Sumit Singhal loves modern architecture. He comes from a family of builders who have built more than 20 projects in the last ten years near Delhi in India. He has recently started writing about the architectural projects that catch his imagination.
Troy Museum Competition Proposal in Çanakkale, UK by iki Architect
June 22nd, 2011 by Sumit Singhal
Article source: iki
The habit for arranging the worshipping area with Qibla direction was continued to be organized in a square form. The surrounding for this square form should be a transparent “Glass Lantern”. So that an idea emerged to create a “glass prism” where the carrying blocks and surfaces are formed by the same material in which the worshipping area will have an visual quality of the highest degree between the exterior day light and the worshipping area. In order to capture strong mystical ambiance, all the verses of the Quran were stamped on the transparent walls and ceiling surfaces.
The dome that has been the most powerful form of the memory of mosque architecture for ages, was taken from its traditional use and turned into an overall coating that will cover the mosque’s internal and external activities and ensure the sun control. Instead of the idea of covered inner yard that is widely seen in traditional uses, an approach of outer yard for which a holed coating is identified and localized to be open at four sides, attention-inviting, and in the form of pressed dome. It was in this way made into a structural pattern that emerges through filled and empty spaces on the coating that is one of the familiar prototypes of Islamic architecture. While this prototype is always perceived in the ceiling between the worship area and the outer area activities (such as ritual ablution, bayram celebrations, and funeral prayer), a strong spatial effect that will be created by the shadows was obtained.
The pool that surrounds the glass prism from three sides, that is pressed by the outer cover from two spots, and the minarets are located on, was important because it was either reflecting the sky to the floor or it was forming a humanitarian approach to the volume of worshiping. The inscription of “Allah” that was planned to be written on the bottom of the pool was made to create a mystical visual influence together with the reflection of the sky during the worship. The impact from the illumination of this inscription on the bottom of the pool at night was considered to increase the enlightenment either of the night from the worship are or from the outside of the building.
The minarets took their places in the composition as elegant monumental landmarks. The mihrab and the minber were made of glass panels in harmony with the general structural language. On the holed wall in front of the women’s area and the final prayer’s area as well as the reliefs on the fountain of ablution Islamic patterns were used.
It was assumed that the heating, cooling, and ventilation problem of the glass prism can be solved via suction and exhaust registers working in integration with the floor and that the illumination can be subject to specific details to illuminate along the surfaces of the carriers in addition to the traditional round chandeliers.
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