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The Contact Theatre, Manchester by Short & Associates is a very good example of passive ventilation. The principle behind the mechanically assisted natural ventilation system of the Contact Theatre is quite simple. External cool air is brought in through a series of ground level vents which are fed to under the seating. As the air heats up is rises but the extraction is through constructed H Pots above the theatre. These H Pots create a negative pressure from cross winds to suck the air out, however this is sometimes assisted by mechanically by fans in the base of the stack. Above is a sketch showing the passive of air through the main theatre space.

Sketch sections of Shahjalal Mosque. Section A-A shows how the main atrium will be flanked on either side by the two more domestic scaled parts of the building with openings looking out into it from both the ground and first floor levels. Section B-B shows the change in scale from atrium to prayer hall, expressing a sense of hierarchy, with the structure lining through at the same height for continuity between the two.

Using the image created in Power Pub as a catalyst in creating the “front” elevation, the elevation which addresses the street, above is a series of sketches showing how found elements are expressed in different ways. One of the major decisions is how the central part of the elevation, which will be the main entrance and houses the building’s major circulation and social space reads externally. Is it expressed as a stand alone element that projects in relief or upwards, or is it the elements used themselves that define the separation of internal spaces and the lines of the elevation are kept consistent all the way across?

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.

Despite dealing with axis, Mosque V1 did not work in plan. Taking the spaces within the Shahjalal Mosque back to essentials – The Prayer Hall and what is described here as “Pub”, basic layouts were configured to create a positive relationship between the two.

The term “Pub”, despite its alcoholic connotations, is meant in as previous work has stated as Public House, a space that is privately owned but used publicly, that conveys a sense of domesticity which dictates a sense of decorum to be maintained by all patrons. I also like the traditional idea of the landlord living upstairs making a pub very much an extension of their living room, which I think has potential for direct translation to an Imam’s role within a mosque.

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.


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.

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.

In Porto was a fantastic public house of another variety than those you drink in. Here is a sketch of Mercado de S. Sebastiao, which is a fresh produce market in between Sao Bento station and Porto Cathedral. Large shuttered concrete structures cover the market with ornate in-situ counter tops, all individual to the produce on sale. This space demands a beautiful drawing.