irc_report.pdf

ISLAMIC RETREAT CENTRE 2012

1 SHAKEER ABDUL KAREEM S10 B.ARCH

Contents

Chapter Title Pages

Abstract 2 List of Figures 3

1 Introduction 1.1 General 4 1.2 Aim 6 1.3 Objectives 6 1.4 Scope 6 1.5 Limitation 6 1.6 Feasibility 6 1.7 Brief requirements 7 1.8 Methodology 9

2 Literature Study 2.1 Islamic (worship and the mosque). 10 2.2 KMBR Standards 12 2.3 Standards and book study 12 2.4 Literature Case study

2.4.1 The Mosque And Islamic Cultural Centre of Rome, Italy 17

2.4.2 Faisal mosque, Islamabad 20 3 Live Case study

3.1 Indian Islamic Cultural Centre, New Delhi 22 3.2 Ma’din Saqafathu Sunniyyah, Malappuram 27 3.3 Jama Masjid, Old Delhi 30

4 Site study 4.1 Site study 32 4.2 Site Analysis 33 4.3 Area statement 34

5 Special Topic Abstract 36 5.1 Introduction 36 5.2 Characteristics of Islamic Patterns 38 5.3 Psychology behind Symmetric Star-Shaped

Islamic Patterns 39 5.4 Grids 40 5.5 Application 43

6 Design 44 7 Conclusion 54 Reference 55

Books Websites



ABSTRACT

One of the main reasons Islam is famous around the world is due to its unique style

of Architecture. The following report is a collection of data, research and methodology for

the proposed Islamic Retreat Centre, Calicut. The report shows the brief of the entire study

including the study of Islamic Architecture and its features. Muslim art has gained the

attention of a number of western scholars who gained good reputations because of their

contributions to the study and publicizing of field. One of the most important facts about

Islamic architecture is that it does not mean architecture produced for and by Muslims to

serve Islam as a religion, but, includes a wide range of secular and religious styles from the

foundation of Islam to the present day. The focus on enclosed space is the most striking

feature of all Islamic monuments.

The aim, objective, scope and limitation and feasibility of the project are also discussed in

the report. The main aim is to create a mosque and cultural centre that will be a resource

for the diverse Muslim population, as well as for non-Muslims interested in learning about

the religion and various other related courses and to design an ideal Islamic learning and

research Centre. The objective is to study and understand the principles of Islamic

architecture and its application, to study mosque planning concepts, to develop a master

plan with essential requirements on a sloping terrain, to create a sustainable environment

for acquiring knowledge, to incorporate contemporary style in the Islamic architecture.



List of figures Page

Fig 2.1 Praying dimensions

Fig 2.2 Masjid plan

Fig 2.3 Minaret

Fig 2.4 Floor plans for the location of doors in relation to the use of space

Fig 2.5 Different methods of admitting natural light from above.

Fig 2.6 Different ways of dividing up exhibition space.

Fig 2.7 Different Auditorium configuration Fig 2.8 View of Mosque and cultural centre, Italy

Fig 2.9 Site plan

Fig 2.10 Plan and section of MCC, Italy Fig 2.11 (a) Double height (b) Mosque entry (c) Long corridor (d) Masjid view (e) Masjid

ceiling

Fig 2.12 (a) Courtyard (b) Courtyard stair (c) Masjid Verandah (d) Masjid view

Fig 2.13 (a) Entry (b) Crescent Sculpture

Fig 3.1 Main entry to IICC

Fig 3.2 Building façade

Fig 3.3 Ground floor plan of IICC

Fig 3.4 (a)Basement floor plan (b) First floor plan

Fig 3.5 (a)Courtyard (b) Entry (c) Conference room (d) Prayer room (e)Ablution space

Fig 3.6 (a)Entry to conference (b) Corridor (c) Service room (d) To auditorium (e)Ceiling

Fig 3.7 Dome with cylindrical base

Fig 3.8 Masjid view

Fig 3.9 (a) Prayer area (b) Ablution (c) Minbar

Fig 3.10 (a) Stack area (b) Reading area (c) Computer room

Fig 3.11 (a) Dome interior (b) Library block (c) Masjid Verandah

Fig 3.12 Jama Masjid

Fig 3.13 (a)Minaret (b) Dome (c) Mihrab

Fig 3.14 Site plan

Fig 3.15 (a) Minbar (b) Arch (c) Courtyard

Fig 4.1 Site

Fig 5.1 Islamic patterns

Fig 5.2 Family of six geometry

Fig 5.3 Family of five geometry

Fig 5.4 Various patterns

Fig 5.5 Various grids



Fig 5.8 Various grid

Fig 5.9 Application in design

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CHAPTER 1. Introduction

1.1 General

Muslim art has gained the attention of a number of western scholars who gained

good reputations because of their contributions to the study and publicizing of field. One of

the most important facts about Islamic architecture is that it does not mean architecture

produced for and by Muslims to serve Islam as a religion, but, includes a wide range of

secular and religious styles from the foundation of Islam to the present day. The focus on

enclosed space is the most striking feature of all Islamic monuments. A specifically

recognizable Islamic architectural style emerged soon after Muhammad's time, inspired by

Islam with addition of localized adaptations of the former Sassanid and Byzantine models,

the Germanic Visigoths in Spain also made a big contribution to Islamic architecture They

invented the Horseshoe arch and used them as one of their main architectural features,

After the Moorish invasion of Spain in 711 AD, the form was taken by the Umayyad who also

continued the curvature of the horseshoe.

Distinguishing motifs of Islamic architecture have always been ordered repetition,

radiating structures, and rhythmic, metric patterns. In this respect, fractal geometry has

been a key utility, especially for mosques and palaces. Other significant features employed

as motifs include columns, piers and arches, organized and interwoven with alternating

sequences of niches and colonnades. The role of domes in Islamic architecture has been

considerable. Its usage spans centuries, first appearing in 691 with the construction of the

Dome of the Rock, and recurring even up until the 17th century with the TajMahal. As late

as the 19th century, Islamic domes had unincorporated into Western architecture.

What is Islamic Architecture?

The teaching of the Koran and Sharia, which affect the concept of overall Muslim's

life, ultimately shaped the Islamic environment. Thus, in the pursuit of one's activities

through life, it is therefore important to search for simplicity and humility and to avoid

waste through the frivolous use of the resources- It is in this spirit that the first mosque was

built. For example, in Basra in 635 A.D., a mosque was built by simply defining the boundary

of a lot approximately square in shape and enclosing it with fence reeds. In Kufa in 638 A.D.,

the mosque had only an unenclosed covered colonnade. What was really important was to

create a sense of space evolving spirituality of the environment, a feeling of peace, harmony

and the humbleness of the individual. Since Islam teaches humility, buildings were kept low

to denote a rejection of luxury and ostentation. The construction of big buildings was

considered synonymous with pride and arrogance. Simplicity, adaptability, participation,

continuity, equality and a sense of stability became the canons of architecture. These

canons were interpreted in terms of building and forms, and gave rise to the unique

architectural expression which is known as Islamic architecture. Because their attributes

were so direct and meaningful even when built in another culture, the quality of Islamic

architecture remained similar, it even adopted the local pattern or style for its expression



without losing the principal message. In the words of Oleg Graber (Islamic Art Historian),

"the main concern of Islamic architecture did not lie in maintenance of certain forms, but in

the expression.

Islamic Architecture in Non-Islamic Environment

The following are guiding principles for architecture in non-Islamic environments.

1) This architecture must express:

a. Unity as its essence: one God, one Truth, one existence

b. Qur'an as its message.

c. Prophetic tradition and Islamic law as its path: the framework for functional

programming.

d. Pervasiveness of justice as its school of thought.

2) The structure and form of religious activities such as ablution, prayer and Friday

congregation should be treated with the utmost care, and preserved and reinforced by

architecture.

3) The sacred and mundane are to be integrated through continuity and juxtaposition, yet

differentiated by the character of space and form. For example, architecture should ensure

that it is an act of conscious will to step inside a mosque, as compared to (for example)

walking from library stacks to the reading area.

4) This architecture should be expressive and understandable to all. It should employ a form

language which for immigrant Muslims evokes a sense of belonging in their present and

hope in their future. To indigenous Muslims it should represent a linkage with Muslims from

other parts of the world, and should underscore the universality and unity of Islam. To new

Muslims this architecture should invoke confidence in their belief. To non-Muslims it should

take the form clearly identifiable buildings which are inviting and open, or at least not

secretive, closed and forbidding.

5) It should exhibit a sense of economy of architectural means and generosity of Islamic-

humanistic ends. There should be nothing, whether functional or symbolic, without a

purpose. It should not be a temperamental or a capricious architecture.

6) It should be ecologically appropriate; embellish and reinforce the natural context; be

energy conserving and climatically sensible.

7) It should be technologically appropriate in terms of the choice of materials and

techniques of construction.

8) In the choice of architectural motifs it should in no way reinforce the erroneous

mythology of Near-Eastern "Islamic" exotica of the thousand and One Nights.

9) It should be a beautiful architecture, aiming at the ideals at the Islamic aesthetic.

10) This architecture is a physical statement on behalf of Islam and the Muslim community.

It is a proselytizing gesture which, according to Koran XXV, should be made in the best

manner: "Invite to the Way of your Lord with wisdom and beautiful preaching, and argue

with them in ways that are best and most gracious...." It should be like a greeting of peace

and an invitation to discourse and dialogue about Islam.



1.2 Aim

• To create a Masjid and cultural centre that will be a resource for diverse Muslim

population and non-Muslims interested in learning about the religion and various

other related topics.

• To design an Ideal Islamic cultural centre.

1.3 Objectives

• To study mosque planning concepts.

• To study and understand the principles of Islamic architecture and its application

• To provide Islamic centre to exhibit heritage articles, Muslim arts, pictures of historic importance.

• To provide a community space for learning, getting inspiration and making discussion.

• To incorporate contemporary style in the Islamic architecture.

1.4 Scope

• Masjid- A place for offering prayer

• Administration

• Exhibition- To exhibit the heritage articles, Muslim arts, pictures of historic

importance.

• Library Area-Importance to Islamic history, Indian history, world history,

Arabic language, Arabic literature, English literature, Malayalam literature,

Urdu literature, linguistics, development studies, Economics, Islamic

Economics, Arabic history, reference books, encyclopedias, Arab-Malayalam,

religious studies, non-book materials etc.

• Food Court

• Auditorium- Conferences, Seminars, Lectures & various Cultural activities etc

can be organized.

• Accommodation

1.5 Limitation

Elements added in the landscaping and the services are not into detail.

1.6 Feasibility

• The site is located in Calicut in Vellimadukunnu, a residential area and almost all the

services and facilities like school, college, hospital, communication, etc. are available

here. The famous Nirmala Hospital and JDT Islam educational institution are also

situated in Vellimadukunnu. The project is a live proposal in Calicut.



• Significant populations of Muslims live in Calicut. 38.37% of populations are Muslim

which will be around 11,04,479.

• It will be a resource for Aligarh Muslim University coming up in Malappuram.

• Number of mosque in Vellimadukunnu within 6km is 6 and their capacity is around

500-1000 at a time and in Fridays all are filled and no space for most of them.

• Considering this as well as for the upcoming development that will bring population

will be in need of Masjid that can accommodate 1000 at a time which will include

the space for women as well.

1.7 Brief requirements

Mosque

• Prayer hall (1000)

• Minbar

• Mihrab

• Minaret

• Prayer hall for women (300)

• Imam room/ Counseling room

• Ablution

• Toilet

Administration

• Lobby

• Reception/Waiting area

• Directors room+ Toilet

• Secretary room

• Office

• Dining room

• Pantry

• Toilet

Library

• Lobby

• Reading area

• Kids section (30)

• Stack area



• Periodicals

• Research area

• E-library

• Computer with internet facility

• Lecture room

• Lobby/ Book lending office

• Librarian room

• Photocopy/binding /cataloguing

• Toilet

Auditorium

• Seating (600)

• Stage

• Lounge

• VIP room

• Green rooms

• Toilet

• Coffee shop

• Conference room 1

• Conference room 2

Gallery

• Permanent gallery

• Audio-visual room

• Toilet

Food court

• Dining area

• Kitchen

Accommodation

• Lobby

• Imam’s room

• Bedroom (guest)

• Toilet



1.8 Methodology



CHAPTER 2. Literature Study

2.1 Islamic (worship and the mosque).

Despite the complete lack of surviving monuments from the first two generations of Islam, there is abundant literacy evidence that certain building practices evolved first in Medina itself and then in the foundation of new settlements (military camps ) such as Basra, Kufa, or al Fustat which were to give Islamic architecture some of its most characteristic and enduring forms. This was a mosque or place of prayer in the center of camp large enough to hold the entire male population during the Friday prayer- Ever since 624, when Muhammad (Peace and blessing be upon him - Pbuh) himself had decreed that the kiblah or the direction of prayer, be oriented toward the Ka'aba in Mecca, all mosque followed this plan regardless of the placement of the buildings and roads around it. The first mosque that was built was the Prophet Mosque in Medina which formed the prototype to which all the subsequent Islamic religious buildings adhered. Visual characteristic

It is possible to reduce a basic list of securing generic forms as well as some principles of spatial organization. There is a definite concern of orientation in space expressed both in the cosmic orientation of the Ka'aba and in the terrestrial alignment of mosque toward Mecca. The architectural device or this purpose is the Mihrab. A second principle is introversion, characterized by courtyard and central dome planning. This concerned is also reflected in the gateway and portico, important parts of a "positive space" design attitude. The domical, mandalic forms highlight a third principle of centrality and symmetry. The dome normally provides the special sacred space within which the Mihrab is located. For the ritual of daily and congregational prayer, two other generic forms 7 have evolved: the minaret and the place of ablution. In surveying 113 mosques by region some definite patterns are observable. For example, the Arab cultures of Arabia, Iraq, Syrian, Egypt, North Africa, and Moorish Spain are heavily represented by the hypostyle mosque with a flat roof or a flat roof with a dome accents. In East and West Africa the flat hypostyle type seems to predominate, although great dynamics of design, which could in time alter this trend, are evident- The Indian subcontinent represents a unique cultural identity although ecological variations have influenced the design mosque there considerably. Despite the preliminary nature of the survey, it is important to note that all the generic forms were found and appeared in no less than righty-three percent of the mosque

surveyed. The incidence of courtyard was 93%, minarets, 89%; domes (pyramidal also included), 86% places of ablution, 97%; and Mihrab 100%.

Mosque types To devise a typology of mosque is by no means simple because there is a great

number of a variable that may be combined in many ways. Nevertheless all mosques belong to one or other of two major categories: they have either an open or a closed plan. In the first instance the mosque is a single space of which one part is covered and other not. In the second instance the mosque comprises two distinct volumes set side by side: a prayer hall and a fore court.



Mosque Entrance

The entrance should be accessible to all aged and handicapped and should be different from the entrance of men and women. The entrance should be protected from the wind by using a double vestibule to prevent drafts and heat loses. Entrance mats to clean dirt and moisture off people's feet can be used. Before entering the mosque the Muslims have to leave their shoes outside. Thus, shoe racks/storages are needed to place all the shoes. Numbering and coding of each shoe spaces would be helpful to remember the placement of the shoes. Shoe racks need to be accessible to ablution area. Prayer hall

A mosque is a building erected over an invisible axis, an axis which is nonetheless the principal determinant of its design. The axis is directed from the point at Ka'aba in the city of Mecca. Mecca is the Islam's holy city and Ka'aba is the axis mundi of Islamic cosmology. This horizontal axis toward the ka'aba, or the direction of the prayer is called qibla. The prayer hall should have a watch to assist people for time to pray, book racks to place the Kor'an and other Islamic books. The appearance of the prayer hal1 should be simple and clean. There is no furniture or elaborate decoration. Light color is preferable for the walls and ceiling. The praying mats/rugs can be of any color to match the interiors but avoid using striking colors which can disturb the concentration and devotion during prayer. The praying should be a non-smoking area because smoking is not encouraged (but is not forbidden) in Islam. Besides praying, the activities in the prayer hall can be reading, sleeping and relaxing. So the hall requires at least 30 foot-candles of illumination to give enough light for reading. Acoustic treatment of the hall, which is the same as the reading area, is desirable to keep the noise low. Praying dimension area for each person would be 2’x 4’. Over every mosque floor there is spread either a multitude of prayer rugs or a single large carpet. The covering fulfills three functions: it deadens the noise of footsteps and so preserves an atmosphere of quiet; enhances the beauty of the building by its intricate patterns and its color; and it ensures the purity of worshippers who do not leave their shoes outside but also perform a ritual ablution of face, hands and 2feet before entering. For this, there are fountains, tanks, rows of taps and so on, either in the center of a forecourt or otherwise close to the main door. The floor of the ablution area should be non-slipped, natural ventilation and light should be provided to allow free uninterrupted flow of air. Space area for each individual to occupy is 3.5' x 2'. Mihrab

At the point where the kiblah axis meets the far wall of the mosque an intention is produced, a directional niche called Mihrab which is nothing less than the liturgical axis made visible- The Mihrab takes the shape of arched niche, mostly framed by one or more pairs of colonnades- Being the visual as well as the liturgical climax of the mosque, where the imam (prayer leader) stations himself to lead the congregational prayer- The Mihrab is the central feature of any mosque and indeed of all sacred art and architecture in Islam. Mimbar

Since the worship is very simple, mosques require little in the way of 1iturgical furniture. Chairs are unnecessary because sitting is simply a squatting back on the haunches, but there are two items that are normal, namely a stand for the Koran and a pulpit or the Mimbar for the Friday sermon. The Mimbar takes the form of a miniature flight of stairs rising away from the congregation whom the imam faces down the steps. The decorative



possibilities of this feature do not need stressing. Usually the Mimbar is enclosed with a handrail down one side. The Mimbar is a form of authority as much as acoustic elevation. Minaret

Observing that the Jews used horns and the Christians a wooden clapper to summon to prayer, Muhammad (Pbuh) ordered his followers to mount the highest roof in the neighborhood and hence called the faithful to the devotions. It was to provide for this that there eventually evolved the minaret from which the call to prayer ( azan} could be given by the muezzin, was the need for the height from which to broad cast the that led to the development of the minaret. Thus, it needs some kind of vertical circulation to climb up to the topmost of the minaret. Imam's study area This is the space for the imam (prayer leader) to get himself organized before giving the sermon of Friday noon’s. The space should have a desk, chairs, file cabinet, shelves, clock, telephone and electrical outlets. The floor should be carpeted to deaden noise. 30 foot-candles of illuminations should be enough for reading and writing in this room. 2.2 KMBR Standards

a. General building regulations • Maximum permissible coverage-40% • Maximum permissible far without additional fee- 1.50, with additional fee-

2.50 • WC –males:1/200, females: 1/100 • Urinal-1/50 persons. • Wash basin-1/200 for both. • Mezzanine floor-floor area should not exceed 1/3rd of main floor. • The height of the room-not less than 4m, in case of ac rooms not less than

2.4 m. • Area of bathroom- not less than 1.5sqm with sides not less than 1.1m.

b. Parking • For motor cars-not less than 15sqm, for scooters-not less than 3sqm. • 1 parking should be provided for every 25 seat accommodation. For this

1.5sqm carpet area is taken as one seating. c. Staircase

• Minimum width of stair -1.2m, tread-30cm, riser height-not exceeds 15cm. • Height of handrail-not less than 90cm.

d. Ramp • Slope- not exceeds 1:10. For wheel chair -1:2

2.3 Standards and book study • Mosque

o 0.85sqm praying space per person and 20-40% for circulation.

o Usually rectangular or square, often with a dome and facing Mecca, prayer niche (Mihrab)

Fig 2.1 Praying dimensions



is set in the front wall (kiblah) and next to it is Mimbar should have odd number of stairs.

o WC are right angles to the direction of Mecca . o Separate entrance for men and women. o Mosque should be placed on elevated site. o Orient the building, so that entrance is visible from

main streetscape, pedestrian pathways and parking areas.

o The main entrance readily identifiable and main prayer should be focal point.

o Column should not interrupt the congregants. o Spacious vaults and large open spans are preferred structural typologies-creates

more dynamic social inclusion and long term spatial adaptation. o Also multi-columnar hall can strengthen esthetics with arabesque, spatial

formation, courts, directionality, and representation of infinity. o Clean carpeted area allow with ease and without obstruction to concentration. o Provide resident imam and located such that imam can reach without

interrupting, stepping over worshippers. o Space to be two directional- one vertical

tending upwards with sky and the other horizontal direction linking it with Mecca.

o Upward movement expressed by dome, horizontal movement is expressed by shifting towards kiblah.

o Semi circular arch is avoided and only pointed, segmental horse shoe shaped is used.

o Entrance façade to follow alignment of the street.

o Ablutionary is provided in between entrance and sahn.

o Seating provided for removing shoes. • Exhibition

Fig 2.4 Floor plans for the location of doors in relation to the use of space

Fig 2.2 Masjid plan

Fig 2.3 Minaret



Fig 2.5 Different methods of admitting natural light from above.

Fig 2.6 Different ways of dividing up exhibition space.



• Library Area

• Food court



• Auditorium

Fig 2.7 Different Auditorium configuration



2.4 Literature Case Study 2.4.1 The Mosque And Islamic Cultural Centre Of Rome, Italy • Location - Rome, Italy • Architects- Paolo Portoghesi, Sami Mousawi ,

Vittorio Gigliotti • Client-Islamic Cultural Centre of Italy • Design-1976 • Completed-1992-1995 • Site- 30000 m2 • Ground floor- 6050 m2 • Total floor- 13,800 m2 • 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.

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

Fig 2.8 View of Mosque and cultural

centre, Italy

Fig 2.9 Site plan



Facilities • Prayer hall - 2400 worshippers of whom 500 would be females • Smaller prayer hall -150 worshippers, • Educational section • Library • Classrooms • Conference • Auditorium- 400 people • Exhibition area • Two residential sections-for Imam of the Mosque and the visitors. Materials • Facades and exterior finishes- travertine and peperino Romano with classic Roman

brickwork. • Exterior spaces-typical Roman stone and marbles. • Flooring of interior spaces -marble finishes • The sahn and riwaq floors-strips of travertine with brick paving in between. • Lead -sheathing material for the domes. • Mosaic stucco decorative panels- main prayer • Small prayer halls-Moroccan and Turkish craftsmen.

Fig 2.10 Plan and section of MCC, Italy



Analysis • The image of the tree expressed the diversity inherent in the unity of Islam. Thirty two

concrete columns do exist in the main prayer hall, these branches are surprisingly decorative rather than structural. 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.

• Prayer hall is on the raised area and below with ablution area thus separating from disturbance.

• 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.

• It has vast open area by through we are entering gives whole view of the building. • Entries are to the first floor where main entry is the middle one via courtyard reaches

reception. • Gallery space is used by female worshippers during the pray time. • Library space and museum is placed away from prayer hall thus preventing the noise to

prayer hall. • Cultural centre, Library and museum have separate entries and are connected helping

for space utilization. • Natural light is available since it has large courtyard.

Fig 2.11 (a) Double height (b) Mosque entry (c) Long corridor (d) Masjid view (e) Masjid ceiling



2.4.2 Faisal mosque, Islambad • 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.

• Architect/planner- Vedat Dalokay • Design -The mosques 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 lack a dome. The minaret borrows their design from Turkish tradition and are thin and pencil like.

Fig 2.12 (a) Courtyard (b) Courtyard stair (c) Masjid Verandah (d) Masjid view



Size • 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 (Prophets’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).

Analysis • The mosques has 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.

Fig 2.13 (a) Entry (b) Crescent Sculpture



CHAPTER 3. Live Case Study 3.1 Indian Islamic Cultural Centre, New Delhi Location -Lodhi Road, New Delhi Architect -Ar. Bhalla Interior designer -Mr.Arun Patwal Site gradient -Flat terrain Climate -Delhi has extreme climatic conditions with very cold winters and hot summers. Access -2 Metro station around 1.5 km

-Indira Gandhi International Airport, 21 km - Hazrat Nizamuddhin Railway station, 3.7 km

History In 1980, Govt. of India allocated a land to the Islamic Community for construction of

Islamic Center. The site had a bungalow that belonged to the British Reign, it was demolished and the foundation was laid by former Prime Minister Mrs. Indira Gandhi on 24th August 1984. The construction took place slowly for a period of 22 years, completed and was inaugurated by Mrs.Sonia Gandhi on12th June 2006. Why IICC?

The community people thought that there should be a center 1. To promote mutual understanding and tolerance among the diverse citizens of India. 2. To remove misunderstanding about Islam and its teachings. 3. To promote an awareness of the ethos of Islamic Culture. 4. Delhi being the capital it acts as a showcase to the foreigners about Islam in India.

Vegetation • There is less trees growing on the site .Wild growth of plants has been regulated and

controlled. Landscape • Pruned Shrubs on walls • Setbacks with ground covers and fountains • Stone tiled paved walkways around site.

Fig 3.1 Main entry to IICC

Fig 3.2 Building facade



Building layout Administration • Lobby-140sqm • Secretary room-32sqm • Office-140sqm • Conference room -47sqm and 87sqm • There is one main entry to the building which reaches to a large hall with domes interior

with patterns and also staircase. • Also there is a separate entry to conference room which is on both sides and made

separate from the rest with levels. • Office is to left side of the entry has a corridor space that creates a privacy to the

administration. Library • Total area-190sqm in 2 floors • It is to backside entered via residential wing and courtyard. Prayer hall • Total area-140sqm • It is backside of the building with separate hall for men and women. • It has a small ablution area and a shoe rack at the entry. Auditorium • Seating (300)-505sqm • Stage- 65sqm • Green rooms x(2)- 80sqm • It has a separate entry by stair from the main entry. Food court • Restaurant- 140sqm

Fig 3.3 Ground floor plan of IICC



• Kitchen-46sqm • Coffee shop-82sqm • It is well furnished and has VIP room. • Coffee shop is in the first floor so can be used by people coming to the auditorium. • Residential wing • Area- 30sqmx 30 bedrooms with attached bathroom. Architecture Planning • Segregation of the different spaces on its use. Massing / spatial organization • Physically linked by level differences • Visually linked through flow of one space into another. Lighting and ventilation • Lobby and Common Facilities - Centralized AC • Hostel Block - Rooms open into courtyard, wherein micro-climate is created.

Fig 3.4 (a)Basement floor plan (b) First floor plan



• Banquet Hall -Open into courtyard for expansion and lighting / ventilation.

Open spaces • Open space on the western side is used as a space for hosting

marriage parties. • This space is kept adjacent to the banquet hall and kitchen

facilitating food service Materials of construction • Brick and concrete • Stone cladded exterior walls • Marble interior flooring with granite lining

Circulation • Since separate entry for auditorium, conference room and 1 for other facilities,

surrounding would be disciplined. Surrounding and services • Separate entry for services like fire exhausts, LPG lockers, serving the kitchen etc.. • AHU Condensers and other building services + backup facilities are kept in the basement

floor. • Fire exits at every 35 meters horizontally, vertically and diagonally. Parking facilities • 8 bays for car parking • Other parking facilities is given at a site adjoining on the rear side, this is a shared

parking facility by IICC and its surrounding buildings. Structural system • For shorter spans, R.C.C. 500x500mm columns spanning a distance of about 4 meters. • For larger spans 800mm dia columns of R.C.C spanning 6m, and also supports the central

dome with a cylindrical base.

Fig 3.5 (a) Courtyard (b) Entry (c) Conference room (d) Prayer room (e) Ablution space



Analysis

• Spaces are arranged placing common facilities separated by lobby and vertical movement from residential wing.

• Separate entry for conference room, auditorium other facilities thus reducing overcrowding.

• Auditorium can occupy to a number of 300 people at time. • Office space is segregated by giving small corridor space. • Courtyard hosting marriage parties is kept adjacent to banquet hall. • External Wall with pointed arches creates a semi-shaded space on the entry to the

common facilities. • Separate entry for services like fire exhausts, LPG lockers, serving the kitchen etc. • Physically linked by level differences and visually linked through flow of one space

into another. • Coffee shop is in the first floor so can be used by people coming to the auditorium.

Fig 3.6 (a)Entry to conference (b) Corridor (c) Service room (d) To auditorium (e)Ceiling

Fig 3.7 Dome with cylindrical base



3.2 Ma’din Saqafathu Sunniyyah, Malappuram Ma’din Saqafathu Sunnia is one of the famous Islamic centres in Kerala. It can be otherwise called as Islamic University which provides education in different field of Islamic studies. Ma’din provides help and assistance to needy and destitute of the society. Location -Malappuram, Kerala. Site is by the side of Calicut- Palghat state highway. Site - 32 acres Facilities - Grand Masjid, Educational institution, Auditorium, Library and hostel. Access - 20km away from Calicut international airport

-It lies 50kms away towards East of Calicut Railway station on Calicut-Palghat National Highway.

Topography - Flat terrain Masjid • Ma’din grand Masjid is the one of the focusing point for the entire Islamic complex and it consist of Prayer hall = 135’ X 80’ Mihrab = 7’dia Ablutions tank = 2500l X 4 Height of each minaret = 125’ • There are 4 minarets at the four corners of Masjid • Corridor of 11’ width is surrounded by the two side of the mosque. • Double storied mosque • Height of GF = 16’ to first floor • Height of FF = 32’ to ceiling • First floor is accessed by 2 set of staircase at the side. • First floor act as mezzanine of 100’ x80’ • Huge dome with chandelier hanging is there at the centre of the Masjid which is 25’ dia. • Masjid is raised a height of 2m from ground level. • There are toilets in two floors,in which each floor has 10 toilets each , and mostly ground

floor toilet is used where as first floor toilets are used at the time special occasion . • Incase over crowd comes, sahn or courtyard close to Masjid will be used for the purpose

of prayer, ifthar etc • Ladies prayer hall is provided at a distance of 10m from the Masjid. And it has its own

access from the road specially meant for travelers.

Fig 3.8 Masjid view

Fig 3.9 (a) Prayer area (b) Ablution (c) Minbar



Masjid interiors • Ma’din Grand Masjid has typical style of mosque planning with a prayer hall. Mihrab,

Mimbar, ablution area, sahn, and toilet. • Coffered ceiling is used where long span for ceiling is required. • An area of 135’x30’ is supported by four columns. Each column is finished with teak

wood paneling. • Teak wood paneling is used for the finishing of Mihrab as well Mimbar. • High quality teak is used for the purpose of making storage rack for Quran. • Flooring is done with polished marble on which red color carpet is placed for ensuring

comfort in prayer. • In ablution area anti-slippery tiles is used as flooring material.

Library • Library of Ma’din Saqafathu Sunniayyah is one of the biggest Islamic library in Kerala

itself. • It provides theological, general, modern and research books. • 80 students can use digital library at a time which is exclusively for Islam • Theological books(Arabic, Urdu) = 12000 • Theological books (Malayalam) =8000, Modern research books =5000, Other

books= 5000 • Digital Library =100 • Library is of two floor • Ground floor =Theological books, Periodicals • First floor = Digital library , Research books • Number of toilets provided for library =8 No's • Total area of the library = 250 Sqm • Number of students occupied at a time = 150 Library interiors • Whole library flooring is done with polished marbles. • Walls are painted in two colors', olive green to an height of 1m and white color paint is

used for remaining part of the wall. • Research and study library is fully painted with white in color • Digital library is the only part in which air conditioning is done. • Mostly natural ventilation and natural lighting is plenty available for the respective

library. since all the four wall is covered with windows. • Instead of giving common electric power, library has separate LT electric power. • A sub tank is provided for water service having a capacity of 5000l which is connected

from the main tank.

Fig 3.10 (a) Stack area (b) Reading area (c) Computer room



Auditorium • Auditorium in Ma’dinu Ssaqafathu Sunniyya can occupy to a number of 400 people at

time • Since this auditorium is constructed at the very starting of this Islamic academy, the

facilities seem to be very bad in it. So a new project for auditorium is on the process proposed auditorium can occupy 700 people at a time current auditorium has mosaic flooring and white painted wall. Its stage is 15 meter long and 9 meter wide.

Analysis • It has typical style of mosque planning with a prayer hall, Mihrab, Mimbar, ablution area,

sahn, and toilet. • Incase over crowd sahn or courtyard close to Masjid can be used for the purpose of

prayer, ifthar etc

• Masjid is raised height of 2m from ground level, so can segregate from other space from

disturbance.

• There are toilets in two floors in which each floor has 10 toilets each, and mostly ground

floor toilet is used where as first floor toilets are used at the time special occasion.

• Ladies prayer hall is provided at a distance of 10m from the Masjid. And it has its own

access from the road specially meant for travelers. Thus separating from men prayer hall

as per shariyah.

• Coffered ceiling is used for long span for ceiling thus reducing the use of columns. • Flooring is done with polished marble on which red color carpet is placed for ensuring

comfort in prayer. • In ablution area anti-slippery tiles is used as flooring material. • The library provides theological, general, modern and research books. • Mostly natural ventilation and natural lighting is plenty available for the respective

library. Since all the four wall is covered with windows. • Auditorium in Ma’din Ssaqafathu Sunniyya can occupy to a number of 400 people at

time. Fig 3.11 (a) Dome interior (b) Library block (c) Masjid Verandah



3.3 Jama Masjid, Old Delhi Location -Delhi Style -Islamic Capacity -85,000 people Length - 80 m Width -27 m Dome(s) -3 Minaret(s) -2 Minaret height -41 m Access - Metro station, 800 m

-Indira Gandhi International Airport, 26 km - Hazrat Nizamuddhin Railway station, 9 km

History

Jama Masjid is the principal mosque of Old Delhi in India. Commissioned by the Mughal Emperor Shah Jahan, builder of the Taj Mahal,in the year 1644 CE and completed in the year 1658 AD, it is the largest and best-known mosque in India. Architecture • Roof is covered with eight domes with repeated stripes of purple and white marble. • The minarets are divided by three projecting galleries and are surmounted by open

twelve sided domed pavilions. • Under the domes of the mosque, is a hall with seven arched entrances facing the west

and the walls of the mosque, up to the height of the waist, are covered with marble. • Over these arched entrances there are tablets of white marble, four feet (1.2 m) long

and 2.5 feet (760 mm) wide, inlaid with inscriptions in black marble. • The floor of the mosque is covered with white and black marble ornamented to imitate

the Muslim prayer mat.

Fig 3.12 Jama Masjid

Fig 3.13 (a) Minaret (b) Dome (c) Mihrab



Analysis • It is to the raised area and the courtyard gives it privacy from the exterior rush and

traffic. • Courtyard become a large community space with an attraction towards the centre with

ablution tank. • It is with many Islamic geometric patterns on entrance gate, arches, mihrab, minbar that

comes from the mughal architecture. • It has 3 entries where rural entry is from the south, thus will facilitate exiting of

worshippers. • Masjid is large with courtyard with centre placed with ablution area thus providing light

and ventilation.

Fig 3.14 Site plan

Fig 3.15 (a) Minbar (b) Arches (c) Courtyard



CHAPETR 4. Site Study 4.1 Site study

The site is located in Calicut in Vellimadukunnu, a residential area and almost all the services and facilities like school, college, hospital, communication, etc. are available here. The famous Nirmala Hospital and JDT Islam educational institution are also situated in

Vellimadukunnu. Location - Vellimadukunnu, Calicut. Site is located 8km away from Kozhikode. Area - 7 acres Access - 8 km from Kozhikode town - 33 km from Karipur Airport - 9 km from kozhikode Railway Station Topography - Site is considered as gentle slope land with fewer trees. Water table is below the ground level Climate -humid climate, average annual rainfall is 3266 mm highest maximum temperature-39.4oc lowest temperature-14oc Vegetation -Gentle slope land with fewer trees Wind - South east –Northwest Soil -Laterite Soil

Fig 4.1 Site



4.2 Site analysis • Site is surrounded with Islam educational institution and is turning into a middle urban

area nowadays.

• Airport, railway station and bus stop are close.

• Only on one side entry is possible.

• Since on southern side educational institution, noise level would be higher where as on

other area residential zones noise level is lower.

• Views to the site are maximum on the entry side of the site and on other sides

educational institution will be an obstruction for the view.

• Water drain to the roadside.

• Wind flow is from southwest side.

• In the site west side is the entrance and Mosque should be facing west side, so the

entrance would have a good view of the building with various elements used in mosque.

• Site entry is via smaller width to larger area, thus can create a suspense in the built form.

• Placement of prayer hall and area that needs silence can be placed to northern side of

site, since it is residential area.

• Buffer should be provided on southern side.

• Southern side should be protected from sunlight.



4.3 Area statement

PROJECT REQUIREMENT STANDARDS CASE STUDIES

GIVEN AREA

TOTAL=10052

M/SQM SQM Quantity SQM

Mosque 1612

Prayer hall 1 sqm/person 1750 1000 1000

Ablution 20/600 male, 1sqm/person 200 60 60

Toilet 20/600 male, 1sqm/person 150 12 30

Mihrab - 8 1 6

Lobby 1.2 sqm/person 60 1 50

Prayer hall(women) 1 sqm/person 300 300 300

Ablution 10/300 female, 1sqm/person - 15 20

Toilet 5/300 person, 1.6sqm/person - 8 16

Lobby 1.2 sqm/person - 1 50

Imam room/ Counseling room

-

- 2 80

Administration

260

Lobby 1.2 sqm/person 100 1 30

Reception/Waiting area

1.8 sqm/visitor

40 1 50

Directors room - - 1 30

Secretary room - 32 1 30

Office 4.2 sqm/person 140 8 35

Dining room 0.8X1.25sqm/person leaving 0.6m

offset - 15 30

Pantry - - 1 15

Toilet (male) 1.6sqm/person 12 10 20

Toilet (female) 1.6sqm/person 12 5 20

Library 1060

Reading area 14.1sqm/4 person 100 150 300

Kids section (30) - - 30 60

Stack area (With 5000 books in Malayalam, 5000 books in Arabic, 1000 books in English and other language.)

1000 volumes=6 sqm

with 1.44m centerline distance

between shelving

150 1 250

Periodicals - 20 1 40



Research area - - 1 100

Computer with internet facility

1.84 sqm/ person

90 30 100

Lecture room 40 people -80sqm - 2 90

Lobby/ Book lending office

- - 1 40

Librarian room 12.5 sqm for a department

headoffice work station per staff-

1.8X1.2 - 1 15

Photocopy - - 1 15

Toilet 1.6sqm/person 36 10 50

Auditorium 1610

Seating 0.72 sqm/person 1m wide aisle 505 600 700

Stage 90sqm / 99 seats 65 1 150

Lounge 0.8sqm/person - 1 300

VIP room 7.5sqm/3 person - 1 30

Green rooms - 80 2 50

Ladies Toilet 1.6sqm/person 8 10 60

Gents Toilet 1.6sqm/person 8 10 60

Conference room 1 2 sqm/person 47 70 100

Conference room 2 2 sqm/person 87 40 80

Coffee shop - 82 1 80

Exhibition 1630

Permanent gallery - - 1 1500

Audio visual room - - 1 80

Toilet 1.6sqm/person - 10 50

Food court 550

Lobby 1.2 sqm/person - 1 100

Dining area 0.8X1.25sqm/person leaving 0.6m

offset 140 1 300

Kitchen - 46 1 50

Counter - - 1 80

Pantry - - 1 20

Accommodation

1010

Lobby - 15sqm 1 50

Imam's room - - 1 60

Bed rooms with attached (guest)

- 30sqmx(30) 30 900



CHAPTER 5. Special Topic (Geometric patterns in Islamic architecture)

Abstract

Islamic patterns may of course be enjoyed purely as decorations. They can be

enjoyed for aesthetic experience of art and science in unity. But these patterns depict a

variety of geometrical structures and constraints of the Euclidean space. Hence they are of

great merit as educational aids for the teaching of many topics in mathematics, physics,

chemistry, crystallography, computer science and design. In particular they can be valuable

in the teaching of geometry to school children and provide a visual gateway for the teaching

of abstract notions of Group Theory at the university level.

This paper will cover about geometric patterns , its chararacteristics, pshychological

aspects. Also it will deal with various types of patterns seen in Islamic architecture.

5.1 Introduction

Geometric patterns occur in rich profusion throughout Islamic cultures. They are

found on a diversity of materials – tiles, bricks, wood, brass, paper, plaster, glass and on

many types of objects. They occur on carpets, windows, doors, screens, railings, bowls,

furniture-specially pulpits in mosques, and on other surfaces. They can be seen in

abundance in Persian miniatures in the illumination of the Holy Koran and on architectural

surfaces of mosques, palaces, madersas (centres of education) and tombs. Symmetric

Islamic patterns come in three distinct geometrical flavours. One of these is that of

Calligraphic patterns which most often mould Arabic lettering for words such as Allah and

Mohammed or short verses from the Koran, to create symmetric geometrical forms. Figure

shows an example Calligraphic Pattern which uses the word Mohammed. It is from the tomb

of the Sufi poet Shah Abdullah Ansari in Hirat, Afghanistan.

A second distinct pattern type perfected in Islamic art is the Arabesque. In such

patterns spiral forms intertwine, undulate and coalesce rhythmically to produce stylized

leaves and floral forms. An example is shown in Figure.

The third and largest class of Islamic patterns employs polygons, and less frequently,

regions bounded by circular arcs, to produce space filling patterns. When such patterns are

rendered on a two-dimensional flat surface a basic unit cell repeats itself over and over

again. A consequence of this is that there is no natural point of focus for the eye. As one

Fig 5.1 Islamic patterns



looks at an expanse of pattern the eye ‘flows’ continuously following the lines and seeing a

variety of intricate structures and relationships. In three dimensions, such as interior and

exterior surfaces of domes, the unit cell is skillfully scaled and deformed to fit the surface.

The most familiar geometrical designs in Islamic art and architecture is two-

dimensional. However, there is however also a field of Islamic geometrical design that is less

well-known, this is the tradition of three-dimensional geometrical design, muqarnas.

Muqarnas constructions were originally created to provide a smooth transition inside a

building between wall and a dome. Muqarnas are unique to Islamic architecture and have

been used in different ways, using different construction techniques all over the Islamic

world.

'Family of Six' Geometry Some examples of familiar shapes that can be found in designs based on the division of a circle in to six equal parts. The last illustration on the right is an eight pointed star design, but the lines that are used to create it, originate in the six-fold division of a circle. Six fold geometry also occurs in abundance in nature: in flowers, in snowflakes and in beehives, to name but a few. The last photograph on the right is Almoravid seal clay from the 11th century (the Almoravids were a Berber dynasty which ruled over North West Africa and Spain and Portugal).

'Family of Five' Geometry Fivefold geometry also occurs in abundance in nature: in starfish, apples, flowers etc. This particular geometric family is special and unusual

5.2 Characteristics of Islamic Patterns

Fig 5.2 Family of six geometry

Fig 5.3 Family of five geometry



5.2 Characteristics of Islamic Patterns

Using Figures, we shall now point out the characteristics of Islamic Patterns. The

pattern shown in first figure has a very simple structure. It is easy to see that it has been

created by placing 4 identical hexagons to form petal shapes inside a square unit cell. This

pattern does not display the characteristic shapes that occur in the majority of Islamic

patterns. It has been included to make the point that Islamic patterns occur in many shapes

and some rather simple ones do not possess the instantly recognizable Islamic flavor, which

is displayed by the vast bulk of the more complex patterns. The patterns shown below are,

in contrast, all instantly recognizable as being ‘Islamic’.

The most striking characteristic of Islamic Fig 5.4 Various patterns



It is the prominence of star and rosette shapes. Such shapes with five, six, eight, ten,

twelve and sixteen rays are the ones that occur most frequently, but patterns containing

other number, particularly in multiples of eight up to ninety six, can be found.

5.3 The Psychology behind Symmetric Star-Shaped Islamic Patterns

It is often said that geometry was forced on Islamic art because Islam forbids the

drawing of animate shapes. In the view of the author, this explanation suffices only at a

rather superficial level and misses out deeper and more significant reasons. The first thing

that needs to be said to challenge this simplistic repetition is that there is a vast body of

figurative work by Muslim artists. Everyone has seen examples of Persian miniatures, but

apart from these, there exist a large number of realistic life-like pictures of humans as well

as animals executed with great virtuosity and naturalism by Muslim artists. This is especially

true for work produced during the Mughal period in India, but such works exist in other

places as well.

The Moorish artists, for example, also produced a whole variety of pictures of

animate objects and there is a fine set of portraits, for all to see, of the kings of Alhambra on

the ceiling in the Hall of Kings in the Alhambra. The author has challenged the prohibition

based explanation at length in the References (Abas and Salman 1995) and here a summary

will be given.

In the view of the author the major influences, which forged Islamic geometric art,

are as follows:

(i) Islam Has No Image of God Except Light and Stars Radiate Light. The Wandering

Nomads in Deserts Also Rely on Stars for Navigation Unlike, say, Christianity and Buddhism,

Islam offered no image of God.

The only material image of God that the Koran offers is that of Nur, meaning light. “God is

the light of the heavens and earth”, it proclaims. Since stars produce the light of heavens, it

is not at all surprising that Muslim artist should produce art containing star shapes for

sacred buildings such as mosques and tombs and in the illumination of the Koran. There

were also strong practical reasons for the passion for stars. The Arabs who produced Islam

dwelt in deserts and their way of life involved nomadic wandering over large areas of land.

They were also seafarers and sailed over considerable distances. The navigation in both

kinds of travel demanded skilful observation of the heavens. Furthermore, Islam enforced a

unique requirement on the faithful. Whether on land or sea a Muslim has to know, five

times a day, the exact direction in which to pray. All this made the stars extraordinarily

significant to the early Islamic cultures. The Koran abounds with verses which conjure up

powerful imageries on the theme – “Allah it is who hath set for you the stars that ye may

guide your course by them amid the darkness of the land and the sea” (V: 98). This then is

yet another reason for the prominence of star shapes in Islamic art.

(ii) Geometry is the Door from the Material World to the Spiritual World and the

Glimpse of Perfection Long before the birth of Islam, several of the classical Greek

philosophers had associated metaphysical qualities with geometry. The abstract definitions



and logical consistency of the subject had been seen as pointers to a perfect world

underlying gross reality and hence to the perfection of gods. “God ever geometrizes”, Plato

had proclaimed. Imbued with the idea of an abstract God, Muslim intellectuals found the

notions of Greek geometers immensely agreeable and concurred that geometry offers the

unifying intermediary between the material and the spiritual world. It is not surprising that

Muslim artists should seek to depict perfection through geometry.

(iii) Long Experience of Carpet Weaving Gave Tent Dwellers Skill and Passion for

Tessellations, Interlaced Patterns and the All-Over Covering of Surfaces Carpets and rugs are

the most natural form of furniture for tent dwellers. They have been produced throughout

the Middle East and the Caucasus region for a very long time. In particular, the nomadic

tribes of Central Asia, Persia and Afghanistan have been producing carpets and rugs for

thousands of years. They serve many purposes; as floor coverings, prayer mats, tent

decorations, canopies, as symbols of power, privilege and riches. Carpets represented the

most ancient and the most meaningful art form in the population that first embraced Islam.

The creation of this art involves interlacing to produce tessellating repeat patterns. It is not

surprising that Islamic buildings reflect this long tradition. Thus, we see that there are very

sound positive reasons why Islamic art should naturally turn to geometry, star shapes,

tessellations and interlaced patterns and not simply the negative fear of hell fire, which is

regularly suggested.

5.4 Grids

A grid is an arrangement of shapes (or polygons). Grids play a crucial but invisible

role in Islamic geometrical design. They provide the underlying structure for a composition.

They allow a designer to make the first creative steps when contemplating a new

composition.

Grids allow a designer to easily alter the size of a composition without having to

redesign or recalculate. Grids allow a designer to use one grid design but still create a

variety of different geometrical compositions.

Having the ability to discover the underlying grid in an Islamic geometric composition

is one of the most useful tools for those who want to understand Islamic geometric design.

This gives an introduction on the role and significance of grids.

The number of different grids that can be designed is infinite and only limited by

one's imagination. However, there are only three types of grids than be created by using

identical shapes (or polygons as we will call them).



These three shapes (or polygons) are the only ones that don't need the help of other shapes to create a grid. They can fill a surface by just repeating the same single shape (0r polygon).

We could take any of the other polygons and demonstrate that they cannot create a grid by just repeating the only polygonal shape. However, we can use the example of an octagon (an eight-sided polygon). It cannot fill a surface by just repeating the same single shape: it leaves a small square- shaped gap. Only by introducing an extra polygon (In this case the little square), can we create a grid with octagons. It is not possible to create a grid with only octagons.

The basic principle of grids in Islamic geometrical design is that each polygon can have its own small geometrical design. When combined or repeated with different or identical polygons, it creates a larger composition. We can use the example of the hexagonal grid that can be seen above in blue above. This is a very common grid in geometrical design: some of the most familiar compositions are based on this hexagonal grid.

The design inside the hexagon is simply repeated as many times as is necessary, all the lines and shapes in the design join up and fit together. Every Islamic geometrical design has an underlying grid. It is a good and enlightening exercise to discover what the underlying grid is when looking at an Islamic geometrical design.

The real creativity of grids comes alive when grids of varying polygons are created. For example, by just combining a triangle and a square a range of different grids can be created. The triangles and squares can contain their own mini geometrical designs and, when combined in different ways, as seen in the grid designs below, will create different geometrical compositions.

The same principle can be applied when combining triangles, squares and hexagons, or any other combination of polygons.





1. This grid design consists of triangles, squares and hexagons arranged in a particular way. There are other ways of arranging these three polygons, but this is one of the simplest ones.

2. We can give the three different polygons their own mini geometrical design. These designs are very basic and require only a few steps to create. Seen on their own, it is almost impossible to imagine how they can work together to create a geometrical composition. It is only when the polygons on the grid are actually given their mini designs that it becomes apparent how they work together to create something new.

3. Here we see exactly the same grid design as directly above except that the single colour polygons have now been filled in with the individual mini geometrical designs. It is now visible how the individual components in the three mini-designs all contribute to create a new seven-sided polygon that makes the final geometrical composition possible.

4. This final composition has exactly the same design as has been created by the arrangement of the design-filled polygons in the grid. The only difference is that the grid has been made invisible. What is left is just a beautiful geometrical composition.

In geometrical designs in Islamic art and architecture the grid is not immediately visible although it can be seen if know how to look.

When we look at a geometrical design we do not see the grid first: we see the

geometrical composition first. So, to learn to understand how a composition is constructed, it is necessary to work backwards; to deconstruct a composition. The image on the left is a stone inlay panel in the Great Mosque of Damascus. It is almost identical to the illustrations below. The only difference is the design of the big central star. In the panel in the Great Mosque it is a 12-pointed star. In the illustration below it is a 12-pointed star that also contains a 6-pointed star. The first step in deconstructing a composition into its constituent elements (i.e. the polygons), is to establish how many different elements there are. In the case of this composition, there are four polygons that create the grid: a triangle, a square, an unusual hexagon and a 12-sided polygon that contains the main star design. When comparing the panel and the illustration, it becomes clear that it is possible to change one mini-design in a polygon to create a different overall composition. This principle has allowed traditional Islamic craftsmen for centuries to be innovative and create new designs. They combined polygons in certain ways to create new compositions but they also change the mini-designs in polygons to create new compositions.




5.5 Application of Special topic

As a Building facade- The aim was to create a sunscreen and a dynamic façade by introducing Islamic patterns on it by use of concrete. By use of this we have a visual expression of Islamic building.

As a Window treatment- Islamic patterns were used on it as jali work which gives good exterior Islamic appearance as well as interior with shadows of it.

On covered pathway- As a shading medium with a plate of many circles, which is the basic shape that is to develop Islamic patterns.

Use of grid in design- In planning of site as well as building plan, grid is used.

Atrium skylight- A skylight is provided with an Islamic pattern.


Fig 5.9 Application in design



CHAPTER 6. Design



CHAPTER 7. Conclusion

The main purpose of the project has been to develop architectural program through

extensive study of the functions and requirements of the cultural centre and mosque that

will be a resource for the diverse Muslim population, as well as for non-Muslims interested in

learning about the religion and various other related courses. Study and understand the

principles of Islamic architecture and its application, mosque planning concepts, a master plan

with essential requirements on a sloping terrain, to create a sustainable environment for

acquiring knowledge, to incorporate contemporary style in the Islamic architecture was used to

reach the final design of the project.

Application of special topic involving Islamic pattern and study, its translation into design by

establishing it as elements on building elevation, facade, atrium, windows which becomes

the visual part of the design development. Finally receiving a blend of contemporary Islamic

architecture with the context, by use of locally available material.



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irc_report.pdf

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