A simple 360 degree stitched photograph helps understand Shandy Park at a more experiential level, and how potentially dominating or conversely subtle a new mosque could be.
Shandy Park doesn’t exist in one dimension. In fact the park exists not only in three dimensions, it and the fabric in which it is set also stimulates a variety of human senses like sound smell and touch. This sketch explores the park in a three dimensional way, but drawn from memory so that the features which are clearly remembered are drawn.
Much like Skeleton and Not just a Balustrade, the investigation of the wallpaper pattern from The Grapes Public House is applied to a cubic form. The proposed 150mm concrete cube, with the pattern in relief, acts as much as a tectonic study as that of pattern.
One thing that Islamic patterns do beautifully is go beyond just two dimensional decoration and move into three dimensions with some stunning result like the ’stalactite’ ceiling in the main entrance at the Sultan Selim Mosque in Turkey. As previously discussed in Prayer Mat Pattern, taking the dimensions used for prayer space a pattern was created and with minimal variation in the third dimension a rippling effect is produced.
Looking at patterns in a modular way , much like wallpaper, is only a partial investigation. The complexities of overlapping elements goes far beyond a singular pattern repeated, however looking at the variation in patterns that come from one set of points is fascinating. Here a set 16 points have been set as two squares at 45 degrees to each other, an extracted part of the geometric scheme for the Dome of the Rock. This is just a selection of 12 patterns which use this geometric scheme but is by no means near a definitive list of possibilities. This should also be thought considered if a modular structural system is used and how many layout possibilities still remain.
Islamic patterns all follow rules of geometry and repetition, but by using the dimensions suggested for prayer space (800 x 1200) and setting it to a 45 degree axis produces this pattern. This is not only useful as a pattern for setting out the Musalla but also has potential for a basis to more technical features, say ventilation openings.
The variation in Islamic patterns throughout the muslim world is vast, but all adhere to a rules of geometry. Whether five point star patterns or hexagonal, tiled or sculpted in relief they all use a system of repetition which brings parallels to wallpaper patterns. What is also of interest is the possibility to define a structural system for the project using pattern systems.
Islamic patterns are prominent in several mosques in the middles east due to the portrayal of human and animal forms being discouraged by the Prophet Muhammed, so as to avoid idolatry. The depth of analysis of these patterns is almost never ending, with much modern study revolving around mathematical algorithms in documents such as these. What is striking from a purely aesthetic perspective is these patterns ability to morph, almost evolve from one into another seamlessly.
The Shajalal Mosque site sits on the corner of Shandy Park, which is located in the middle of the expansive Ocean Estate. From previous planning applications it is expected that 90% of the users of the mosque will be from the surrounding estate, which is in the borough of Tower Hamlets; thought to be 1/3rd Bangladeshi. This starts an interesting conversation of foreign occupants of an English building and how does this manifest itself? What is the architectural equivalent to a Bangladeshi with a east end accent?
It should also be noted from the diagram above, showing the expanse of the Ocean Estate, that there are several new buildings proposed. The proposal directly to the west of Shandy Park will affect the use of the park and mosque with direct access to that corner of the site.
This modern designed mosque, the Islamic Forum by Jasarevic Architects in Penzburg, Germany, is a wonderful example of a building acknowledging both its cultural history and its location. The building is decorated in islamic script and patterns with suitable spaces for prayer but its external aesthetic fits in with the surrounding urban landscape taking more from the local vernacular rather than that of ‘traditional’ mosque architecture, whilst still retaining the Minaret. The really interesting part personally is the adaptation of traditional islamic patterns and their use both as perforated balustrades and decorative patterns applied directly to raw concrete, which follows a similar working to that of Wallpaper Balustrade from The Grapes Public House.
