ARCHITECTURE PORTFOLIO MOHAMMED SHOEB KHAN Selected Academic Works (2010 - 2015)
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Bachelor thesis (2014 - 2015) THE ISLAMIC CENTER AN ARCHITECTURE FOR ISLAM The aim of the dissertation is to create an environment of interaction- a meeting place of various religious groups which helps in creating a dialogue which in turn results in clearing off misconceptions about islam.
ISLAMOPHOBIA Islamophobia is a term for prejudice against, hatred towards, or fear of Islamic doctrine, Muslims, or of ethnic groups perceived to be Muslim. While the term is widely recognized and used, both the term and the underlying concept have been criticized. Some scholars have defined it as a type of racism, but this has been contested. Some commentators charge that the concept of “Islamophobia� has been used to dismiss any criticism of Islam, including its radical variants, by equating it with prejudice and racism. The causes and characteristics of Islamophobia are still debated. Some commentators have posited an increase in Islamophobia resulting from the September 11 attacks while others have associated it with the increased presence of Muslims in Western nations.
HYPOTHESIS Architecture has the potential to play with the minds of people, whether it creating some sort of fear in a person or peace to a person’s soul, a feeling of nostalgia, happiness and a lot more. But religious scholars and their architects have restricted this potential to their respective faiths. It wasn’t rendered to the larger mass or even if it was, superficially. A person wanting to understand the religion had to get into literature which was not possible for everyone. Although to understand a religion its scriptures are the most authentic and important source but to get an idea of it, architecture could be a solution. An architectural concept could build up revolving around people of all genres, ages and social influence and with a trial and error method, the best form of architecture could be formulated or one form could work for everyone irrespective of the function. The programme could solve all the above problems or probably deepen the plot in all aspects.
OBJECTIVES 1. Basic understanding of the fundamentals of Islam and their architectural depiction. 2. Reinterpretation of propagation of religion through physical spatial expression. 3. Formulation of an architectural space based on the fundamentals of faith and religion with respect to experiences. 4. Relevance of Islam and architecture through forms, symbolism in Islam, graphics and geometrics, abstract, etc.
SCOPE 1. A public space designed to help question the existence of the world, faith and religion and the understandings of the roots of everything. 2. Architectural integration of the fundamental principles of faith and religion, the effects of the dynamics of space on an individual’s mind(psyche) with respect to religion in general and Islam.
METHODOLOGY 1. A thorough documentation and understanding of spatial and symbolic expressions on architecture of a religious building. 2. A brief but comprehensive understanding of the basic fundamentals governing Islam as a practicing religion. 3. Documentation and analysis of religious buildings and of religious populations. Also studying various architectural expressions of religion as a collective term.
EXPERIENCES BECAME AN IMPORTANT ASPECT OF THE DESIGN CONCEPT FROM THE VERY BEGINNING AS SOLUTIONS TO THE PROBLEMS OBSERVED.
THE SELECTION OF A SITE WITH A NEUTRAL YET EFFECTIVE QUALITY IN TERMS OF THE VARIOUS RELIGIONS POPULATIONS BECAME OF GREAT IMPORTANCE AND HENCE THE SITE SELECTED IS LOCATED ALONG THE MAHIM BAY IN MAHIM. IT INCLUDES THE MAHIM FORT AND THE MOSQUE NEXT TO THE MAKHDOOM SHAH MAHIMI DARGAHROUND.
STRATEGICALLY LOCATED IN THE MAHIM BAY, THE FORT OVERLOOKS WORLI TO THE SOUTH, BANDRA TO THE NORTH, AND MAHIM TO THE EAST. THE FORT IS CURRENTLY IN DISREPAIR, SUFFERING FROM ADMINISTRATIVE NEGLECT, ENCROACHMENT OF SLUMS, AND EXPOSURE TO TIDAL EROSION. THOUGH THE SITE IS CLASSIFIED AS A GRADE II HERITAGE STRUCTURE, NOTHING MUCH HAS BEEN DONE TO MAINTAIN IT. THE TOTAL AREA OF THE FORT IS 4000 SQ. M (APPROX.)
MAHIMI WAS THE FIRST INDIAN SCHOLAR TO WRITE AN EXEGESIS ON THE QUR’AN, WHICH GAINED CRITICAL ACCLIMATION FROM NUMEROUS ISLAMIC SCHOLARS. MAHIMI IS REVERED BY BOTH THE MUSLIMS AND HINDUS, ALL MUSLIM SECTS HOLD HIM IN HIGH ESTEEM. AFTER HIS DEATH IN 1431, HE WAS BURIED IN MAHIM. THE SITE LATER BECAME A DARGAH (SHRINE) FOR DEVOTEES.
THE PROGRAM IS EVOLVED AS A JOURNEY STARTING FROM FORT WHICH RETAINS ITS HERITAGE IDENTITY AND PROVIDING A FUNCTION TO THE SAME WHICH ENLARGES THE SCOPE OF CONCERN TO CONSERVE A HERITAGE STRUCTURE TO A STATE OF APPRECIATION BY REHABILITATING THE ENCROACHED SLUMS AND DESIGNING A MUSEUM OF ISLAMIC ARTS, CRAFTS AND HISTORY IN 3 LEVELS FOLLOWING THE ARCHITECTURAL FORMAT AND STYLE OF THE FORT.
THE DESIGN REVOLVES AROUND ALTERNATING SECULAR AND RELIGIOUS FUNCTIONS TO KEEP THE VISITORS ENGROSSED, ENTERTAINED AND INTERESTED IN THE UNDERSTANDING OF THE BASICS OF ISLAM.
THE MUSEUM IS THE INITIATION OF THE PROJECT IN BUILT FORM SERVED FROM THE EXISTING HERITAGE BUILDING OF THE MAHIM FORT ; HENCE THE FUNCTION OF A MUSEUM OF ISLAMIC ARTS AND CRAFTS TO CONSERVE THE IDENTITY OF THE FORT.
THE DOME OF THE MUSEUM IS AN ATTRACTING POINT( ISLAMIC ARCHITECTURE ) AND IS IMPORTANT FUNCTIONALLY TO LIGHT THE HUGE ATRIUM AND THE REST OF THE INTERIORS OF THE MUSEUM.
THE CALL TO SUCCESS IS TRANSLATED INTO CLASSROOMS OF ISLAMIC HISTORY, TEACHINGS, ARTS AND CRAFTS, ETC. WHICH HAVE FREE ACCESS TO THEM, WITHOUT PRIOR OR POST COMMITMENTS, (A METAPHORICAL WAY TO PORTRAY SUCCESS AS KNOWLEDGE).
THE MOSQUE IS A REDESIGN OF THE EXISTING ONE ON SITE IN ORDER TO ACCOMMODATE MORE NUMBER OF PEOPLE ALONG WITH THE ADDITION OF A FEW MORE FUNCTIONS TO IT.
THE MOSQUE HAS BEEN PROVIDED WITH A SECTION FOR WOMEN AS WELL WHICH IS NOT USUALLY SEEN IN MANY SOUTH ASIAN MOSQUES.
THE FORM HAS BEEN KEPT SIMPLE BUT TRADITIONAL ASPECTS OF A CONVENTIONAL MOSQUE HAVE BEEN MAINTAINED SUCH AS THE FORECOURT AND THE DOME. THE DOME IS MULTIFUNCTIONAL- BRINGING LIGHT IN AS WELL AS A VIEWING POINT TO THE NON-MUSLIM VISITORS ON THE ROOF OF THE MOSQUE.
THE STRAIGHT WAY : THIS STRAIGHT WAY IS THE WALKWAY WHICH IF FOLLOWED, LEADS TO SUCCESS (METAPHORICALLY).
SMALL KIOSKS AT INTERVALS BREALS THE MONOTONY OF THE LINEAR PATHWAY AND ALSO ACTS AS A RELIEF SPACE.
THE ARRANGEMENT FORECOURT GIVES THE VIEW OF BOTH THE MOSQUE AND THE MINAR IT’S FUNCTIONAL ASPECT.
THE ENTRY TO THE PROMENADE IS A SYMMETRICALLY ALIGNED LANDSCAPED ISLAND PROVIDING OFFSETS AS A FORCED PERSPECTIVE.
CLOSED LOOPED PERGOLAS NEAR THE PROMENADE PROVIDE A PLAY OF LIGHT AND SHADE FOR THE VISITORS.
THE THESIS HAS BEEN AN ATTEMPT AT SEARCHING AND REALIZING A SOCIAL PROBLEM AND DEALING WITH IT SENSIBLY WITHOUT PREJUDICES IN TERMS OF ARCHITECTURAL FORMS AND SPACES. IT HAS BEEN A GREAT LEARNING EXPERIENCE TO REVOLVE AROUND THE VARIOUS LAYERS OF ISSUES AND TO OPEN THE MIND TO REALIZE THE PROBLEMS AND TO TOGGLE WITH THE VARIOUS SOLUTIONS TO FIND THE MOST BEFITTING ONE AS PER THE CIRCUMSTANCES.
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First year B. Arch (2010) CUBE EXERCISE BASIC DESIGN FROM SKETCHING The project included creating a 3 dimensional model of cubes wherein the design is derived from abstract 2 dimensional compositions made from sketches of mechanisms of umbrella and bicycle.
VARIOUS DETAILS OF MECHANISMS OF CYCLE WERE DRAWN. THE IDEA WAS TO CAPTURE AN OVERALL FLOW OF LINES WHILE DRAWING THE DETAIL.
AN INTERESTING PART OF THE DEATIL WAS CAREFULLY FRAMED IN A SQUARE FRAME AND REDRAWN BY ENLARGING IT.
THE FRAMED DETAIL WAS REPEATED IN DIFFERENT DIRECTIONS IN A GRID OF 5 X 5 TO CREATE A 2 DIMENSIONAL COMPOSITION BY FURTHER SIMPLIFYING THE DETAIL.
THE 2 DIMENSIONAL COMPOSITION WAS THEN COLOURED IN BLACK AND WHITE AS A FIGUREGROUND AND ABSTARCT ARTWORK.
3 DIMENSIONAL CUBES WERE MADE USING THE COMPOSITIONS AND A MODEL MADE OUT OF THESE CUBES WAS MADE AS A FINAL PRODUCT OF THE PROJECT. THE MODEL WAS MADE MAKING SURE THAT THE LINES OF THE COMPOSITION FLOW CONTINUOUSLY IN ALL THREE DIRECTIONS.
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Second year B. Arch (2012) LEARNING CENTER, CHAMBA INSPIRATION FROM THE PLACE A tour to a remote north Indian village with memories and experiences was the projects main aim. Learning from the experiences of the people and then adding the architect’s perspective to a learning center for the people of Kidi village in Chamba, Himachal Pradesh was the main objective of the project.
THE HOUSING CONSTRUCTION TECHNIQUES AND TYPOLOGIES WERE DOCUMENTED IN THE FORM OF DRAWINGS AND STRUCTURAL MODELS.
THE CONCEPTUAL IDEA BEHIND THE PROGRAMME AND DESIGN WAS TO CREATE A PROJECT FOR THE INTERMINGLING OF THE VILLAGE PEOPLE WITH THE RESEARCHERS AND TO REDEFINE LEARNING AS AN INTERACTIVE ACTION IN THE SAID CIRCUMSTANCES AS OPPOSED TO THE CONVENTIONAL CLASSROOM TEACHING AND LEARNING PROCESS.
THE SITE CHOSEN WAS A HILL OPPOSITE TO THE VILLAGE DIVIDED BY A SMALL STREAM. THE HILL’S IMPORTANCE WAS REALIZED DUE TO THE PRESENCE OF THE SOLE TEMPLE OF THE VILLAGE ON IT. THIS BECAME THE INITIATION AND THE REVOLVING ASPECT OF THE DESIGN.
‘THE WALL’- A CONCEPT BASED ON A LONE OF CONNECTION FROM THE VILLAGE TO THE TEMPLE BECAME THE FOCAL POINT OF THE DESIGN. THE WALL TAKES VARIOUS FORMS FROM STEPPING STONES TO CROSS THE STREAM TO CORRIDORS WITH WALLS FOR SEATING AND INTERACTIVE PURPOSES ALONG WITH ACTING AS A SCREEN BETWEEN THE PUBLIC AND PRIVATE SPACES.
THE ENTRY TO THE SITE LEADS TO 2 WAYS; ONE TO THE MARKET PLACE ( MAKESHIFT MARKET- A PART OF THE WALL) AND THE OTHER TO THE TEMPLE.
THE PATHWAYS HAVE BEEN CARVED TO CREATE STEPS TO LEADING TO THE TEMPLE. THE REST OF THE PROGRAMME REVOLVES AROUND THE AMENITIES NECESSARY FOR THE PARTY OF RESEARCHERS COMING INTO LEARN AND TEACH SIMULTANEOUSLY FROM THE TRADITIONS OF THE PAST TO THE TECHNOLOGY OF THE FUTURE.
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Third year B. Arch (2013) SCHOOL IN KODAIKANAL A DESIGN BASED ON LOCATION Design was to be done keeping in mind the climatic conditions of the place and general ideas of an ideal school.
THE OVERALL DESIGN AND MASTERPLAN IS BASED UPON THE TOPOGRAPHICAL CONDITIONS OF THE SITE. THE SITE CONDITIONS SPECIFIED AS NECESSARY ASPECTS TO INSPIRE THE DESIGN WERE THE ACCESS ROADS AND THE RIVER THEREFORE INSPIRING THE OVERALL SOLID-VOID COMBINATION WITH A COMPLIMENTARY CIRCULATION.
THE PLAYGROUND HAS BEEN STRATEGICALLY PLACED IN ISOLATION TO THE MAIN SCHOOL PREMISES WITH AN INTERESTING CONNECT WITH THE BUILDINGS THROUGH A BRIDGE KEEPING IN MIND THE LEISURE ACTIVITIES OF SCHOOL CHILDREN. THE CANTEEN HAS AN OPEN SEATING APART FROM A CLOSED ONE OPENING TOWARDS THE SERENE BEAUTY OF A FLOWING RIVER AND THE VALLEY BELOW.
THE PRIMARY SCHOOL HAS BEEN DESIGNED KEEPING IN MIND THE ACTIVITIES OF CHILDREN IN THE AGE GROUP AND ALSO THEIR BUDDING AND CURIOUS MINDS. THE PLAYFUL WALLS OPEN INTO SEMI-OPEN CLASSROOMS WHILE THE NATURAL LIGHT PLAYS WITH THE BUILDING WALLS TO ITS CONTENT. THE OVERALL FORM OF THE BUILDING IS IN SYNC WITH THE REST OF THE STRUCTURES MAKING IT LOOK IN HARMONY WITH THE SETTING.
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Fourth year B. Arch (2014) ART GALLERY, MUMBAI THE ART OF DISPLAY An art exhibition space was to be designed at Horniman circle on the site of a ruined building. Two sides of the rectangular site consisted of blank walls of adjacent buildings while the other sides faced two roads.
THE FORM HAS BEEN DELIBERATELY DEVISED IN A MANNER WHERE THE VARIOUS LEVELS SEEM DISCONNECTED TO EACH OTHER ( IN TERMS OF ARCHITECTURAL LANGUAGE ) TO DEPICT THE CHANGE IN THE CONCEPTUALIZATION OF ARCHITECTURE AS A WHOLE ALONG THE TIME LINE. THE LOWER LEVEL IS ORIENTED PARALLEL TO THE SITE AND ACCESS ROADS WHEREAS THE UPPER LEVEL IS DIAGONAL GIVING IMPORTANCE TO THE CORNER ASPECT OF THE SITE.
THE ENTRANCE HAS BEEN DESIGNED AS A SIMPLISTIC ONE AS OPPOSED TO THE CONVENTIONAL GRANDEUR IMPORTANCE GIVEN TO IT IN ORDER TO MAKE A STATEMENT ABOUT THE IDEOLOGY BEHIND DESIGNING THE STRUCTURE RATHER THAN CONCENTRATING/ ATTRACTING TOWARDS ONE PARTICULAR PART OF THE BUILDING.
THE DESIGN EXPRESSES THE APPROACH OF MODERNISM ( MINIMALISM) TO A RECTANGULAR FORM.
THE INTERIOR OF THE UPPER LEVEL COMPLIMENTS THE ARCHITECTURE AND ARE MINIMALISTIC IN ALL SENSES. THE WALL ACTS AS PARTITIONS AND DISPLAY WALLS SIMULTANEOUSLY.
THE MULTIFUNCTIONAL QUALITIES EXTEND TO THE CEILING AS WELL WHICH HIGHLIGHT THE PASSAGE EXTENSIVELY THROUGH BEAUTIFULLY SCREENED NATURAL LIGHT.
THE INNER CENTRAL HALL HAS BEEN PROTECTED FROM THE HEAT OF MUMBAI THROUGH ARCHED WAYS DEPICTING THE VICTORIAN AGE OF ARCHITECTURE IN MUMBAI.
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First year B. Arch (2011) SPACE PROJECT HORIZONTAL AND VERTICAL PLANES The project aimed at understanding spaces through experiences, scale and volume. A given volume of space was to be explored using horizontal and vertical planes to create a desired experience.
THE VERTICAL AND HORIZONTAL PLANES HAVE BEEN EFFICIENTLY USED TO DEFINE EXPERIENCES IN TERMS OF SPATIAL DESIGNS SUCH AS CURIOSITY, EXCITEMENT AND FEAR.
THE ROAD NOT TAKEN Two roads diverged in a yellow wood, And sorry I could not travel both And be one traveler, long I stood And looked down one as far as I could To where it bent in the undergrowth; Then took the other, as just as fair And having perhaps the better claim, Because it was grassy and wanted wear; Though as for that the passing there Had worn them really about the same, And both that morning equally lay In leaves no step had trodden black. Oh, I kept the first for another day! Yet knowing how way leads on to way, I doubted if I should ever come back. I shall be telling this with a sigh Somewhere ages and ages hence: Two roads diverged in a wood, and I — I took the one less traveled by, And that has made all the difference. - Robert Frost
THE OVERALL CONCEPT OF THE DESIGN WAS INITIATED BY THE INSPIRATION OF A POEM BY ROBERT FROST- THE ROAD NOT TAKEN. THE METAPHORICAL TRANSLATIONS ARE REFLECTED PERFECTLY AND EXPERIENCED BY THE VISITOR IN THE VARIOUS SPACES FROM THE START.
THE SCHEME OF THE DESIGN STARTS WITH A HUGE VERTICAL PLANE WHICH DIVIDES THE GIVEN 30CM X 30CM SITE INTO 2 MAJOR OPTIONS FOR THE VISITOR TO CHOOSE FROM. NEITHER OF THE OPTIONS CONNECT TO EACH OTHER AND ARE INDEPENDENT OF EACH OTHER WITH THEIR RESPECTIVE EXPERIENCES.
HALF OF THE SITE HAS BEEN DESIGNED IN 2 LEVELS WITH CURIOUS SPACES THROUGH PLAYFUL PLANES. FOR EG.- THE EXPERIENCE OF FEAR HAS BEEN EXAGGERATED IN THE ABOVE SECTION THROUGH CONVERGING VERTICAL PLANES AND HORIZONTAL BEAMS AT ANGLES. THE EXPERIENCE OF MYSTERY AND EXCITEMENT HIGHLIGHTED WITH STEPS WITHOUT VISUALS OF WHAT IS BEYOND.
THE MOST INFLUENTIAL ASPECT OF THE DESIGN IS THE ISOLATION THAT THE SPACES CREATE FOR AN INDIVIDUAL TO SUCCESSFULLY EXPERIENCE THE SPACES AS WAS INTENDED.
THE WHOLE EXERCISE WAS AN ATTEMPT TO UNDERSTAND THE PHYSICAL SPATIAL EXPERIENCES ON A HUMAN MIND WITHOUT TAGGING THE SPACES FOR FUNCTIONS.
09.shoeb.k@aoamumbai.in