The Ismaili Jamatkhana of Manhattan is a place of gathering and worship for members of the Ismaili Muslim community, a Shia sect within Islam that follows the spiritual leadership of the Aga Khan. “Jamatkhana” translates to “house of the community” in Arabic, speaking to the communal role this special place takes on, serving religious, social and educational programs. The renovation, spearheaded by by Celeste Umpierre Architect (CU–A) and in collaboration with Arriz Hassam (Arriz & Co), sought to strike a balance between tradition and modernity, creating a space that honors Islamic heritage while serving the needs of a contemporary urban community.
The brick structure dating back to 1854, has witnessed the evolution of New York City through its various incarnations, originally housing the city’s oldest police station, the 15th precinct house, and then hosting a series of other religious educational institutions throughout the years. CU–A spearheaded the project’s architectural organization through a series of structural moves on the interior and exterior of the building. Most notably occurring in the Prayer Hall, a structural remodeling relocated bulky ventilation systems constricting the space to the roof, allowing the interiors by Arriz & Co. to fully shine and highlighting the calm, spiritual quality of the hall. Out of respect for the sanctity of the space, it is not shown.
The balance between contemporary building techniques and traditional motifs manifests by the conceptual incorporation of tessellating geometries and the Mashrabiya screen. The Mashrabiya, being a key element of Islamic architecture, functions as a filter for harsh sunlight in arid climates, but also scatters light in a poetic way, evoking the spiritual qualities of nature and objects. This principle is expressed in the entrance marquee, which casts shimmering shadows on the ground during the day, and glows like a lantern at night. Lighting experts were consulted to calibrate its laser-cut metal panels to a ratio of 65% solid surface and 35% void, achieving the right balance of light and shadow. Structurally, the marquee seems to float above the street, though steel beams hidden in the ceiling extend roughly ten feet inward, mirroring their projection outward.
The coffered ceiling of the entrance hall also reflects traditional geometry. It is composed of prefabricated triangular oak modules that tessellate into a hexagonal pattern, with small gaps that allow the wood to expand and contract, preventing cracks and ensuring longevity. Lastly, this same geometric language continues in the private sculptural stair connecting the upper floors, creating a three-dimensional expression of the tessellating forms that appear throughout the building.
The Jamatkhana hosts not only spiritual gatherings, but also interfaith events, public talks, and cultural exhibitions, inviting the broader public to learn about Islam, pluralism, and the Ismaili tradition. It provides a tranquil retreat from the city’s chaos, inviting visitors to engage in prayer, meditation, and introspection.
