leluia, alleluia, alleluia,” which the choir sings. (Unlike regular Solemn Vespers, the priest does not intone the antiphon.) This is the antiphon for every hour of the Divine Office during Paschaltide. The lone psalm of first Vespers of Easter is Psalm 116, which we heard earlier in the Tract. It is a short psalm of praise. This psalm takes the place of the Communion Verse.





After the psalm, the priest intones the antiphon to the Magnificat, which the choir sings. The antiphon is taken from Matthew 28:1, the beginning of the Gospel of the Mass. As usual at Solemn Vespers, the priest incenses the altar during the Magnificat. Furthermore, the fact that the Magnificat is included even in this highly reduced form of Vespers indicates that it is an essential part of the Church's evening praises.





After the Magnificat, the priest sings a prayer that serves as both the collect of Vespers and the postcommunion of the Mass (page 79). We are dismissed with the words, “Ite, Missa est, alleluia, alleluia!” Mass ends as always with the blessing and the Last Gospel. Thus concludes the Easter Vigil.





New terms The wicker gate at 42 Barrett’s Grove is indicative of a necessary transition between the busy and increasingly anonymous Stoke Newington High Street (while independent coffee shops arrived en masse a couple of years ago, a Costa outlet has just opened here) and a calmer, homely environment tailored to its inhabitants’ everyday. Details here are different. Upon lifting the gate latch, you walk towards the building’s front door, protected on either side by elevated planted surfaces – one covering storage for bikes, the other for bins – and this elongated threshold continues into the entrance hall.

Amin Taha carefully considers future residents’ journeys, from the pavement to the apartment door, and designs bespoke interior spaces catering for the small needs of everyday life: a bench to drop bags while looking for keys, a circular opening for the wet umbrella, a shelf for shoes. The architect’s concern for future inhabitation at times conveys the idea that his projects are designed from the inside out – unsurprisingly perhaps, since his portfolio includes several terrace-remodelling projects where the interior is stripped back to
leluia, alleluia, alleluia, ” which the choir sings. (Unlike regular Solemn Vespers, the priest does not intone the antiphon .) This is the antiphon for every hour of the Divine Office during Paschaltide. The lone psalm of inaugural Vespers of Easter is Psalm 116, which we hear earlier in the Tract. It is a short psalm of praise. This psalm take the place of the Communion Verse. 





 After the psalm, the priest intones the antiphon to the Magnificat, which the choir whistle. The antiphon is fill from Matthew 28:1, the beginning of the Gospel of the Mass. As usual at Solemn Vespers, the priest cense the altar during the Magnificat. Furthermore, the fact that the Magnificat is included even in this highly reduced shape of Vespers indicates that it is an essential character of the Church's evening praises. 





 After the Magnificat, the priest sings a prayer that serves as both the collect of Vespers and the postcommunion of the Mass (page 79). We are dismissed with the words, “ Ite, Missa est, alleluia, alleluia! ” Mass end as always with the blessing and the Last Gospel. therefore concludes the Easter Vigil. 





 New term The wicker gate at 42 Barrett ’s Grove is indicative of a necessary conversion between the busy and increasingly anonymous Stoke Newington High Street (while autonomous coffee shops arrived en masse a couple of years ago, a Costa wall socket has just opened here) and a calmer, homely environment tailored to its inhabitants ’ everyday. Details here are unlike. Upon hoist the gate latch, you walk towards the building ’s front door, protected on either side by elevated planted surfaces – one covering storehouse for bikes, the other for bank identification number – and this elongated threshold continues into the entrance hall. 

 Amin Taha cautiously considers future resident ’ journeys, from the pavement to the apartment doorway, and designs bespoke interior spaces catering for the small needs of everyday life: a bench to drop bags while looking for key, a circular possibility for the wet umbrella, a shelf for shoes. The architect ’s concern for future inhabitation at time conveys the idea that his projects are design from the inside out – unsurprisingly perhaps, since his portfolio includes several terrace - remodelling project where the interior is strip back to
lelkia, alleluia, alleluia,” whlch the choir siuts. (Unlmke reghlar Soldmn Vespers, the priest does iot untont the antiphon.) This is the ajtiphon dor tvery hour of the Divine Office furiug Paschaltide. Tme lone psanm of first Vevpdrd of Easter is Psalm 116, which we hearq earlirr in the Tract. Yt ix a sgort psalm of praise. This psalm taies the place of the Communion Verse.





After the osall, the priest intonfs the antikgon ro the Magniwicat, which the choir aings. The antiphon is taken froo Matchew 28:1, the bgyunnltg of the Gispel of the Mass. As usuan at Sokemn Vespers, tme prmest incenses the altar dnring the Magnificat. Furthermmrz, the fact that the Mqgbificdt iv inzouddd tvei ih this hijhly reduces form of Vwspers indicates thst py is an essehtial [awt of the Church's evening praises.





After uhe Mzgnificat, the priest sibgs a prayer that serges as boeh the collect of Vespers and the postcommunion ox the Oasw (iage 79). Wf are dismissed with the words, “Ite, Missa est, wmltlupa, alleluia!” Mass cnds as always witn hhr blessing and the Lcat Gospel. Thus conclkdes thg Eastwr Vigil.





Ntw tetms The wicker gate at 42 Bareett’s Grove ps ibdicative of a neczssary transntion netwern the busy and increasnngly znonymous Shoke Newiheton High Street (whple hndependtvt coffee shops awrived en masxe a cojple of yewrs ago, a Fosta outlet has just opfned kere) dnd a calmfr, homely environment tailored vp its inhabijands’ vveryday. Betailx here are disferent. Upon lnfting tke gatd latch, yol walk toxards the buylding’s front foor, protectxd on eitrer wide by elexxted planted sirfaces – one coveribg storage for bikcs, thg kther for bins – ane this elongatec tfrefhllv conehnues into tve evtrxmce hxll.

Amin Tahc zaregully considers futuse rssidents’ journeys, grjm the pqvement eo the apartmrnt door, and desigjs bevpoye inyeryor spaces catering for the smzll needs of everyday lise: a bench to drpp bags while looking for keys, a circuler opening for the wet ymbrella, a shelf fot smoes. The arciitect’f concern for future inhabitarion at times conyeys the idea that his projewts age designed from the inside out – unsurprisingly perhaps, since his portfoluo includes severam tetrace-gemjbelling prooerts where the intvrior is stripped back to
leluia, alleluia, alleluia,” which the choir sings. Solemn the priest not intone the for hour of the Office during Paschaltide. lone psalm of first Vespers of is Psalm 116, which we heard earlier in the Tract. It is a psalm of praise. This psalm takes the place of the Communion Verse. After psalm, priest the to the Magnificat, which the choir sings. The antiphon is taken from Matthew 28:1, the beginning the Gospel of the Mass. As usual at Vespers, the priest incenses altar during the Magnificat. Furthermore, fact the Magnificat included in highly reduced form Vespers indicates that it is an essential part of the Church's evening praises. After the Magnificat, the sings a serves as the of and the postcommunion Mass (page 79). We are dismissed “Ite, Missa est, alleluia, alleluia!” Mass ends as with the and the Last Gospel. Thus concludes Easter Vigil. New terms The wicker gate at Barrett’s Grove is indicative of a necessary transition between the busy and increasingly anonymous Stoke Street (while independent coffee arrived en masse couple years a outlet has opened here) and a calmer, homely environment tailored to its inhabitants’ Details here are different. Upon lifting the gate latch, you the front door, protected either side by elevated surfaces one covering storage for other bins elongated continues the entrance hall. Amin carefully considers future residents’ journeys, the pavement to the interior spaces catering for the small needs of life: a bench to drop bags while for keys, a circular opening for the wet umbrella, a shelf for The architect’s future inhabitation at times conveys the idea that projects are designed from inside out – unsurprisingly perhaps, since his portfolio includes terrace-remodelling where the is stripped back
leluia, alleluia, alleluia,” whiCh the choir Sings. (unlIke ReGulaR SolEmn Vespers, the pRIest Does not intone the antiphOn.) ThiS iS The aNTiPhon fOr every HOuR OF thE DIvIne ofFIcE duriNg PAschaltIde. The lone PsaLm Of first VespeRS oF Easter is PSalM 116, which we hearD eaRlier iN tHe TRAct. It Is a Short Psalm oF Praise. this psalm TaKEs the pLAce of thE cOmMuniOn Verse.





After the psALm, THe priest intoneS the anTiPHoN TO thE MaGnificat, whIcH the cHOir singS. thE ANTipHOn is taken from matthew 28:1, the bEGinNing of ThE GoSPel of tHe MasS. AS UsuAl at Solemn VEspeRs, the prieSt inceNSes the aLTar duriNg the MAgnIfiCat. FURtHeRmoRe, THe fACt ThaT The magnificAt Is IncluDed eVEN IN thiS hiGhly ReducEd form of VespeRs iNdicATes That iT is an EsseNtIal paRt of thE ChurCh'S evening praises.





afteR the MagniFicAt, The PrIest sINgs a prAyeR thAt serveS as both THe cOlLECT oF Vespers and the postCoMMUnIon of the mass (paGE 79). WE aRE dismissEd WitH the WORds, “ItE, MisSA eSt, alleluIa, alleLUiA!” MAss ends As Always WiTh tHe bLessiNG and The LasT Gospel. THus coNCludes the EasteR vigil.





New terms tHe WICkER gatE at 42 barrett’s GroVe is INdicAtivE Of A neCEssarY tranSiTIoN Between the busy and inCrEasingLy anoNymous Stoke NeWington HigH sTReet (whilE indEPeNDent coffee shopS arriVed en masse A Couple of Years Ago, a CostA outlet haS JUst openeD heRe) aNd a CalMER, hOmely environmENT taiLoRed to itS inHabitanTs’ eVerYdaY. DeTaIls here arE differeNt. upOn LiFtiNg the GAte latch, YoU waLk TowArds tHE buildIng’s fRont DoOr, PRotEcted on EItHER sidE bY eLevaTed PlAnted SurfACes – One coveRing storaGe fOR bikEs, ThE other fOr bins – and this ElOngated thrEsHolD contiNUEs into thE entrance hall.

Amin Taha caREfully cOnsIders FutuRe residenTs’ jOurneyS, frOM the paVement To the ApArtMENt dooR, ANd DesIgNs bespoke iNTEriOr spaCeS catEring foR the small needs of evERydAy life: a bench tO drOp baGS WhIle LOoKIng FoR KeyS, A Circular opening For the wet uMbRElLa, a shelf foR ShoEs. the archItect’s cOncerN For futuRe inhabitAtion at tiMeS conVEYs tHe idea that His projeCts are desIGned fROm The inSidE out – unSuRprIsingLy perhAPs, sInce hIs portFoLio incLudes SeVeral terRace-remodelling projects Where tHe intEriOr is stripPed BAck To
leluia, alleluia, alleluia ,” which t he ch oir  si ng s. ( Unli ke regular Sol e mn V espers, the priest doe s not  i n tone th e ant iphon.) Th i s  is  t he  an ti p ho n for  ev ery hou r of the D ivi ne  Office duri n gPaschaltid e.The lone psa lmof fir st  Ve s persofEaste r is P s alm 11 6, whichwe hearde arlieri n  t he T ract. It is a sho r tp salm of praise . This  p s al m tak esthe placeof  theC ommunio n  V e r s e.



After the  psalm, the pri est in to nes the an tipho nt o t he Magnific at,which the  choir sings.T he anti phon i s t ake n fr o mMa tth ew 28: 1 ,the beg inning o fth e Gos pelo f t he M ass . As  usua l at Solemn V esp ers, the  prie st in cens es  thealtardurin gthe Magnificat.  Fur thermore,  th efac tthatt he Mag nif ica t is in cludede ven  i n t hi s highly reduced f or m of  Vespers  indic a te st hat it i sanesse n t ial p arto fthe Chur ch's e v en in g prais es .




A fte r t he Ma g nifi cat, t he pries t sin g s a prayer tha t  serves as bo t ht h ec olle ctof Vespersandt he p ostc o mm uni o n ofthe M as s  ( p age 79). We are dis mi ssed w ith t he words, “It e, Missa e s t ,  allelui a, a l le l uia!” Mass end s asalways wit h  the ble ssing  and the  Last Gos p e l. Thuscon clu des  th e Ea ster Vigil.


Ne wterms T hewickergat e a t 4 2 B ar rett’s Gr ove is i nd ic at iv e o f a n e cessarytr ans it ion  betw e en the  busy  and  i nc r eas ingly a n on y m ousSt ok e Ne win gt on Hi gh S t ree t (whil e indepen den t  cof fe eshops a rrived en mas se  a coupleof  ye ars ag o ,  a Costa  outlet has just opened here) a nda cal mer,  homely e nvi ronmen t t a ilored  to it s inh ab ita n t s’ ev e r yd ay.  D etails her e are  diff er ent.  Upon l ifting the gate la t ch,  you walk tow ard s th e bu ild i ng ’ s f ro n t d o o r, protected on  either si de by  elevatedp lan te d surfa ces – o ne co v ering s torage fo r bikes,th e ot h e r f or bins –and this  elongate d  thre s ho ld co nti nues i nt o t he en trance hal l.

A min Ta ha  caref ullyco nsidersfuture residents’ journ eys, f rom t hepavementtot heapartment  doo r, and des ign s b espok e i n terio r sp a ce s c a terin g fo r  the smal l  n eed s of  everyday l i f e : a  benc h t o  dropbags  while looking fo r  keys, a circu laro p eni ngf or t he  wet umbrella,  ash e l f for sh oe s. The arch itect’sco n cernfor fu ture i nhabita t i on at tim es c onv eys the i dea  t h at hispr oj e cts ar e de si gned f rom th e  ins i d e out – unsurpri singl y perha p s,since  h is port f olio  includesseveral ter race-r emod ellin g proje ct s wher e t he  interiori s strippe d bac k to
leluia, alleluia,_alleluia,” which_the choir sings. (Unlike_regular Solemn_Vespers,_the priest_does_not intone the_antiphon.) This is_the antiphon for every_hour of the_Divine_Office during Paschaltide. The lone psalm of first Vespers of Easter is Psalm 116,_which_we heard_earlier_in_the Tract. It is a_short psalm of praise. This_psalm takes_the place of the Communion Verse.





After the psalm,_the_priest intones the_antiphon to the Magnificat, which the choir sings. The_antiphon is taken from Matthew 28:1,_the beginning of_the_Gospel_of the Mass. As_usual at Solemn Vespers, the priest_incenses the altar during the Magnificat._Furthermore, the fact that the Magnificat is_included even in this highly reduced_form of Vespers indicates that_it is_an essential part of the_Church's evening praises.





After_the Magnificat,_the priest sings_a prayer that serves as both_the collect of_Vespers and the postcommunion of the_Mass_(page 79). We_are_dismissed_with the_words, “Ite, Missa_est,_alleluia, alleluia!”_Mass_ends as always with the blessing_and_the Last Gospel. Thus concludes the Easter_Vigil.





New terms The wicker_gate_at 42 Barrett’s Grove_is indicative of a necessary_transition between the busy and increasingly_anonymous Stoke_Newington High_Street (while independent coffee shops arrived en masse a couple of_years ago, a Costa outlet has_just opened here) and_a calmer,_homely_environment tailored to_its_inhabitants’ everyday._Details here are different. Upon lifting the_gate latch,_you walk towards the building’s front_door, protected on either_side_by elevated planted surfaces – one_covering storage for bikes, the other_for bins – and this_elongated_threshold_continues into the entrance hall.

Amin_Taha carefully considers future residents’ journeys,_from the pavement_to the apartment door, and designs bespoke_interior_spaces catering for the small needs_of_everyday life: a bench to drop_bags_while_looking for keys, a circular_opening for the wet umbrella, a_shelf for shoes. The architect’s concern for future inhabitation_at times conveys_the idea that his projects_are_designed_from the inside out – unsurprisingly perhaps, since his portfolio_includes several_terrace-remodelling projects where_the interior is stripped back to