Grande Mosquee d’ Alger

L A

G R A N D E

M O S Q U É E

D ’ A L G E R

A PERSONAL ACCOUNT OF VISITING THE GREAT MOSQUE OF ALGIERS IN 2020

A sea breeze blows in our sails

– slowly we approach Algiers. In the first light of dawn, contours of the Mosque slowly emerge. It must be huge to be visible from this distance. The sun rises and the skyline shows an ever clearer picture of the Mosque. Calm and almost majestic the Cupola uplifts above the bright white plateau. Beside the Cupola the Minaret towers into the sky and displays a fascinating light and shadow effect on its elegant form. It is early morning.

We are coming closer and closer to the complex and can now see how the plateau naturally flows out of the topography of the city landscape, as if it has grown and been gently carved. We sail directly into the small harbour below the Mosque and go ashore. The splendour of the complex is within reach, its scale is overwhelming. We imagine it to be at least 1 km long.

The sunlight reveals the smallest variations and mirrors the plasticity of the surfaces. We can see that the dual carriageway to Algiers has been lowered and directed into a tunnel. On the west side we notice the large entrance area, which leads to the plateau. On the short way there our attention is again directed towards the fascinating view of the Mosque. We dwell for a moment, before entering the large entrance area with the visitor’s centre.

First let us gain an overview. Through the gates of the large entrance area we access the centrally located portico. In front of us lies the great stairway, which leads to the plateau and is flanked by two water basins.

The roof openings allow light to flow into the space. We sense the formal design principle of the five by five grid system. Each of which is bordered by countless numbers of columns. The hall reflects clarity and geometrical order reminding us of the Great Mosque of Cordoba. The daylight streaming in, reveals the fine structured surfaces of the floor and columns, their shadows creating dynamic forms on the floor.

As we go up the stairs on to the platform the breath taking view of the Mosque emerges. We see the rhythm of the structured areas and the ornamentation of the emerald green glazing, which reflects the sunlight. We are in awe of the form of the cupola. Overcome by the view, only now do we realise that we are standing in the middle of an orchard. As in the portico, the formal design principle of the five by five grid system is reflected; we look around and see the freedom statue, rolling hillsides, the sea and the spectacular position of the ensemble in the heart of the bay.

The Minaret grasps our attention, its contours elegantly highlighted behind the Mosque in the clear blue sky. We walk slowly along the seaside of the plateau towards the Minaret. Its beauty impressively overlooks the Mosque. Here we also see the interaction between the unity and plasticity of the surfaces. The water basins, surrounding the Minaret, show in the sunlight the sparkling play of colours with its mosaics between cyan, blue and green that is further complemented through yellow and orange tesserae. We reach the Minaret by means of a footbridge and meet two architects, Sarah and Mostefa, who are familiar with the Mosque complex.

First we explore the Minaret. We enter the impressive foyer and handover our belongings. Mostefa explains that the bags are kept safe in a fully automatic system with 5,000 lockers in a special level below the foyer.

We begin our tour with the visitor’s platform at a height of 235 m. An express lift brings us up in just a few seconds. In moments we are standing on the platform and enjoying the wonderful view over the bay and the entire complex. Even our guide Sarah, is time and again made speechless by this magnificent setting. Here we experience the earlier perceived clarity even more. Sarah describes the complex: “From here you have the best view, to appreciate everything. The complex reflects the number five. It serves as a scale of reference and design, down to the smallest detail. It is visible everywhere. This concept is meant to reflect the origins of Islamic architecture.” We are delighted, when our initial perceptions are confirmed: How fundamentally and comprehensively the master builder’s have contemplated their work.

We see the paradise garden with the madrassa, the orchard where we entered the plateau, the esplanade with its arcades, the water basins and Minaret. Mostefa explains to us that the historical principle “Circle in Square” was inverted in the Mosque and the Circle now contains the Square and Sarah assures us that we will see this. The plateau lies below us like a gigantic woven sheet. Even from this height the fine textures of the surfaces are visible.

Sarah directs our attention to the south lying buildings of the Imam. The flowing form of the opposite lying buildings steps out of the strict geometry and open itself to the Mosque whose beautiful form, integrates harmoniously. “To the west”, Sarah adds, “is the private residence of the Imam and the director of the complex, as well as two apartments for special guests. In the east are the representation, reception and offices of the Imam.” We are impressed. Mostefa continues: “Further east you can see the delivery/collection access road for the Minaret, the road leads into a tunnel. Underneath the water basin are the delivery zone, storage and technical areas. The high technological standard of the complex is barely visible. It is equipped with the most modern and innovative technology, countless control and monitoring systems, such as sensors for seismic activity, general security surveillance, preventative fire protection systems as well as climate and ventilation systems. Can you see the varying printed pattern on the glazed areas of the Mosque? Guess what it could be! It is solar panels, integrated into the glazing, supplying the complete complex with electricity. As well as that, sea water is used for heating and cooling.” We are speechless – we never expected a Mosque with such spiritual depth, spatial scope and technological complexity. “On the 44th Storey is the control centre of the building automation systems and security surveillance”, adds Sarah. “On the south-west street corner is the administration building with the management, guards and access yard. On the right side you can see the halls of residence for postgraduate students.” “And the building in front?” we ask. “This and also the building next to the Minaret are two schools, that where present before the Mosque was built and have been integrated into the complex.”

We enjoy for the last time the unmatched view and the sea sparkling in the sunlight. “Now we will show you the Museum, you will love it”, agree Sarah and Mostefa. The lift speedily takes us a level lower. “We will walk through the Museum from top to bottom”, says Mostefa. “That way you will get the best impression.” A spatial arrangement, which we have never seen before, greets us: Like the sepals of a flower bud, that are on top of each another and twisted, we stroll from level to level. Unhindered and unnoticed we descend further and further, past countless exhibits from the past centuries, each more beautiful as the other. I ask Mostefa, where the peculiar light is coming from. “I told you that you would like it”, he grins. “The light comes from fibre optic cables that have been laid into the concrete which make it possible, to see light and even colours through the concrete.” Unbelievable. “For the exhibits this is the optimal protection against the ultraviolet rays of the sun”, adds Sarah. Also here emphasis was given on the fine and rational implementation, choice of materials and surface design.

“Let’s keep going!” Sarah calls to us. “We want to go in the Media Centre; there we have another surprise for you” We are curious. We enter an oval room, which covers several storeys. In half-dark we sit in bucket seats, which are on a sloping surface. It is unbelievably comfortable and relaxing, to sit there and slowly we sense, how the seats lightly vibrate in synchronisation with the upcoming film. A perfect illusion! We appear to be flying through the cosmos and approach Earth, we see our blue planet. We come closer and closer and land finally in Mecca in the seventh Century, at the time that Mohammed was born. An unbelievably stunning time travel through the Islamic world begins; its development, early knowledge of geometry, astronomy, health and lots more. Still completely overcome from the historical journey through the last fifteen centuries we walk past the staff members of the book and video library. The form and technology underline the fact that we are in a modern science, communication and cultural centre.

Next we go with Sarah and Mostefa into the café on the fourth storey. Here again we notice the well thought out details, design principles and workmanship, that we have seen often enough today. Our senses are spoilt by floral motives, colours and wonderful tasting tea. While taking time to have a drink Mostefa tells us about the three section underground car park with 10,000 parking spaces, which lies below the paradise garden, portico and esplanade. He explains: “Even in this more functionally orientated area the concrete is covered with fine folds and muscle-like forms. Diverse coloured floor areas provide the necessary guidance and orientation. From each parking section multiple transportation systems are within reach consisting of lifts, escalators and stairs. The complete system can bring up to 2,800 people per minute simultaneously into the Mosque complex.”

Mostefa explains further the clearly arranged design, electronically secure and elaborate routing system with separate entrance and exit levels. He informs us about the necessary lowering of the dual carriageway that resulted in noise reduction and benefits for the flow of traffic, the interconnection between the sea and city side and the resulting direct access to the complex for the arriving visitors.

Following Mostefa’s figurative description Sarah suggests to leave the Minaret and to stroll through the wonderful external facilities to the buildings of the Imam. The trees, bushes and plants indulge our senses and underline the movement of the landscape. A light sea breeze accompanies us and we enjoy the stroll. We walk past large external stairs below the Mosque. “In case of emergency these serve as escape routes”, explains Mostefa. Then we arrive at the buildings of the Imam. Again we are fascinated by the scale of the structures, the proportion and filigree arrangement. Unfortunately we cannot tour the buildings.

However Mostefa assured us with respect to the splendour of the interior rooms. Above us we admire the pattern of the tentlike canopy between the structures. “A practical addition against excessive sunlight”, Sarah mentions.

We wander through the gardens, which we experience as a dominant element of the landscaped arrangement, constantly accompanied by the delightful fragrances of flowers. We reach the administration building, which marks the south-west border of the complex. The building is orientated around its usage and is still in doing so no less independent and distinctive as the already viewed buildings. The courtyard design consists of a closed access yard and three-sided garden area for the administration.

Through the access yard we approach the halls of residence. The basic form consists of four individual squares, which together form a larger square. “An allusion of geometrical rationality”, Sarah explains to us. We stand in the internal courtyard; feel the coolness of the water basins and decide to pause for a moment. Again the clarity of the structures impresses us, with their connecting walkways, surface design and plasticity of the recessed window openings with fine grid structures. The openness of the building structure and the walkways along the full length of the facades allow views in all directions. Sarah explains that the building offers accommodation for up to 320 students. “Two students share a single room. Two large canteens are on the ground floor and lounge areas are located on each floor”, she explains further.

We want to save the highlight of the complex, the Mosque, for last so we decide to go in the garden of the madrassa. We enter this area by means of the road “Rue Khettab Benyoucef” and stand in a beautiful garden. Silence embraces us from one moment to the next. The trees offer welcome shade and we are surrounded by fragrant flowers. We feel the uniqueness of the ensemble, which consists of an internal and external space. Nature appears to be displaying its full beauty. A small channel of water encircles the madrassa. Recesses offer spaces to relax or to study outdoors. Arcades surround the garden on all four sides. The artistic designed columns create shadows on the floor.

We turn to the portico and Sarah and Mostefa lead us along the qibla axis to the esplanade, a square roughly 100 x 100 metres in size. We look all around us: Behind the columns of the arcade we notice on the north and south side the stairs from the underground car park. The upper arcade is covered with a fine net-like structure. Here is the mezzanine level for the Women. Numerous washing areas are provided on both levels, separated for Men and Women, behind the arcades. “Shoes are stored here in lockers”, Sarah explains.

At this point Mostefa explains the entrance situation to us, which is strictly split for the two genders. “There are multiple small entrances from the city and sea side, a direct entrance to the esplanade, which is only for Men, as well as a large entrance zone in front of the portico for visitors, for those who like us are coming from the sea side.” He continues to explain to us that on the esplanade approximately 12,000 Men, on the plateau a further 45,000 people and on the mezzanine level approx. 8,000 Women can be accommodated for. We are amazed from these figures, which still sound more than the spatial impression – a sign of the compactness and at the same time generous layout of the complex.

The Mosque lifts above the esplanade and we are fascinated by its scale, form and the play of green colours. Now we want to see it. Slowly we go along the qibla axis towards the over dimensioned door opening of the Mosque, in doing so we cross the colonnade of the east arcade. We are overjoyed, our heats beat faster. We walk through the first portal, which rises impressively above us. A second portal follows, just as impressive. Now we are standing at the threshold. In front of us is a space that brings us to a standstill. We are overwhelmed, absorbed in thought, we sense the majesty of the space, its strength and calmness. The impenetrable depth and indeterminate height reflect the scale of the space. Rolling galleries left and right of the qibla axis rise up nine fold and narrow down from level to level towards the external wall. The two lower galleries are spanned with a fine sparkling gold fabric, which follows the sweeping contours of the gallery. Diffuse light falls through the artistic arranged joints and figurative motives in the room and drops into gentle flowing shades of green. The perceived silence grasps us. We are fulfilled with a feeling of humbleness and awe. Opposite we see the decorative qibla wall, which orientates itself on the circular form of the Mosque. The floor markings running through the rows of prayer rugs and the interruption of the circulation spaces display the square, which Mostefa had told us about earlier. We stand in a room that is powerful, has presence and at the same is well reserved, which is well-balanced and comes into its own.

Mostefa pulls on my arm and points out that it is time to go. We have completely lost our sense of time. Again we go through the two large portals back onto the esplanade. Here Mostefa asks “Have you discovered the secret of the shoe storage? Well basically it is quite simple: Each worshiper has a small tray underneath the prayer rug, to store their shoes.” Mostefa explains further that constant fresh air is supplied by means of perforated flooring in the hall of prayer. “The silence, which you have felt, is also created by the floor and surface design of the inner skin of the Mosque.” Again impressed by this hidden technical solution, we want to know, how many people can fit into the main hall. “What do you think?” Mostefa says cheekily. We have no idea. “Approximately 65,000 people, thereof approx. 13,000 Women and 52,000 Men”, he replies in a boasting manner.

We stroll through the portico and the entrance area back to the harbour. Our attention is magically drawn again towards the Mosque. As dusk settles it obtains a special brilliance. We have become acquainted with an unbelievable building, fascinating, beautiful, elegant and at the same time well restrained. We arrive at our sailing boat and thank Sarah and Mostefa for guiding us through the complex. It was a very interesting and satisfying day. We set sail and our boat sails with the sunset out to sea.

A very last time we turn to look back at the Mosque, Minaret and plateau. The bay of Algiers is beautiful in the sunset.

What signifies us…

Gerd Priebe Architects & Consultants

… is our shared interest, passion and enthusiasm for Architec-

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ture, Art and Technology.

Gerd Priebe, Dipl.-Ing. Architect

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We develop ideas, concepts and designs with a high creative demand and loving attention to detail. In the process we maintain an eye on the essentials and a pursuit of precision. We are able to penetrate complex relationships and convert them into simple steps.

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The interaction of experience, curiosity and openness makes

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it possible for us to go new ways. We are people with diverse

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Project Management Gerd Priebe Nadine Merkla

Building Services Engineering Dr. Peter Vogel Dr. Peter Pillat (Gebäude-Technik Dresden GmbH)

Transportation Planning Prof. Dr. Reinhard Dietze

Project Team Mostefa Abimouloud Markus Becker Sarah Beghdad Kerstin Demarczyk Sebastian Fest Project Support Jörg Adler Jana Eckart Richard Gunkel Marcel Hinze Antje Reichel Michael Reißmann Katrin Zincke

Structural Engineering Prof. Dr. Schlaich Sven Plieninger (Schlaich Bergermann und Partner) Façade Engineering Heinrich van Heyden (Planungsbüro für Ingenieurleistungen GmbH) Acoustical Engineering Prof. Wolfgang Moll Annika Moll (Akustik-Ingenieurbüro Moll GmbH) Landscape Architecture Ulrich Krüger Guido Pohndorf (Ulrich Krüger Landschaftsarchitekten)

Building Automation Canzler Ingenieure GmbH Modelmaking Thomas Kroh Lausitzer Glashütte AG Photography Jürgen Jeibmann Printing WDS-Pertermann GmbH Translation Helga Holter Daniel Smith Brochure Design Dominik Schech schech.net