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Site model @ 1:500

Interior photograph of concrete cube shuttering, detailed in Concrete Construction.

Using the boundary of the Ocean Estate, which is home to 90% of the proposed mosque’s patrons, this study shows the age of the buildings around Shandy Park. Using Historical Maps for raw data, the darker the building, the older it is. This is particularly interesting when looking at the site’s immediate context, where only the Arbour Centre and the building to the east of the park; now used as a learning support, are older than sixty odd years.

Shandy Park and surrounding area have changed dramatically over the space of a hundred years. Much like the docklands in ‘What a difference 109 years makes…‘, the east end of London has gone through cycles of change creating a rich mixture of old and new. Instead of an area evolving due to change in use, more central parts of London were ravaged by World War II and thus left a blank canvas from which to erect a new cityscape.

The precedents for patterns, islamic, wallpaper or other are almost limitless. This is a Louis Sullivan preliminary drawing for painted decoration of the Sinai Temple, Chicago – 1876.

Beautiful.

Plan sketches at 1:1250 of the site, immediate surrounding fabric and indicative proposals. It also seems that the simpler of the plans are more successful.

Vikki Church by¬†JKMM Architects is a small church in Helsinki, Finland which is the central element to a larger progressive urban development. The interesting feature to the building though is the glulam timber beam ceiling, which is made ridged by roof panels. Here the roof’s structure is revealed, which like Caruso St John Architect’s Arosa Sporttheatre,¬†creates a spacial relationship between two levels.

Despite not much use, Shandy Park contains several bins, benches and playgrounds frames all contained within fences both along the outer edge of the park and separating areas within it. This combined with the amount of trees makes the space full of obstacles which dramatically restrict the use of the park. The location of the mature trees, however, could form the basis of a pattern for the layout of the park.

Comparing the footprint of various mosques and Islamic Centres which have prayer halls is very interesting. The shape and scale of the buildings can vary dramatically, and more intriguing is the way in which they contort to face Mecca. Some are simple rectangular shapes, which are just set to face the direction of prayer and some are shapes with more sides allowing them to face several directions. Others meanwhile clearly deal with two clear axis, more commonly that of the surrounding fabric, and it is how these structures deal with this meeting point that creates a very special moment.

The Namaz Khaneh, located in Tehran, Iran is a very simple but beautiful space. An afterthought as part of the designing of the entrance to the Carpet Museum by Kamran Diba. This open air prayer space, not much bigger than nine metres squared, has an outer wall orientated to the street grid, whilst an internal wall is orientated towards the direction of prayer. This basic maneuver creates a void space between the noisy surrounding areas and the internal space for contemplation and prayer. The two walls are also connected by a vertical slit in both walls creating a view to a sculpture representing the standard Hand of Hazrat Abbas, which also acts a the Mihrab for the space. This separation of walls is also interesting if it was used in say the ventilation strategy for an energy efficient building.