Behind The Veil Portfolio - Design Exploration (Year 3)

‘BEHIND THE VEIL’

Humaira Ramzan / (Design Portfolio) Birmingham City University BA (Hons) Architecture | Year 3

‘BEHIND THE VEIL‘

Could architecture help reveal the complexity of the women behind the veil?

CONTENTS

Design resolution brief

Chapter 1 Explanation Of Chapter One

Chosen Junk Space

My Urban Element Palimpsest Theory

Timing Paint Dry Breakdown Time The Concept Word Field Diagram

Chapter 2 Explanation Of Chapter Two

About My Project

Discovered Research

The Hijab

What Are My Targets

My Overall Goals

3-4 6 7-8 11-12 13-14 15-16 17-18 19-20 21-22 23-30 32 33-34 37-38 39-40 41-42 43-44 45-46

Goals moodboard Cultural Precedent Inspiration Architectural Precedent Inspiration Spatial Arrangement

Form Finding And Precedents Circulation And Planning Terraces

Exterior Form Development Materiality Overview

Element Development

Technical Development Landscape Development

Chapter 3

Explaination of Chapter Three Setting the scene Site Analysis Site Plan

47-48 49-54 55-56 57-58 59-72 73-74 75-76 77-84 85-86 87-98 99-108 109-110 112 113-114 117-122 123-124 125-126

Ground Floor Plan

Landscape Strategy

Foyer Visual

Relaxing Space Visual

First Floor Plan Visual

Second Floor Plan

Assembly Hall Visual

Third Floor Plan

Roof Plan Without Veil

Terrace Visual

Roof Plan With Veil

Elevations

Materiality and Textures

Sections

Closing the Scene

127-128 129-130 132 134 135-136 137-138 140 141-142 143-144 146 147-148 149-156 157-158 159-162 163-164

THE

Continuing on from semester one’s module Design Exploration, as mentioned previously within the ‘Layering Portfolio’, this year’s design module, is a continuous of one project, throughout level six. After having undertaken loads of research, last semesters module lead to my concept word ‘Layering’. Using this concept word and the original site which I picked, 583 Malcolm House, on Moseley Road, Balsall Heath, B12 9BL, we had to then go ahead and continue developing and finding a form that fits onto our chosen site.

This form that we have to create, does have a detailed schedule of accommodation, that is required from us. So, we are expected to create two spaces that have some type of connection between them, one which is an assembly space, which has a total of 1030 m2 and a residential scheme that is 1850 m2. However, in order for this to occur, just like semester one, we had anchors put into place.

So, after being told what spaces we are expected to create, the next task was to decide on who we are we are designing for. Considering all the issues that are currently occurring in the world today, we had to narrow it down and pick one issue, that we think as individuals, is fundamental to be spoken out and acted upon. This could have been anything such as homelessness, covid, mobility problems, black lives matter movement, discrimination and so on.

Once we have picked an issue we want to take further, we were given a choice of three grand challenges, which we had to pick one from, those included were diverse societies, emergent technologies, and sustainable communities. These were put into place, to help us consider how we could link our issue to a challenge that is also happening currently. Then the final point we had to also consider was which route would best help us portray our issue, would it be a manifesto, thesis or a project.

CHAPTER 1 Semester One Flashback

Quick Note...

Chapter one is a little flashback to what I did and produced in semester one’s, Layering portfolio. This chapter doesn’t include all of my work from that portfolio because as they would both be submitted and held together, you are able to see how I went about each aspect of that portfolio. However, the main purpose as to why I included parts of the layering portfolio is to help the reader understand my site, how I got my concept word layering and how I used the information gained, moving forward.

CHOSEN JUNKSPACE

For my individual project, I am focusing on the abandoned 583 Malcolm House building, situated on Moseley/Cromer Road, Birmingham B12 9BL. Research on the architect is not available, but the 53,162sq building was constructed in the 1960s and it was used as a office building, but then years later was taken over by The Birmingham Optical Group, which then left in 2018 and since then it has been left abandoned and taken over by graffiti (Robinson, 2019).

Figure 8: Pictures of Malcolm House (By Author, 2020).

MY URBAN ELEMENT

Graffiti has been chosen as my urban element. Graffiti is a type of a visual art done on walls on public surfaces, using spray paint and it is known to be illegal. Most countries in the world even have laws put into place, as they see graffiti as an act of vandalisation. The graffiti is normally done by either a group of members or an individual, but could be both artists and gang members, but majority of the time its gang members.

Graffiti comes in many forms, if a gang member does graffiti, its normally to mark their territory and warn other gang members and they also do it to warn law force that they are breaking boundaries and taking ownership of that space now. Whereas artists tend to do it, to bring beauty and colour back into a community, to help it heal and become one again.

colours aren’t by gangs. But the

ones with angular letters and are painted in one colour are done by gang members.

Having gathered this research, I then gathered all the graffiti found on Malcolm House and made a hand collage and discovered the graffiti on that site was done by gangs.

This is extremely dangerous because not only does it bring violence to that place, it also scares neighbours, brings fear and more danger into that area, making inhabitants a target and a threat (Bertheaud, 2011).

Looking further into gang graffiti, it’s a form of visual coded language, those graffiti marks which have symbols and loads of

PALIMPSEST THEORY

Before continuing further with the mapping, I continued doing research, to find inspiration from books and architectural precedents and that’s when I came across the term ‘Palimpsest’. The term was found back in the 1500s, when people couldn’t afford to purchase canvases because paint equipment, back then was expensive. So, this concept of palimpsest is when one re uses an old canvas, that already has work on it, but uses it to do new work layered on top, but they could still see the old work coming through.

Having found this term, was very interesting because moving forward, I used the palimpsest theory to help me develop my mapping because I started to think of ways, I could still use this idea of paint, but from a palimpsest perspective.

It was very thought provoking as it got me thinking about how this idea of palimpsest, from an architectural point of view,

is like this continues time lapse because as we continue to rebuild, especially when we are using existing buildings or landscape. We unintentionally are leaving traces of history behind, which sometimes comes through and are visible, just like the palimpsest theory. The next page shows some examples of where palimpsest has been either shown, discovered or used. (Lee, 2016).

This example shows someone has been using the same paper to continue writing their script and parts of the old script has been erased, with some still visble.

The second example is more of a conceptual approach to palimpsest, as this individual who did this work originally had text underneath it and has now covered it with conceptual art.

The final one shows traces of work which must have been done over, from words, sketches of people and buildings. All three of these show a process of time and history.

Figure 12: (Castalian Waters, 2018).

Figure 13: (N.A, 2011).

Figure 14: (Basel, 2016).

TIMING PAINT DRY

When doing the first experiment it didn’t really give me, or lead me to a conceptual word, so after having read through the palimpsest theory and discovering that, it helped me move forward and investigate another approach of mapping.

From doing that further research, it was interesting how back in the 1500s they would work on top of old work.

So, taking this research forward I thought I could take that same approach with the spray paint, but this time I waited for the first coat of paint to dry before adding on the second coat.

What I discovered from doing this was that each time It dried as I added a new paint of coat, it took longer to dry and then linking this back to the theory it was interesting to see this development as it reminded me of our society and how when new things are added to a system, they don’t react well as the

process of it sticking takes longer.

BREAK DOWN TIME

From doing this experiment of watching paint dry, I then went ahead and took each time from each paint coat and split the minutes and seconds, which helped me divide up the time, which I was then left with these lines, as shown on the next page.

THE CONCEPT WORD

I took the lines and removed them from the circles, which I then filled in with colour and from doing this mapping it took me back to the idea of the palimpsest theory because when I started to overlap these paint coats, by taking into consideration the process of the paint drying, I was still able to see the old layers through the new ones. So, from doing this mapping I was able to take forward this conceptual word ‘Layering’, this idea of adding on new information, which is a process which occurs over time.

DIAGRAM MAP

After doing the further research

I took the original map with tagging, as this was the first type of graffiti style which is normally done on site by gang members. I was only interested in this type because this is where it all began, which links back to the palimpsest theory of this idea of tracing back time.

Then to narrow it down I decided

to only keep the lines which represented the black simple tagging style and then took this forward and zoomed into my site; Malcolm House.

ZOOMED

Field diagram only showing black tagging style

Stretching the short lines, so they all go over my site boundary

Colour coding the lines, into the direction they are going

Direction one blue

Direction two purple Direction three red Started to mix up the direction of the lines example one Started to mix up the direction of the lines example two

Started to mix up the direction of the lines example three

Started to mix up the direction of the lines example four

Started to mix up the direction of the lines example five

Started to mix up the direction of the lines example six

Started to mix up the direction of the lines example seven

Started to mix up the direction of the lines example eight

Started to mix up the direction of the lines example nine

Decided to stop as it would have taken me back to this stage.

ZOOMED IN DIAGRAM

I selected example eight to then rotate the direction of them 30 degrees each time

Rotated to 60 degrees Rotated to 90 degrees Rotated to 120 degrees

Rotated to 150 degrees Rotated to 180 degrees

Rotated to 210 degrees

Rotated to 240 degrees

Rotated to 270 degrees

Rotated to 300 degrees

Rotated to 330 degrees

Rotated to 360 degrees

I then selected the second stretched map with the black tags and layered the rotated 90 degrees lines

I then selected the second stretched map with the black tags and layered the rotated 180 degrees lines

I then selected the second stretched map with the black tags and layered the rotated 270 degrees lines

I then selected the second stretched map with the black tags and layered the rotated 360 degrees lines

CHOSEN DIAGRAM

Once I have zoomed into the my site, I decided to pick the tags which were only black, which I then created a rule where I found three directions, which I colour coded and kept rotating clockwise, until I got back to the start. After doing this I started layering the old information with the new, which helped me create my own rules, which I then selected one from. I decided to go with the first combination of which included the black tagged stretched site map, which had the layered 90 degrees new information layered on top.

CHAPTER 2

Design Resolution Process

Quick Note...

Another part of this book, which I have sectioned out is chapter two. Moving forward from the previous semesters flashback, chapter two has been created to show a thorough process as to how I developed my form, who its been designed for, what actions will be taken, what the benefits are and why I went down the route I picked. Chapter two also shows how I integrated the technical side of my project, so looking into materials, structure, and environmental strategies.

THE PROCESS

ABOUT MY PROJECT

As mentioned earlier on this chapter has been designed to walk you through the process of how I reached my final form. However, just to give you a slight overview of my Design Resolution Project, after having done loads of research on the current issues that are occurring around the world and taking into consideration, my concept word layering and the three grand challenges, I decided to look into the layers of society and focus specifically on discrimination.

Discrimination is when an individual or a group of individuals treat someone unfairly because of their age, colour, ethnicity, background, religion, and gender. Due to this being a huge factor, I wanted to narrow it down to a specific group or type of people. Therefore, after doing further research I decided to narrow it down even further and focus on Muslim Women.

As we are aware there are many Muslim women around the world that face discrimination because of the veil / hijab, the way they look and even because of their faith and values. This is a huge situation, which should be spoken on because no human is born to be abused, discriminated, and looked at differently because of the way they choose to live their lives.

Therefore, as you go into my chapter two and three, it is clearly shown how I use my form to reveal the hidden layers of what these Muslim women have to face and how they should in fact be treated, this will be narrated in chapter three as a thesis question.

Moving forward once having picked my thesis question, focus issue, concept word, grand challenge, chapter two then mainly focuses on looking at many different cultural, architectural and technical precedents, to help me develop the form, to create an assembly hall, alongside residential units (as I am focusing on forms for living).

DISCOVERED

As shown on these two pages, there are numerous cases, articles, news and social media posts going around the world showing how difficult the wider society has made it for these Muslim Women, to live an ordinary life, without getting judged, abused and even discriminated. These are just a few examples, of what women are having to deal with today.

One thing I found extremely disheartening was how when reading and watching these stories, how so many of them spoke about how society thinks just because they are Muslim women or just because they choose to wear the hijab, they are oppressed, they have no freedom, live in tight claustrophobic spaces. This is far from reality say the Muslim women, many speak up about how society makes them feel this way, but instead they are just like any other human, but choose to cover up, for their own privacy, modesty and its their way of empowerment and independency.

Doesn’t that make you wonder, where did the world go wrong,in supporting each other?

That’s why for this project I will be focusing on Muslim women, discovering away in which I could design a form that allows the community to educate themselves on what’s currently happening in the world and how we could come together to make this change and educate ourselves.

Muslim women are always stuck indoors and don’t have any sense of freedom

59% of the articles analysed associated Muslims with negative behaviour, while more 1/3 “misrepresented or made generalisations” about the community.

Not many people understand the purpose behind a hijab, why women wear it, what it is?

They always go on about how they get abused, treated badly, or discriminated, maybe that’s because of the way they dress.

SUMMARISE HOW SOCIETY, NEWS AND MEDIA HAVE NEGATIVELY IMPACTED MUSLIM WOMEN

Not all Muslim women, wear a hijab, that doesn’t make they are less of a Muslim.

Why do they have to wear a covering over their heads? Is that a veil?

So much negativity towards Muslim women, but hardly any information on why they live the way they do?

Islam is about unity, people coming together, peace, culture etc, but yet society makes it out to be an extreme faith.

STRENGTH

EMPOWERMENT

HIDDEN

VEIL, HIJAB

PRIVACY

OPEN BASIC

MODESTY FREE MODERN

TURNING THESE NEGATIVE FACTORS INTO POSITIVE ONES, BY USING THEM ARCHITECTURALLY

WHAT ARE MY TARGETS?

HOW WHERE

As part of this design module, within our studio, we have been given the option as to how we want to showcase, narrate, and approach our work. We have been given the option to do this in three ways, a manifesto, thesis, or a project, I will be doing mine through the approach of a thesis. What this means is that, using a thesis approach, I will be focusing on the discrimination faced by Muslim women, through the question of, ‘Could architecture help reveal the complexity of the women behind the veil?’ (This will make more sense once you go further into this portfolio).

This form will be located 583 Malcolm House, on Moseley Road, Balsall Heath, B12 9BL. The 53,162sq building was constructed in the 1960s and it was used as a office building, but then years later was taken over by The Birmingham Optical Group, which then left in 2018 and since then it has been left abandoned and taken over by graffiti.

As mentioned on the project which is being the Muslim women, and educate the wider abuse and discrimination Muslims women, how how they actually would issues caused by discrimination. upon chapter three chosen to narrate my style, as this allows of the environment, those spaces, if they

WHOWHY

the previous two pages this being done as a thesis, for is to help raise awareness wider society, on the issues, discrimination faced by these how they are having to live and would live, without all these discrimination. When reading you will notice that I have my thesis in a story telling allows the reader to get a taste environment, and how it feels to be in they were a Muslim women.

SUMMARY OF THESE TARGETS

As this project is broken down into two main spaces, one being an assembly hall and another a residential living space. The assembly hall will be designed for the society to come and experience the spaces which have been designed in a way to show them what the Muslim women go through, also has

its positive sides to it, which will be shown further on. Whereas the residential space designed for the Muslim women, a space for them to live individually in peace, but as its individual units, it allows the women to gather and share their experiences.

HOW: This project will be done through the THESIS approach.

WHERE:

The location of this form is 583 MALCOLM HOUSE, on MOSELEY ROAD, BALSALL HEATH, B12 9BL.

WHY: The main purpose behind my project is to RAISE AWARENESS, for these MUSLIM WOMEN, that face DISCRIMINATION.

WHO:

The target audience for my project is the WIDER SOCIETY and the MUSLIM WOMEN.

OVERALL GOALS

MY

11. My first goal is to figure a way to raise awareness for the Muslim women that face discrimination. This will be a link back to my thesis question – ‘Could architecture help reveal the complexity of the women behind the veil’.

22. My second goal is to then use that information gained to then use architecture to bring society together and Muslims Women’s culture to set the environment in a way they would normally experience it or use it.

3. My third goal is to really focus on the architectural aspect of this project because that’s what will draw in the audience, so think about ways I can include modesty, basic, coverage, veil, private, modern and strength.

4. My last goal is to then adapt the architecture to the Muslim women’s culture, so thinking about gathering spaces, green spaces, privacy, modesty and the basic lifestyle they would normally live.

Locally sourced MATERIALS

GOALS

Cultural Appreciation

Thinking about concept word LAYERING

Finding ways to allow people to GATHER

Thinking about how important it is to find ways for people to GATHER, COMMUNICATE, SPREAD AWARENESS

PRECEDENT INSPIRATION

Before getting into discovering my architectural form, I researched into the cultural and Islamic side of my project because before going into designing a form for these Muslim women, I wanted to understand what Islam actually teaches these individuals, rather than how society and social media portrays them to be. From doing this research I discovered that Islam is a religion that values, peace, modesty, purity, welfare, basic lifestyle, and natural usage. From this research I noticed I was more interested in the cultural aspect of it and looking into what already architecturally is out there for these women.

Therefore, I started to do even further research into architectural precedents that value culture and women, to get some inspiration, before getting started on the form.

The next couple of pages will show examples of precedents related to cultural architecture.

THE WOMEN’S HOUSE

ARCHITECT: Building Beyond Borders AREA: 130 m2 YEAR: 2019 LOCATION: Ouled Merzoug

ABOUT THE PROJECT:

Originally this was a piece of land which was offered to the women’s association, a place built as a community center, but could be looked at as a women’s home, a place that brings women together, to work, learn and share their crafting skills. It was also very design led, in other words the architects and designers who designed this place, took into consideration the usage of natural, reusable materials, that could be found in Ouled Merzoug. This was very interesting and inspirational to see how the culture of what the women were used to growing up in was being

taken into consideration.

They mainly used materials like wood, stone or bricks as this is what they had in their area and also another feature which was added to this project was the idea of making these Muslim women feel at peace, control their privacy and have a sense of modesty. The way this was done, was having different entrance places, depending on who’s using that space and having the entire form, covered with walls around it, so the women can feel like they are in their own private space.

Another feature I thought I could consider, is this cultural idea of gathering spaces. This project allowed the women to gather, but still feel like they are covered from the outside world.

So from this project, I could consider the cultural side, how I can bring them together, to help them with communication, also share their experiences and also think of ways I could help them feel modest, and private.

BEYOND SURVIVAL A SAFE SPACE FOR ROHINGYA WOMEN & GIRLS

ARCHITECT: Rizvi Hassan

AREA: 2200 m2 YEAR: 2019

LOCATION: Bangladesh

ABOUT THE PROJECT:

This is a community center built for Rohingya women and girls that have been extremely vulnerable, as they fight for the basic necessities of life, such as having a shelter over their heads, clean water, nutrition and just having people there to support them holistically.

Therefore, many huge campaigns like UNICEF, the Bangladesh Government and UN Agencies are trying to do what they can to help these girls, in these

difficult times and one way in doing this is providing them with this community camp center. This community camp center, is designed to allow older girls and women to shelter in a environment where they are able to have a shower every day, a place to be away from all the abuse and violence, but also have people who specialise in this to talk to and most importantly, its been designed in a way that allows them to interact, socilaise, gather and share their experiences with other girls and women, so they don’t feel alone and know that they have others that have been in similar situations that could help them. The place has also been designed to allow the women to feel protected, safe, have a sense of privacy and modesty, as its nicely covered up, using locally sourced materials, like wood, bamboo, straw, and hay. Also, to help them feel like they are at home, they are allowed to style it the way they like and do activities they

might want to do.

The reason why I chose this precedent was because what I found quite inspirational was, they had this huge center courtyard, gathering space, where all the girls and women get together, talk, and just relax. Also, I really like dhow considering what the girls have gone through, the architect took this into consideration, by allowing them to be kept private within this form, but yet be able to see what’s happening around them in the distance.

GIRL MOVE ACADEMY

ARCHITECT: Paz Braga + Rootstudio

AREA: 12916 m2 YEAR: 2019

LOCATION: Mozambique

ABOUT THE PROJECT:

The architects who designed The architects who designed this university, wanted it to be used by a non-profit organisation, and that’s when the Girl Move Organisation decided to take control of this project and open it up to vulnerable women. Their target was to help these women, by supporting them into becoming future leaders and helping them make a positive change in their lives.

Beside the fact the Girl Move Organisation wanted this to be a inspirational space for the girls who will be using this space,

the architects also had to take their needs and the purpose of this building into consideration because this was as important to architecturally visuals.

So, they designed indoor spaces that allowed the girls to come together to discuss their visions and future aspirations, alongside having opened outdoor spaces, to allow the girls to recreate their own gathering spaces outdoor.

When designing the building the architects wanted to

really consider the traditional techniques, so that’s when they decided to get the girls who will be using the building and local neighbours to take part in helping bring this building to live. They used locally sourced materials, such a brick and other materials because they wanted to prove how, its as important to remember where you came from, what your culture teaches you.

Therefore, the things I will be taking away from this precedent

is the cultural thought of it and how they considered ways of remembering their culture by using locally sourced materials, having gathering spaces and making it feel like a space that could be used and recreated by the women, instead of making it whatever the architect wants it to be.

INSPIRATION

Once I had a look at precedents to give me inspiration, that is linked to the cultural side of the form I will be creating. That then helped me think about how I can integrate locally sourced materials, the division between public and private, how to let in light, that could also create a sense of space inside, thinking about how not all spaces need to be fully done up by the architect, but instead left for recreational activities and most importantly bringing Muslim culture into it by thinking about gathering spaces, that build their own communities.

Once I was done with that, the next step I took before getting into form finding, was finding architectural inspiration, through google search, books, articles and magazines, to open my mind, to understanding how I could interpret my concept word ‘Layering’, when thinking about designing my form for this these Muslim women. That’s when I came across

ARCHITECTURE, FORM,

SPACE and ORDER book.

This book really helped me look at the form I will be creating not from just an elevation perspective, where things can be layered, but also looking at, how the layering can be done from the inside, outside and on top.

Also, this book really helped me understand that there are many ways to interoperate my concept word. The next page shows the book for reference, alongside the information I gathered from it, that I thought would be helpful.

As I was reading through the book, I also began to sketch out ways I could interoperate my concept word layering, which has also been shown beside this page.

SPATIAL ARRANGEMENT

As I started to collect sketches

and precedents as inspiration for when I start making my form, the next task we were given is to slowly start thinking about the special arrangement. As part of this task, as a group, we were told to read the spatial arrangement brief and understand the required spaces, what they are, how could they look and how the dimensions will be broken down. As you can see from this diagram, on this page, as a group we discussed all the different spaces, broke down the room sizes and to help us visualise we added in images.

The next page then shows, how I took what I learnt from the group work and looking at many different planning diagram styles, and using my concept word layering, I began to layer the different spaces on top of each other, or next to each other.

The reason I used circles it to show how big or small a room could potentially be and also this spatial planning task, didn’t require us to think of the site,

hence why I never included a site plan underneath it. However, I did take into consideration what was around me to understand what spaces could go where.

FORM FINDING

Once I was done with looking at cultural precedents, some inspiration linked to my concept word layering and broke down the required accommodation for both the assembly hall and the residential scheme very briefly.

I then began thinking about the actual form itself, so I began by printing out the site map to scale, to understand how much space I was working with. I then to start of with cut out the required spaces and its correct m2 as squares and placed them on the site map. Whist doing this I took into consideration many things such as my concept word, the context and some of the factors I picked up from the cultural, women-based precedents, such as how I could incorporate public and private space.

The next couple of pages show my model developing, with annotations explaining what I was showing at each stage of the form development.

1) As mentioned before the first image shows, how I started off by cutting out all the required spaces at 1:200, I did this using the spatial task we did as a group, alongside the one I did on my own. As I started to place them onto the site plan, I also started to think about my concept word layering and how some spaces may layer on top of each other. Also as shown in the first image I decided to have the residential scheme near the minor road as it would be quieter. Whereas the main assembly hall space, is closer to the bottom because its more of a public space, so I wanted it to be clearer. This would also mean that it would have an easier access, to the main road.

the inside, I was considering to have more floors at the back because if it was higher, while the front part of the form was lower, it would mean people using the back part of the form , so the main assembly hall, would get a good view out.

3 + 4) The next two images (three and four) on the following page shows you how I started to question, how I need to think more about the residential scheme and I also noticed how the circulation, wouldn’t be a space on its own, as it runs throughout a building.

2) The second image then shows how I started to think about the views, people would get if they are in the main spaces or if people from surrounding buildings were looking towards this direction. When thinking about this I was thinking about the levels of the form I will be creating have on

FORM FINDING

5) After the fourth image, I started to question the entrance and where I placed my mass models, because where I have the entrance, the reason why I located it there was because how it is clear and easier to access, as its opposite the main road and pavement. However, I thought to have amore logical answer that could maybe link a little more to the site, which may also change and move around some of the mass models. That’s when I decided to go back and include my final field diagram from semester one, I started by looking at all the lines that were near east side, as this is the main road and where people would be coming from. Each line on the east side that that layered on top of each other, was then paired up and colour coded.

6) The next image shows how, using these lines that already existed on the filed diagram, I then started to play around with the orientation and movement of the mass models. As shown in the

image I decided to move it north east because where my building will be located, it has a cross road and I was thinking about, how if I move it here it will attract more people as you get a direct route into the entrance.

7) The following image shows as I have moved the mains parts of the assembly hall, you get a direct entrance and as the road at the top is minor, maybe this could be an entrance space for cars and delivery. At the bottom right corner, I started to think about how having the residential space behind the main assembly space, maybe this way it could stay hidden and private, allowing the residents to enter from the corner, away from the main space.

8) Then the final eighth image shows you how I went back and included both the residential and assembly hall massing models together, this helped me understand, how much space will get consumed, how I divided up the public and private spaces and

alongside that I also started to think about how depending on the levels, it will provide many different views. Also another thing I started to think about is the sun, but this will still be developed as this depends on the form and how that evolves over time, with the different layers.

Once I got to the eighth image, I started to question how the residential bit of the building will develop further and as I was unsure how to move froward with this, I began to search up residential and layered buildings for inspiration. That’s when I went back and visited some of the precedents I used for my dissertation, where I looked at public spaces and how the architecture alongside the spaces that surround the building, impact the user. I also discovered how these precedents that I will be going into more detail with, are a good way to bring the community together because it allows the residents to connect with each other, as they share parts of the courtyard and are recreational spaces. This is great for my project because as I am focusing on Muslim women, I would like to find many ways to bring everyone together, share their experiences and create their own community, just like I showed in the cultural precedents.

HOMES FOR ALL

ARCHITECT: BIG Architects

AREA: 6800 m2 YEAR: 2018 LOCATION: Denmark

ABOUT THE PROJECT:

When designing this project BIG Architects, were informed to design a residential space that is affordable and has a public space that is opened, with greenery. Therefore, they designed a building that is affordable for the users, it has five levels, has a huge outdoor space, that allows the public to walk through.

However, I included this project because I was inspired by the layered approach, how they stacked each unit on top of each other and in doing so they really thought about how this will allow the residents to capture many different views. Another aspect

of it that I would like to take further, is this idea of having a building which is architecturally appealing, but yet keeps its simplicity. As I am doing a building for the Muslim women, I want it to connect back to their values and morals, this idea of living a basic lifestyle, but still connecting it back to the style and beauty of today.Also having the units stacked allows the public to walk under it, keeping the residents safe and craetes their own community.

HOMES FOR ALL

ARCHITECT: Peter Barber Architects YEAR: 2007

LOCATION: London

ABOUT THE PROJECT:

The second project I had a look at, was Donnybrook Quarter by Peter Barber, in London. This was a project designed to be one of the most innovative designs, that UK has probably have had. It is a residential scheme, that has been awarded to be successful because firstly it has two to three levels, it is opened, to allow the public and residents of this scheme to be able to walk through, creating opportunities, such as building and bonding with their own society.

Therefore, the reason I chose this precedent, one because of its architecture, I thought it was quite interesting how they had different levels to this building,

maybe the parts that were lower could have been used as terraces, something that I would consider for my form.

Another aspect of it was how Peter barber was very smart, by getting inspired by other famous people like Jan Gehl and Jane Jacobs as both discuss in their own books, that by having terraces, that allow residents to look over their houses is a way of keeping that area secure and safe because there are always eyes on the street. Another aspect

that Peter was inspired by, that I also think is something I would take forward is how he allowed the front doors to be apart of the landscape and surrounding, instead of providing it with a front garden. I like this because it allows the residents and public to interact and communicate with one another.

I also think by having this opened empty space, allowing people to move through, is also a great way to allow the community to gather,

interact and socilaise. This point links back to Jan Gehl, if you leave empty spaces it gives the public a chance to recreate what they want, instead up filling up every space.

FORM FINDING

As I studied the two precedents before this page, it helped me as I started to think about how I could get inspiration from those residential forms, not just from an architectural perspective, but also by considering factors like, security, courtyards, recreational space, different height to the building, terraces, gathering spaces and a way to create a safe community for the Muslim women to feel a part of.

However, before getting into this, as I mentioned previously for the residential scheme, we have only been given 1850m2, so therefore I wasn’t clear on how much space is needed for each unit. Nevertheless, I knew I wanted it to feel like the opposite of what society makes women feel and what they assume Muslim women have to live in. In other words, I wanted it to be spacious, bright, opened, and breathable.

That’s when I came across the LONDON HOUSING

DESIGN GUIDE, I used this document to help me understand what the minimum requirements of a studio are, as the image below shows, the minimum size is 37m2, for a single studio flat. I would argue that this is incredibly a small space, even though I am trying to exaggerate it a bit for my project because by having a space as small as this, it doesn’t really have much space for an individual to move around.

Therefore, as shown on the next page, I compared a 37m2 space with a 49/50m2 space, to show you the difference it provides, you have more space and its breathable. After using these spaces and the previous precedents, I then started to continue modelling, the two images (9+10) on the next page shows the development. I started off by cutting out 50m2 squares and placing it on the site, but decided to use what I learnt from the precedents and started to stack them, this created courtyards and views for the residents.

FORM FINDING

These two pages show how the models would work on site and how I started to think about the spaces within and outside.

When thinking about the main assembly hall I wanted it to be a space of gathering to teach the society, the reality about Muslim women. So, I thought to resemble their culture, having seats on the floor as you would in mosques and festivals.

RECREAYIONAL SPACE

FASTER ROUTES

GATHERING SPACE FOR THE COMMUNITY

LOST

CONFUSEDCLAUSTROPHOBIC

LONELY

ISOLATED

DISCOURAGED

TRAPPED

DARK

The foyer space, I wanted it to feel dark, claustrophobic and tight, this is to show the users, this is how society makes Muslim women feel, within the community, social media and news.

When I got to the stage before this page, I knew I wanted to continue developing my forms as I felt like there was still space for improvement, as this was my first attempt at the residential scheme. Therefore, I wanted to discover other ways I could layer my units, but still keep the ideas I gained from the previous precedents. For example, having units on top of each other creates more views, also controls how light may enter into certain parts of the units and courtyard space and creates shadows.

So, I came across this first precedent called THE INTERLACE IN SINGPORE, I picked this precedent because firstly I liked how the form has been orientated in different directions, to allow the resident to be able to look out into the distance and because of the way the form has been designed, it allowed the courtyard to be created unintentionally.

The second precedent I looked into was the HABITAT 67, IN CANADA. The reason I picked this precedent is because, even though I wanted to use square or rectangle shapes for my form because I wanted to symbolise the simplicity and the basicness of the Muslim women.

However, this precedent allows me to do that, but also looks complicated, as it has these unit placed in an unusual way, which is another part of it that I think is interesting because by taking this also as an inspiration, I can also symbolise, the complications Muslim women have to deal with every day.

Further on in my portfolio, I started to look into circulation, that’s when I studied this precedent further. So, once I was had my form, this precedent helped me understand how they had to think about the circulation of their spaces.

FORM FINDING

Moving forward, another part of this form that is very crucial to this project is this roof/veil that floats of the main form, as this is my element, I will go into more detail of it further on in my portfolio, but the sketches on the right, do start to show how I’m thinking of considering it.

However, using the precedents mentioned on the pages before, I started to analyse them precedents further, using my form, so as shown at the bottom of the sketches on this page, I thought about how I could implement those ideas into my form.

The following page, then shows how I continued to develop my form and I started to also consider ways I could maybe consider other aspects to it, for example one factor that is very fundamental to this project is gathering spaces, to allow women to get together and share their experiences, so I thought to consider semi public courtyard spaces, that could maybe be walled off with glass.

CIRCULATION & PLANNING

Once I was done with figuring out the main massing of my form, alongside what the potential exterior spaces could be, I needed to understand scale, so I digitally modelled my form. By doing this it helped me understand how big each unit would be and how my entire form sits alongside its surrounding buildings.

Furthermore, I also discovered that by modelling my form and the surrounding buildings, I was able to understand, what light, views and shadows would be created and what spaces I had available.

The adjacent page shows, how I started to consider how the individuals using this form, would get around, so I started to conceptually plan out the circulation.

The way I went around the circulation, was by printing off each floor plan and sketching over where each staircase could potentially go. I also thought about how some units may get bigger or smaller because the circulation would end up also taking up space, so I needed to figure out ways I could give each individual equal amount of spaces.

So by using the HABITAT 67 precedent, I was able to understand how they went about this and then achieve this for my forms circulation.

TERRACES

As I was figuring out the development of the pages before and as I mentioned earlier on one major factor of this project is having gathering spaces, space where people could meet, share their experiences, and learn from each other. The reason why these are so important is because within these Muslim women’s culture, they are always learning and expanding their knowledge and helping each other, for example, in a Muslim house hold, event or mosque, there is so many ways this could be done, one of the biggest one if actually sitting in groups, or as individuals on the floor, out of respect.

Therefore, once my form was figured out, I started to think of ways I could use the spaces that will be left empty, such as the landscape and the terrace, so I started to look into precedents for inspiration. As I wanted to keep my stairs external, refer to my next page to see how I went about this.

So as shown on this page, once I had my massing of my model, I started to highlight those areas that I wanted to have as a terrace and as shown on the first above sketch, I tried out external stairs, whereas the below sketch as internal spaces that would lead to the terraces.

From both of these I preferred having the stairs on the outside because it allows the public to access these spaces. It also means that the residents who will be using these spaces get to have their part of the internal form kept private, as it will mean only those who live in it will go in and out.

Another reason why I wanted to keep entrances to the terraces external is because of fire safety reasons, having staircases on the outside is better than the inside.

EXTERIOR FORM DEVELOPMENT

Once I had a form I was satisfied with, I started to build it up in revit and when doing so, I started to think about how both the forms, could come together using specific materials and how both the materials and interior furniture, could also impact the layering that is happening on the inside and outside.

So, using the cultural precedents I showed earlier on and these ones here, I started to think about what materials I would like to use on my building, I knew I wanted there to be mainly locally sourced materials that are reusable and great for the environment. Also, these materials, like timber, CLT and glulam, alongside other recycle materials are actually materials that these Muslim women would use in their home countries because its part of their culture and because its what they only have.

Therefore, as shown on this page, even though I want to use materials that are not only good for the environment, but also represent the women. I still wanted it to stay classy and modern and that’s why I started to look at these precedents because they use the materials that I will be using when picking my materials, for my form.

As shown through the annotations, these precedents helped me develop my form further because it helped me think about, how I could replace window openings, with curtain walls, louvers and how the building could be seen as open and closed spaces, to represent public and private, or solid and void.

The next pages show the form developing as I changed many aspects of it. I started to consider where I needed windows, and how they could change into arched windows to represent the Muslim architectural culture. I also changed the curtain walls in the courtyards to a patterned solid wall, keeping women private.

EXTERIOR

As mentioned previously I wanted to develop the exterior form, without losing the shape I have achieved. This got me thinking about, this idea of opened and closed, private and public, solid, and void and dark and light. These are just some of the ideas I wanted to continue throughout my project, so the users get the correct experience when using this building.

As shown on the previous couple of pages when adding my windows, I felt like yes, I was doing it because I needed light in those specific spaces, but metaphorically it wasn’t conveying this idea of opened and closed and dark and light spaces, I wanted it to.

Therefore, the previous precedents on page 78 got me thinking about how to change the normal large windows to openings. That’s when I began further research into louvers because from looking at many different precedents, not only do louvers

look appealing, but also have many benefits to them.

For example, louvers are like slats that can be found either arranged in a horizontal or vertical way, they have been designed to help control the internal conditions of a building like mine that may have too much of an opening because having such big openings

for windows will really heat up the spaces inside, making it uncomfortable for the users. So,

by having louvers this will help control the amount of sun light travelling by because the louvers almost act like a curtain, that create a good shading device, keeping the inside cool, when its really warm outside. Another reason why I added louvers is because louvers also help with ventilation, as they are at an angle, it lets the cold air come from outside and distribute it evenly and letting warm air leave. The image on the right shows a quick diagram of a louver and how the shading is created,

making shadows on the inside.

On the next couple of pages I looked at precedents that inspired me when adding my louvers to my buildings, this helped me think about where I should place them and in what orientation, when thinking about ventilation and shading strategy, alongside some quick snaps of my buildings louvers.

EXPANSION OF THE SABADELL HOSPITAL

In Spain, by Estudi PSP Arquitectura is one of the precedents I looked into because it used louvers, which helped me understand how they work. Before knowing anything about louvers, I did some research and as this precedent inspired me to use louvers because thy used them to control the light and solar heat in the waiting area. This would be similar to what I would take away from this, as mentioned previously

like these precedent louvers are great for open spaces, that may have too much light that needs to be controlled, when there is too much sun light coming into the space, making it too warm.

Therefore, taking what I gathered on louvers, as shown on the previous page where I started to model louvers into those spaces that were quite opened and where I wanted to represent light, relaxation, openness, and public spaces. This really helped me because as shown from this snap shot of a quick visual, having the louvers makes the space feel more opened, but allows the louver to help create shadows in the big spaces, that reduces the heat and makes it more comfortable to use and be in. I went with timber louvers because it brings out the light in the space. If people now sit in this space, they won’t feel really warm and ge hit by direct sun light because the louver creates this shading that makes it easier to use the assembly hall.

EXTERIOR FORM

Arched Windows

As shown on the left-hand side, originally, I had square windows and even though this building is designed to raise awareness for Muslim woman that face discrimination, it’s not a building trying to get people to follow Islam.

However, to resemble the idea of the Muslim woman, I was inspired by the use of the arches in Islamic buildings, houses, and other important buildings. These precedents are not specific well known buildings, but just for me to get inspiration from. Even though these inspired me, I did look at houses and ways I could use the arch and still keep it modern and less like a mosque.

Exterior Cladding One - Charred Timber Cladding. A grey toned or darkish material for spaces which are private, or looked closed off, from the outside, something that contrasted the lighter cedar cladding. It also acts as a waterproof, protective layer, its durable, resistant to fire, rot and insects.

Exterior Cladding Two - Light Cedar Cladding. A brown toned timber material. That I picked because it is light both in colour and weight, and a way for me to represent the openness, light, and relaxing spaces. This allowed me to do it as it’s a natural earth material, durable and very popular, which will be used for the louvers, door and window frames and the courtyard walls.

Interior Walls, Floor and Ceilings - CLT. As I’m using CLT as one of the main structures, this has many benefits to it, like allowing me to have it exposed and used for the internal walls, floors, and ceilings because its high in strength, a great fire resistance, it’s a high thermal performing material as it doesn’t allow air leakage and light weight compared to concrete. Exactly what I wanted as it allows me to keep its simplicity that I was inspired from the cultural precedents.

Windows - Toughened Glass. Typically Annealed glass gets used on windows because of its durability and affordability, however for my project I have gone for toughened glass because its known to be stronger and less likely to break and even if it does break its safer option as its likely to break into small pieces, making it easier to dispose and it can survive large forces.

ELEMENT PRECEDENTS

As briefly mentioned earlier on in my portfolio, besides the main form, another part of it is the roof which goes over the form. The roof is the element for this project, it will be designed in a way to represent the veil/hijab.

This element was decided alongside the form, from the beginning, however I decided to add it in now because I wanted to keep the form development and roof development separate, to show how each one developed throughout this process.

So, before getting into the roof, I started by looking into many precedents for inspiration and to understand, the different ways I could approach the roof, from both a technical aspect and a metaphorical aspect.

The first precedent I studied was the: CENTRE POMPIDOU METZ

ARCHITECT: Shigeru Ban Architects

AREA: 11330 m2

YEAR: 2010

LOCATION: France

ABOUT THE PROJECT:

I chose this precedent first because, when reading through it, I was really interested by the grid shell approach, as I already knew I wanted to use a timber grid shell, to hold the roof. However, this precedent got me thinking about, other factors that I didn’t know about before, like the different layers a grid shell needs to stay secure and in place. This precedent also allowed the grid shell to curve down towards the ground, to act as columns, to hold the roof up. However, I didn’t want the roof to be one continuous part to the column, so continued to search further.

The second precedent, on the next page, I studied was the: IBM PAVILION

ARCHITECT: Renzo Piano

AREA: 48m long

YEAR: 1986

LOCATION: France

ABOUT THE PROJECT:

The reason I included this precedent is because I really liked how Renzo Piano really goes into so much detail, when figuring out the technical aspect of his buildings, so this helped me visualise, how I may want to break down the different features of my roof. Another reason I picked it was because it was interesting to see how he used a ETFE material, something I may want to consider, to prevent people from getting wet and covered under the roof.

ELEMENT

ELEMENT PRECEDENTS

WEALD AND DOWNLOAD MUSEUM

ARCHITECT: Ted Cullinan

AREA: 12000m long YEAR: 2002

LOCATION: England

ABOUT THE PROJECT:

This was another precedent I looked into because they took another approach to how the grid shell could get built, so I was using these different precedents to help me understand how the joinery would work, when each piece of the timber roof comes together. I really liked the simplicity of this precedent because when I was reading into it, it was easy to understand how and why they went through this approach and the reason for this is because the metal pieces between the grid, kept it secure and tight.

SAVILL BUILDING

ARCHITECT: Glenn Howells Architects AREA: 90m long YEAR: 2006

LOCATION: England

ABOUT THE PROJECT:

Moreover, the next precedent I looked into was the Savill building, because even though I wanted this roof that goes over the form, I still needed to understand how it will stand on its own and that’s when I started to think about the columns, for support. This building had used timber as the grid shell and then steel for the beam and column, this is something I would consider when thinking about the roof because the steel is a great material that’s strong enough to hold the grid shell in place without it moving, which will be good for the Birmingham weather.

DEVELOPMENT

ELEMENT (ROOF)

So, as shown on the next couple of pages, I began to experiment using what I learnt from the previous precedents. I did start off from when I first began modelling my form and I did use an actual scarf, for the roof because I wanted to investigate how this will sit on the form, what atmosphere it creates and how it looks. From doing this I did struggle because the scarf wasn’t a very sturdy material, so it was hard to control and it didn’t really take the shape I wanted to achieve.

However, it helped me understand what parts of the form underneath I wanted to cover, got me thinking about what other materials I could investigate with and it led to me questioning aspects of it that I developed further.

DEVELOPMENT

ELEMENT (ROOF)

I started to improve the roof, I used foil and cling film, this was a little bit more sturdy, but didn’t help me understand its scale and material, so on the next couple of pages you will see how I started to develop the roof, digitally.

As shown in the sketches I did have parts of the roof opened, but later on felt like this removes the idea of privacy.

The next two pages that show the final roof developing, I decided to have the roof quite flowy, with steel beam and columns, to represent the women’s strength. By modelling it in rhino it helped me think of the different layers that would be needed for this roof build up. I also decided not to have the ETFE everywhere because I wanted there to be light in that space and as the terraces and landscape has greenery, it will need water, but there is ETFE where the people would walk.

Made these gridshell joinery model, but noticed after that I will need four layers for it to be secure instead of three.

DEVELOPMENT

ELEMENT (ROOF)

TECHNICAL DEVELOPMENT

When I was figuring out my form, I was also thinking about the technical aspect of it and what layers, joinery and details would be used if this was to actually get constructed. Let’s begin with the roof element, once I had my form finished, I broke down my roof into separate components, this helped me visualise what I will need different details for. So, I began by researching and looking into different types and ways I could join my roof together and this can be seen by the images and sketches provided.

I noticed that when figuring out the roof, it had many different components, that had different ways to do it, for example the first group of images show different ways I could join the timber column to the floor, from doing his it helped me understand that I had to use some sort of steel material as timber can’t touch the ground because due to the water expanding and breaking the columns.

I then went ahead and studied other parts like how the ETFE will join with the steel columns or grid shell, how the grid shell will join up all the different layer of wood and how this will all come together.

Roof Covering - ETFE. As shown on the previous couple of pages, when developing my roof, I added on ETFE, but only to specific parts of the roof, where people would mainly walk under. I picked this material because not only is it lightweight because it only weighs 1% of average glass, the etfe cushion is very light and doesn’t put weight onto the main structure, covers people from rain and allows light into courtyard.

Roof Beam - Steel. From doing my research on different gridshell precedents, I noticed a pattern where you have to use a beam structure, that holds the main gridshell in place. For my beam I am using steel, that will hold my gridshell in place, it’s a strong, durable material, that takes the shape of the gridshell and prevents it from moving or breaking even with prevailing wind.

Roof Gridshell - Oak Timber. Taking a look back at the precedents I mentioned when researching on gridshells. I was inspired by the use of oak because this is high in moisture, allowing it to be flexible when putting together the gridshell, which is needed because of the curves and different direction the gridshell is going in. Its also a strong, long lasting material which is great as my gridshell is double layered to keep it secure and in place.

Roof Column Support -Light Cedar Timber. The column that holds up the main gridshell is the same material as the second cladding – cedar. I used a material that was contrasting the gridshell, but yet blended into the main building. As I used timber for the columns, I then had to use metal footings. The cedar for the column is used because it’s a reusable, lightweight, durable and longlasting material. This was another way for me to represent the woman’s strength but still keep the idea of the cultural, basic materials.

TECHNICAL DEVELOPMENT

I then went ahead and started to look into the detailed layers that will create the walls, floors and ceilings, the next couple of pages show how I thought about this. But just to give you a brief overview, I decided for the residential units and the foyer area of the assembly hall, as it has a small span and height, these will be constructed using cross laminated timber, using a load bearing structure.

Whereas the assembly hall area and the floor beneath it will be constructed using glulam because it has a much bigger span ration and therefore will have a framed structure. However, when you take a look at the pages with the structural grid, you will notice the framed parts of the assembly hall, don’t have columns running in the middle because I will have exposed beams because I didn’t want the columns to get in the way of the internal spaces.

Residential Unit CLT Load Bearing Wall Detail, Improved

These sketches are my first attempt at wall details, later on I had to improve them as I found minor mistakes.

I decided to later develop my first floor plan’s (assembly hall’s) structural grid as I decided to move the columns that where in front of the seats, to the back against the wall because by having them in the front I noticed that they would block the individuals view.

The next couple of pages show where the new columns have been placed and how this looks from a 3d perspective.

TECHNICAL

This quick floor plan diagram shows where I placed the columns for the assembly hall middle bit of the building as this is the only part of the building that is using a framed glulam structure because it has a big span. The red dots indicate the placement of the columns. The drawing on the left which is ground floor shows

the columns laid out on either side.

Whereas on the floor above as I have exposed thick beams, because I didn’t want to use columns in the center as they would obstruct the view of the users, so, the columns have been shifted slightly. I was able to do this because the load from

the columns goes across the beam and down on to ground floor columns.

This 3D SketchUp diagram shows how the columns would look, if it was in 3d, you can see from this diagram how the load gets taken down from the column into the beam and back down to the column to the ground.

Once the entire form was done, this includes both the roof and the buildings, I went ahead and started to think about how I could develop the landscape further because I noticed that my landscape is as fundamental to the other parts of the building because for the people who will be using any of the buildings, they will have to go through this area.

So, by looking into the precedents shown, I started to think of ways I could keep the Muslim women protected, but still be able to keep growing their own community. This could be done by having different things in place, for example a wall or trees that keeps the residential bit away from the other open spaces, to reduce crimes and vandalisation.

Another thing I wanted to add is greenery and just have opened, recreational spaces, to allow the community to build their own society and I decided at the end not to have the car park spaces here because there are

car park spaces around the area, so instead I thought it would be better for the environment to have the society using public transport, which is outside this form, or the other options are to have electrical scooters or people walking to the site.

As well as this, linking this back to the precedents mentioned earlier on and looking at both Jan Gehl and Jane Jacobs, by having opened spaces, with overlooking terraces and allowing the community to find their own ways of interacting, this allows the society to recreate their space and keep each other safe because there will always be eyes on the area.

CHAPTER 3

The Main Narrative

Quick Note...

The final chapter, chapter three, is my main narrative of my thesis. This chapter holds all of my final orthographics, visuals and a story telling process of this pro ject. I decided to have this chapter separate because I think it is more meaningful to have an individual who has faced discrimination due to being a Muslim women, who has decided to wear the hijab. This is just one true story, out of many that are occurring all around the world. The main character Fatima, will be going through chapter three, as she experiences the different spaces.

THE VEIL’

1) Another day and here I am again. Sitting at aunt’s house, wondering what I’ll have to hear today.

2) Aunt Alia begins by clicking though the channels on the television

When she trembles over some news… She speak.

“oh look, it’s The Under 18 Hijab Ban in France, well wasn’t that predictable” she said in a very unpleasing but rude manner.

3) Me and mum stared at each other; we knew what she was about to say next won’t be pleasant to hear. Yet she continued.

4) “If I was in the government’s shoes, I would probably do the exact same thing. I mean what’s the point in that hijab thing. Then they go on about being raped, or their children are having a difficult time at school, because so and so pulled off their hijab. No wonder they have no freedom and always stay indoors. It’s just their way of creating opportunities for drama. They would probably live an easier life if they just got rid of that thing anyways”.

8) When I was seventeen years old, mum met Aamir, my stepdad. Aamir is a Muslim Pakistani Mum got married to Aamir, a year later.

7) Both of my parents are Indian. When I was 5 years old, they split due to my dad’s very abusive tendencies towards mum.

9) So, mum moved from India to England, to give herself and I a better life.

11) So, one day, we both converted to Islam.

That’s when I embraced the Hijab Everything was going fine, me and my mum were both in a better place in our lives.

10) As Aamir became part of our lives, we started realising how connected he was to his religion. Spiritually, mentally, emotionally, and physically, he was really stable within his life.

12) However, it wasn’t as easy as that. Since we made this change to Islam, we knew that mum’s side, never really understood about the religion, or wouldn’t be very accepting.

We no longer speak about Islam around aunt or her family. You may wonder why? There is an ignorance in society, even from our closest. That is our

‘Why’. I even refrain from wearing my hijab, in the fear it may affect mum’s relationship with her family.

THE NEXT DAY

13) Me and Aunt usually go on walks on the weekends, around Moseley. We were just having a casual catchup, when we came across what once was the Malcom house office and now looks like a very unique piece of architecture, located on Alcester Road.

14) We seen the public visiting and we were very intrigued and that’s when aunt said, “Hey why don’t we go check it out, it looks very appealing, I really wonder what is the purpose behind this form?”

SITE ANALYSIS

As chapter two of my design book shows, as I was going through the stages of designing my form, I was also considering the site, its context, opportunities, and constraints along the way. However, as this was a long process with many changes, I thought to make it clear, I produce this perspective map, with most of the site analysis on it.

Minor Roads

Major Roads

Blue Arrows (these have been included to showhow the main cross road leads into the main entrance)

Commercial Buildings (included are: shops, takeaways, Library etc)

Site Boundary

Main Entrance For Assembly Hall

SITE PLAN

Here is a site plan, which shows my building surrounding by its context. It’s obvious to see that the building has been located in an environment that has loads of shops, takeaways and residential houses.

I have also gone ahead and showed which direction the sun travels around my building, throughout chapter two you should have noticed, when figuring out my architectural design I did consider and show the environmental things that impacted the decision’s I made, such as the sun, surrounding context, light and so on.

Sun Path Direction

Wind Direction

Site Plan

SCOOTERS

To encourage the public and users to use public transport and there are already car parks nearby.

SOLID WALL

Wall has been added to keep the neighboring buildings private and to stop crimes.

MAIN ENTRANCE

As there is a crossroad, this entrance leads you straight into the assembly building.

GATHERING SPACE

To build a community and allow the society to get to know each other and their experiences.

HOUSE ENTRANCE

To prevent divisions and allow the users to get to know each other, these have been left opened.

PAVEMENTS

To allow an easy flow and circulation throughout the spaces.

Landscape Strategy Visual Section CC

This landscape strategy is a visual way of understanding some of the key factors that were mentioned on the pages before when showing the ground floor plan. The key four visuals above are not all taken from the section below, these are just to show you how my landscape strategy works visually, the first one shows ways of encouraging users to use scooters, walking or buses, which is good for the environment and a better way for the public to connect. Then the other visuals show how having no front garden and leaving the front door opened for people to walk past, according to Jan Gehl and Jane Jacobs, this causes deliberate encounters to occur. The next visual shows how I created this wall, that act as veils, they allow people to sit and look out, stay private and hidden and still get light. The last visual shows some of the recreational activities that could occur on the landscape.

15) “OMGGG, why does it feel so tight and claustrophobic in here (foyer), we could barely move and see what is around us, and it isn’t the most lit room I’ve been in before”.Said my aunt Alia.

16) “Well you won’t believe this aunt Alia, but that’s exactly how it’s meant to feel, I just overheard someone saying it. This building is called ‘Behind The Veil’, designed to educate society on the cultural differences Muslim women tackle within the world. A place built to architecturally reveal the complexity of the women behind the veil....“Well isn’t that interesting”.Say’s aunt Alia, in a unpleasing, nervous way.

As you enter into the foyer space of the assembly hall building, its not designed to make the users feel comfortable, but instead designed to make you feel at unease, tight, dark, and confusing. All the factors I mentioned earlier on that Muslim women are having to deal with because of what society assumes of them or makes them feel. However, this is just how society makes them feel, you will notice that there is light waiting at the end of the hallway.

17) As we moved from the uncomfortable foyer space into a warm, opened relaxing space, i saw the relief in aunts face, when she said.....

18) “Fatima I find it so incredible how this piece of architecture has been designed in a way that openly through the experiences explains the lives of Muslim Woman”.

Moving from the foyer to the relaxing space, I wanted to symbolise and show that this is a opened, relaxing space, where the community could get together, talk to one another and understand that no Muslim woman is born to be discriminated and no they don’t live or be in small dark spaces and are just like any other human. And in fact Islam values Muslim woman and teaches us that they are equal like any other person.

FLOOR PLAN

Moving onto the first floor plan, you would have noticed on the ground floor plan, when you enter into the assembly building, it starts off with the foyer, which is tight dark, claustrophobic, but when you move into the relaxing space it is quite opened, this is to show the misunderstanding of the Muslim women and what society thinks they experience and how they make them feel, to how they actually live their lives. In other words because of society these Muslim women feel scared, low and claustrophobic, but in reality, they shouldn’t have to be going through this as they are just like any other human, hence the opened spaces, which also represent how in Islam the hijab or being a Muslim, is a way of openness, relaxing etc. As the center bit of the assembly building is five meters high, the ground floor would still be showing on the first-floor plan. However, the residential units are three meters high, so as you go up a floor, so do the units.

An example of one of the residential units, which has been designed to feel light, basic and the the use of timber / wooden materials to link it back to their culture.

Bedroom

Bathroom

Living Room and Kitchen

Floor Plan

SECOND FLOOR PLAN

The next page shows you one of my main visuals, the assembly hall, designed to educate the society on the discrimination faced by Muslim women. This space has been created by following some traditions, such as having an opened, space where people could gather, either sitting on the benches or floors, just like how they would in mosques, events, and other gatherings. I wanted this to look less intimidating and more welcoming, because in Islam these women are taught to value other opinions, experiences and learn from one another. I also thought about my concept word throughout my project, here I created seating that are layered, that also developed my exterior shape, instead of having typical chairs.

19)“Well, I guess we learn new things every day, I surely didn’t know all that. Islam is such a peaceful religion and doesn’t make the women feel a certain way, but in fact the society and lack of education on this topic is the main cause of Muslim women facing discrimination”. “Showed me the opposite of what I expected the space to feel, it was opened, spacious, everyone was welcoming, and we got to create our own community and bond with one another. It was also interesting to see how they used timber materials to resemble the cultural materials that would normally get used and also a sign for peace and harmony as it’s a earth material”.

FLOOR PLAN

THIRD

As you move on to the third floor you will start to notice a bit more of the

terrace spaces and the last set of residential units. Also throughout my chapter two process I explained the units, but just to recap all the units have been built in a similar way, however they are big enough for wheelchair users, but the ground floor has been dedicated to them.

The reason for why its designed for one person is because it’s targetted at individual woman, however, they would be able to bring a friend over if they wanted to share their experiences.

ROOF PLAN WITHOUT VEIL

I have decided to show the roof plan twice, this roof plan shows you all the terraces, along with the veil’s beam that goes around my building.

As explained in chapter two the public are able to access all the terraces as I have decided to add the external stairs on the outside because this keeps the residents private and safe and also means if a fire was to happen there is this easy route of getting straight to the ground floor. Those who are wheelchair users have a similar experience in the courtyard area.

Roof Plan Without Veil

20) I was thinking it was incredible to see how these small spaces have been created to form new communities and educate people like my aunt, who might have been washed by medias lies on us Muslim woman.

21) “Wow it’s nice to be part of a Muslim community, it’s nothing like what I imagine and it’s a great way for me to pick up things I didn’t know before”.

ROOF PLAN WITH VEIL

Whereas this roof plan, shows you the end product, so you are able to see the gridshell, beam and the terraces under it, alongside the surrounding context. At the bottom of this page I did a quick 3D diagram to show how the building has been divided up into public, private and semi-public, even though I have briefly explained it here, at the end of chapter two there are much more reasons.

Residential Units Assembly Hall Building

Private Public Semi - Public

Roof Plan With Veil

North Elevation

Creation Climbing Centre

Yumanity Convenience Store

21) ““It was so incredible to see this roof, that represented the Muslim woman’s veil, with the strong, secure columns, with the main building underneath that represented the educational truth within the building. I really think it’s an architectural piece that once divided the streets will bring everyone back together, especially as it can be seen from every angle, as these elevations show”.

Removals Robinsons Furniture Depositories Home Furniture Shop

EAST

East Elevation

Saba Restaurant

Ikea

Longmore House

SOUTH

South Elevation

Tram Office

Creation Climbing Centre

Yumanity Convenience Store

WEST

West Elevation

Creation Climbing Centre

Removals Robinsons

Furniture Depositories

Home Furniture Shop Laurenfield Court

AND

Throughout chapter three I have shown both visuals and different orthographics of the exterior, however I thought it would be helpful to recap a close up view of the materials I have mentioned throughout my work, with the reasons because this way it’s easier to understand with the textures and information showing.

Exterior Cladding One - Charred Timber Cladding. A grey toned or darkish material for spaces which are private, or looked closed off, from the outside, something that contrasted the lighter cedar cladding. It also acts as a waterproof, protective layer, its durable, resistant to fire, rot and insects.

Exterior Cladding Two - Light Cedar Cladding. A brown toned timber material. That I picked because it is light both in colour and weight, and a way for me to represent the openness, light, and relaxing spaces. This allowed me to do it as it’s a natural earth material, durable and very popular, which will be used for the louvers, door and window frames and the courtyard walls.

Interior Walls, Floor and Ceilings - CLT. As I’m using CLT as one of the main structures, this has many benefits to it, like allowing me to have it exposed and used for the internal walls, floors, and ceilings because its high in strength, a great fire resistance, it’s a high thermal performing material as it doesn’t allow air leakage and light weight compared to concrete. Exactly what I wanted as it allows me to keep its simplicity that I was inspired from the cultural precedents.

Windows - Toughened Glass. Typically Annealed glass gets used on windows because of its durability and affordability, however for my project I have gone for toughened glass because its known to be stronger and less likely to break and even if it does break its safer option as its likely to break into small pieces, making it easier to dispose and it can survive large forces.

Section AA

Saba Restaurant

Ikea

23) As we had to pass through the courtyard, even though you should have seen the landscape strategy before, this was a courtyard space we went through before leaving, it was a great space that allows the society to get together and ways for them to communicate and understand one another’s experiences. It was nice to also see how the pattern wooden walls that keep the courtyard private, allows light into the space and we could still see what was happening around us, without others from outside seeing in.

25)

“ Honestly, I’m mind blown how a piece of architecture really explained the struggles that society, news, media and us individuals, put Muslim women’s live through, just because we aren’t educated and instead listen to what we assume is true. This building’s architecture, alongside the spaces within really helped me understand the truth today”.

24) “So, what did you think of that overall experience aunt”?