 I'm just going to talk very quickly, or just to very quickly showMe some examples of buildings I've been reused into mosques, former religious Därbyn reused into mosques. Obviously, a lot of issues have come up already this morning through the presentations looking at Buddhist and Sikh and Hindu architecture, which already talks about the way in which existing buildings are reused and which has cyntaf o arddangos Yn Ysgrifiannol Cymru, ac mae'n ddweud o bwysig i ddweud, ac mae'n ddweud i ddweud, wedi'i ddechrau o ddweud ymateb. Mae'n dweud o'r gwaith o'r gwaith o y whole stori, ac mae'n ddweud o'r gweithio ymddangos yma, yn ymddangos ei ddau cyd-dweith, ac mae'n gweithio eich gweithio ymddangos? Mae'n ddweud o'r gwaith o'r gweithio a'i ddweud o'r gwaith o'r gweithio. It's a new idea for me. But I just want to change the order in my slides if you don't mind. I see why the book was stuck so long. I'm going to start with the example in Manchester. Really, it's just to pick up on one of the points made earlier which is about how the reuse of existing religious buildings or the continued religious use, whether the faith changes, is a way of preserving the character of the building and of really sort of enabling that building and its architecture to sort of continue in quite a sort of celebratory way. And this is a very good example Dizbrimosch in Manchester, which is originally an 1873 church and it was acquired by local Arab Muslim community in the 70s and it had a rudimentary conversion made to, which is usually a case of simply clearing the floor plate really and creating a space for congregational prayer for Muslim prayer, which just needs a large open space in which it can take place and providing some kind of ablution facilities. And then in 2011 it went through a substantial sort of renovation and redevelopment. And this was the result after that this was the main prayer hall. And as you can see the structure of the church has remained intact the roof structure of the timber beams and so on are all in place and they've been sort of brought out in the refurbishment and the hall has been created through the clearing out and the laying of the carpet and so on. And the other particularly interesting thing is this is the Mehradon, the left hand side is where the Imam who leads the prayer will stand and that's been placed into the sort of south eastern wall of the church, which I think is conveniently for this one it meant that the prayer lines can all be sort of orthogonal in the church. So it was quite a convenient arrangement. And you can see the pulpit there of the church has been reused as effectively the pulpit for the mosque. So it's a complete kind of reuse of the furniture as well and enabling that to be retained. And the rose windows you can see a lot of the stained glasswork has been retained, a lot of the leaded glass has been retained and the centrepiece has been replaced with the Arabic word for God. So again it's a kind of quite subtle and quite appropriate kind of reusing of those facilities. And this is the second example. I'm going to show this to three buildings. This is the second one. This is Brent. So this is a congregational church. So a non-conformist church that was built in the early I think it was 1910 this one was built. In two phases there was, because the building actually spans between two streets. There's howard road on this side and then there's howard road on the other side which is kind of one block behind and the building spans between the two streets. The howard road side there's a school hall which was the first part of the building and then the church was built probably about 10 or 15 years after the school hall by about 1910 or 1902 sorry it was built. And what's interesting here is the way in which when the Muslim community acquired the building in 1980 the adaptations that they made to try and re-signify the religious purpose and what you'll see in a lot of adaptations and conversions is the desire and the need of communities to be able to signify the place with its new religious function. So you can see the small green bones that have been placed on the building one on the top of the kind of spire or steeple if you like. And one which is at the front there which is again where the Mehrab was built which is where the Imam would stand and that projected out into the street again to give as much floor space inside the building as possible. And you can see the references for those dome elements which have come from this kind of a period of sort of Mughal architecture in India. The Jamiah mosque in Delhi is just an example of that where you can start to see really quite direct associations between architecture and historical styles. And that's again something that we see quite a lot of in Muslim architecture which is the replication and the reuse of traditional Muslim architecture in different ways. And particularly in the early period there was this kind of attempt to bring elements over and adapt them onto existing buildings. This is the Howard Road side so you can see that there's a porch. This is kind of an entrance portico that's been built on the face of the school building and again that's been sort of identified and signified with these kind of dome type elements. And you can see the significance and the importance for communities to create that signification or to re-escribe a new language onto the existing building. And the interior of the mosque is the main hall and this hall kind of front almost like a kind of neoclassical Mehrab is only sort of one that I've seen really in that kind of style. But it's placed where you saw this photograph from the streets in the other photograph so that kind of projection in the centre is what was projecting on the front elevation and the chenrymyr hanging down the middle and you can see that kind of hole in the ceiling so what they were attempting to do is to put this fabric ceiling up with a dome so there was going to be or maybe it was there but it sort of came down but a kind of dome within the space again to evoke that traditional recognisable Muslim language. I don't know whether they actually built it or whether it came down but you can see through the ceiling or through that fabric you can see the original structure of the church so the building itself, the fabric of the building itself is more or less intact and this is the upper gallery. Again you can see the structure is there the balcony, the timber balconies and so on has all been retained really quite nicely and the conversion can sort of happen in that existing framework. Now this one has an interesting story when you look through the planning files this was a proposed redesign of the front of the church building by an architect called Latif Siwani. Now he was an architect in Gibbards, a photograph of Gibbards office and he worked on the Regents Park Mosque which was built by 1977 and he was in Gibbards team working on the Regents Park Mosque and the date of this one is I can't quite exactly remember actually but it would have been roughly contemporary with that period probably in the early 80s was when this proposal would have been put forward to the planners and what's interesting is the way in which Siwani was doing was trying to work within the existing framework of the building and apply an arabesque pattern work which would sit within the existing elevation. This didn't come to pass, there's notes in the planning files that say that the proposal the community didn't manage to gain funding from the community to implement this proposal so it didn't actually happen and there was another drawing that came after this which was for a proposal to complete a rebuilding of the church as a proposal to demolish the existing church and rebuild a much more traditional mosque with minarets and domes. The drawings were very sketchy so they weren't very developed at all and I think luckily that didn't happen but what was interesting was what it suggested to me was the way in which this slightly more nuanced or complex response to working with existing architecture of language was something which was a little bit possibly something which was a little bit more difficult for the local community, the local listening community to maybe to take on board and to see as the next step for their building whereas rather the response was to create a new building but I guess for a number of reasons practicality is probably that the church actually functioned quite well as a mosque and there wouldn't really have been any great benefit in knocking it down and rebuilding another one anyway probably those kind of reasons that the church building actually stayed and they were able to convert it into the mosque and I'm just going to go back now to the beginning and I sort of want to show this one at the end really because it's one of the most I mean it's quite a very famous example of adaptive reuse of a religious building and this is the brick lane what is now the brick lane mosque and it has a history which has really become emblematic of the kind of cultural layering that characterises the east end of London and it has a very complex kind of series of uses that I can never remember exactly what they are so I'm just going to quote from this I have here don't mind so yes the building started in 1743 as a Huguenot church it was built by the Huguenots who were settling in this part of Spiddlefields they had to petition the king at the time to get permission to build it permission was given and then they were able to build this building which is built in a very sort of a kind of a very straightforward style there was nothing in there that necessarily pronounced it as being a sort of church or a Huguenot church so it was very much fitting into the environment fitting into it's neighbourhood at the time and it was followed in 1809 so it was about sort of 60 years that it lasted as a Huguenot church and then it became it was taken over by an organisation which was called the Society for the Propagation of Christianity amongst the Jews which is a great name but it's also very interesting idea because this is basically the Jewish community that were growing and this did become a very sort of densely packed Jewish neighbourhood around that period so up through the early 19th and through the 19th century and so it became this Christian missionary organisation and then that lasted only for about 10 years 1819 it became a Wesleyan Methodist chapel so it went back to a Christian use and then that went on until the end of the century so 1898 it then became a synagogue and the synagogue used carried on for the next 76 years or 78 years and in 1976 it was purchased by local Bangladeshi Muslims who turned it into the bricklay mosque which is what it is now over that whole period the building didn't really certainly in terms of its exterior fabric and in terms of its external appearance it didn't really change and this is a drawing of the interior of the church when it was a Methodist chapel and this drawing dates from 1743 I'm not sure exactly this was about 1819 this drawing this is kind of the only one I found which depicts it as a Methodist chapel and then this one photograph of the synagogue in 1951 so you can see that the actual fabric of the building, the positions of the windows and so on have remained intact and it's really the interior features and furniture and so on which has been replaced in both of those cases it's probably I'm not sure if we know exactly what it was like when it was a Huguenot church but this is again a photograph of it in its use as a synagogue, you can see the gallery on the upper floor of the columns and timber work which you'll see in the current use as well and these floor plans which were produced for the well the English Heritage Religion and Placing in Tower Hamletch project which were produced for that time show the again the changing of the interior layout within the existing fabric of the building within the existing shell of the building and the lower plan shows it in its mosfus which is again where all the interior furniture really has been taken out to create large open prayer halls and there is still a gallery in it so this is the current building now what you can see is this is the ground floor prayer hall and the timber panelling that you saw in the photographs for the upper galleries when it was a synagogue was reused to create this kind of panelling for the upper floor and you can see the columns as well have also been retained and reused and the door cases and door sets and so on are also original and retained and this is the upper floor prayer hall which was the upper floor gallery so it was that continuing changing of the interior on the roof of the building there was an addition which was built I think it was early 20th century while it was a synagogue where the synagogue built a number of classrooms for religious education for Jewish children so there was a kind of timber addition on the roof which was built at that time and this is a photograph of that sort of top floor and you can see the window at the end which is the window you see in the gable of the front facade of the building and again this has been retained and reused for classrooms in which the mosque can also carry out religious education for children after school classes and so on so it has a very easily reusable and adaptable set of functions already and this was a new ablution facility which was built on the exterior face of the building as it were and this was obviously granted this building consent I think it was around 2007 or 2008 exactly that these works took place and there were other refurbishment works in the building that were carried out then as well but it was an overall application to adapt and modify the building and I think it's quite a good way of building onto the side of the historic building where you can also have an understanding of the fabric of the original structure which is obviously the intention of enlisted building but the aims of enlisted building consent is that you can understand the history and the fabric of the existing building and this one works quite well while bringing in a new function for the new religious use of the building so a large significant element that was added to the building was the minaret now this mosque has over the years looked at different ways of being able to create a symbol on the building that denotes its Muslim use now as we saw in Brent that desire or that requirement to denote the building with a new identity and with a new religious function is a very strong desire within communities that use the building it's quite an important thing for communities to be able to do to feel that they have ownership and also to feel that they can communicate their presence and their use within the wider community so there were other proposals or attempts to create minarets on this building over the years but they were unsuccessful because attaching to the existing building was just not something that was going to be permitted considering its listed status and its historic character and the way in which it sits within the townscape and so on so on all of those quite normal planning and listed building issues eventually they didn't manage to succeed with an application with a proposal because there was a series of works going on on Brick Lane which were to do with enhancing the townscape and there were a number of street furniture elements that were being built there was a kind of gateway over the beginning of Brick Lane and these were all to do with re-signifying the street and the area as what has come to be known as Bangletown and it was about sort of a kind of celebrating or identifying the area with its connecting with its Bangladeshi heritage so the minaret proposal fell into the overall schema of these works which was about the signification of the area and its heritage on the street as it were so the minaret was eventually approved and built as you can see here and it was designed by DJI architects and they designed it it's actually on the cover of the work as well but it was designed as a series of stainless steel drums with arabesque pattering on it with a sort of tall spire and this crescent so it was part in a way it's part street furniture it's part kind of street sculpture and part minaret so it sort of sits between these two sort of realms of being something that signifies that this building is the mosque but also being something that signifies that this area has a particular sort of cultural landscape and so on and you see it here in evening so it has kind of different coloured lights in it which actually it does look good actually I have to say but you can see in this photograph that it sits slightly away from the building so I think this is also quite an important point is that the minaret is not attached to the building at all but it does sit within the sort of street space so again it's kind of physical positioning puts it in this kind of dual zone of being both a signifier for the mosque but also being a signifier for the area so it takes up this slightly kind of negotiated position and there's an interesting planning condition on the planning permission that came with this minaret so when it was granted planning permission there's a condition that says that when the building when this building is no long to be used as a mosque the minaret has to be taken down so it has a sort of conditional I don't know how I'm sure that's not going to happen but it's one of those conditions is that enforceable I mean I have to see right there so but it's interesting that that was the sort of legislative framework within which this particular piece of kind of architectural symbolism was understood was that when it can be there as long as the mosque is there but once the mosque is there then it's used so it hasn't a long gone I'm sure it will still be there because I think it will just become part of the street you know finished there thank you