THESIS MANSI CHOUDARY by Mansi Choudary

Title of thesis :

CONVERGING IDENTITIES: ISLAMIC ARCHITECTURE “A MOSQUE FOR ALL”

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Mansi Choudary R X Semester Design Project Internal guide : Ar. Hema 313116251016 MNM Jain School of Architecture

“A MOSQUE FOR ALL” The development of identity and place within the the country’s Muslim community is explored in this thesis through the creation of an Islamic Cultural Center and Museum. The Islamic Center will strive to simultaneously work on multiple levels by establishing connections to Islam within a global context, the local community, and a place for individual development. The investigation will explore how an immigrant culture establishes community through the built environment and represent their culture within the local community are as follows : ➢ Part of the study will reflect on how building styles and type reflect the cultural characteristics that the community is trying to preserve compared to western influences that are incorporated into the design? ➢

How do the architectural traditions, typologies and climate of the area get incorporated into the built identity?

Specific focus will be given to the use of precedent and typology in modern Islamic design, mosques and cultural institutions as identity shapers both for the internal and external audiences. Light, color, pattern, spatial division based on gender, and symbolism are areas of inquiry.

Chapter 1 : Introduction

Islamic Architecture in the Contemporary Age “The task of Architecture: The timeless task of architecture is to create embodied existential metaphors that concretize and structure man’s being in the world. Images of architecture reflect and externalize ideas and images of life: architecture materializes our images of ideal life. Buildings and towns enable us to structure, understand, and remember the shapeless flow of reality and, ultimately, to recognize and remember who we are. Architecture enables us to place ourselves in the continuum of culture.”

----Pallasmaa

Let us make an ideological leap and say that architecture does more than protect people from the elements and consider the idea that “architecture enables us to place ourselves in the continuum of culture.” This powerful idea suggests a fixed variable, place, and two fluid variables, time and culture. Frequently, when we are studying architecture we fix the place and time to learn about the culture: Italian Renaissance architecture, Roman architecture, Greek architecture. Each of these examples has a fixed time and place associated within its definition. In order for architecture to “structure man’s being in the world” an understanding of buildings, in relationship to each other, must occur. Now what about Islamic architecture? Where are the geographic and temporal boundaries placed?

Is Islamic architecture relegated to following one historical framework, the dynastic sequence of Islamic empires, stretching from Spain to China, under one flag and one religion? During the great Islamic empires of the Samanid, Hamdanid, Buyid, Ikshid, Shii Fatmid, Ghaznavic, Mamluk and Ottoman dynasties the religious, intellectual, military and civic developments of the time were shared through the institutions of the empire providing a unifying cord to transmit cultural developments. Associating Islamic architecture with the ruling dynasties again fixes time and place to produce a systematic culture and reference point for architecture. However, architectural developments did not coincide with the beginning and end dates of the dynasties and could overlap multiple dynasties or develop during the middle of a dynasty. “Other decisive forces- such as massive population movements, lingering national and tribal pride and spiritual breakthroughs, not to speak of artistic, structural and technological innovations- had a more profound effect on architecture in Islamic history than mere dynastic change.” Are geographic and temporal limitations even applicable? The term “Islamic architecture” places religion as the primary characteristic. During the Islamic dynasties there is an overlap between political and social elements of society but then what happens after 1918, at the end of the First World War, when the allies occupy the defeated Ottoman Empire, the disposition of the last Ottoman sultan in 1922 and the fall of the Qajar dynasty in Iran in 1924? These events mark discrete breaks in the once cohesive cultural elements of Islamic society. National identities rise, some continue to model political systems within the framework of Islamic law while others follow western models and separate the civic and religious realms. Places once connected by a political, military and cultural empire are tied to each other by fewer variables and focus on their own unique cultural features.

In the 20th century religious identity moved from associations with large geographical areas to closer associations with individual and community identities. Today the spread of Islam is no longer a military venture but the result of immigration. Economic and political instability in the Middle East over the past century has lead people to immigrate west, creating a large Muslim Diaspora with 50.9 million Muslims in Europe, 600,000 in Australia, 6.78 million in North America and 3.07 million in South America. 4 Today over 20 million Muslims live in the west and are building structures that are distinctly Islamic and responding to the climate and cultures of their new homes. In the last forty years the discourse asks ‘What is Islamic Architecture?’ has found a formal forum through the seminars and publications surrounding the Aga Khan Award for Architecture. Since 1977 His Highness The Aga Khan has sponsored a multidisciplinary discussion about architecture and the built environment of Muslims, culminating in a prestigious award for recent projects. The first cycle of the award focused on “what, within contemporary architecture in Muslim countries can legitimately be considered Islamic.5 ” Over ten cycles the award has established a very inclusive platform to discuss what Islamic architecture is in Muslim areas, considering works by Muslim architects and non- Islamic architects. The Aga Khan Development Network describes the mission of the award as follows; “the award seeks to identify and encourage building concepts that successfully address the needs and aspirations of societies in which Muslims have a significant presence.” The work of the Aga Khan Network has broadened the definition of Islamic architecture and focused on the great diversity that exists in this broad term. Up to this point the focus of the Aga Khan Award for Architecture and academic studies of Islamic architecture has revolved around the Middle East, North Africa, southern Spain, and South Asia.

The study of Islamic architecture in western countries is just beginning to become the subject of academic and institutional discussions, primarily because there has been limited construction of buildings with Islamic identities. “Of nearly 1000 mosques and Islamic centers in the United States surveyed in the mid-1900s, fewer than 100 had originally been designed to be mosques and, of those, the older ones had not been designed by architects.” The Institut du Monde Arabe is the first, and only project in a western country, Paris, to win an Aga Khan Award, 1989. One of the first issues that immigrant Muslims face when building is to develop an attitude about traditional building techniques and modern western building techniques. The pre-industrial traditions brought from the middle east and asia may not be adaptable to colder or humid climates. Non-western cultures are still absorbing the influence of modern architecture and western building practices in the buildings within their own countries. Islamic culture itself is undergoing a transformation. “Oil wealth, along with social and political change, have threatened Islamic culture and traditions. This identity crisis is readily apparent in architectural design.” But in the 20th century, the Islamic concepts of unity, harmony and continuity often are forgotten in the rush for industrial development. Three directions for contemporary Islamic architecture are outlined by Garry Martin. 1. One approach is to completely ignore the past and produce Western-oriented architecture that ignores the Islamic spirit and undermines traditional culture. 2. The opposite approach involves a retreat, at least superficially, to the Islamic architectural past. This can result in hybrid buildings where traditional facades of arches and domes are grafted onto modern high-rises.

3. A third approach, Martin notes, is to understand the essence of Islamic architecture and to allow modern building technology to be a tool in the expression of this essence. Writes Martin, "Architects working today can take advantage of opportunities that new materials and mass production techniques offer. They have an opportunity to explore and transform the possibilities of the machine age for the enrichment of architecture in the same way that craftsmen explored the nature of geometrical and arabesque patterns..." The forms that would evolve from this approach, adds Martin, would have a regional identity, a stylistic evolution and a relevance to the eternal principles of Islam. The third approach appears to be the best of both worlds but does not yet take into account the global nature of modern day culture and the feedback loops that exist between non-western cultures and the west as a result of cheaper communication and increased immigration with frequent returns back to the homelands. The solutions to these questions and how to incorporate cultural evolution into design will not be answered in the immediate future, but the questions will be raised in this thesis.

C hapter 2 : Thesis Topic Design Brief & Area Requirements

CONVERGING IDENTITIES: ISLAMIC ARCHITECTURE “A MOSQUE FOR ALL “

AIM “ A MOSQUE FOR ALL “ Restoring and Reinventing Islamic Identity: A New Mosque and Museum of Religious Harmony

OBJECTIVE “Mosque For All” features an inside-outdoor shaded Islamic centre, promoting religious harmony through Quran Gardens and a unique intersecting square design.

GOAL

Firstly, the basic goal is to design space that provides a desirable, happy and welcoming

environment for all the users. It should also have a divinely guided surrounding according to the needs of the Muslims. Secondly, the goal is also to foster harmonious relationship between Muslims and people of other denominations who might interested to learn more about the spirit of Islam, the customs and the many cultures of the people of Islam. Thirdly, The image of the facility should be expressed with contemporary architecture to harmonize within the surrounding context; and at the same time, be compatible with the Islamic values.

NEED OF THE PROJECT

➢ To promote mutual understanding among the diverse citizens of India.. ➢ To assist in the creation of an ethical society based on tolerance, universal brotherhood, love and charity. ➢ To promote mutual understanding and appreciation and amity between the people of India and those of the Islamic world, through a study of each other’s past and present civilization, ➢ and a mutual exchange of knowledge and information relating thereto, and by providing facilities that would lead to a fruitful interaction between them and an appreciation of each other’s contribution to world civilizations

SCOPE AND LIMITATIONS / FACILITIES This Project covers the following

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Planning and designing of “THE MOSQUE” ➢ Prayer hall Males and Females Museum Exhibition Area Quran Gardens Public Fountains Sahn - Courtyard Educational section ➢ Madrassa ➢ Library ➢ Classrooms

Conference Auditorium Residential Sections - Imam of the Mosque and the Visitors Minarets

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“My Thesis Statement: My thesis statement is to combine modern design and functional forms in the context of Islamic culture and value. The design is to harmonize with the context cf the surrounding architecture ; and at the same time, it blends with the spirit of Islam; so that, the facility will not be an alien in the western environment and architecture. The facility will cater for Muslims away from their Islamic countries, Muslims who are Indian citizens, and also for those who are interested about the spirit of Islam, its cultures and the many customs of the people of Islam.”

C hapter 3 : Special Studies Islamic Architecture : Forms, Function and Meaning

“ As a non-Muslim architect, the first step of my design process is to submerse myself in the traditions of Islamic architecture. Authenticity is an issue when addressing cultural representation and identity in any medium. Authenticity is strived for within this thesis through research and engagement. “

Mosques Mosques are quite simply an oriented and enclosed space set aside for prayer. Salat, one

of the five pillars of Islam, requires each Muslim to worship five times a day and in congregation at noon on Fridays. Congregational Prayer is led by an Imam (prayer leader) that delivers the khutba (sermon) and leads the congregation in synchronized prayer with prescribed movements. The Salat is performed facing Mecca and consists of specific ritual stances (bowing, genuflection, prostration) and speaking the worship liturgy. The physical movements of the salat require a minimum space of 1 x 2 meters for each worshipper and a clear view of the Imam to facilitate precise timing. Worshippers form relatively few and long rows parallel to the qibla (direction of prayer), to help facilitate visibility and thus synchronized timing in the prayer movements. The short rows and depth of Christian basilicas made them impractical for Muslim worship and were rejected as an inspiration for mosque design early on pushing Islamic architects to develop a unique typology. The house of Muhammad, in Medina (622 A.D.) is the model for mosque design. Muhammad’s house served dual purposes: a home for Muhammad’s family and a center for the new Islamic community; thereby being both a place for spiritual and secular life. 14 The house

was a mud brick structure with a large courtyard at its center and nine rooms for the Prophet’s family. “Along the inner wall facing the Q ibla was the Zulla, or shaded place, a double row of

palm trunks carrying a roof of palm leaves plastered with mud. This feature was not part of the original design but was added within a year because some of the Companions (sahaba) of the Prophet complained of the discomfort of which the sun had caused them during prayer.” 18 The outer wall around the house demarks the holy ground from the secular world outside. The nine rooms of the Prophet’s family are outside of the wall. The House of Muhammad sets a precedent for the use of axial relationships within a mosque. The main entrance and the Mihrab are on axis with each other and are centered in their respective walls. The openings that form the cross axis are not centered on their respective walls. The prominence of the zulla compared to the S uffa,

an area used by the most impoverished followers of the Prophet, established a bipartite division within the mosque.

Figure 1 : “House of Muhammad”

The Muslim liturgy does not require any man-made structures, however through the course of history a number of components have become characteristic of mosque design. The components vary in importance and may not all be present in the same building. The Qibla wall and Mihrab As mentioned earlier the qibla is the direction of prayer. In 624, Muhammad changed the direction of prayer from Jerusalem towards the Ka’ba in Mecca, asserting independence from Christianity and Judaism. The qibla wall is perpendicular to an imaginary line drawn towards Mecca, the geographical and spiritual center of the Islam. The Kaaba, in Mecca, is a cube structure oriented with its corners facing the four cardinal points. The Ka’ba predates Islam as a holy site is said to have been built by Adam and rebuilt by Abraham and Ishmael20. By turning towards the Ka’ba Islam reverted back to a pure monotheism of Abraham before the revelations of the Torah and the Gospel. “It is the primordial symbol of the intersection between the vertical axis of the spirit and the horizontal plane of phenomenal existence.”21 Within a mosque the mihrāb, a niche in the center of the qibla wall marks the direction of Mecca. Symbolically all of the mosques are connected by imaginary spokes radiating from Mecca. It should be noted that the mihrāb itself is not sacred but the direction it expresses is sacred. In Muhammad’s house the direction was marked with a stone. The concave mihrāb was first introduced when the Mosque of the Prophet was rebuilt in 705-709 A.D. The mihrāb has Greco-Roman and Christian influences, recessed niches were used in Greek and Roman architecture to hold statues and as altars in Christian churches. The concave mihrāb was used as an acoustical device by the Imam who stood within the niche to lead the congregation in prayer. The shape of the niche bounced sound back and magnified it at the same time. The mihrāb is usually one of the most highly decorated areas within the mosque.

The Minbar The minbar is a pulpit positioned to the right of the mihrab to help make the Imam visible to all the worshippers. Many sources trace the minbar to the House of Muhammad as either a raised chair or series of steps that he stood on to address his growing congregation. Minbars since then are a series of steps at a right angle to the wall. Minbars are almost always found in large Friday mosques, jami, and may be absent in smaller, masjid, mosques. There are strong similarities between minbars and the Christian ambo, a lectern and pulpit in early medieval churches and the bishop’s throne in Byzantine churches.

Figure 2 : The quibla and iwan in the Mosque of Sultan al-Nasir Muhammad, Cairo (718-35). Mihrab decorated with marble, minbar made of wood.

The Dome Domes provide interior light and define the sacred space on the exterior. Muslim architects were familiar with honorific domes used in Roman and Byzantine architecture and elaborated on the technology with geometric solutions. Squinches and pendentives support

round domes over rectilinear plans. A squince transforms a square into an octagon, or hexagon on which the dome is placed. A pendentive is a triangular segment of a sphere that tapers at the bottom and opens at the top to form a continuous base for the dome. Ribs and muqarnas are geometric decorations that can also be structural. Madrasas “Education is closely connected to worship and from the beginning mosques have been used for both prayer and instruction.” Madrasas are collegiate mosques and contain live in quarters for students. Lessons took place outdoors under the I wan, a covered porch, in the center of each wing. A madrasa has many of the same features as a mosque but also has the more

Figure 3- Plan of Sultan Hassan Madrasa, Cairo

specific function of housing students and professors. The Sultan Hassan madrasa also has a funerary element. The Sultan’s tomb, a domed structure, behind the largest Iwan.

Figure 4- Elevations of the facades and volumetric study of Sultan Hassan Madrasa, Cairo

Surface, Pattern and Light Surface, Pattern and Light Surface decoration and its relationship to light are integral to the overall composition of Islamic buildings. Decoration is not a superficial element added after the design is complete but is used critically to help define space. The extreme variation within Islamic architecture to create rich and supple surfaces shall be explored with an eye towards innovative materials and the adaptation of local materials. Surface decoration in Islamic architecture includes: ● muqarnas, ● calligraphy, ● geometric patterns, ● floral motifs ● and arabesques. In this study we are going to focus on calligraphy and geometric patterns for their symbolic significance. Floral motifs can also be symbolic in their reference to the paradise garden but will have fewer applications in this design. Decoration is not restricted to any one aspect of the building and often overlaps in scale and materials to help define and transform space. Decoration is often used to dissolve structure and mass.

“Surfaces are fluid: decoration helps to make the transition, imperceptibly, from one plane to another. No sharp divisions are allowed. Light is filtered, water reflects, unifies and cools.”

Muqarnas Muqarnas, a uniquely Islamic invention, are three-dimensional wedge forms that are combined into intricate designs to create honeycomb patterns on walls, portals, vaults, and domes. “Most muqarnas volumes are made of combinations of seven shapes, which in section are rectangular or triangular; from a small number of basic units with at least one surface area in common, many different interlocking arrangements could be developed.”

Figure 5 : Different designs of Muqarnas

Calligraphy The presence of calligraphy on and in the mosque provides the viewer with a message and focus of meditation. Most text found in mosques are from the Qur’an but can also include quotations from the hadith . The Qur’anic inscriptions are valuable in their existence regardless of the content of the quotation because “it serves as a visible representation of supernatural reality. In the case of quotations from the Qur’an, God’s word is revealed in the guise of human speech.”The symbolic nature of the script explains how in many mosques the text may be difficult to read either because it is too far away or intertwined and can not be immediately recognized.

Geometry Islamic pattern and geometry are products of the sacred science: “an objective view of the ‘created order’ that embraces a theocentric perspective, that is, a Creation with a Creator.” Once patterns have been found their use in decoration serves as a reminder of theological, anthropological and cosmological meaning. “Islamic artist saw the way of achieving four levels of meaning in one artistic effort: first the significant common language of geometry; secondly, the integral patterns of the heavenly rhythms of the cosmos (the 12 houses of the zodiac – the number symbolism of all the planetary rhythms); thirdly, the achievement of the delight in the harmony of symmetry together with decorative colored effects to lift the spirits; and fourthly, the achievement of patterns of cosmic meaning that integrated different symmetries.” Decorative pattern reminds the faithful of fundamental beliefs and expresses the complex order of the cosmos.

Figure 6 : Basis of the Zellij pattern- ‘Pattern within Pattern’

C hapter 4 : Literature Case Studies

“THE MOSQUE AND ISLAMIC CULTURAL CENTRE OF ROME”

Architects- Paolo Portoghesi, Sami Mousawi , Vittorio Gigliotti Client - Islamic Cultural Centre of Italy Location - Rome, Italy Design -1976 Completed-1992-1995 Site area - 29,915 m2 Ground floor- 6050 m2 Total floor area - 19708m2

Introduction The mosque and Islamic cultural Centre of Rome was officially inaugurated in 1995 after

20 years of design and construction when the idea of its establishment was envisioned as an

international competition in 1976. The final realization of the project is a synthesis of elements that are derived from historic references of Islamic, roman, and baroque architecture. the incorporation of these elements into unified whole results in a unique landmark that speaks to the Islamic and western worlds

Objectives To provide an architectural setting where Muslims can perform the prayers, and to accommodate a wide spectrum of educational and cultural activities such as lectures, seminars, and exhibitions. Objectives include :

➢ To provide the Italian community with a clear and better understanding of Islam. ➢ To provide social and socio-religious services to the Muslim community.

Climatic conditions Mild weather relative humidity : 50% to 60% Winter temperatures : 4 degrees to 5 degrees celsius Summer temperature : 28 to 35 degrees celsius Night temperatures : 20 degrees celsius Annual precipitation : 84 cm.

Site context ➢ The Mosque and Islamic Cultural Centre of Rome is located to the north, approximately 5.00 km. from the historic core of the city. It is situated in the Parioli district ➢ The site of the project is considered a historically significant area although it is relatively far from the historic cent

Site topography ➢ The area was a dump site at the foothills of Villa Ada Park. ➢ The site of the project is nearly triangular with very slight slopes toward the southeast, with an area of 30.000 sq.m. .

Site plan

Facilities 1. Prayer hall - 2500 worshippers of whom 500 would be females 2. Smaller prayer hall -150 worshippers, 3. Educational section 4. Library 5. Classrooms 6. Conference 7. Auditorium - 400 people 8. Exhibition area 9. Two residential sections -for Imam of the Mosque and the visitors.

Layout plan

Figure 7 : Site Plan of the Mosque of the Islamic Cultural Centre of Rome

Figure 8 : Plan and Section of Islamic Cultural Centre of Rome

Figure 9 and 10 : Interiors of the Mosque of Islamic Cultural Centre of Rome

Materials 1. A wide variety of materials have been used in the complex. 2. For the rendering of facades and exterior finishes travertine and peperino Romano were used with classic Roman brickwork. 3. Exterior spaces are either tilled with typical roman stone and marbles. Roads in the premises of the centre are paved. 4. For the flooring of interior spaces marble finishes were used. 5. The sahan and riwaq floors are finished with strips of travertine based on the modular design 3.60m x 3.60. m. with brick paving in between. 6. Lead was used as a sheathing material for the domes. Interior finishes of the domes of the main prayer hall were made of a particular coating of encaustic stucco. 7. Mosaic stucco decorative panels in the main prayer and the small prayer halls were made by Moroccan and Turkish craftsmen. 8. Office spaces, classrooms are simply painted, while marble finishes are used for floors.

Figure 11 : The piazza of the Islamic Centre is along the main approach from the north. The domed volume of the prayer hall is seen on the left. To the right, steps lead to the cultural Centre.

Figure12 : The main entrance is through one of the three courtyard spaces formed between the two, two-storey rectangular wings which make up the H-block. The staircase leads to the reception hall. Figure 13 : The main prayer hall can accommodate 2500 worshippers. It is capped by a large, lead sheathed central dome surrounded by 16 smaller domes. Ceramic tile work, stucco finishing, and Moroccan chandeliers highlight the interior.

Figure 14: A raised plaza leads to the cultural centre wing. Travertine marble panels and yellow Roman brick are used as the interior finishing.

Figure 15: The interior and exterior structural components throughout the complex also serve as decorative elements. In the prayer hall, four branches of the main concrete columns shootout to form a web of arches and ribs that articulate the area beneath the domes. ➢ The web-like rib which highlights the underside of the central dome during construction. It was built using both pre-cast and cast-in-situ elements. Unlike the columns which support it, the ribs are purely decorative.

Analysis 1. Thirty two concrete columns do exist in the main prayer hall, these branches are surprisingly decorative rather than structural. 2. Another symbolic reference appears in the central 20 m diameter dome, it rests on seven step concentric circles which are intended to represent the seven sacred hills. 3. Prayer hall is on the raised area and below with ablution area thus separating from disturbance. 4. The project is a synthesis of elements that are derived from historic references of Islamic, roman, and baroque architecture. 5. The incorporation of these elements into unified whole results in a unique landmark that speaks to the Islamic and western worlds. 6. It has a vast open area through which we are entering and gives a whole view of the building. Entries are to the first floor where the main entry is the middle one via courtyard reaches reception. 7. Gallery space is used by female worshippers during the pray time. Library space and the museum is placed away from the prayer hall thus preventing the noise to the prayer hall. 8. The Cultural Centre, library and museum have separate entries and are connected, helping for space utilization. Natural light is available since it has a large courtyard.

“FAISALABAD MOSQUE, FAISALABAD, PAKISTAN”

Introduction The Faisal Mosque is the largest mosque in Pakistan and is located in the national capital city of Islamabad. Faisal Mosque is conceived as the National Mosque of Pakistan. It is the Largest mosque in South Asia and one of the Largest mosques in the world. The Faisal Mosques is named after the Late king Faisal bin Abdul-Aziz of Saudi Arabia, who supported and financed the project.

Location The mosque is located in the capital of Pakistan Islamabad, It is situated at the north end of Faisal Avenue, putting it at the northernmost end of the city and at the foot of Margalla Hills, the westernmost foothills of the Himalayas.

Size and Planning ➢ It has a covered area of 5000 sqm (54,000 sqft). ➢ It can accommodate 10,000 worshippers in its main prayer hall, 24,000 in its porticoes, 40,000 in its courtyard and another 200,000 in its adjoining grounds. ➢ Although its covered main prayer hall is smaller than that of the Hassan II Mosque in Casablanca, Faisal Mosque has the third largest capacity of accommodating worshippers in its adjoining grounds after the Masjid al Haram (Grand Mosque ) of Mecca, the Al-Masjid al-Nabawi (Prophet's Mosque) in Medina. ➢ Each of the Mosque’s four minarets are 80 m (260 ft) high. The mosque is flanked by four tall minarets measuring 300’-0” (90m). ➢ Influenced by Turkish architecture, the minarets are slender and pointed, the form an abstraction derived from a square base formed by the intersection of two planes. (the tallest minarets in South Asia) and measure 10x 10m in circumference. ➢ A later addition to the grounds of the Faisal Mosque is the mausoleum of General Zia –ul-Haq, (President of Pakistan, 1978 to 1988), which receives people who stop to offer fateha (prayer for the deceased).

Site Plan and Design

➢ The Faisal Mosque is the work of Turkish architect Vedat Dalokay, who won the Aga Khan Award for Architecture for the project. ➢ The mosque's architecture is modern and unique, lacking both the traditional domes and arches of most other mosques around the world. ➢ The mosque's relatively unusual design fuses contemporary lines with the more traditional look of an Arab Bedouins tent, with its large triangular prayer hall and four minarets. However, unlike traditional Masjid design, it lacks a dome. ➢ The minaret borrow their design from Turkish tradition and are thin and pencil like.

Entrance to mosque Entrance is from the east, where the prayer hall is fronted by a courtyard with porticoes. The International Islamic University was housed under the main courtyard, but recently relocated to a new campus. The Mosque also has the following ➢ library ➢ lecture hall

➢ cafe ➢ and Museum as well.

INTERIOR: ➢ The interior of the main tent-shaped hall is covered in white marble and decorated with mosaics and calligraphy by the famous Pakistani artist Sadequain, and a spectacular Turkish-style chandelier ➢ There is also a chandelier at shah faisal.

Figure 16 and 17 : Various interior spaces of the Faizalabad mosque - a gathering space

Figure 18 : Masjid Verandah

Figure 19 : Masjid courtyard

Analysis ➢ The mosque's unusual design fuses contemporary lines with the more traditional look of an Arab Bedouins tent, with its large triangular prayer hall and four minarets lacking a dome. ➢ Influenced by Turkish architecture, the minarets are slender and pointed, the form an abstraction derived from a square base formed by the intersection of two planes.

C hapter 5 : Live Case Studies

“Haji Ali Dargah, Worli, Mumbai”

Location ➢ The Haji Ali Dargah is a mosque and dargah or the monument of Pir Haji Ali Shah Bukhari located on an islet off the coast of Worli in the southern part of Mumbai. ➢ Pir Haji Ali Shah Bukhari was a Sufi saint and a wealthy merchant from Uzbekistan. Near the heart of the city proper, the dargah is one of the most recognisable landmarks of Mumbai

History ➢ Haji Ali is one example of Indian Islamic architecture. Haji Ali Dargah is one of the most popular religious places in Mumbai, visited by people of all religions . ➢ It is one of the most famous and prestigious landmarks situated about 500 yards from the Mumbai shoreline in the middle of the Arabian Sea (Worli). ➢ In 1431, the mosque was built by Haji Ali - a rich Muslim merchant, who gave up all worldly charms before going to the pilgrimage of Mecca. ➢ Haji Ali Dargah is the complex housing the tomb of the Muslim Saint Pir Haji Ali Shah Bukhari (R.A.). Along with the tomb, there is also a Masjid at Haji Ali. ➢ As per the legends, Haji Ali left this world during his journey to Mecca and a coffer carrying his body hovered back to Mumbai Other stories state that the great saint drowned at the place, where the mosque stands at present. ➢ The Dargah Sharif is more than 500 years old.

Structure and materials ➢ The edifice is a brilliant specimen of the Indo-Islamic style of architecture. The islet is linked to the city precinct of Mahalakshmi by a narrow causeway, which is nearly a kilometre (0.62 mile) long. ➢ The accessibility to the dargah is dependent on the tides. As the causeway is not bound by railings, when the causeway gets submerged during high tide it becomes inaccessible. ➢ Therefore, the dargah is accessible only during low tide. This walk on the causeway, with the sea on both sides, is one of the highlights of a trip to the shrine. ➢ The whitewashed structure occupies an area of a marble courtyard containing the central shrine. ➢ The tomb within the mosque is covered by a brocaded red and green chaddar (tomb cover sheet). It is supported by an exquisite silver frame, supported by marble pillars. ➢ The main hall has marble pillars embellished with artistic mirror work: blue, green, yellow chips of glass arranged in kaleidoscopic patterns interspersed with Arabic patterns which spell the ninety-nine names of Allah. ➢ As per the Muslim traditions separate praying rooms for ladies and gents are provided here to pay their respects. During the high tide, the dargah seems completely isolated with no access.

Architecture and Design ➢ The whitewashed structure occupies an area of 4,500 square meters and stands adorned with an 85 foot high minaret.

➢ Behind the sculpted entrance, a marble courtyard contains the central shrine. The structure has typical white domes and minarets reminiscent of the Mughal architecture of the period. ➢ The Dargah Complex consists of : ○ A large Main Gate covered with pure white marble ○ Main Dargah Building housing the tomb of Pir Haji Ali Shah Bukhari A ground + 2 storeyed Sanatorium Building and Sanatorium Blocks ○ Qawwal Khana, Masjid, Minaret and Chhatri (Umbrella)

➢ At the top of the Main Gate the following words are engraved in pure white marble and painted in gold "Asthana Hazrat Pir Haji Ali Shah Bukhari (R.A.)" as shown below and is translated as "The Tomb of Pir Haji Ali Shah BukhariMain entrance ➢ Tomb of Pir Haji Ali Shah Bukhari Qawwal Khana ➢ Dargah Complex - where the body of theSaint Pir Haji Ali Shah Bukhari is enclosed in a tomb. ➢ Above the tomb is the big dome of the Dargah Sharif. The interior of the dome is adorned with a mosaic of mirror work forming various intricate patterns . From the exterior it appears as a pure white semi- spherical structure. ➢ There is a Ground + 2-storeyed Sanatorium in the complex of the Dargah consisting of thirty 1 and 2 bedroom, hall, kitchen apartments with attached bath. ➢ These accommodations are being allotted to the residents of Mumbai and its vicinity as a transit accommodation at very nominal rates of Rs. 150 to Rs. 600 per month for a maximum period of 3 months.

“Jama Mosque, South Bombay”

Location ➢ The Jama Masjid is a mosque in the Kalbadevi neighborhood, near Crawford Market in the South Mumbai region of Mumbai, India. ➢ The Muslim community of Bombay possesses 89 mosques, of which 8 belong to the Bohras, 2 to the Khojas, one to the Mughals and the remainder to the Sunni Muslims.

History ➢ In the eighteenth century, a large tank (water reservoir) was situated at this site in the midst of gardens and open land and belonged to a Konkani Muslim merchant trading in Goa and Calicut, who in about 1775, agreed to the erection of a mosque at this site on condition that the tank was preserved intact. ➢ The construction started initially in 1775 with raising of foundations on the tank. Objections were raised by neighbours that delayed construction until 1778. ➢ More disputes arose with illegal construction activities to its west and south. Finally the erstwhile governor of Bombay, Sir Meadows Taylor decided in favour of the mosque authorities. ➢ The date of its completion (AD 1802)/(AH 1217) is derivable from the chronogram Jahaz-i- Akhirat, "The ship of the world to come" which contains an allusion to the fact that it was constructed on the tank. ➢ A one-story building was therefore erected over the tank and formed the original nucleus of the present Jama Mosque. A top floor was added with the munificence of a prominent konkani merchant Mohammad Ali Roghay in 1814.

Structure and Design

Spread across more than an acre, the two-storey quadrangular mosque ➢ The Jama Mosque is a quadrangular structure of brick and stone, encircled by a ring of terrace roofed and double storeyed buildings, the ground floors of which are let out as shops. ➢ Spread across more than an acre, is a two-storey quadrangular mosque. ➢ The chief or eastern gate of the mosque leads directly across an open courtyard to the ancient tank, which is now furnished with masonry steps and embankments, built in 1893, and contains about ten feet of water fed by springs at the bottom, that contains gold and silver fish and few turtles. ➢ This is used for ritual ablutions (wudu), however modern facilities are also available for this purpose. ➢ From the depth of the tank rise sixteen black stone arches, constructed in 1874, which support the whole fabric of the mosque, the upper story being upheld by five rows of wooden pillars, each of which contains a receptacle for sacred books. ➢ The arches in the tank were built in 1874 while other noteworthy additions to the premises are the large windows in the north, east, and south sides constructed in 1898.

C hapter 6 : Comparative Analysis

Comparative Analysis

The Mosque and Islamic Cultural Centre of Rome

Location

Rome, Italy

Year

Function Form Style

1995

Architect

Faizalabad Mosque

Paolo Portoghesi, Sami Mousawi , Vittorio Gigliotti Islamic Cultural Centre

Haji Ali Dargah, Mumbai

Faizalabad, Pakistan Off Coast Worli, Mumbai 1986 Vedat Dalokay

Mosque

1431 Sunni-Al-Jamaat

Dargah and Sufi Mausoleum

Influenced by Roman 8 sided concrete shell Domed structure Architecture designed on an islet Modern Islamic

Indo-Islamic Architectural style

29,915

1,30,000

4,500

Height ( Meters )

Design Capacity

12,000

300,000

500 - 600

Free circulation

Visitors have the freedom to choose their path

Lights and shades are

Natural Lighting in

Area ( sqm )

Circulation

Natural Lighting

Synthesis of elements that are derived from historic references

Free circulation

Only in courtyards,

Artificial Lighting

Materials

blended in a manner intended to create a meditative climate

the main gathering space

Sanatorium Blocks, Qawwal Khana and ladies worship area.

Interior Spaces

In a few interior spaces

Central Worship area and sanatorium rooms.

Interior White Marble, Roman Stone, marble and decorated Brickwork Makrana Marble, with mosaics and Mosaic Tiles calligraphy

Landscape

The structure is intended to be integrated into the surrounding green area, with a mix of modern structural design and omnipresent curves.

Water bodies and clusters represent landscape

Fountain being the only landscape element and the Arabian sea

Public Opinion

Many open spaces provide freedom of movement

No congestion at any point and very well maintained

Congestion during peak times

Merits

Overall planning and design of the complex satisfies the functional requirements and users needs.

Open spaces and natural lighting, micro climate.

360 degree Scenic view from all points except the male worship area.

Demerits

Few traces of water can be observed on the exterior brick pavements of the sahan and the exterior staircases.

Congestion during peak times and ill maintained.

Chapter 6 :

Site Study and analysis

“ SITE STUDY AND DETAILED ANALYSIS ” Selection Criteria

➢ The site must fall in the zone with majority of muslim population. ➢ The site must have good accessibility from basic public transport infrastructures. ➢ The site must be a tourist attraction. ➢ The site should benefit from the surrounding attractions. ➢ The site must have an adequate footload of musilm population and a good floating crowd.

Site Justification?

➢ Delhi attracts thousands of tourists every year from all over the world because of the Heritage Status granted to it by UNESCO, Keeping in mind the major growing muslim population in Delhi and keeping in view of the heritage importance. ➢ The selected site is located in Central Delhi and has major tourist landmarks with proper road connectivity/accessibility. ➢ The footfall is already in good shape because of the heritage sites around the area. ➢ The context of the site is connected with the content of the project.

Where is the site ?

Figure 20 : Site located in DELHI, INDIA

Objectives

➢ Therefore, the design should provide a desirable, happy and welcoming environment for all the users. It should also have a divinely guided surrounding according to the needs of the Muslims. ➢ The image of the facility should be expressed with contemporary architecture to harmonize within the surrounding context; and at the same time, be compatible with the Islamic values..

Major Landmarks ➢ Maharana Pratap ISBT is just before the site in the south direction from the site. ➢ With Kashmere gate being right down in the south side of the site.

City Architecture Much of New Delhi, planned by the leading 20th-century British architect Edwin Lutyens, was laid out to be the central administrative area of the city as a testament to Britain's imperial pretensions. It has influences from both Hindu and Islamic architecture. India Gate, Rashtrapati Bhavan , Qutub Minar, Humayu’s Tomb are some major structures in New Delhi.

Site Consideration 1. Latitude : 28° 40' 15.5784'' N 2. Longitude : 77° 13' 41.8836'' E 3. Altitude : 220 meters. Above Seal level 4. Perimeter : 1002m 5. The total area of the proposed site is 56966 sqm (14.1 acres) 6. Shape : The site is Irregular Polygon in shape which can be also said as Irregular Pentagon. 7. Orientation : The site is a little stretched, the orientation of the site is East-West.

Road connectivity and Accessibility Site is accessible through almost all modes of transportation. Site is directly connected to Asian highway 2 & Yamuna Marg which is 30m and 18m wide respectively .

Indira Gandhi International Airport

19.0 km

Safdarjung Airport

13.5 km

New Delhi Railway Station

5.0 km

Old Delhi Railway Station

2.7 km

Kashmere Gate Metro Station

1.0 km

Maharana Pratap ISBT, Kashmere Gate

0.3 km

Police Station, Kashmere Gate

2.0 km

Sant Parmanand Hospital, Civil Lines

1.4 km

S N

Figure 20.1 : Land Use Map

Figure 20.2 : Road Layout

Neighbourhood Analysis

Figure 21 : Site and its various nearby locations

Soil Type and Conditions ➢ The soil type in the site is Alluvial soil. Usually these soils are very productive but many are deficient in nitrogen, humus and phosphorus.

➢ The bearing capacity of the soil is 150 kN/m² on the site.

Topography and Seismic Zone ➢ Site has a very gentle slope which runs towards the connecting road (AH2) in front of it. ➢ The seismic zone of the site is IV.

Vegetation ➢ There are many trees, plants around the site and the adjacent park ➢ Poplar, jamun, gudhal, Rubber, Jasmin, Ashoka, Meetha Neem, Tuni, Neem, Palm etc.

Annual Weather

Sun-Path Data

Figure 22 : Sun-path of the site

Figure 23 and 24 : Site and global stereographic sun-path

Wind-Path Data

Figure 25 and 26 : Wind-speed and direction of the site

By-Law ➢ Max. Ground Coverage: 40% Max. ➢ FSI 1.8 - 2.5 ➢ Parking Requirements: 1.5 ECS (Equivalent car space) ➢ Set Backs: On Asian Highway 2: 15 M ➢ On All Other Side: 10 M

C hapter 7 : Standards and Norms

STANDARDS MOSQUE The mosque - in Arabic, masjid (smaller), jamia masjid (larger) - is a prayer house, cultural centre, community place of assembly, courthouse, school and university, with the Qur'an being the central source of life rules, teaching, law and religion for Islam. In Islamic countries, the mosque stands in the bazaar (souk) at the centre of public life. Where bazaars are missing in other countries, they should be designed into the mosque (hairdresser, shop for halal food, cafe). There are basic categories of mosque design and seven distinctive regional styles, e.g. the pillared hall and courtyard in much of the Middle East, Spain and North Africa, and the triple domes and courtyard of the Indian subcontinent. In the decoration, depictions of people or animals are not allowed. Plant and geometrical ornaments (arabesques) and verses from the Quran in Arabic calligraphy are popular and have developed into a high art form. Minaret Smaller mosques seldom have a minaret, but larger ones always do. There are neither organ nor bells in Islam. From the minaret, with stair or lift to the mostly roofed upper walkway, the muezzin calls to prayer five times daily, today often with a loudspeaker (which in some countries is not allowed). Prayer hall The prayer hall is laid out with a praying area of 0.85 m2 for each person. The hall is normally rectangular to square, often with a central dome and is aligned to Mecca as prayer direction (qibla). On the interior of the front wall, there is the prayer niche (mihrab), and next to that the pulpit for the Friday prayers (minbar), always with an odd number of steps, for the mosque prayer leader (imam). An often only symbolic separation or a balcony serves to segregate the men and the women.

Entrance At the entrance, there are shelves for the shoes of the believers and rooms for ritual washing and showers, always with flowing water. The WCs are mostly squatting closets aligned at right angles to the direction of Mecca. Mosques often have separate entrances for men and women, or the stairs to the women's balcony can be in the entrance area. Decorative well Many mosques have an inner courtyard of the same size as the prayer hall, which can also be used as an extension for festivals and a decorative fountain or well (sabil) for ritual washing. In warm countries, geometrically arranged trees are planted here to give shade. Subsidiary rooms Office, library, lecture and tuition room, store rooms and flats for at least the imam and muezzin complete the room allocation plan.

MUSEUMS AND ART GALLERIES A museum is a public collection of objects testifying to human cultural development. It collects, documents, receives, researches, interprets and communicates these through display.

The following museum types can be categorised according to the origin and nature of the items in the collection: Art gallery: Collection of works of fine art (including craftworks and graphics). Cultural history museum: Collection of devices, weapons, clothing, written documents etc. which show the cultural development of a geographically restricted area (ethnological museum, open-air museum, local history museum). Ethnology museum: Works from the cultural heritage of traditional peoples and lost cultures. Science museum: Collection of educational and display material connected with scientific and technical themes. Lighting: There should be no direct daylight falling on museum objects as this could cause damage. Therefore display rooms should be provided with flexible lighting systems: no permanently built-in lights, no fixed wall and ceiling lights.

Guidelines for lighting: Very sensitive display objects: 50-80 lx Sensitive display objects: 100-150ix Less sensitive display objects: 150-300 lx UV radiation must not be exceed 25 W/m2

➢ It must be possible to completely darken all display rooms. In public rooms where no items are displayed, e.g. entrance area, cafe, library, a greater amount of daylight is desirable. ➢ The lighting calculations for museums are highly theoretical: the quality of lighting is decisive. American tests can be more informative. ➢ Room climate in the store and the display areas The ideal temperatures in the store and the display areas are 15-18°C in the winter and 20-22°C in the summer. Except as short peaks, in the summer 26°C should not be exceeded. Stores should not therefore be located in uninsulated attics, for example. ➢ Because the reproduction of insects is very limited under 15°C, above all for science and ethnography collections a temperature of 12-13°C is optimal. ➢ Photo and film material is relatively chemically unstable and the material should therefore be stored cool and dry at temperatures under 16°C (ideally at approx. 5°C). ➢ The relative humidity in the store and the display areas depends on the displayed and stored materials: the optimal values are for wood 55-60%, canvas 50-55%, paper 45-50% and metals, max. 40%. It is important to avoid short-term variations in relative humidity: the variation within one hour should not exceed 2.5%, or not more than 5% in one day. Seasonal variations should not be more than +5% in summer or -5% in winter. The changing flow of visitors in museums leads to continuous variation in the climatic parameters.

The decisive factor in the layout of display rooms is the relationship between the collection and the way it is to be displayed (display concept). There are the following basic types of layout 1-6: Open plan - 1: large and visually autonomous items on display, free circulation, function rooms in basement. Core and satellite rooms - 2: main room for orientation in the museum or the exhibition, side rooms for autonomous displays (themes/collections) Linear chaining - 3: linear sequences of rooms, controlled circulation, clear orientation, separate entrance and exit. Labyrinth - 4: free circulation, guided route and direction are variable, entrance and exit can be separate. Complex - 5: combined groups of rooms with typical features of 1-4, complex organisation of collection and display concept. Round tour (loop) - 6: similar to linear chaining - 3, controlled circulation leads back to entrance. The size and height of the display and store rooms depend on the dimensions of the works and the extent of the collection, but the minimum height is 4 m clear.

PARKING