Jamatkhanas Adopting Environmentally Sustainable Practices
Going green has been a conscious effort made by those who keep Jamatkhanas running on a daily basis. The Council’s Property Matters Portfolio (PMP) is tasked to work closely with Jamati leaders to ensure the success of sustainability through new initiatives.
To reduce paper waste, Jamatkhanas have set up wi-fi and internet connections, created spaces for laptops and computers, and installed televisions or projectors to share announcements.
To save on energy, all LED lighting, low flow toilets, and sinks have been installed in Jamatkhanas. Every attempt has been made to use energy star or low energy-consuming equipment wherever possible.
To reduce plastic waste, reusable nandi bags have been provided as well as paper and recyclable products such as cups and napkins. Additionally, each Jamatkhana has introduced recycling programs.
For new construction, the PMP tries to use low-maintenance products, stronger building materials for longevity, and reduction of waste and landfill use, over time. To create building efficiency, natural lighting has been incorporated into the design of the space. Additionally, multi-pane Low-E windows, efficient HVAC systems, superior insulation, and smart technology are used, which collaboratively make the building as efficient as possible.
The PMP is also looking into LEED-certified Jamatkhanas for future construction projects. The team works continuously with local Jamatkhana leaders to educate them on resources we have available, the necessity of being environmentally responsible, and how they can help reduce our Jamatkhana footprint by adopting these practices. While more changes are coming, these sustainable initiatives are a great start.
https://the.ismaili/usa/our-community/j ... -practices
Jamatkhana Architecture
IRINGA JAMATKHANA
The life story of Mohamed Hamir
"a small man from Kutch with giant dreams for his community."
When one visits the Khoja Ismaili Jamatkhana in Iringa, there is a picture hanging on the wall as you go up the stairs. It is a picture of my maternal grandfather, Mohamed Hamir and my maternal grandmother, Bachibai Mohamed Hamir.
The writing states:
“In 1933, Alijah Mohamed Hamir Pradhan, on behalf of Hamir Family, unconditionally gifted the Iringa Jamatkhana to the Imam of the time Aga Khan III, Sultan Mohamed Shah. Also included in the building structure were the facilities for a primary school for use by the community."
The city of Iringa in the Southern Highland region of Tanzania, is 500 kilometres from the capital Dar es Salaam and sits along a hilltop overlooking the great Ruaha River, close to the Ruaha National Park , the country's second largest wildlife park.
"Iringa" means "fort" in the local Hehe language and is named for a German colonial centre built in 1900. (Left)
Mohamed Hamir Pradhan came from Kutch India around 1905-1906 to join his brothers, Haji and Sachedina (Satchu) Hamir, who had settled there towards the end of 19th century.
It is said that to earn his travel-fare, Mohamedbha worked as a masonry labourer in Bombay , the main British Indian steamship port of embarkation for Khoja migrants to Africa.
In Tanganyika, after working initially for his brothers and after learning to speak Kiswahili, he went deep into the Southern Highland region to start a small retail clothing duka-shop.
Many Khojas traders had settled in Iringa after 1896, when the German Captain Tom Prince, a soldier-farmer opened the region for European farming (see The Intrepid East African Dukawalla. Ed.)
Over the next two decades, his business became very successful. During and after the First World War, he established good relationships with the German and later British administrators in Iringa and benefited from the war economy.
Mohamed Hamir was a person with strong religious beliefs and community commitment. Towards the of 1929, he expressed to the small Khoja Ismaili Community of Iringa, his desire to build a new Jamatkhana- community center and he personally pledged Shs 40,000/= towards the projected total cost of Shs 60,000 - 65,000. He proposed an ambitious plan to accommodate future settlement in the area, with the new building to seat between 500 to 600 members (the Ismaili population in Iringa at that time, was quite small) and to have primary school as well as sport facilities on the same premises within the compound.
Following the presentation of the proposal to the Ismaili members, Nasser Dossa & Somji Pradhan pledged to donate the land and he personally pledged shs. 40,000 towards the projected total building cost of 60,000 - 65,000 shs. He proposed an ambitious plan to accommodate future settlement in the area, with the new building to seat between 500 to 600 members (the Ismaili population in Iringa at that time was quite small) and to have a primary school as well as sport facilities on the same premises within a compound area.
Because of his previous experience in building work, Mohamedbha had all the design plans ready and he also personally volunteered to be its supervisor, choosing to work with two Hindu "mistrys" named Dewji and Nagji. After many political battles with regards to design and funding, other prominent Ismailis finally pledged the rest of the money for the building, to be paid after the sum of Mohamedbha's initial contribution was spent.
The plan was for a beautiful three-level building with a ground floor and two upper stories halls. The first story to be the main prayer-hall and the second floor to be for a meditation hall baitulkhayal for the intense prayer group. The design was based on the Jamatkhana in Bhuj, in his native Kutch.
After completion of the first floor, Mohamedbha's funds were used up and when he requested the others for their pledged contributions, for various reasons, they were not able to fulfill their commitments. So he had to modify the building plans, deleting the third floor and also having to complete the whole project on his own. He was forced to borrow money from other families he knew outside Iringa who had also come from Kutch.
As per my mother and his daughter, Rehmat Fazal Manji (nee Hamir), and information from my cousin, Diamond Akber Mohamed Hamir (his grandson) and Sikinabai Kanji Lalji, the families who helped him at this time were Kanji Lalji of Mbeya (my father, Fazal Manji Lalji’s uncle) and Dhalla Bhimji of Dar es Salaam.
He also requested a Hindu merchant to supply the building cement on credit with a verbal promise to pay him whenever he could. He pledged to this merchant by "submitting" his pagri (headgear) to the merchant - an Indian custom when one has to borrow money on their "word" and without collateral. For this good cause,the merchant promised to supply as much building materials as needed on credit and respectfully requested Mohamedbha to take back his “pagri”.
In Dar es Salaam, the Darkhana Jamatkhana was also being built around the same time and it too had plans to install a clock tower. Mohamedbha had placed an order for the clock at the same time as the Dar es Salaam order, as they were similar clocks and were being bought from a London company. It so happened that the clock for Dar es Salaam was delayed in manufacturing but the Iringa clock had arrived. Since the Dar es Salaam was scheduled to be opened earlier then Iringa, so following a request from the Dar es Salaam building committee, Mohamedbha generously offered his clock and thus it was installed for the Dar es Salaam Jamatkhana to be ready for the opening ceremony in the early 1930’s. It took about another 6 months for the Iringa clock to arrive
TAAN,MAAN,DHAN - A CASE OF TOTAL CHARITY
With his a masonry experience and to save labour cost, Mohamedbha did the masonry work himself (as seen in the front part of the building in the photos above and the photo on the right) .
His home and duka was next door to Jamatkhana construction site and he used to do work there with the help of his wife, Bachibai after evening prayers and dinner until late in the night. The lighting was provided by kerosene lanterns.
In 1933, with help of Bachibai, the help of Khoja Ismaili families who lent him the extra money and that his Hindu merchant supplier, Mohamed Hamir was able to finish the iconic building, including a large clock tower, at a total cost of Shs 63,000 plus (which equals to approximately US $250,00 in current value), a princely sum during The Great Depression !
Mohamedbha not only paid all the lenders and merchants fully in following few years but he also added another Shs 9,000 donation towards the building of the school to provide access to education to the children of the community as there was no government or community school at that time and so a primary school was established on the ground floor of the building.
UNCONDITIONAL DONATION AND REWARD
In 1933, on behalf of the Hamir family, he unconditionally gifted the Iringa Jamatkhana to the Ismaili Imam of the time, Aga Khan lll. The Imam bestowed him with title of Alijah, granted him an audience and formally accepted the gift during his Golden Jubilee celebrations in Dar es Salaam in 1936.
A TIMELESS LEGACY
Mohamed Hamir was a bold, forward-thinking and dedicated gentleman. He also had the fore-sight to build a Jamatkhana larger than needed at that time. Some 25 years later, the building was modified to accommodate a larger jamaat of Iringa (community had grown five-folds) and it was his only son, Alijah Akber Mohamed Hamir who assisted in the expansion project.
Alijah Mohamed Hamir, who passed away in 1943 and was buried in Iringa, left us an iconic Kutchi landmark in a small town in Tanganyika, a clock for all the town-people to keep time, a a school, community centre and meditation hall for his jamaat to benefit, a beautiful architectural structure for the country and one of the more beautiful jamatkhanas in the world - a very proud legacy for the entire Hamir family and a humbling experience for his grandson to write about it.
https://myemail.constantcontact.com/-De ... 3l-960KlYE
The life story of Mohamed Hamir
"a small man from Kutch with giant dreams for his community."
When one visits the Khoja Ismaili Jamatkhana in Iringa, there is a picture hanging on the wall as you go up the stairs. It is a picture of my maternal grandfather, Mohamed Hamir and my maternal grandmother, Bachibai Mohamed Hamir.
The writing states:
“In 1933, Alijah Mohamed Hamir Pradhan, on behalf of Hamir Family, unconditionally gifted the Iringa Jamatkhana to the Imam of the time Aga Khan III, Sultan Mohamed Shah. Also included in the building structure were the facilities for a primary school for use by the community."
The city of Iringa in the Southern Highland region of Tanzania, is 500 kilometres from the capital Dar es Salaam and sits along a hilltop overlooking the great Ruaha River, close to the Ruaha National Park , the country's second largest wildlife park.
"Iringa" means "fort" in the local Hehe language and is named for a German colonial centre built in 1900. (Left)
Mohamed Hamir Pradhan came from Kutch India around 1905-1906 to join his brothers, Haji and Sachedina (Satchu) Hamir, who had settled there towards the end of 19th century.
It is said that to earn his travel-fare, Mohamedbha worked as a masonry labourer in Bombay , the main British Indian steamship port of embarkation for Khoja migrants to Africa.
In Tanganyika, after working initially for his brothers and after learning to speak Kiswahili, he went deep into the Southern Highland region to start a small retail clothing duka-shop.
Many Khojas traders had settled in Iringa after 1896, when the German Captain Tom Prince, a soldier-farmer opened the region for European farming (see The Intrepid East African Dukawalla. Ed.)
Over the next two decades, his business became very successful. During and after the First World War, he established good relationships with the German and later British administrators in Iringa and benefited from the war economy.
Mohamed Hamir was a person with strong religious beliefs and community commitment. Towards the of 1929, he expressed to the small Khoja Ismaili Community of Iringa, his desire to build a new Jamatkhana- community center and he personally pledged Shs 40,000/= towards the projected total cost of Shs 60,000 - 65,000. He proposed an ambitious plan to accommodate future settlement in the area, with the new building to seat between 500 to 600 members (the Ismaili population in Iringa at that time, was quite small) and to have primary school as well as sport facilities on the same premises within the compound.
Following the presentation of the proposal to the Ismaili members, Nasser Dossa & Somji Pradhan pledged to donate the land and he personally pledged shs. 40,000 towards the projected total building cost of 60,000 - 65,000 shs. He proposed an ambitious plan to accommodate future settlement in the area, with the new building to seat between 500 to 600 members (the Ismaili population in Iringa at that time was quite small) and to have a primary school as well as sport facilities on the same premises within a compound area.
Because of his previous experience in building work, Mohamedbha had all the design plans ready and he also personally volunteered to be its supervisor, choosing to work with two Hindu "mistrys" named Dewji and Nagji. After many political battles with regards to design and funding, other prominent Ismailis finally pledged the rest of the money for the building, to be paid after the sum of Mohamedbha's initial contribution was spent.
The plan was for a beautiful three-level building with a ground floor and two upper stories halls. The first story to be the main prayer-hall and the second floor to be for a meditation hall baitulkhayal for the intense prayer group. The design was based on the Jamatkhana in Bhuj, in his native Kutch.
After completion of the first floor, Mohamedbha's funds were used up and when he requested the others for their pledged contributions, for various reasons, they were not able to fulfill their commitments. So he had to modify the building plans, deleting the third floor and also having to complete the whole project on his own. He was forced to borrow money from other families he knew outside Iringa who had also come from Kutch.
As per my mother and his daughter, Rehmat Fazal Manji (nee Hamir), and information from my cousin, Diamond Akber Mohamed Hamir (his grandson) and Sikinabai Kanji Lalji, the families who helped him at this time were Kanji Lalji of Mbeya (my father, Fazal Manji Lalji’s uncle) and Dhalla Bhimji of Dar es Salaam.
He also requested a Hindu merchant to supply the building cement on credit with a verbal promise to pay him whenever he could. He pledged to this merchant by "submitting" his pagri (headgear) to the merchant - an Indian custom when one has to borrow money on their "word" and without collateral. For this good cause,the merchant promised to supply as much building materials as needed on credit and respectfully requested Mohamedbha to take back his “pagri”.
In Dar es Salaam, the Darkhana Jamatkhana was also being built around the same time and it too had plans to install a clock tower. Mohamedbha had placed an order for the clock at the same time as the Dar es Salaam order, as they were similar clocks and were being bought from a London company. It so happened that the clock for Dar es Salaam was delayed in manufacturing but the Iringa clock had arrived. Since the Dar es Salaam was scheduled to be opened earlier then Iringa, so following a request from the Dar es Salaam building committee, Mohamedbha generously offered his clock and thus it was installed for the Dar es Salaam Jamatkhana to be ready for the opening ceremony in the early 1930’s. It took about another 6 months for the Iringa clock to arrive
TAAN,MAAN,DHAN - A CASE OF TOTAL CHARITY
With his a masonry experience and to save labour cost, Mohamedbha did the masonry work himself (as seen in the front part of the building in the photos above and the photo on the right) .
His home and duka was next door to Jamatkhana construction site and he used to do work there with the help of his wife, Bachibai after evening prayers and dinner until late in the night. The lighting was provided by kerosene lanterns.
In 1933, with help of Bachibai, the help of Khoja Ismaili families who lent him the extra money and that his Hindu merchant supplier, Mohamed Hamir was able to finish the iconic building, including a large clock tower, at a total cost of Shs 63,000 plus (which equals to approximately US $250,00 in current value), a princely sum during The Great Depression !
Mohamedbha not only paid all the lenders and merchants fully in following few years but he also added another Shs 9,000 donation towards the building of the school to provide access to education to the children of the community as there was no government or community school at that time and so a primary school was established on the ground floor of the building.
UNCONDITIONAL DONATION AND REWARD
In 1933, on behalf of the Hamir family, he unconditionally gifted the Iringa Jamatkhana to the Ismaili Imam of the time, Aga Khan lll. The Imam bestowed him with title of Alijah, granted him an audience and formally accepted the gift during his Golden Jubilee celebrations in Dar es Salaam in 1936.
A TIMELESS LEGACY
Mohamed Hamir was a bold, forward-thinking and dedicated gentleman. He also had the fore-sight to build a Jamatkhana larger than needed at that time. Some 25 years later, the building was modified to accommodate a larger jamaat of Iringa (community had grown five-folds) and it was his only son, Alijah Akber Mohamed Hamir who assisted in the expansion project.
Alijah Mohamed Hamir, who passed away in 1943 and was buried in Iringa, left us an iconic Kutchi landmark in a small town in Tanganyika, a clock for all the town-people to keep time, a a school, community centre and meditation hall for his jamaat to benefit, a beautiful architectural structure for the country and one of the more beautiful jamatkhanas in the world - a very proud legacy for the entire Hamir family and a humbling experience for his grandson to write about it.
https://myemail.constantcontact.com/-De ... 3l-960KlYE
40-storey social housing tower slated for Richards and Drake
A 40-storey social housing tower with cultural spaces for the Ismaili community is slated for the corner of Richards and Drake streets.
The property is currently a two-storey commercial building that’s home to an Ismaili community center and jamatkhana.
The new development will replace the existing community centre and jamatkhana (place of worship), providing 32,300 square feet of new worship, social and educational space in the podium, and 198 social housing units in the tower above.
The unique, triangular design of the tower by DA Architects and Planners is due to the view cone that cuts across the site.
Site plan and photos at:
https://www.urbanyvr.com/richards-and-drake/
A 40-storey social housing tower with cultural spaces for the Ismaili community is slated for the corner of Richards and Drake streets.
The property is currently a two-storey commercial building that’s home to an Ismaili community center and jamatkhana.
The new development will replace the existing community centre and jamatkhana (place of worship), providing 32,300 square feet of new worship, social and educational space in the podium, and 198 social housing units in the tower above.
The unique, triangular design of the tower by DA Architects and Planners is due to the view cone that cuts across the site.
Site plan and photos at:
https://www.urbanyvr.com/richards-and-drake/
Yes multi-generational housing like in Calgary except this is a high-rise building. A project from the Lalji Mangalji family of Vancouver.kmaherali wrote:40-storey social housing tower slated for Richards and Drake
A 40-storey social housing tower with cultural spaces for the Ismaili community is slated for the corner of Richards and Drake streets.
Spring Jamatkhana, Texas
Situated in Spring, a Houston suburb, this Jamatkhana has architectural elements that are reflective of the values and vision of traditional Islamic architecture, such as symmetry, balance, light, and geometry.
The 26,000 sq.ft building sits on 7.74 acres of land and its design was inspired by and conceived with reference to the local Texas environment and the varied backgrounds of the Ismaili community, our history, and expressions of our faith. This Jamatkhana is meant to provide a physical context to inspire future generations while celebrating our faith, history, and the community where the building is situated.
Design Features
Light is one of the primary elements that is used to explore, decorate, and define spaces. In fact, the lighting inside the main building is designed to be indirect, to eliminate glare and reduce the harshness of exposed bulbs and fixtures to all who enter, especially for prayer.
Additionally, design elements include purposeful use of durable materials to ensure longevity, as well as concern for the environment, by being energy efficient, low maintenance, and built for high-traffic usage while encouraging a sense of community.
The original undeveloped site was densely wooded with many species of hardwood trees, such as hickory, oak, holly, and elm, to name a few, as well as softwood trees like gum, pine, tallow, and others. There was also a rich variety of shrubs and undergrowth plants. The goal was to save and maintain as much of the wooded areas as possible.
Inspired by the idea to “build amongst the forest,” the landscape plan consists of maintaining large areas of native green spaces where the existing trees, shrubs, and undergrowth are protected and replenished from areas that were cleared. This was all done in order to maintain the natural environment.
Surrounding the building are large areas of protected and replenished forest that screen parking areas and provide a landscaped tunnel approach towards the two courtyards. Trees and plants were added to provide a start-up landscaped look to areas that were disturbed during construction while the reforestation takes place. New plantings will shape the edge of the forest along with the building that will minimize maintenance and biowaste. The newly planted greenery, landscape tunnel, and canopy screen will take five to ten years to grow and fill in.
The front courtyard and the surrounding area has hard and soft-surface spaces and a water fountain. It was designed as a gathering space, inviting social interaction, and providing an environment for celebrations. This space and nearby covered space in front of the main entrance are a feature in this region referred to as the Mission Style, originally brought from Spain, which was inspired from buildings used by Muslims there and in North Africa.
The main lobby
The main lobby is the hub for community interactions. It provides access to the different wings of the building, the prayer hall and social area, and educational areas, including the Early Childhood Development Center and Library.
The marble and light lenses in the niches, which are handmade, were both sourced from Turkey. Several of the tile areas are sourced locally, and some of the hallway tiles are from Italy.
Decorative elements
Diverse samples selected from various backgrounds and expressions throughout the Islamic world were reinterpreted to provide continuity and to inspire modern creative forms for future generations. For example, the decorative geometric patterns were inspired by a common square-based pattern that has been used historically in Muslim architecture. This element is used throughout the building and is also its motif.
Additionally, the theme of five resonates throughout the building, representing the Panjtan Pak, the five key members of the Prophet Muhammad’s (pbuh) family through Hazrat Ali, i.e. Prophet Muhammad, Hazrat Ali, Fatima, Hasan, and Imam Husayn. An example of this is the five light poles near the parking lot, and five windows in the sitting areas in the main lobby of the prayer hall building.
The design of the building also takes into consideration several aspects of historic Islamic architecture and uses modern processes and materials to create similar effects:
In historic architecture metal-etched and perforated vessels and covers were utilized for holding light sources, such as candles and oil lamps. Here, modern processes were used to cut metal rendered in white for central perforated decorative light covers
Similarly, historically, wood panels with carved patterns for decoration were used. Today, similar wood panels are used but with modern processes to cut patterns into the panels
Structural sunscreens used in historical architecture are visible here through the sunscreen shading for the aluminum and glass curtain wall
Carved plaster walls and ceiling patterns are represented in the niches and decorative cut ceiling tile in the Prayer Hall
Decorative screens are represented in the ceiling screens, HVAC grilles, and skylights
Plaster and masonry walls with light niches have been converted into wood niches and wood-paneled walls were created to illuminate seating areas
Additionally, there are a number of environmentally-conscious features within the building:
To reduce heat and energy use, the construction includes:
Additional insulation
A white colored roof and building
Large canopy overhangs
Curtain walls, windows and skylights with insulated glass and thermal-break aluminum frames
Decorative metal screens to shade the curtain wall
The facility uses natural lighting for a majority of daytime use, however, when needed, the building utilizes energy-efficient technology including an energy efficient HVAC system and LED lighting
Construction of the building includes locally-sourced materials, along with recyclable content to minimize landfills and the building’s carbon footprint
The Prayer Hall
Specific effort was made to remove any bright spots and have light fade as it gets closer to the spatial area where an individual prays. The prayer hall carpet is inspired by rainbow colors, furthering the theme of light in its prismatic form.
There are carved plaster walls, ceiling patterns, and complex geometric shapes and patterns that are common in Islamic architecture. They also convey a feeling of spaciousness, calmness, openness, and tranquility.
Social Hall
There is an intricate design on the ceiling. The rotated square inside itself is common in the Pamirs (Tajikistan). The rotated square on top of itself is common in the Northern Subcontinent, Persia, Turkey, North Africa, and Southeast Asia. The combination of these patterns was inspired from Syria and the Middle East. The screen above the skylight is influenced from Mughal architecture and the light fixture is inspired by lighting influences from the Swahili coast.
A water feature in the Contemplation Courtyard
Contemplation Courtyard
This area offers spaces creating a serene environment surrounded by lush greenery and a water element. Additional environmentally-friendly features of the site include:
- Saving part of the forest and reforestation by planting about 4,500 trees and plants for carbon capture. This is more than what was removed from the site in order to build the structure.
- Collecting rain on some parts of concrete pavement and directing it to replenish underground water flow to support existing forest, landscaping, and reforestation
- Collecting rainwater from the main building roof into two 5,000 gallon cisterns for irrigating landscaped areas
- Capability to store an additional 20,000 gallons of rain from the side building and drop off canopy roof for additional irrigating capacity
- Using tree canopy to shade the building from the sun
- Landscaping design that uses less potable water and does not need to be cut and trimmed regularly
photos at:
https://the.ismaili/usa/spring-jamatkhana-texas
Situated in Spring, a Houston suburb, this Jamatkhana has architectural elements that are reflective of the values and vision of traditional Islamic architecture, such as symmetry, balance, light, and geometry.
The 26,000 sq.ft building sits on 7.74 acres of land and its design was inspired by and conceived with reference to the local Texas environment and the varied backgrounds of the Ismaili community, our history, and expressions of our faith. This Jamatkhana is meant to provide a physical context to inspire future generations while celebrating our faith, history, and the community where the building is situated.
Design Features
Light is one of the primary elements that is used to explore, decorate, and define spaces. In fact, the lighting inside the main building is designed to be indirect, to eliminate glare and reduce the harshness of exposed bulbs and fixtures to all who enter, especially for prayer.
Additionally, design elements include purposeful use of durable materials to ensure longevity, as well as concern for the environment, by being energy efficient, low maintenance, and built for high-traffic usage while encouraging a sense of community.
The original undeveloped site was densely wooded with many species of hardwood trees, such as hickory, oak, holly, and elm, to name a few, as well as softwood trees like gum, pine, tallow, and others. There was also a rich variety of shrubs and undergrowth plants. The goal was to save and maintain as much of the wooded areas as possible.
Inspired by the idea to “build amongst the forest,” the landscape plan consists of maintaining large areas of native green spaces where the existing trees, shrubs, and undergrowth are protected and replenished from areas that were cleared. This was all done in order to maintain the natural environment.
Surrounding the building are large areas of protected and replenished forest that screen parking areas and provide a landscaped tunnel approach towards the two courtyards. Trees and plants were added to provide a start-up landscaped look to areas that were disturbed during construction while the reforestation takes place. New plantings will shape the edge of the forest along with the building that will minimize maintenance and biowaste. The newly planted greenery, landscape tunnel, and canopy screen will take five to ten years to grow and fill in.
The front courtyard and the surrounding area has hard and soft-surface spaces and a water fountain. It was designed as a gathering space, inviting social interaction, and providing an environment for celebrations. This space and nearby covered space in front of the main entrance are a feature in this region referred to as the Mission Style, originally brought from Spain, which was inspired from buildings used by Muslims there and in North Africa.
The main lobby
The main lobby is the hub for community interactions. It provides access to the different wings of the building, the prayer hall and social area, and educational areas, including the Early Childhood Development Center and Library.
The marble and light lenses in the niches, which are handmade, were both sourced from Turkey. Several of the tile areas are sourced locally, and some of the hallway tiles are from Italy.
Decorative elements
Diverse samples selected from various backgrounds and expressions throughout the Islamic world were reinterpreted to provide continuity and to inspire modern creative forms for future generations. For example, the decorative geometric patterns were inspired by a common square-based pattern that has been used historically in Muslim architecture. This element is used throughout the building and is also its motif.
Additionally, the theme of five resonates throughout the building, representing the Panjtan Pak, the five key members of the Prophet Muhammad’s (pbuh) family through Hazrat Ali, i.e. Prophet Muhammad, Hazrat Ali, Fatima, Hasan, and Imam Husayn. An example of this is the five light poles near the parking lot, and five windows in the sitting areas in the main lobby of the prayer hall building.
The design of the building also takes into consideration several aspects of historic Islamic architecture and uses modern processes and materials to create similar effects:
In historic architecture metal-etched and perforated vessels and covers were utilized for holding light sources, such as candles and oil lamps. Here, modern processes were used to cut metal rendered in white for central perforated decorative light covers
Similarly, historically, wood panels with carved patterns for decoration were used. Today, similar wood panels are used but with modern processes to cut patterns into the panels
Structural sunscreens used in historical architecture are visible here through the sunscreen shading for the aluminum and glass curtain wall
Carved plaster walls and ceiling patterns are represented in the niches and decorative cut ceiling tile in the Prayer Hall
Decorative screens are represented in the ceiling screens, HVAC grilles, and skylights
Plaster and masonry walls with light niches have been converted into wood niches and wood-paneled walls were created to illuminate seating areas
Additionally, there are a number of environmentally-conscious features within the building:
To reduce heat and energy use, the construction includes:
Additional insulation
A white colored roof and building
Large canopy overhangs
Curtain walls, windows and skylights with insulated glass and thermal-break aluminum frames
Decorative metal screens to shade the curtain wall
The facility uses natural lighting for a majority of daytime use, however, when needed, the building utilizes energy-efficient technology including an energy efficient HVAC system and LED lighting
Construction of the building includes locally-sourced materials, along with recyclable content to minimize landfills and the building’s carbon footprint
The Prayer Hall
Specific effort was made to remove any bright spots and have light fade as it gets closer to the spatial area where an individual prays. The prayer hall carpet is inspired by rainbow colors, furthering the theme of light in its prismatic form.
There are carved plaster walls, ceiling patterns, and complex geometric shapes and patterns that are common in Islamic architecture. They also convey a feeling of spaciousness, calmness, openness, and tranquility.
Social Hall
There is an intricate design on the ceiling. The rotated square inside itself is common in the Pamirs (Tajikistan). The rotated square on top of itself is common in the Northern Subcontinent, Persia, Turkey, North Africa, and Southeast Asia. The combination of these patterns was inspired from Syria and the Middle East. The screen above the skylight is influenced from Mughal architecture and the light fixture is inspired by lighting influences from the Swahili coast.
A water feature in the Contemplation Courtyard
Contemplation Courtyard
This area offers spaces creating a serene environment surrounded by lush greenery and a water element. Additional environmentally-friendly features of the site include:
- Saving part of the forest and reforestation by planting about 4,500 trees and plants for carbon capture. This is more than what was removed from the site in order to build the structure.
- Collecting rain on some parts of concrete pavement and directing it to replenish underground water flow to support existing forest, landscaping, and reforestation
- Collecting rainwater from the main building roof into two 5,000 gallon cisterns for irrigating landscaped areas
- Capability to store an additional 20,000 gallons of rain from the side building and drop off canopy roof for additional irrigating capacity
- Using tree canopy to shade the building from the sun
- Landscaping design that uses less potable water and does not need to be cut and trimmed regularly
photos at:
https://the.ismaili/usa/spring-jamatkhana-texas
39-storey tower with 100% social housing approved for downtown Vancouver
Last week during a public hearing, Vancouver City Council approved one of its largest standalone social housing projects to date — a 411-ft-tall, 39-storey tower with 193 units https://dailyhive.com/vancouver/508-dra ... ity-centre.
City council approved the project unanimously, with independent councillor Colleen Hardwick abstaining from the decision.
The project is spearheaded by MCYH Multigenerational Housing Society in partnership with Larco, and DA Architects and Planners is the design firm.
Since the rezoning application was submitted in Fall 2020, the total number of social housing units has been slightly reduced from 198 to 193, but this was done to achieve larger and more functional units within a challenging triangular-shaped floor plate, similar to the Living Shangri-La tower.
The lower floors of the tower are rectangular in shaped, but the upper floors starting from the 10th floor are roughly half the size of the base floors to avoid intruding into view cones B1 and C1 protecting the view of The Lions’ mountains from the South False Creek seawall at Charleson Park and the Laurel Street Landbridge Park near West 7th Avenue.
The tower’s height also maximizes on its allowable height, restricted by View Cone 3 emanating from Queen Elizabeth Park.
The view cones were a point of contention for one public speaker during the public hearing, who criticized the municipal planners and pleaded to city council to consider view cone relaxations for social housing projects in the future.
Upper floor plates that followed the larger size of the floor plates in the base of the building would conceivably generate more social housing units, improve the livability of the units through more efficient unit layouts, and improve the financial outlook of the project. As a result of the limitations, there are generally just five units per floor.
More images and details at:
https://dailyhive.com/vancouver/508-dra ... al-housing
Last week during a public hearing, Vancouver City Council approved one of its largest standalone social housing projects to date — a 411-ft-tall, 39-storey tower with 193 units https://dailyhive.com/vancouver/508-dra ... ity-centre.
City council approved the project unanimously, with independent councillor Colleen Hardwick abstaining from the decision.
The project is spearheaded by MCYH Multigenerational Housing Society in partnership with Larco, and DA Architects and Planners is the design firm.
Since the rezoning application was submitted in Fall 2020, the total number of social housing units has been slightly reduced from 198 to 193, but this was done to achieve larger and more functional units within a challenging triangular-shaped floor plate, similar to the Living Shangri-La tower.
The lower floors of the tower are rectangular in shaped, but the upper floors starting from the 10th floor are roughly half the size of the base floors to avoid intruding into view cones B1 and C1 protecting the view of The Lions’ mountains from the South False Creek seawall at Charleson Park and the Laurel Street Landbridge Park near West 7th Avenue.
The tower’s height also maximizes on its allowable height, restricted by View Cone 3 emanating from Queen Elizabeth Park.
The view cones were a point of contention for one public speaker during the public hearing, who criticized the municipal planners and pleaded to city council to consider view cone relaxations for social housing projects in the future.
Upper floor plates that followed the larger size of the floor plates in the base of the building would conceivably generate more social housing units, improve the livability of the units through more efficient unit layouts, and improve the financial outlook of the project. As a result of the limitations, there are generally just five units per floor.
More images and details at:
https://dailyhive.com/vancouver/508-dra ... al-housing
FRI Aug 13 • 5:30pm PT | 8:30pm ET • Live Stream
Summer Reflections: Of Order, Of Peace, Of Prayer
This evening on Summer Reflections, we take a journey into the Ismaili Centre, Vancouver, where we will explore the space through the lens of the architect Bruno Freschi.
Through a virtual tour, and in conversation with CBC's Zahra Premji, Mr. Freschi will share his personal insights on how he brought to life Mawlana Hazar Imam's vision for the Centre, and what truly inspired him when he was designing this magnificent space. From the smallest details to the grandest idea, join us for a glimpse into the creative process that led to the design of the Ismaili Centre, Vancouver.
Join us at iiCanada.live.
Daily Diamond
"The new building will stand in strongly landscaped surroundings. It will face a courtyard with foundations and a garden. Its scale, its proportions and the use of water will serve to create a serene and contemplative environment. This will be a place of congregation, of order, of peace, of prayer, of hope, of humility, and of brotherhood. From it should come forth those thoughts, those sentiments, those attitudes, which bind men together and which unite. It has been conceived and will exist in a mood of friendship, courtesy, and harmony."
Mawlana Hazar Imam, Burnaby, July 1982
Summer Reflections: Of Order, Of Peace, Of Prayer
This evening on Summer Reflections, we take a journey into the Ismaili Centre, Vancouver, where we will explore the space through the lens of the architect Bruno Freschi.
Through a virtual tour, and in conversation with CBC's Zahra Premji, Mr. Freschi will share his personal insights on how he brought to life Mawlana Hazar Imam's vision for the Centre, and what truly inspired him when he was designing this magnificent space. From the smallest details to the grandest idea, join us for a glimpse into the creative process that led to the design of the Ismaili Centre, Vancouver.
Join us at iiCanada.live.
Daily Diamond
"The new building will stand in strongly landscaped surroundings. It will face a courtyard with foundations and a garden. Its scale, its proportions and the use of water will serve to create a serene and contemplative environment. This will be a place of congregation, of order, of peace, of prayer, of hope, of humility, and of brotherhood. From it should come forth those thoughts, those sentiments, those attitudes, which bind men together and which unite. It has been conceived and will exist in a mood of friendship, courtesy, and harmony."
Mawlana Hazar Imam, Burnaby, July 1982