Aya Ahmed - Portfolio

A y a

aya.a@hotmail.co.uk

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A h mP o er t f do l i o

+447943287728

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@ayaxarch(Instagram)

Content

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Collaboration with South London Gallery on ‘Sunday Spot’ play space

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Product Design | Working with South London Gallery

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Textiles | Working with South London Gallery

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Landscape Design for Sceaux Garden Estate

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Technical/Site

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01 Game 1 The sponge the most popular game amongst the kids. This game didn’t need much guidance as the kids understood what to do right away. Very simple and easy to understand game. The kids also enjoyed picking their favourite colour sponge to throw. Tutors from the school also enjoyed this game as they mentioned it the throwing is good for their Motor neurones which helps develop whole body coordination skills.

Overall, this was our most successful game of the day and was highly enjoyed by both the kids and their tutors.

Hand-eye coordination is one of the most important parts of the learning process. It helps children track the movements of their hands with their eyes, which is essential for reading and decoding. Because children also use their visual system with hand-eye coordination, it can greatly impact their writing skills and handwriting as they use their eyes to guide, direct and control their hand movements across the page as they write letters and words. A child’s eyes send a message to the brain about a certain object or stimuli (sponge), which triggers signals to your child’s hands for a reaction to that object or stimuli (throwing).

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Game 4 As well as games, we also wanted to try out toys. We liked the idea of creating unusual ways of using very common household objects. For example creating a multisided mop which could also be played with as a holla hoop. The shapes would be flexible so that the kids can detach the pieces and make their own shapes.

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Wing nut(M8) and bolt(M8x45mm) attachments

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Over flow pipe 21 5mm x 3m (cut into four 430mm lengths)

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Observation on site// The ‘multi-mop head’ toy was our least successful game of the day as we found that it was a little harder to explain to kids how to play with this. Our initial idea was to create detachable parts to the toy so that the kids were able to create their own shapes from this. However, when making it, we found that the mop head were too heavy and therefore had to screw all the piece together, defeating the idea being able to detach and make desired shapes.

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However, the mop heads were still detachable and the kids enjoyed taking them off and attaching them back on. Moving forward, we are experimenting further with this material and would like to be able to make it into a more interactive game. We will be using smaller, lighter mop head and providing different objects which the kids will be able to attach to the different ends (i.e. broom head).

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Aprons

Whist observing the children at the South London Gallery, we noticed that the kids enjoyed throwing the sponges at one another. In response to this, we thought it would be a really fun to create aprons for the kids which acted in same way as the wall hanging.

We will be making aprons in three different sizes to cater to the different age groups may be attending at the gallery space.

The first apron will be for our youngest participants, toddlers aged 1-3. The sizes will then go up for kids of ages 3-7 and also 8-12.

The aprons would have strips of Velcro running across them on the front and back so that the kids would be able to stick different coloured sponges on one another.

As the aprons are very small in size, it may not be able to fit a lot of sponges. Therefore, we would like to add Velcro hook on either side of the sponges. This will allow the kids to stack the sponges on top of one another, creating different levels of padding on each others aprons.

This is a really wonderful way to engage the kids in ‘social play’ and allows for many possibilities of different games using this technique.

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INSPIRATIONS FOR URBAN OBJECTS

Playground swing installation 19- 20

Windows with view to playground

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Playground swing installation

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OBJECTS

Windows with view to playground

ADULTS

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Playground area

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Open grass space

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PHYSICAL ACTIVITY

SPACE OF EXCHANGE

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This mapping visualises the route in which my pavilions and footpath will be placed.

The route will rap around 7 building in the Sceaux gardens estate area using a footpath and will include 12 mini pavilions on which stop over every couple of meters.

Each pavilion will be different an is inspired by different everyday objects around the city which have been noticed as ‘playful’ by children and young adults.

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Charts

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Each pavilion also incorporated aspects of play, socialisation, seating access, spaces of exchange or physical activity. Chart 01 is used to evidence the key aspects of each pavilion. Although all pavilions can definitely be utilised by both adults and young people, some are more targeted to a certain audience/age group since my aim is socialise the estate and in doing so, bring together all people of different age groups, ethnicities and genders. In chart 02 you can find information about which pavilion is aimed at which group.

“Thinking about how children and young people move around a city is a crucial point for design and planning.”

-Making London Child Friendly Report The Mayor’s report on making London a child friendly city speaks on how the design of spaces around the city can encourage independent mobility for children and young people under the age of 18. It explains it importance for young people to feel safe enough to have the freedom of moving around the city without adult supervision.

In my design proposal, I am responding to the above quote from the report. It is very important to include young people in the decision making of a ‘child-friendly’ space. Therefore, I am taking my primary research from activities and objects which already exist around city and are used by children and young people in playful ways. This was demonstrated in the initial research of ‘play using our bodies and the urban environment’ video 1 on page 2. An example of this is bike racks, which kids often use to swing on. The mayors report stresses “We need to better understand how children use space to get around; by

ignoring the way they behave we do them and society a great disservice.

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Mapping out placement of pavilions along the estate - Parent will be able to watch over children whilst playing – Encouraging the Mayor’s independent mobility theory.

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Minatare mock-up of pavilions connected by interjoining pathway – Playing with idea of ‘soft play’ using organic curves and shapes.

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Post War Modernism Architecture POST WAR MODERNISM ARCHITECTURE –

Post was modernist architecture was based upon new and innovative technologies of construction, particularly the use of glass, steel and reinforced concrete; the idea that form should follow function (functionalism); an embrace of minimalism; and a rejection of ornament. It emerged in the first half of the 20th century and became dominant after World War II until the 1980s, when it was gradually replaced as the principal style for institutional and corporate buildings by postmodern architecture.

Closely related to the style of buildings in and around Sceaux gardens estate, I have looked at building in the style of modernist architecture to influence my pavilions. Replicating these forms and structural shapes will allow the pavilions to be embedded very nicely within the estate and create a greater fluidity with the existing space.

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Multi use pavilions along the landscape of Sceaux Gardens Estate

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Elevated drawings showing how space will be used everyday by residence of Sceaux estate and also other pedestrians.

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Existing Site Layering

01. Daylight & Sunlight

02. Overlooking

03. Views

The proposals should consider daylight and sunlight - ensuring that new homes have good quality living spaces with generous natural daylight. Neighbouring buildings should not be overshadowed by the new buildings.

The sites should be developed with consideration of how the new buildings and amenity spaces might be overlooked by adjacent existing buildings.

Proposals should ensure that existing accommodation is not overlooked by the new homes.

Existing open space should be protected and views of these spaces should be embraced.

05. Potential Site 1

06. Potential Site 2

07. Potential Site 3

Proposed site 1 is currently occupied by Florian - a terrace of single storey bungalows. These units front a footpath that passes between Florian and a wall separating it from the back gardens of an adjacent block. To the rear of the bungalows is a communal back garden adjacent to, but fenced off from, the central communal gardens. Pedestrian paths run along the east and west flank walls of the block. To the east of the block is the 15 storey Marie Curie residential building. To the west of the block is the single storey block of shops, most of which are currently vacant.

Proposed site 2 is currently occupied by Racine - a terrace of single storey bungalows. These units front a footpath that runs alongside the central landscaped square of the estate. Directly to the rear of the properties is a communal garden. Beyond this garden is the South London Gallery. A path runs between the communal gardens and bungalows to provide access from the gallery to the central landscaped square. To the west of the block is Camberwell College of Arts. A new development is currently under construction, including a new 10 storey student accommodation block.

Proposed site 3 is currently occupied by garages and adjacent forecourt. To the south of the site is Colbert - a 6 storey residential block. An access road runs along the west of the site, separating site 3 from a 15 storey residential block Marie Curie. The road leads off Southampton Way, and continues on past Colbert, and on to Racine, another 6 storey residential block . To the northeast is a 3 storey residential block. To the east is a school and accompanying play space.

In this exploded axonometric drawings, I have shown the different 04. Integration layers within my route created through the estate. Top layer (square blocks) indicates the position of the pavilions throughout the estate. These have been numbered in order to make it easier to understand which pavilion is being referred to (refer back to first 08. Existing Projects+Timings mapping to see which number is which pavilion). The next layer below is the building of the Sceaux gardens estate, including some Sceaux Gardens surrounding buildings.

Below that is Camberwell the footpath circling the Community Consultation Drop-Inestate. At 27.09.2016 the bottom is the mapping of the area.

New development should be integrated with the existing buildings and landscape. Pedestrian access should be considered and improved where necessary to provide safe and pleasant routes to new and existing buildings.

Sceaux Gardens is already going through some changes - refurbishment of Lakanal including ‘The Shop of Possibilities’ - a new a social space for play; a new 5 storey block of flats between Lakanal and Florian; and the TRA have recently received c.£200,000 of funding, which they are currently balloting for ideas for new improvements. Camberwell College of Arts are currently developing the site next to Racine.

For this project, Weston Williamson + Partners will be developing a design proposal with Southwark over the coming months, with a planning application anticipated in Spring 2017. Consultation meetings with Project Groups will be held every 4-6 weeks during the design stage, where residents will have the opportunity to comment on the developing designs.

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Axonometric overview of the Sceaux Gardens Estate – Mapping out the placement of pavilions across the entire area (with close up).

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Detail elevation drawings of pavilions 1 - Showing joining’s, materiality, technique and function.

FRONT ELEVATION 1:20

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Section drawing of pavilion 1 in context - Visual collage of pavilion 1 below the estate.

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Pavilions with footpath during daytime

Pavilions with footpath during the night

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Botanical Gardens event at The Royal Horticulture Hall, London – Plan and section.

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360 view of the building design proposal 1| A 1:100 scale front elevation 2| Side elevation

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Reconstructing the buildings on brick lane by building groups of businesses into multi-story structures – I plan to group buildings into categories of restaurants, cafes, clothing stores, bars and art galleries. In doing so, more space will be available for residential spaces or areas of leisure.

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DARK SUGARS

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Alladin

Alladin

Brasserie

MUHIB

City Spice

Eastern Eye

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A 1:100 scale elevation drawing in context of Brick Lane street perspective Purpose of image is to show the theatrical atmosphere

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Final Model for Brick Lane ‘space of exchange’

1:100 scale drawings

1:100 scale drawings

1| Left side elevation with context of existing buildings.

1| Right side elevation with context of existing buildings.

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Final Products

Model Making Process

Creating a new game – including 8 miniature wooden toys and a large old map on fabric – The whole set is designed to be packed up into the wooden box – Following the theme of he Festival of Britain Pleasure Gardens – Took place at Battersea Garden in 1950’s.

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07 This Brick Lane Mosque is a prime example of the layout commonly found in home conversion Mosques within the UK. Conversion mosques present many benefits as well as disadvantages to its community. One of the most common disadvantages is the lack of space. As highlighted in figure 14, the Brick Lane Mosque (similarly to Blue Mosque) offers a dominating space to men. Meanwhile, the women’s space appears as more of an afterthought since it has been placed in the lower ground basement.

This layout of the mosque space is not uncommon in UK home conversion mosques and the reason for this is usually because there is simply not enough space. This presents a slightly different dilemma to the one in Blue Mosque because here there is a lack of space. However, in the Blue mosque, there is plenty of space, but the traditional principles practiced within the culture restricts the mosque from opening up the space or limiting barriers between men and women.

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A reason why the men’s space has been prioritised in the Brick Lane mosque is due to the higher number of men attending prayers than women. When I visited the Brick Lane mosque, there were approximately 10 women partaking the Salat; not even enough to fill up the small space allocated provided. However, in the Cambridge Mosque there were a much larger group of women, enough to fill the main prayer section and the upstairs balcony. This raised the question of the significance in visual design and if how much impact is had on the attendance of Muslim community at the mosque.

Figure ¹⁴

When entering the Brick Lane mosque, men enter through the front door (main entrance) which is indicated by the blue arrow in figure 15. Meanwhile, women must entire using a back door around the corner of the mosque. This already creates a segregation for women making them feel unwelcome and disconnected.

Upon entering the mosque, there is a very long route to get to the women’s prayer hall (as demonstrated by the yellow line in figure 15). This is particularly uninviting for women with children or women with lesser abilities to climb stairs. It does not take into consideration the diverse facilities some women may require. The design communicated a very dismissive attitude which can push people away.

Although it is understandable that the Brick Lane mosque would need to attend to men’s space more than women seeing that they receive more men for Salat and general use of the mosque, I feel that this could be different by changing the dynamic of the space. Instead of the men occupying both the ground and first floor, they could divide this space equally between the sexes which may encourage a higher attendance from female residence.

Womens entrance and route to prayer hall

Men's entrance and route to prayer hall

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In addition to the main prayer hall and section for women with children, the women have been given the option of an upstairs balcony area (figure ). This is more suitable for women who feel uncomfortable with the mixed prayer hall arrangement and require more personal privacy. ot to mention, it o ers an incredible view overlooking the entire prayer hall including the beautiful calligraphy arts. The risen level also gives an illusion of being in a tree and being at a high and dominant position granting a safe and secure felling. It also emphasises the harmonious energy of stillness and concentration evoked by nature.

These screen’s (or partitions) can be looked at as a progressive design which challenges the uneven and dismissive segregation of women in the mosque by allowing them the same freedom of movement within the space as men. A key feature of these partitions is that they offer flexibility within the space. The screens can be moved across the room allowing the space to be divided in accordance to the male to female ratio on any given day. This particular aspect of the design plays a significant role in addressing gender issues because it allows freedom for both genders to negotiate an overall space and system which is comfortable for the entire congregation. These screen partitions are not uncommon in traditional Arabian mosque’s. Though, the use of these screen at the Cambridge mosque can be seen as quite controversial in the sense that the height and placement of these screens are more suggestive and do not offer a clear enough division of space. These screens are famously used in their traditional form in Mosques such as Hagia Sophia and Blue Mosque in Istanbul, Turkey where the screens are double the height of that at the Cambridge mosque. Therefore, whilst arguing that the shorter length of screen offers more exclusivity for women, it may be seen as problematic to a traditionalist who is accustomed to the conventional use of a taller partition.

Another key feature of the mosque which supports the suitability of the shifts in gender roles are the movable partitions in the centre of the prayer area. These partitions are a very low (ranging from 0.7 to 1.2 meters in height) wooden screen with mashrabiya patterns carved throughout. When standing, these partitions are bellow eye level for an adult person at average height, which means a person on either side of the screen can look across the entire room. The screens have been designed in a way which offers women the chance to choose their own comfort with this contemporary open space.

As shown on figure , this section of the screen is quite low (approximately 0.7 meters) which allows for a more open and connected space. Although the barrier is there, it is placed more suggestively as an indication of the separate territories within the joint area. igure presents an area of complete unity between the sexes. This section in the centre of the prayer hall is completely open encouraging flexible movement between men's space and women's space.

Moreover, this style of room separation is not frequently practiced within mosques in the UK. Rather, separate rooms are usually encouraged which are often places on different floors. This can be seen in mosques all over London such as, Brick lane Mosque, Mayfair Islamic Centre and may others, where the women’s prayer area are located in the basements whilst men occupy all other main floors (further discussion in chapter ).

Therefore, when looking at the design layout of the Cambridge mosque, which places men and women not only on the same floor level but also in the same room, it is very evident that they are encouraging spaces which are ‘inclusive for women’ and overcome gender segregation. The space begins to empower the people instead of the institution.

Contrastingly, figure 10 presents a more traditionally acceptable height (approximately 1.2 meters) which completely divides the space averting all contact on either end of the room. The importance of these three levels are to offer women a chance to choose their own level of comfort within the space. For instance, women with a more traditional stance on religion (such as my mum) may prefer to stand behind the taller screen (figure 10) and enjoy their personal privacy. Whilst someone with a more feminist outlook may prefer the lower screen (figure ) or even a completely open space (figure ). omen are able to choose the space they feel most comfortable in whilst respecting others who may decide on a di erent level of integration across the room. Most importantly, unlike most traditionalist mosques which treat the women’s area as a second-class space, this design layout gives women a personal advantage of creating their own comfort within the space.

This progressive partition design also imitates the same ideas practiced in Mecca. Muslim men and women are obligated to perform Umrah or Hajj at Mecca at least once in their lives. During this time, there is no segregation between men and women, but rather everyone is seen as equals and all gather together in one space to worship. The women are only allowed to wear the basic form of cover which is a simple Hijab and Abaya. The iqab or any other form of excessive cover is prohibited at Mecca. The reason for this is because the Niqab, covering the entire face, acts as a screen between the woman and the outside world. When in Mecca preforming any type of pilgrimage, a person should not be separated or disconnected from the world (or in this case the space they are in which is Mecca) but rather be in tune with their surroundings and fully participate in their worship. The practice of piety is enforced within the Muslim worshippers through eliminating any form or segregation and uniting all believers together with disregards to gender. This then raises the question that, if Muslims are not separated by gender in the ultimate place of worship, but are actually encouraged to gather as one, why can’t the same rules apply in the everyday space of worship (mosques)?

ot only does this flexibility of screens help expand women space within the mosque, but it also addresses larger issues of gender within Islamic traditions. ulia Barfield explained to me that the screens started of being fixed very high and during the development of the pro ect, we managed to persuade them to maybe question this. (see appendix page ) By questioning the habits of tradition, the space has been able to address misplaced issues of gender and separate this from the truth of the religion.

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Appendix pt is a phone interview with ulia Barfield, director of Marks Barfield Architects. I asked her about the initial intentions of the female space of the main prayer hall and why they had chosen the moveable style of screen partition. It was very interesting to hear the intentions behind this design and layout of the prayer hall and compare this with the traditional perspectives of my mum.

Q — What were your initial ideas for the screen partitions and where did the inspiFigure ration for this come from?

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A It was developed during the pro ect. They started of being fixed very high and during the development of the project, we managed to persuade them to maybe question this. One of the things the client did was have a survey of women in the area and ask them what they wanted and then the idea was, really this is supposed to be one of the most women friendly mosques in the country, and so the idea was to provide di erent types of area that could suit what di erent women wanted and so there is an area on the first floor which is the most separate but is still very visually connected to the main prayer hall. Then there's another area at the opposite side to the mihrab which is the mother and child area which is acoustically separate but still visually connected. Then there is the area behind the mashrabiya screen. In the end, as a result of this survey and discussions with the client, we came to the conclusion that the best thing was to have flexible screens so that they could be moved and also that they were of two di erent heights. There s a height which is of 140 or 1 0 and then another one which is only about 900. Then there is actually a gap in the middle as well so that it is not completely shuttered. This was really responding the fact that we are in the UK and even though culturally there are obviously traditions that people want to adhere to, I suppose that we have designed it in a way that, should Figure ¹ MUM SAYS THAT'S RIGHTis adaptable and able these traditions change, as I hope they will, then thisNOT building to change as well.

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The lights in the interior interfere with the use of vertical lines on the exterior

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This image demonstrates a boundary between the interior and exterior by its spiral bars in between

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The reoccurring vertical lines throughout these three buildings gives a sense of structure and uniform

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The horizontal lights in the interior interfere with the strict use of vertical lines on the exterior

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Thank you for taking the time to look through my work!

Please feel free to get in touch with any questions or queries.

aya.a@hotmail.co.uk

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+447943287728

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@ayaxarch(Instagram)