You are currently browsing the tag archive for the ‘Shandy Park’ tag.

The aim of this project was to create something that sat comfortably. A building that was accepted by both Islamic and London cultures and that was happy in it’s context. It has taken heavily from Public Houses and addresses the corner of Shandy Park in a similar way to many examples such as The Wenlock Arms, breaking down any barrier threshold. The material selection of London Stock helps the structure to compliment it’s surroundings, being a exemplar of what can be achieved with the material. Ornamentation is kept subtle, especially on the street elevation, being used to signify the location of religious spaces and also creating visual barriers for private spaces. The rear elevations addressing the park are more extravagant in decoration but still in keeping with the scheme. Personally, I think it sits comfortably with a sense of belonging, in the true sense of the word.

The Prayer Hall is the heart of a mosque. Above is a visualization of the final proposed prayer space for the Shahjalal Mosque in Shandy Park. Taking the same principles of a lantern window to allow light in with expressed structure as previous proposals, as posted in Prayer Hall Interior Model. The space now creates a clear threshold between circulation and prayer space with the addition of colonnades flanking the space, whilst also creating a separate space to the rear for female prayer.

One of the most important parts of this scheme is how the building addresses the corner of Shandy Park. Learning from the Wenlock Arms Public House, the corner of the proposed Shahjalal Mosque pushes right up to the boundary eliminating any privacy boundary that front gardens create. Here is an initial exterior perspective sketch to show this.

Not long ago I put up a post called Fashion Street, in which I applauded the attempt to create an building which featured elements from both typical Islamic and British vernaculars. Above is a partial elevation of my current proposal for the Shahjalal Mosque in Shandy Park. It attempts to create a hybrid of the two vernaculars taking from Public House, Industrial, Traditional Islamic and British Domestic styles. You can see the change in hierarchy in fenestration much like a London Terrace, the Brick Pattern inspired by Alvar Aalto’s Baker House and the Etched Glass, which covets the play on public/privacy with ornate patterns of a Pub’s window. All in an attempt to create a building that would feel at home in Britain or an Islamic nation.

Above shows the second version of the proposed Shahjalal Mosque in Shandy Park. Already shown in Mosque V2 Modeling, it uses pattern work previously discussed in Brick Pattern, Paving Pattern and Etching Pattern, whilst combing styles of traditional Islamic and English domestic and industrial styles as shown in Power Pub and Collision Course. It does not however work programatically and lets itself down by not revealing it’s inspiration in elevational detailing.

A work in progress.

Here on a square grid-basis, a spinning four-fold pattern has been developed with stabilizing star octagons.  Another example of Islamic Patterns, it adheres to a geometric rule of repetition and has been progressed further to create two zones; translucent and opaque.

As with Mosque V1 Modeling, this most recent proposal for the Shahjalal Mosque was physically modeled and photographed from the same perspectives as the six precedent mosques chosen for Mosque Massing, in order to have a constant to compare differences. It shows how the building deals with the two axis of fabric and mecca, as discussed in Site Axis. It also is located at the South Eastern edge of the park and addresses the street much like a Public House would with little or no boundary between the entrance threshold and the pavement.

The image shown is an illustration of how brickwork or paving blockwork could be cut to interlock structurally and create a spinning motif, which is one of the most frequently recurring patterns in Islamic art. Taken from Islamic Patterns by Keith Critchlow, I especially like it if used in the main foyer space. Orientated in the right way it aligns with both axis the proposed Mosque deals with with, that of the existing fabric and of Mecca, as discussed in Site Axis. It also starts to address the detailed domesticity that the Wallpaper gives The Grapes Public House.

Having identified the South East corner of the site as a strong position to place the mosque; following the line of the existing built fabric to continue the architectural language along the street-addressing elevation and creating a strong edge condition, whilst also engaging the park with the angle of the Prayer Hall due to the direction of prayer towards Mecca, the basic massing used in Spacial Arrangement allowed one to design the landscaping of Shandy Park to respond to the mosque.

The series of sketches above show the progression from placing these masses on the existing layout of the park, reflecting on past landscaping of the park (which can be seen in Historical Maps), to creating a direct visual connection from external space to building, which impacts on the mosque’s engagement with the park (see Sketch Plan), in order to create a shared space suitable for worshipers and non-worshipers alike.

An initial sketch plan of the Shahjalal Mosque (V2) showing how the foyer acts as a central linking area to the “Pub”, Ablution spaces and Prayer Hall as well as promoting access to Shandy Park by creating a tree lined avenue from this central space. What is also of note is the central “hearth” which has several roles within the mosque, acting as the Mihrab (see Islamic Terms), a Minaret, extraction for the natural ventilation strategy and providing an architectural link between English industrial, traditional Islamic and East End domestic styles.