture of the city of Lahore, Pakistan, a city with a rich cultural background. Throughout history, Lahore has seen many transformations with respect to its architecture. Its architectural history can be traced back to the Indus Valley Civilization in the 3rd millennium BC, to a predominance of Buddhism, to a prevalence of Hinduism transformed further by the advent of Islam, the arrival of the British and the founding of the independent state of Pakistan. Currently, the housing trends are continuing to become more and more westernized in a pattern that is not fit for the region because of their inability to provide comfortable living environments and life-enriching spaces. In order to provide better housing solutions for the future, it is important that we look back at examples that have passed the test of time. This report discusses the present day and traditional housing trends of Lahore. With the purpose of improving the current residential designs, an analysis of a traditional house of Lahore has been performed to learn how it meets the criteria of Deep Beauty and sustainability. The results from this analysis provide design strategies that can be incorporated into present day houses to achieve sustainability. Based on these conclusions, a more sustainable design has been proposed for the modern house.

This dissertation focuses on the modern art of Pakistan from 1947-57, more specifically, the role of six important artists who founded the Lahore Art Circle (LAC) in 1952. The group played a pivotal role in the formulation of modernism in Pakistan after its establishment as an Islamic Republic. Framed within postcolonial theories and criticism, this study will address the role of modern art in developing new artistic sensibilities in the nation of Pakistan. In order to understand the context of LAC’s framing of “modernism” and “nationalism” in terms of specific historic and hybrid nexus,my research will provide an investigation of works of only the founding members of the Lahore Art Circle including: Shakir Ali (1924-1975), Sheikh Safdar Ali (1924-1983),Moyene Najmi (1926-1997), Ali Imam (1924-2000), Ahmed Parvez (1926-1979) and Anwar Jalal Shemza (1928-1985). In analyzing the works of individual artists and the role of LAC during the first decade of the establishment of Pakistan as a nation-state, this study provides a framework to understand the specific condition of modernism in Pakistan that was dictated by these artists’ careers and works. Thus, this research investigates how the framing of modernism for these artists took on highly personal, international, incipiently national and distinctly local forms in the early years of the Pakistan after the Partition of 1947. Lastly, it will also examine how the individual LAC artists situated themselves in the discourse between constructing a newly established Pakistani identity within the larger paradigms of international modernism.