Revealed in the Plan are the association and complicity of the ablution space in setting the prayer hall’s skewed disposition. The cylindrical lightwells grip the the enclosed box, and like giant wheels seem to roll around the surface of a massive curved wall, carrying the volume off-centre to meet a line perpendicular to the plane facing Mecca. This slight displacement breaks the prayer hall from rigidly adhering to the eightfold axial symmetry of the body it is grafted to, but maintains a strong bond by placing the literal origin of its rotation within its bounds; the pivot for this inferred swinging action is located at the very centre of the circle whose bisection results in the plan of the ablution space. The line connecting the pendulum to the hinge can be seen as a maternal bond, an invisible umbilical chord reminding the prayer hall of its origins and endless gestation.

Light in the architect’s work is not simply a of tool illumination, and is at times diverted from its expected functions. Throughout its many characters, moods, and extremes - as a barely perceptible glimmer lurking past an opaque mass, a blinding glare that pierces through space and scans the surfaces in its path, or as a cascade of angles that wash down the height of the ambulatory as an imperfect symphony of parallel lines - light is the ephemeral force that unifies the spaces. Its trajectory determined by the time of day and passing of seasons, it disperses and transforms once inside the confines of the structure. Selectively navigating the paths the architect has reserved for it, flowing through partitions and crevices in mixed tones and guises, light permeates the spaces with sublime presence, supplying an atmosphere of almost palpable gravity. Acting as the canvas for its characters, the walls serve as markers for a daily journey, their bold forms alternately revealed and obscured through its cyclical course.