# Ismaili Centres around the World



## rahim.katchi (Dec 29, 2008)

The Ismaili Centres are symbolic markers of the permanent presence and core values of Ismaili communities around the world. Incorporating spaces for social and cultural gatherings, intellectual engagement and reflection, as well as spiritual contemplation, they are bridges of friendship and understanding, and serve to enhance relationships among faith communities, government and civil society.

"The Ismaili Centres are symbolic markers of the permanent presence and core values of Ismaili communities around the world. Incorporating spaces for social and cultural gatherings, intellectual engagement and reflection, as well as spiritual contemplation, they are bridges of friendship and understanding, and serve to enhance relationships among faith communities, government and civil society." H.H The Aga Khan.

As articulated by H.H The Aga Khan at the Foundation Ceremony of the Ismaili Centre, Dubai, the Ismaili Centres belong to the historic category of jamatkhana. They are symbolic markers of the permanent presence of the Ismaili community in the regions in which they are established. Architecturally unique, each building incorporates spaces for social and cultural gatherings, intellectual engagement and reflection, as well as spiritual contemplation. They serve as ambassadorial hubs, representing the Ismaili community’s attitude towards the Muslim faith and modern life, while extending a hand of friendship and understanding to enhance relationships among faith communities, government and civil society.

Through their design and function, the Ismaili Centres reflect a mood of humility, forward outlook, friendship and dialogue. They facilitate the promotion of cultural, educational and social programmes from the broadest, non-denominational perspectives within the ethical framework of Islam. A central purpose of the Ismaili Centres is to encourage mutual exchanges and understanding between diverse peoples, communities and faiths. The Centres are, therefore, not only places for spiritual search, but also spaces for broadening intellectual horizons and fostering an appreciation of pluralism.

Conceived in the ethic of respect for human dignity, the Ismaili Centres seek to empathise with, and to expand our intellectual, cultural and moral horizons. They are each a safeguard and a symbol of the core values of the Ismaili Muslim community.

www.theismaili.org


----------



## rahim.katchi (Dec 29, 2008)

*Ismaili Centre, London*

In 1951, a religious, cultural and social centre was established by the Ismaili community at Kensington Court, and in 1957 it was moved to Palace Gate in the Borough of Kensington. However, in order to meet the increased needs of the growing community, a majority of whom had settled in or around London, a site for a new centre was acquired on Cromwell Road.

Plans for this site, reflecting the Ismaili community’s requirements for a place of worship as well as a place of gathering, were submitted in tender to the Greater London Council. Final allocation of the site was adjudged on the basis of appropriateness of use, quality of design and price tendered.

At a ceremony on 6 September 1979, Lord Soames, the then Lord President of the Council, laid the foundation stone of the Centre in the presence of His Highness the Aga Khan. Construction on the site began in July 1980, and the Ismaili Centre, London was opened by Prime Minister Margaret Thatcher on 24 April 1985 before the Aga Khan, government leaders, diplomats and leaders of the Ismaili community from around the world.









An aerial view of the Ismaili Centre, London. Photo: Sadru Verjee

www.theismaili.org


----------



## rahim.katchi (Dec 29, 2008)

*Architecture of the Ismaili Centre, London*

The architects, the Casson Conder Partnership, were presented with an unusual design brief. They were requested to design an institutional building in an area of London which had a very great architectural diversity but which clearly had Western inspiration. The Centre sought to be compatible with its surroundings, but at the same time to meet the specific requirements of the Ismaili community and reflect the mood of Islamic architectural tradition.

The new building had to make available a substantial amount of space for use by members of the Ismaili community itself as well as by others. Space was required for the community’s religious education, senior citizen, youth and other institutional activities, such as committee meetings, seminars and receptions. In addition, the design had to meet the desire for the inclusion of a substantial public exhibition gallery.

The design of the building had to be such that it could deal with relatively large numbers of people entering and leaving the building, without causing major disturbance. This had to be accomplished on an extremely prominent island site in one of the busiest areas of London and in an acceptable cross-cultural architectural language, which encompassed the architectural traditions of the Muslim community the building is designed to serve. In the process, a large number of individuals were consulted, such as leaders of the Ismaili community, renowned Islamic scholars and architects and designers specialised in Islamic art and design.

The Ismaili Centre is opposite the Museum of Natural History and the Victoria and Albert Museum. The area presents a variety of imposing and elaborately modelled facades, very different from each other in terracotta, brick and stone. One of the few elements which these buildings, built in different materials at different times, has in common is the light colour of their facades. The Ismaili Centre's exterior has used materials and colours which are compatible with those of the surrounding buildings while at the same time in keeping with the traditional Islamic idiom and its colours of whites, light greys and blues.









Prime Minister Margaret Thatcher officially opens the Ismaili Centre, London in the presence of HH The Aga Khan. Photo: Nick Hewer

www.theismaili.org


----------



## rahim.katchi (Dec 29, 2008)

*Architecture of the Ismaili Centre, London*









The South elevation of the Ismaili Centre, London, viewed from the West along Thurloe Place. Photo: Crispin Boyle









The fountain pool in the Entrance Hall follows the inter-weaving geometrical floor pattern, characteristic of Islamic art, executed in white marble, Brazilian blue granite and inlaid stainless steel. The calligraphic Basmallah adorns the far wall. Photo: Gary Otte









An alcove for quiet gathering draws light in, but filters out the distractions of the city below. Photo: Gary Otte

www.theismaili.org


----------



## rahim.katchi (Dec 29, 2008)

*Architecture of the Ismaili Centre, London*









The Roof Garden by night showing the central fountain connected by radial channels to the four corner pools. Photo: Gary Otte









A view from the Reading Room showing the three fountains on the axis of the Roof Garden. Photo: Gary Otte









The geometric designs and symmetry are visible in the décor and furnishings in the Social Hall. Photo: Crispin Boyle

www.theismaili.org


----------



## rahim.katchi (Dec 29, 2008)

*Architecture of the Ismaili Centre, London*









This unique skylight casts geometrical patterns on the floor below. Photo: Crispin Boyle









The honey comb ceiling (muqarnas) designed by Karl Schlamminger is a relief seeking design that gives a sense of greater height. Photo: Crispin Boyle









Panelling on the West window wall of the Prayer Hall, designed by Karl Schlamminger, incorporating marble, tile and plaster lattice panels with vertical teak panels in rectangular calligraphy. The names Allah, Muhammad and Ali (not shown) are to be read in the light space between the teak members. Photo: Crispin Boyle

www.theismaili.org


----------



## rahim.katchi (Dec 29, 2008)

*Architecture of the Ismaili Centre, London*









Details of the exterior architectural finishes. Photo: Crispin Boyle









A detailed view of the Southern elevation of the Ismaili Centre, London. Photo: Crispin Boyle

www.theismaili.org


----------



## rahim.katchi (Dec 29, 2008)

*The Ismaili Centre, Burnaby*

Starting in the 1970s, Ismailis across Canada established religious, cultural and social centres, mainly in rented accommodation in major cities and towns. In many cases, school halls were used as places of worship in the evenings and at weekends. However, in order to meet the permanent needs of the community, more definitive accommodation was sought. The site in Burnaby was acquired in 1979, for it was here that the first Ismaili congregation was established in Canada.

A firm of architects, led by the well-known Vancouver architect Bruno Freschi, was commissioned to prepare the plans for the building. In addition to meeting the religious and social needs of the Ismaili community, the new Ismaili Centre would, at the same time, need to blend harmoniously with the environment.

In July 1982, the Foundation Ceremony was performed by the Lieutenant-Governor of British Columbia, the Honourable Henry Bell-Irving, in the presence of HH The Aga Khan, Mayor Lewarne of Burnaby and other distinguished guests. Three years later, in August 1985, Hazar Imam returned to Canada for the Opening Ceremony of the new Ismaili Centre, Burnaby, which was performed by Prime Minister Brian Mulroney.

Since its opening, the Ismaili Centre, Burnaby has hosted a wide range of events, opening its doors to government officials, prominent academics, leaders of many communities, and the wider public. In March 1999, members of the judiciary gathered with the Ismaili Conciliation and Arbitration Board to better understand the role that the Board can play in dispute resolution. Chief Justice Brian Williams and Attorney General Ujjal Dosanjh attended as guests of honour.

The Centre has also provided a dignified space for the Greater Vancouver Regional District. Between September – December 2002, the mayors and staff of all municipalities in the Lower Mainland held a series of board meetings at the Centre.

On a number of occasions, the Ismaili Centre provided a distinguished venue for the presentation of the Duke of Edinburgh Awards, including the Gold level awards that were presented by His Royal Highness The Duke of York. The events presented award recipients and their families an opportunity to tour the Centre and dialogue with leaders of the Ismaili community.

Most recently, Her Excellency the Right Honourable Michaëlle Jean, Governor General of Canada, led some 200 British Columbian youth in a Truce Dialogue. The Dialogue was part of Canada’s expression of the Olympic Truce in the run-up to the Vancouver 2010 Winter Olympic Games. The Ismaili Councils for Canada and British Columbia partnered with VANOC, the Vancouver Organizing Committee for the 2010 Olympic and Paralympic Winter Games, to host the Dialogue session, which took place in the social hall of the Ismaili Centre, before concluding in its courtyard.









An aerial view of the Ismaili Centre, Burnaby, which is aligned along an east-west axis on a 1.5-hectare site. Photo: Gary Otte

www.theismaili.org


----------



## rahim.katchi (Dec 29, 2008)

*Architecture of the Ismaili Centre, Burnaby*

The architect was presented with an unusual design brief: Canada’s first specially designed Ismaili Centre had to be a synthesis of Islamic architecture and contemporary building design — drawing on architectural principles steeped in the tradition of the faith, and at the same time co-existing with the requirements of modern-day society. It would be a fusion, symbolic of the Ismaili community. The underlying objective was to provide a religious and social facility for the community, blending harmoniously and discreetly with the environment, adding yet another dimension to the varied architecture of the Lower Mainland.

Islamic architecture, which embodies a strength which comes from the very diversity of the Islamic world and the creativity of those who build for Muslims, has reflected over the ages, different peoples, climates and materials. Essentials that transcend regional factors of climate, materials, time and technology, include concepts such as the serenity of form, the compatibility of traditions with natural forces, and the overwhelming unity of Islamic life. Islamic architecture has always been cognisant of a need for balance between man and his environment — a concern that, particularly in recent years, has found increasing global resonance.

The calligraphy which adorns much of what is built is a constant reminder of spiritual content through its common design and expression of the name of Allah. The basic forms are balanced and ruled by geometry and there is a sense of stability, tranquillity and equillibrium. Space is framed, with each area being defined; a physical context being constructed for each activity in daily life with a definite delineation between privacy and community, areas in light and in shadow, small and large spaces, and interiors and exteriors.

A pursuit of geometry, enclosure, symmetry, mass and the layering of symbolic decoration have generated the architectural concept of the Burnaby Jamatkhana and Centre. These architectural principles and use of materials have structured and characterised the building. The setting of the building, with its well laid-out garden, provides a serene and peaceful space for contemplative spiritual experience. The sound of moving water, the touch of varied surfaced textures, the richness of colour and the play of light and shade upon the vision, the scent of plants are all reminiscent of the finest in Islamic tradition.

The challenge to design in such a cross-cultural environment, symbolic, as well, of the strengths that come from the diversity of the Canadian way of life, has been met, in this building, by the Canadian-born architect who himself hails from an Italian Catholic background.









HH The Aga Khan and Prime Minister Brian Mulroney shake hands following the unveiling of a plaque commemorating the opening of the Ismaili Centre, Burnaby. Photo: Gary Otte

www.theismaili.org


----------



## rahim.katchi (Dec 29, 2008)

*Architecture of the Ismaili Centre, Burnaby*









Looking past the fountain at the entrance of the Centre. The building is clad in Carrara marble and Italian sandstone. Photo: Gary Otte









A winter view of the Ismaili Centre, Burnaby from the south-west. Photo: Gary Otte









An outside view of the lantern-like windows of the Ismaili Centre, Burnaby. Photo: Gary Otte

www.theismaili.org


----------



## rahim.katchi (Dec 29, 2008)

*Architecture of the Ismaili Centre, Burnaby*









Looking across the courtyard from the surrounding gardens. Photo: Garry Otte









The principle entrance takes the form of a niche, emanating a lamp-like light. Photo: Gary Otte









The patterned glass windows take on different colours depending upon the intensity and the direction of light falling upon them. Photo: Gary Otte

www.theismaili.org


----------



## rahim.katchi (Dec 29, 2008)

*Architecture of the Ismaili Centre, Burnaby*









A close-up view of the Centre's windows from the outside. Photo: Gary Otte









Geometric patterns inspired by the traditions of Islam are repeated in interior decor. Photo: Gary Otte









The opalescent cast-glass windows in the Prayer Hall are decorated with stained geometric patterns. Photo: Gary Otte

www.theismaili.org


----------



## rahim.katchi (Dec 29, 2008)

*Architecture of the Ismaili Centre, Burnaby*









A detailed view of the window pane reveals intricate Islamic geometric patterns. Photo: Garry Otte









An interior close-up view of the windows, which are decorated with stained geometric patterns. Photo: Gary Otte









Reflecting the ceiling, the octagonal theme is present on the carpet inside the Prayer Hall. Photo: Garry Otte

www.theismaili.org


----------



## rahim.katchi (Dec 29, 2008)

*Architecture of the Ismaili Centre, Burnaby*









Calligraphy and patterns define the interior of the Centre. Photo: Gary Otte









Sandblasted coral and rose marble panels inlaid with brass are used to form the mihrab, the Muslim architectural indication of the direction of prayer. Photo: Garry Otte









Thirteen octagonal domes with brass circle rings provide natural light. Photo: Garry Otte

www.theismaili.org


----------



## rahim.katchi (Dec 29, 2008)

*Architecture of the Ismaili Centre, Burnaby*









The multi-functional Social Hall facilitates government forums, citizenship ceremonies, weddings, and other events. It has hosted a number of high-profile guests, including Her Excellency The Right Honourable Michaëlle Jean, Governor General of Canada, and His Royal Highness Prince Andrew. Photo: Garry Otte









The centrepiece of the Council Chambers is a Carrara marble table from Italy. Photo: Gary Otte









Five copper domes and glazed cupolas mark the roof of the Centre. Photo: Gary Otte

www.theismaili.org


----------



## rahim.katchi (Dec 29, 2008)

*About the Ismaili Centre, Lisbon*

Beginning in the 1970s, Portuguese Ismailis created places of gathering for cultural and social purposes in major cities and towns where they settled. They also found office space for the establishment of philanthropic organisations that they sponsored. As they developed and expanded, these organisations involved increasing numbers of institutional partners and the wider Portuguese public.

In order to meet the growing needs of institutions and the Ismaili community itself, a permanent and comprehensive facility was acquired in 1986. The site, in the prime location of Palma de Baixo, in close proximity to prominent universities and principal hospitals in Lisbon, is easily accessible to all parts of the city.

There followed considerable reflection over the most effective way of using the site to meet the community's institutional objectives and to contribute to social, cultural and economic development in Portugal. Eventually, a team of architects, led by Raj Rewal of New Delhi and Frederico Valsassina of Lisbon, was commissioned to prepare the plans for a centre which had to meet a challenging architectural design brief.

In December 1996, President Jorge Sampaio laid the Foundation Stone of the Centro Ismaili in the presence of HH The Aga Khan and other distinguished guests, senior government officials and the Mayor of Lisbon, Joao Soares. Describing the contribution that he saw the building making, President Sampaio observed that “the future Ismaili Centre will be an important element in the permanent dialogue amongst cultures, a place of encounter between civilisations, of discussion of ideas, and of serene and mutually enriching debate on the great problems that are of legitimate and equal concern to all.”

One-and-a-half years later, on 11 July 1998, President Sampaio and HH The Aga Khan returned to the site for the Opening Ceremony of the Ismaili Centre, Lisbon.









A bird’s eye view of the Ismaili Centre, Lisbon. Photo: Gary Otte

www.theismaili.org


----------



## rahim.katchi (Dec 29, 2008)

*Architecture of the Ismaili Centre, Lisbon*

The design brief called for a centre which would draw upon traditional design approaches from Muslim civilizations yet avoid transplanting any idiom particular to a specific locale in its entirety. Significant emphasis was placed upon technological innovation and on construction that would be appropriate to the area. The architects' response was influenced by the morphology of traditional spatial arrangements, by the notion of Islamic gardens and by the patterns in architecture that have served different Muslim societies.

The Ismaili Centre would have to represent a harmonious encounter between the historic legacies of cultures amidst which Ismaili Muslims have lived, and the needs and circumstances of contemporary society. Materials and techniques indigenous to the Iberian Peninsula were applied to concepts drawn from a variety of Islamic traditions, Asian, African and European, using advanced building technology. The objective was the creation of a complex of spaces and buildings whose cultural and social dimensions would complement each other as well as functional, educational facilities and institutional offices, whilst also providing reflective space for the Ismail community’s own use.

Islamic architecture embodies a strength that derives from the very diversity of the Islamic world. The creativity of those who have built for societies in which Muslims live has reflected, over the ages, a variety of cultural, ethnic, linguistic and intellectual traditions, as well as climatic variances and a range of physical environments. Transcending the features of time, topography and technology, are concepts such as the serenity of form, the resonance of traditions with natural forces and the comprehensive outlook on life that is so central to the Islamic message. Architecture and space in Islam have always recognised the need for an equilibrium between man and his environment.

Nature, within and around built space, establishes harmony and continuity between the interior and the exterior. External areas, landscaped in distinctive configurations, nevertheless converge into unique homogeneity. Grading and plant borders protect inner area without circumscribing it. Fragrance and fruition subtly determine centripetal pathways from the pedestrian entrances. Courtyards and gardens defining the buildings help create a privacy of place and tranquillity of spirit within the complex. Together, they recall traditions which recognise, amidst greenery and gently flowing water, a promise of the sights, sounds, textures, scents and tastes of paradise.

Whilst balance between the outdoor enclosures and the indoor volumes is provided by the geometric sequences of transitional spaces, this inter-relationship between interior and exterior space is also conveyed by the stone and steel latticework which is an innovative structural adaptation of the jaalis inspired by Islamic monuments as diverse as Fatehpur Sikri in Agra, India and the Alhambra in Granada, Spain. The harmony of the whole extends to even the most delicate design elements. Form and order liberate rather than confine the single basic theme of the hand-painted tiles that unify the different functional areas around each courtyard.

An original decorative pattern, drawing on the Moorish influence which still characterises the craft in Portugal to this day, metamorphoses in colour and intricacy as it is repeated along the lower walls of various parts of the complex. Islamic inspiration in design, in ceramic tile, stone lattice, vaulted ceiling and woven carpet represents a rare combination of the mathematician’s acuity and the artisan’s skill. A geometric fusion of gardens and courtyards as well as buildings embodying in hewn stone surfaces, polished tile and delicately balanced cupolas, an unusual multi-cultural and multi-functional complex, constitutes the architectural concept of the Ismaili Centre.

For Indian architect Raj Rewal, himself from a non-Muslim tradition, the diversity of architecture across the Muslim world and the building traditions of the Iberian Peninsula contributed to his understanding of composing space. Recognising that architecture of the Islamic world is not monolithic, he has sought and found inspiration from Persian garden designs, from the Alhambra, the Mughal splendour of Fatehpur Sikri and the Monastery of Jeronimos in Lisbon itself. Working with Portuguese architect Frederico Valsassina and his associates, Rewal has assimilated these varied influences, merged the resulting distinctive architecture with Portuguese urban values and applied to it innovative construction technologies.









Portuguese President Jorge Sampaio and HH The Aga Khan tour the newly completed Ismaili Centre, Lisbon. Photo: Gary Otte

www.theismaili.org


----------



## rahim.katchi (Dec 29, 2008)

*Architecture of the Ismaili Centre, Lisbon*









The sunken courtyard of the chahar-bagh. Photo: Gary Otte









The fountain in the chahar-bagh. Photo: Gary Otte









A view into the Centre from the outside. Photo: Gary Otte

www.theismaili.org


----------



## rahim.katchi (Dec 29, 2008)

*Architecture of the Ismaili Centre, Lisbon*









All together, One: The walls recite the 99 attributes of Allah. Photo: Gary Otte









Textures and patterns. Photo: Gary Otte









A creative encounter between light, structure and geometry. Photo: Gary Otte

www.theismaili.org


----------



## rahim.katchi (Dec 29, 2008)

*Architecture of the Ismaili Centre, Lisbon*









The serene trickle of a fountain is set amidst a playful dance of light and colour. Photo: Gary Otte









A courtyard fountain framed in granite lattice. Photo: Gary Otte









Calligraphy, dappled by the motif. Photo: Gary Otte

www.theismaili.org


----------



## rahim.katchi (Dec 29, 2008)

*Architecture of the Ismaili Centre, Lisbon*









A woman walks along a watercourse in one of the flourishing inner courtyards. Photo: Gary Otte









The intricacy of the façade glimpsed in the motif detail. Photo: Gary Otte









Detail of the caligraphic stone. Photo: Gary Otte

www.theismaili.org


----------



## rahim.katchi (Dec 29, 2008)

*Architecture of the Ismaili Centre, Lisbon*









The inner space — looking up at the domes from within. Photo: Gary Otte









Light passes through opalescent glass onto calligraphic stone. Photo: Gary Otte









Lanterns, descending, in the Ismaili Centre, Lisbon. Photo: Gary Otte

www.theismaili.org


----------



## rahim.katchi (Dec 29, 2008)

*Architecture of the Ismaili Centre, Lisbon*









Cool water courses through the courtyard at dusk. Photo: Gary Otte









The calligraphic wall is lit and visible through the structured façade. Photo: Gary Otte

www.theismaili.org


----------



## rahim.katchi (Dec 29, 2008)

*The Ismaili Centre, Dubai*

The site of the Ismaili Centre, Dubai was a gift of the Ruling Family of Dubai presented by His Highness Sheikh Mohammed bin Rashid Al Maktoum, Vice President and Prime Minister of the United Arab Emirates and Ruler of Dubai, to His Highness the Aga Khan on the occasion of the Silver Jubilee of his accession to the Imamat in 1982.

Over the subsequent quarter century, the Ismaili Muslim community in Dubai grew and evolved together with the city itself. As the metropolis expanded, the site in Oud Metha saw its residential and commercial neighbourhood gradually enriched by the establishment of cultural and social facilities. In parallel, the community and the Aga Khan Development Network increased their engagement with philanthropic, academic, humanitarian and development organisations in Dubai and the wider region.

It soon became clear that a complex around which to centre these activities could contribute also to its immediate surroundings. The Ismaili Centre, Dubai was conceived in an effort to complement evolutions in technology and urban development with a long-established endeavour to revitalise the traditions of architecture, craftsmanship and landscape design in the Islamic world.

His Highness Sheikh Mohammed bin Rashid Al Maktoum shares with HH The Aga Khan, a vision for the future in keeping with Islamic traditions of search for knowledge and contributing to the betterment of humanity. It is in this shared spirit that the construction and development of the Centre advanced. The foundation stone was laid on 13 December 2003, and the Centre was opened on 27 March 2008 by HH The Aga Khan in the presence of His Highness Sheikh Ahmed bin Saeed Al Maktoum and His Highness Sheikh Nahyan bin Mubarak Al Nahyan — senior members of the ruling families of the United Arab Emirates.









Inspiration and aspiration: the Ismaili Centre against the Dubai skyline. Photo: Gary Otte

www.theismaili.org


----------



## rahim.katchi (Dec 29, 2008)

*Architecture of the Ismaili Centre, Dubai*

The Ismaili Centre’s design brief described a desire for a sequential, experiential and integrated use of space. Clear emphasis was placed on ensuring order and harmony and on fostering mutual respect and understanding both within the Ummah and across society at large. At the same time, the Ismaili Centre was expected to be a metaphor for a time of renewed vigour, growth and commitment. The design and construction would need to take account of Dubai's climate, of indigenous building and craft traditions and methodologies, as indeed of coherent landscaping. In an environment where glass and concrete towers have often set the trend, the objective was to allow innovation to draw on tradition, all the while preserving symmetry, rhythm, unity and continuity.

Respecting a history of tolerance and openness, Egyptian architects Rami El-Dahan and Soheir Farid sought inspiration from the Fatimid mosques of Cairo. Maintaining their focus on the human scale and the recent past, they also drew on the insights of a mentor, the late Hassan Fathy, renowned in the 20th century for his building in clay and for his “architecture for the people.” Their prior experience encompassed mosques, housing, hotels, resorts, commercial projects, historic rehabilitation and urban planning.

Designing contemporaneously the Hilltop Restaurant in Azhar Park on the edge of historic Cairo (a city founded by His Highness the Aga Khan’s ancestor, the Caliph-Imam al Mu’izz in 969 CE) strengthened the architects' familiarity with the vocabulary and spatial concepts that would inform the Ismaili Centre, Dubai.

The use of masons and craftsmen, and of forms with distinct historical origins, did not distract from the originality of design, execution or technology. Whether with brick, stone, marble or wood, the essential human touch remained a vital component of an enterprise that sought to approach grandeur with humility. Committed to the parameters of the Centre’s function, the architects applied their knowledge of structural geometry, and of the way shape and ambience were created in extant Fatimid mosques in Cairo, to contemporary Dubai.

Exceptionally innovative and responsive to the Centre’s requirements and the community’s ethos, the multidirectional domes are a synthesis of skilled masonry, the physics of construction, material technology and the spatial semantic that relates heaven to earth. Of equal symbolic significance, are the variant fountains and water features. Each is distinctive in style and role.

Each, by its appearance and function, corresponds to the mood and purpose of the spaces it serves to articulate. Inlaid, hand-worked and crafted patterns in carefully selected types of marble and hardwood for interiors and exteriors are a deliberate effort to relate the aesthetic to human talent. Apertures of all dimensions and lamps of innumerable variation remind us of the effect of light, both natural and artificial, on different surfaces. At each interval of contrasts are continuous allusions to the allegory of “Light” from the Holy Qur’an.

The landscaping also takes as a starting point the representation in the Holy Qur’an of paradise as a garden. Symbolic of continuity, growth and change, the natural features of both the even and uneven soft surfaces throughout the complex and the adjoining Park incorporate trees and flower beds whose effect on the senses extends beyond the physical. Date and fan palms, rolling lawns, cool ferns and seasonal plants in and around the Centre’s courtyards also temper the heat and aridity enabling the Centre to enjoy its own milder microclimate.

Faithful at once to an atmosphere of reflection and learning but also to one of calm repose and togetherness, the Centre’s design has woven into its common areas alcoves, loggia, stone benches and balconies to provide vantages for interaction and introspection. Versatile in their use, rooms intended for active learning are not only conducive to the exercise of creative imagination and constructive exchange of ideas, but are also properly equipped. Pedagogical spaces, recreational areas, administrative and hospitality facilities have all been designed to accommodate appropriate fixtures and the latest technology. Every distinct common space emphasises a reaching outwards towards others even as it facilitates a process of personal search.









HH The Aga Khan is joined by His Highness Sheikh Ahmed bin Saeed Al Maktoum (left) and His Highness Sheikh Nahyan bin Mubarak Al Nahyan for the unveilling of the ceremonial plaque marking the opening of the Ismaili Centre, Dubai. Photo: Aziz Islamshah

www.theismaili.org


----------



## rahim.katchi (Dec 29, 2008)

*Architecture of the Ismaili Centre, Dubai*









Entrance into the Ismaili Centre, Dubai — a plurality of perspectives. Photo: Gary Otte









Shades of interwoven loggia. Photo: Gary Otte









A façade of interspersed openings facing the courtyard. Photo: Gary Otte

www.theismaili.org


----------



## rahim.katchi (Dec 29, 2008)

*Architecture of the Ismaili Centre, Dubai*









Water courses through channels, inlaid in the Takhtabosh Courtyard. Photo: Gary Otte









Fountains of arboreal calm: the Takhtabosh Courtyard at dusk. Photo: Gary Otte









The Social Hall of the Ismaili Centre, Dubai can facilitate many types of gatherings. Photo: Gary Otte

www.theismaili.org


----------



## rahim.katchi (Dec 29, 2008)

*Architecture of the Ismaili Centre, Dubai*









Honeycombs of amber emanate at dusk. Photo: Gary Otte









Shaded benches look out onto the courtyard. Photo: Gary Otte









Passageways to enlightenment. Photo: Gary Otte

www.theismaili.org


----------



## rahim.katchi (Dec 29, 2008)

*Architecture of the Ismaili Centre, Dubai*









Waves in similitude: alcoves along the axial symmetrical entrance. Photo: Gary Otte









Reflections at the entrance to the heptagon. Photo: Gary Otte









A reflective space. Photo: Gary Otte

www.theismaili.org


----------



## rahim.katchi (Dec 29, 2008)

*Architecture of the Ismaili Centre, Dubai*









Illumination in concentricity: the chandelier of the main dome. Photo: Gary Otte









A space for learning in the Ismaili Centre, Dubai. Photo: Gary Otte









The salsabil water feature is the centrepiece of the intimate Morning Prayer Hall Courtyard. Photo: Gary Otte

www.theismaili.org


----------



## rahim.katchi (Dec 29, 2008)

*The Dubai Park*

Situated across the road from the Ismaili Centre Dubai, the Dubai Park is a gift from HH The Aga Khan to the city of Dubai. It was developed by the Aga Khan Trust for Culture, an agency of the Aga Khan Development Network.

The 3 000 square metre park was conceived as a neighbourhood garden based on the concept of an Islamic garden. The serene setting is reflective of its Islamic heritage, drawing on the traditions of a faith which has inspired outstanding architecture and landscapes for many centuries in Dubai and throughout the world. For example, archways from the Fatimid period of the 10th to 12th centuries have been used in the park structures. The project architect, Maher Stino, was also the landscape architect of Al-Azhar Park, a project of the Trust in Cairo, Egypt.

Situated at the summit of the park is a grand pergola that provided a raised shaded sitting area from which the entire park is visible. Additional sitting alcoves and concrete benches are located throughout the garden under the shade of palm trees for those wishing to enjoy the evening breeze. Three gates allow for the easy flow of people from all three road sides of the park. One of the entrances lies along the axis of the raised pergola from which the cascading fountain originates.

In common with many Islamic inspired gardens, the fountains allow the water to flow along channels which are interconnected with water pools. The criss-cross fountains recall similar features found at the Al Hambra in Granada, Spain. Water channels run along the sitting alcoves giving an all-encompassing feel of water.

While the pergolas are made of African teak, the low boundary walls are finished in Aleppo limestone. The fountains are finished in granite and the hard landscape is a combination of concrete pavers, polished and flamed granite. The soft landscape consists of trees, shrubs, ground covers and climbers. These include tall palms, fragranced jasmine, and colourful lantana and bougainvillea.

The design of this small park provides something for all visitors, whether they wish to sit and read a book, allow their senses to be stimulated by the scents of flowers and the sound of water, or simply to admire nature while strolling along the gently curving walkway.









In the Dubai Park, located opposite the Ismaili Centre, Dubai, water flows from the fountains along channels that are interconnected with pools. The criss-cross fountains are inspired by the Al-Hambra. Photo: Gary Otte









The beautiful landscaped gardens in a serene setting reflect an Islamic tradition. Photo: Gary Otte 









The grand pergola at the summit of the park provides a raised shaded sitting area with a view of the entire park. Photo: Gary Otte 

www.theismaili.org


----------



## rahim.katchi (Dec 29, 2008)

*Architecture of the Ismaili Centre, Dubai*









The Ismaili Centre, Dubai. Photo: Gary Otte









The main entrance hall of the Ismaili Centre, Dubai draws architectural inspiration from Fatimid mosques. At the centre of the colourfully patterned marble floor is an ornamental fountain crafted from a solid block of Carrara marble. Photo: Gary Otte









The main entrance hall dome is a visual marvel that rises in a series of arches and corbels upon which the brick dome culminates at its apex. Photo: Gary Otte 

www.theismaili.org


----------



## rahim.katchi (Dec 29, 2008)

*Architecture of the Ismaili Centre, Dubai*









The main courtyard features an intricate geometric arrangement of channels that use gravity to carry water from a central fountain. The marble patterns and flower beds draw upon various traditions from across the Islamic world. Photo: Gary Otte 









The congregational hall of the Ismaili Centre, Dubai features the building's largest dome. Its octagonal shape is supported by meticulously engineered heavy corbels, which dominate the space. The ambience is set by the enormous brass chandelier from Egypt. Photo: Gary Otte

www.theismaili.org


----------



## rahim.katchi (Dec 29, 2008)

*The Ismaili Centre, Dushanbe*

Opened in 2009, the Ismaili Centre, Dushanbe is the first such Centre in Central Asia — a region that has been home to Ismaili Muslims for more than a thousand years. It stands as both a reminder of great history and accomplishment, and a call on the peoples of the region to reflect on that inheritance as they shape the world of tomorrow.

Inspired by some of the region’s most distinctive monuments, the architecture of the Ismaili Centre blends many craft and artisanal traditions of Central Asia. It is designed to facilitate cultural and intellectual exchange, and to re-invigorate the spirit of enquiry characterised by scholars whose contributions over the centuries were encouraged by the Ismaili Muslim community under the patronage of its leadership.










www.theismaili.org


----------



## rahim.katchi (Dec 29, 2008)

*Architecture of the Ismaili Centre, Dushanbe*









Looking across the lawn towards the Main Entrance of the Ismaili Centre, Dushanbe. Photo: Gary Otte









The mingling of wood with masonry and tile lends warmth to tall interior spaces. The striking blue tiles, mounted in specially created niches, were hand made by master artisans in Central Asia using traditional craftsmanship. Photo: Gary Otte









This skylight, in the foyer of the entrance to the Social Hall, is based on the traditional design of the roof of a Pamiri home. Photo: Gary Otte

www.theismaili.org


----------



## rahim.katchi (Dec 29, 2008)

*Architecture of the Ismaili Centre, Dushanbe*









A view down the axial corridor of the administration area from the main entrance of the building. The changing play of light and shade created by sunlight filtering through a wooden lattice, forms patterns on the walls and floor that follow the movement of the sun. Photo: Moez Visram









The intricate, inlaid pattern of the Social Hall floor incorporates three different types of wood, adding to the elegance of this space. Photo: Moez Visram









An alcove at the Main Entrance of the building. Notice the granite floor patterns. Photo: Moez Visram

www.theismaili.org


----------



## rahim.katchi (Dec 29, 2008)

*Architecture of the Ismaili Centre, Dushanbe*









The ceiling above the foyer at the Main Entrance in the Administration area. Photo: Moez Visram









A view from the foyer towards the Prayer Hall Ante Room. Brick patterns and the calligraphy crowning the walls are among the prominent textures that characterise this space. Photo: Moez Visram









Light, cast across a wall of calligraphic repetition of the names “Allah”, “Muhammad”, “Ali”, “Hasan”, “Hussain” and “Zahra”, is the dominant feature of the Prayer Hall. Photo: Moez Visram

www.theismaili.org


----------



## rahim.katchi (Dec 29, 2008)

*Architecture of the Ismaili Centre, Dushanbe*









A detailed view of the calligraphic patterns, reciting “Allah”, “Muhammad”, “Ali”, “Hasan”, “Hussain” and “Zahra”, inlaid in brick. Photo: Moez Visram









A view from the Main Entrance shows a seating alcove on the left, a reception desk on the right, and the axial corridor of the Administration area leading to the Great Courtyard. Photo: Moez Visram









A view down the concourse between the Great Courtyard and the Prayer Hall space, looking towards the Literature Centre. Photo: Moez Visram

www.theismaili.org


----------



## rahim.katchi (Dec 29, 2008)

*Architecture of the Ismaili Centre, Dushanbe*









An evening view of the Ismaili Centre, Dushanbe. Pedestrian walkways line the cascading water feature, leading to the building’s Main Entrance. Photo: Moez Visram









Clay bricks, woven in a variety of patterns, are the most distinctive aspect of the complex. Photo: Moez Visram









Looking up at the Youth and Education Portal from the Great Courtyard. Photo: Moez Visram

www.theismaili.org


----------



## rahim.katchi (Dec 29, 2008)

*Lions Gate Jamatkhana, North Vancouver*

*PROJECT SCOPE* | A winner of multiple awards, including the Award of Distinction for Architecture in Interior Design from the District of North Vancouver, this facility is comprised of a prayer hall, ante-room, foyer, support space, classrooms, library, commercial kitchen, 3 squash courts, multipurpose hall with stage for performing arts, and special lighting for sports and social events.

*UNIQUE FEATURES* | The site of the project was actually a former tennis club. The exterior was wrapped in cedar lattice work ‘ribbons’. Built into the latticework are motifs reminiscent of Islamic art and architecture. These embellishments are brought forward while the structure itself appears to recede into the landscape. The portals take their cues from First Nations architecture. 










www.fndesign.com


----------



## rahim.katchi (Dec 29, 2008)

*Lions Gate Jamatkhana, North Vancouver*



















www.fndesign.com


----------



## rahim.katchi (Dec 29, 2008)

*Lions Gate Jamatkhana, North Vancouver*



















www.fndesign.com


----------



## rahim.katchi (Dec 29, 2008)

*Lions Gate Jamatkhana, North Vancouver*










www.fndesign.com


----------



## rahim.katchi (Dec 29, 2008)

*Lions Gate Jamatkhana, North Vancouver*














































www.flla.ca


----------



## rahim.katchi (Dec 29, 2008)

*Lions Gate Jamatkhana, North Vancouver*














































www.flla.ca


----------



## rahim.katchi (Dec 29, 2008)

*Jamatkhana and Center, Plano, Texas *

While smaller sites exist in several cities, the new Jamatkhana in Plano, Tx is one of four major facilities in the United States. The design program called for a center that would establish permanence in a setting that was contemporary, yet redolent of an historical past that is itself an interweave of encounters across civilizations.

From geometry of form that has defined architecture in Islamic contexts to the signs of Nature in water, gardens and light that have characterized its expression over the ages the Ismaili Jamatkhana and Center's design works with a fusion between history and contemporarily.

The geometry, series of interlocking octagons is interweaved throughout the facility thru a grandiose of floor patterns, ceiling designs and metallic lattice pieces that embellish the exterior and interior walls, the entrance, Social Lobby and Prayer Hall. With brick, concrete and colors that recall the ochre tones of Fatimid lustreware, and glass surfaces (stained glass) that transmit and project light and visions of nature, the Center enables a convergence of thematic diversity for the multiple purposes of the facility (education, prayer and meditation) of improving and promoting a wider understanding of peoples and traditions from near and afar.

The facility is a place of congregation, of order, of peace, and of prayer. It is a facility that facilitates social and cultural interaction and wishes to become a symbol of a growing understanding in the West of a very deep and real meaning of Islam.










www.hidell.com


----------



## rahim.katchi (Dec 29, 2008)

*Jamatkhana and Center, Plano, Texas *



















www.hidell.com


----------



## rahim.katchi (Dec 29, 2008)

*Jamatkhana and Center, Plano, Texas *



















www.hidell.com


----------



## rahim.katchi (Dec 29, 2008)

*Jamatkhana and Center, Plano, Texas *



















www.hidell.com


----------



## rahim.katchi (Dec 29, 2008)

*Jamatkhana and Center, Plano, Texas *



















www.hidell.com


----------



## rahim.katchi (Dec 29, 2008)

*Jamatkhana and Center, Plano, Texas *



















www.hidell.com


----------



## rahim.katchi (Dec 29, 2008)

*Jamatkhana and Center, Plano, Texas *



















www.hidell.com


----------



## rahim.katchi (Dec 29, 2008)

*Jamatkhana and Center, Plano, Texas *



















www.hidell.com


----------



## rahim.katchi (Dec 29, 2008)

*Jamatkhana and Center, Plano, Texas *



















www.hidell.com


----------



## rahim.katchi (Dec 29, 2008)

*Jamatkhana and Center, Plano, Texas *



















www.hidell.com


----------



## rahim.katchi (Dec 29, 2008)

*Jamatkhana and Center, Plano, Texas *



















www.hidell.com


----------



## rahim.katchi (Dec 29, 2008)

*Ismaili Jamatkhana, Lahore.*

Nestled in a low rise residential neighbourhood along Sir Sultan Mahomed Shah Aga Khan Road, the new Ismaili Jamatkhana Lahore is the first facility to be purpose-built for the Jamat in that city. Rooted in tradition and heritage, the Jamatkhana symbolises centuries of the community’s presence in the region, and its continuity in a land steeped in the many interpretations and practices of Islam.

*Building beautiful spaces*

In Islam, mankind is answerable to Allah for whatever it does — many of the greatest Muslim architectural achievements reflect this ethos. The design for the Ismaili Jamatkhana Lahore was conceived by Collaborative Design, an architectural firm led by Hafiz Sherali, who graduated from the Aga Khan Program for Islamic Architecture at Harvard University and the Massachusetts Institute of Technology. The firm drew inspiration from words of Mawlana Hazar Imam, and sought to conceive “a Jamatkhana and Centre which represents our respect for our past, our belief of today, and our hope for the future.”

The brick-clad Jamatkhana strikes a dignified presence. Its structure and hued exterior is influenced by the Mughal-era architecture prevalent in Lahore, and conceals intricately detailed interior halls and courtyards. Spaces for prayer, learning, work, and social exchange bridge the spiritual realm with the rhythms of everyday life.

In the Holy Qur’an, paradise is depicted as a garden — an image that has greatly influenced the role of landscaping, and resulted in jewels like Lahore’s Shalimar Gardens. In the new Jamatkhana, peaceful courtyards, the cool shade of trees, the sound of running water in fountains, and colours and fragrances emanating from the natural landscape come together to create a space of tranquility.

The complex is a series of interlinked buildings with changing textures and patterns, highlighted by the interplay of light and shade. The use of geometry as an organising element generates the spatial environment of the Jamatkhana, and symbolic elements are pervasive. For example, the building has five squares used five times, five half cut domes, five distinct panels in the mihrab wall, and the complex is laid out in five distinct divisions. Traditional elements such as darwaza (the grand portal gates), courtyards, balconies and patios combine mass, space, light and geometry to add embellishment and organisation for the complex.

The use of natural materials align with function in the thick walls clad in local brick that insulate the building from noise, and in the deep-set teak wood windows adorned with patterned glass to keep out the heat of the city. The structural design provides seismic resistance, utilising a series of concrete bands that embrace and unify the building. The ornamentation on the facade makes subtle use of blue lapis lazuli stone and the pathways are paved with rich terracotta and grey concrete pavers. Inside, the beige coloured marble is cool and comfortable.

*Walking through the complex*

In Islam there is no dichotomy between din and dunya — the material and the spiritual realms converge through their essence. Mirroring this notion, the consistent geometric pattern on the external façade and the inner prayer hall — one composed in brick and the other in wood — reflect harmony between the outer and inner dimensions. A sandwich is produced between the outside brick forms in continuous band with the inner delicate wood inlay.

The main access to the Ismaili Jamatkhana Lahore is through a portal gate opening on to the arrival courtyard. A flag mast is situated in the centre of the rotunda and a copper sculpture by Ismaili artist Amin Gulgee rests on a granite-clad base. The office block is positioned behind the Grand Portal, a symbolic centre of the complex, where Jamati institutions, guided by the vision of the Imam of the Time, carry out their work.

The importance of intellectual development is underlined by a library prominently placed off the arrival courtyard and administrative offices. Teacher educators’ space, a library and Council Chambers for formal meetings are located on the first floor and planned around an internal courtyard providing natural light and interaction with green spaces.

The grand courtyard has the prayer hall on its main axis, while the religious education centre, seminar rooms, meeting rooms and offices for volunteers are positioned on the two shorter sides of the courtyard. After passing through the colonnade and turning a corner that deliberately reorients the visitor towards qibla, the prayer hall becomes visible through a pair of wrought iron gates. The entrance to the prayer hall lobby is clad with brick using the same material as the colonnade, and smartly accommodates the shoe counters. The ante room beyond gives way to the prayer hall.

The mehrab wall is the culmination of the visual journey of the complex. Adorned with marble and wood inlay cladding, it is highlighted by a wainscot of local beige marble and painted wood inlay framing it with a band. Each panel uses geometric patterns in threes and fives and the rich carpet is custom-designed to work in harmony with its design theme. Five half cut vaults allow the northern light into the prayer hall, while keeping out the intense rays of the sun. The inverted light pelmets bring soft diffused light to the prayer hall.

After prayers, members of the Jamat may choose to stroll the gardens and courtyards of the complex, where they will find indigenous species of shrubs and plants selected for their rich foliages, fragrances and colours. A paved terracotta walkway hems the periphery of the lawn and the buildings, beckoning a leisurely walk in the summer mornings and cool evenings. Courtyards with granite-clad benches and the soft running sound of the water invite social interaction and quiet personal reflection.









Light, shade and shadow at the Ismaili Jamatkhana Lahore. Photo: Courtesy of the Ismaili Council for Pakistan

www.theismaili.org


----------



## rahim.katchi (Dec 29, 2008)

*Ismaili Jamatkhana, Lahore.*









The Grand Portal entrance to the Ismaili Jamatkhana Lahore. Photo: Courtesy of the Ismaili Council for Pakistan









The Ismaili Jamatkhana Lahore symbolises centuries of the community’s presence in the region. Photo: Courtesy of the Ismaili Council for Pakistan









The west facade of the Ismaili Centre Lahore at dusk. Photo: Courtesy of the Ismaili Council for Pakistan

www.theismaili.org


----------



## rahim.katchi (Dec 29, 2008)

*Ismaili Jamatkhana, Lahore.*









An evening view of the Ismaili Jamatkhana Lahore. Photo: Courtesy of the Ismaili Council for Pakistan









The Ismaili Jamatkhana Lahore at dusk. Photo: Courtesy of the Ismaili Council for Pakistan









The brick-clad Ismaili Jamatkhana Lahore recalls the Mughal-era monuments that dot the city. Photo: Courtesy of the Ismaili Council for Pakistan

www.theismaili.org


----------



## rahim.katchi (Dec 29, 2008)

*Ismaili Jamatkhana, Lahore.*









Water sprinkles from a courtyard fountain at the Ismaili Jamatkhana Lahore. Photo: Courtesy of the Ismaili Council for Pakistan









A view of the verdant fore court with fountains. Photo: Courtesy of the Ismaili Council for Pakistan









A sculpture by Ismaili artist Amin Gulgee situated at the Grand Portal. Photo: Courtesy of the Ismaili Council for Pakistan

www.theismaili.org


----------



## rahim.katchi (Dec 29, 2008)

*Ismaili Jamatkhana, Lahore.*









The Grand Courtyard at the Ismaili Jamatkhana Lahore. Photo: Courtesy of the Ismaili Council for Pakistan









A view from inside the teacher educators and waezeen library at the Ismaili Jamatkhana Lahore. Photo: Courtesy of the Ismaili Council for Pakistan









Entrance to the ante room and prayer hall at the Ismaili Jamatkhana Lahore. Photo: Courtesy of the Ismaili Council for Pakistan

www.theismaili.org


----------



## rahim.katchi (Dec 29, 2008)

*Glenview Jamatkhana, Chicago.*

*New Chicago-area Jamatkhana described as the “Ruby of Glenview”*

On 2 December 2008, 200 guests gathered for the opening of a new Jamatkhana in Glenview, Illinois. Construction of the project began a year ago, and its completion was eagerly anticipated by the Chicago-area Jamat.

The inaugural plaque was unveiled by Illinois’ First Lady, Patricia Blagojevich. She was accompanied on stage by Congresswoman Jan Schakowsky, Kerry Cummings, President of the Village of Glenview, Dr. Mahmoud Eboo, President of the Ismaili Council for the USA, and Dr. Mansoor Virani, President of the Ismaili Council for the Midwest United States. Also among the distinguished guests were consuls general, mayors, state representatives and leaders of other faith communities.

During his welcome address, President Eboo situated the Jamatkhana among the variety of spaces of worship in Islam. “The Jamatkhana in Glenview, as with all Ismaili Jamatkhanas around the world, reflects in its space and usage three dynamics,” he described. “The prayer hall for worship and contemplation, the social hall for engagement with others and the gardens to appreciate and enjoy God's creation and to which we welcome our neighbours.”

A lunch reception followed the ceremonies and guests had an opportunity to tour the facility. Set on 9.3 acres of land, the 26 000 square foot Jamatkhana includes a prayer hall, administrative offices, classrooms, and spaces for social gatherings. The social hall will be available for lectures and presentations to Glenview residents and other visitors, while tours of the building will be offered to the public.

“This is truly a beautiful building and I was struck by the serenity of the prayer hall and the care and thought that has been taken in its design,“ said the First Lady, following her tour. “I have no doubt that you will use the facility to reach out to others and be the valuable and valued community that you have become wherever you have established yourselves.”

Congresswoman Jan Schakowsky, who had met Mawlana Hazar Imam when he received the Vincent Scully Prize in 2005, spoke of the work of the Aga Khan Development Network, referencing the Ismaili Centres and other major building projects around the world. Of the Glenview facility, she said: “This is clearly an oasis of calm within a bustling metropolis, and its architecture is fitting for Glenview.”

President Cummings appreciated the building’s design, describing it as the “Ruby of Glenview” — a reference to the eleventh century Ismaili Da’i and poet, Nasir Khusraw, sometimes remembered as the Ruby of Badakhshan. “I have no doubt, it will be visited by many and much will be written about its intrinsic beauty,” she said.










www.theismaili.org


----------



## rahim.katchi (Dec 29, 2008)

*Glenview Jamatkhana, Chicago.*




























www.architizer.com


----------



## rahim.katchi (Dec 29, 2008)

*Glenview Jamatkhana, Chicago.*









www.architizer.com









The ceiling light feature in the Prayer Hall consists of seven heptagonal (seven-sided) figures, visible in this close-up. Photo: Courtesy of the Ismaili Council for the USA 









A heptagonal (seven-sided) motif was used throughout the building, and is apparent in the lobby. The hanging tapestries were created by volunteers in the Jamat. Photo: Courtesy of the Ismaili Council for the USA 

www.theismaili.org


----------



## rahim.katchi (Dec 29, 2008)

*Dhaka Jamatkhana, Bangladesh*

In a city of nearly 13 million people, the Ismaili Jamatkhana and Centre — with its fountain, courtyard and gardens — provides the Dhaka Jamat with a welcome respite from the daily hustle and bustle of life. The tranquility of the Jamatkhana prayer hall offers a quiet space for reflection and remembrance.

The architect of the Centre, Rafiul Alam Pintoo, sees the building as a major milestone in his long career. “I considered this as an ‘exclusive’ project, which had to meet the international standards set by Ismaili Centres around the world.”

In addition to being a place of prayer, the Ismaili Jamatkhana and Centre can serve as a platform for meaningful dialogue between Ismailis and the wider community. One Jamati leader describes it as “an ambassadorial building, which is not only a Jamatkhana, but will also signify the Imamat’s presence in the capital city of our country.”

The Centre also features administrative and meeting facilities that serve the needs of the Ismaili Council for Bangladesh. Classrooms and a new library provide space for children’s religious education, and teachers will benefit from a seminar hall that can be used for pedagogical development and parent information sessions. “A major outcome of the upgraded facilities will be that the youth will have the resources now to better absorb and articulate the meaning of their faith and this will ultimately motivate and cultivate future leaders,” says one Jamati member.

One of the most dynamic spaces in the Centre is the Social Hall. Situated close to the main entrance of the Centre, it has facilities to host a wide range of programmes from seminars and workshops to special events. In addition to Jamati programmes, the Social Hall provides a venue for the Jamat to reach out and engage with the wider Bangladesh society.

But for many in the Jamat — particularly young children and their parents — one of the most popular features can be found behind the Ismaili Centre building, where a playground has been built. A walking trail passes through the playground and continues around the perimeter of the Centre. “After dinner, my friends and I go for a walk on the path around the Centre since it is safe and lit up,” comments an elder member of the Jamat.

Many elders in the Jamat remember the opening of the Karimabad and Chittagong jamatkhanas in 1960 and 1964. “The Chittagong Jamakhana with its marble floors served as a proud symbol of the Ismaili community,” recalls one senior member of the Jamat. The new Ismaili Centre is seen as a similar sign, and a beacon for those in other parts of the world to seek opportunities in Bangladesh’s growing economy.










www.theismaili.org


----------



## rahim.katchi (Dec 29, 2008)

*Dhaka Jamatkhana, Bangladesh*









An evening view of the Dhaka Ismaili Jamatkhana and Centre, with a lighted marble stairway leading to the main entrance. Photo: Ayeleen Ajanee Saleh









Functional areas of the building are arranged around the Centre Courtyard with the Social Hall on the right, the Administrative Corridor on the left, and the Prayer Hall in the front. Photo: Ayeleen Ajanee Saleh









Seating alcove in the ante-room foyer, looking out onto the courtyard. Photo: Ayeleen Ajanee Saleh

www.theismaili.org


----------



## rahim.katchi (Dec 29, 2008)

*Delegation of the Ismaili Imamat, Ottawa, Canada*

The Delegation of the Ismaili Imamat in Ottawa, Ontario, Canada, a building of the Aga Khan Foundation Canada located between the Saudi Arabian embassy and the Lester B. Pearson Building on Sussex Drive. It was opened in 2008.

The building, as named, serves as a de facto embassy for the Aga Khanate of Nizari Ismailism in Canada, through which the Aga Khan's office (under the auspices of the Aga Khan Foundation) can receive dignitaries of the Canadian government.

*Building and opening*
The building was initiated by the Aga Khan IV, the 49th Imam of the Ismaili Muslims in the presence of Adrienne Clarkson, Governor General of Canada, on June 6, 2005. It was designed by the internationally celebrated Japanese architect Fumihiko Maki, together with the Canadian firm Moriyama & Teshima.

The Delegation of the Ismaili Imamat was formally opened by Prime Minister Stephen Harper on Saturday, December 6, 2008 during an official visit of the Aga Khan to Ottawa.In addition to the Prime Minister, the opening was also attended by several federal ministers including Transport Minister John Baird, Foreign Minister Lawrence Cannon and Minister of State for Status of Women Helena Guergis. Also in attendance were former Governor General Adrienne Clarkson, writer John Ralston Saul, David Mulroney, chief of the PCO Afghan task force, his CIDA counterpart Stephen Wallace, former deputy minister of foreign affairs Peter Harder, the Governor of the Bank of Canada, Chief Justice of Canada Beverley McLachlin, former ambassador to Washington Derek Burney, former Liberal foreign minister Bill Graham, former ambassador to the UN Allan Rock, Herb Gray, the longest serving MP in Canadian history and various ambassadors of other countries to Canada.

The $54-million building is the first in the world to represent Prince Karim Aga Khan IV, spiritual leader of the world’s 15 million Ismaili Muslims. Based in Europe, he heads the Aga Khan Development Network, one of the largest private development networks in the world. The building houses 60 employees of the Aga Khan Foundation Canada, a non-profit development agency and the Global Centre for Pluralism, an education and research centre.

Demands to see the building are so great the agency provides public tours twice a week. Some 30,000 people have walked through. Since 2009, the building has hosted about 100 events, such as lectures and workshops.

The building includes a library and offices, as well as a residence and office for the Aga Khan’s use during visits.

*Architecture*
Designed by the Pritzker Prize–winning architect Fumihiko Maki, he Ottawa Delegation is the first building in the world that will represent the Ismaili Imamat and its institutions.It is configured as an elongated, rectangular ring, surrounding an interior atrium and an exterior courtyard that features a traditional Chahr-bagh Islamic garden.The building rests on a solid linear granite podium, and is covered by a glass dome through which light illuminates the atrium and courtyard.The building as a whole is inspired by natural rock-crystal and is an interplay of visual clarity, opacity and translucency. It houses meeting rooms, exhibition areas, a lecture theatre, resource center, and private apartments.

The Aga Khan proposed that Maki take inspiration from rock crystal, which is at once translucent, transparent and opaque. The two-storey structure rests on a podium of black granite. It is clad in white Neoparies, a crystallized glass material with a marble-like texture that reflects light. Side walls are arranged in alternating bands of transparent and translucent glass. The simple rectilinear building contains an atrium topped by an asymmetrical glass dome. Surrounding the atrium is a patterned screen of cast aluminum, evoking screens of historic Islamic architecture.

*2012 Governor General’s Medals in Architecture*
The Delegation of the Ismaili Imamat in Ottawa has been also named a recipient of the 2012 Governor General’s Medals in Architecture. The award recognises outstanding design in projects by Canadian architects, and is administered by the Royal Architectural Institute of Canada and the Canada Council for the Arts Act. The award recognizes outstanding design in recent projects by Canadian architects.

www.wikipedia.com










www.raic.org


----------



## rahim.katchi (Dec 29, 2008)

*Delegation of the Ismaili Imamat, Ottawa, Canada*










www.raic.org


----------



## rahim.katchi (Dec 29, 2008)

*Delegation of the Ismaili Imamat, Ottawa, Canada*










www.raic.org


----------



## rahim.katchi (Dec 29, 2008)

*Delegation of the Ismaili Imamat, Ottawa, Canada*










www.raic.org


----------



## rahim.katchi (Dec 29, 2008)

*Delegation of the Ismaili Imamat, Ottawa, Canada*










www.raic.org


----------



## rahim.katchi (Dec 29, 2008)

*Delegation of the Ismaili Imamat, Ottawa, Canada*










All rights reserved by Karl Marx1
www.flickr.com


----------



## rahim.katchi (Dec 29, 2008)

*Delegation of the Ismaili Imamat, Ottawa, Canada*










All rights reserved by Karl Marx1
www.flickr.com


----------



## rahim.katchi (Dec 29, 2008)

*Delegation of the Ismaili Imamat, Ottawa, Canada*










All rights reserved by Karl Marx1
www.flickr.com


----------



## rahim.katchi (Dec 29, 2008)

*Delegation of the Ismaili Imamat, Ottawa, Canada*










All rights reserved by Karl Marx1
www.flickr.com


----------



## rahim.katchi (Dec 29, 2008)

*Delegation of the Ismaili Imamat, Ottawa, Canada*










All rights reserved by Karl Marx1
www.flickr.com


----------



## rahim.katchi (Dec 29, 2008)

*Delegation of the Ismaili Imamat, Ottawa, Canada*










All rights reserved by Karl Marx1 
www.flickr.com


----------



## rahim.katchi (Dec 29, 2008)

*Delegation of the Ismaili Imamat, Ottawa, Canada*










All rights reserved by Karl Marx1 
www.flickr.com


----------



## ENG AHMED (Dec 10, 2012)

NICE WORK


----------

