Project 2: Case Study - Islamic Architecture Buildings

Interview worker in royal suleiman mosque

The Side view of dome

exterior view of royal suleiman mosque

the front entrance of the mosque with alQuran word on top to show the identiy of "ilm"

calligraphy for partition to seperate spaces.

partition with calligraphy motifs.

Column with islamic motifs symbol as decoration.

Interior toward the ka'abah

interior dome

interview of visitor.

Project 2: slide

Project 1: Timeline & Individual Participation

INDIVIDUAL ANALYSIS

TIMELINE

Site visit : Islamic Museum

Site visit : Islamic Museum

Islamic Arts Museum Malaysia was officially opened on December 12, 1998. The museum is located in the heart of Kuala Lumpur’s tourist belt amidst the lush greenery and within walking distance to the National Mosque, Birds Park and National Planetarium.The Islamic Arts Museum Kuala Lumpur houses more than seven thousand artifacts, as well has an exceptional library of Islamic-art books. The art objects on display range from the tiniest pieces of jewellery to one of the world’s largest scale models of the Masjid al-Haram in Mecca. The aim is to create a collection that is truly representative of the Islamic world.

                            Various type of Mosque from around the world

Types of Quran 

Pulpit

Ihtiram

Ihtiram to the Islamic religion is portrayed in the architecture of the buildings in a way that embodies devotion which serves the pillar of religion and unifies the entire building. In this museum the religious geometrical symbols that are present throughout the dome walls and exterior facade as well as the courtyard and shadings portray Ihtiram  in the sense that theharmony and purity of the geometry of the Ka’bah is Omnipresent within the architecture along with the many ‘Iwans’ that are present on the walls located within the courtyard. The essence of Islam and humanity are respected in this building due to the fact that it  houses the legacy and history of Imam Hussein and his compatriots and basically Islam, itprotects it and gives the Shia Muslims and other visitors the opportunity to be close to the religion. The entire museum portrays Ihtiram in the sense that it is respected in terms of its function which is giving knowledge and bringing people together and still having respect for Allah. The Purity, harmony and respect are seen on the basic geometric details of the walls.

Tawhid

The museum in the essence of the seven principles portrays Tawhid in that; it protects and collects a representation of the Islamic world having so many artifacts and holy elements, it is a site where it brings people together to celebrate and commemorate Islam and to observe it, the museum also has a vast library in the act of gaining knowledge also the entire space of the museum is used to convey knowledge.

Dikr

This principle of Islamic architecture in a way sums up what the architecture is solely about; architecture of monotony which portrays rhythmic precision that is mirrored in the contemplative chanting of God’s innumerable attributes as well as the remembrance and consistent praise of Allah (SWT).  The entire museum in a way is derived around remembrance of Allah and constant praise towards him, not only through Arabic inscriptions throughout the building walls but also through the geometric proportions and sincerity that the building portrays which in a way sums up what the Islamic religion is about; Unity and unicty of Allah, respect, sincerity, Knowledge, Balance, Modesty and Remembrance.

Ikhlas

This is known as integration of mathematics:embodiement of geometric proportion,harmony and balance which can be seen on the dome and also on the path to the courtyard and the exterior facade to the entrance of the musuem.

The islamic architecture styles

The islamic architecture design styles

Persian and Byzantine style

The Islamic conquest of Persia in the 7th century availed the Muslims with the vast wealth of architectural innovation developed over the centuries, from the great roads, aqueducts and arches of the Roman Empire, to the Byzantine basilicasand horseshoe and pointed arches, and the Sassanian and Byzantine mosaics. The renaissance in Persian mosque and dome building came during the Safavid dynasty, when Shah Abbas, in 1598 initiated the reconstruction of Isfahan, with the Naqsh-e Jahan Square as the centerpiece of his new capital. The distinct feature of Persian domes, which separates them from those domes created in the Christian world or the Ottoman and Mughal empires, was the colorful tiles, with which they covered the exterior of their domes, as they would on the interior.

Turkistan (Timurid) architecture

Timurid architecture is the pinnacle of Islamic art in Central Asia. Spectacular and stately edifices erected by Timur and his successors in Samarkand and Herat helped to disseminate the influence of the Ilkhanid school of art in India, thus giving rise to the celebrated Mughal school of architecture. Timurid architecture started with the sanctuary of Ahmed Yasawi in present-day Kazakhstan and culminated in Timur's mausoleum Gur-e Amir in Samarkand. The style is largely derived from Persian architecture.

Ottoman architecture

The standard plan of Ottoman architecture was inspired in part by the example of Hagia Sophia in Constantinople/Istanbul,Ilkhanid works like Oljeitu Tomb and earlier Seljuk and Anatolian Beylik monumental buildings and their own original innovations. The most famous of Ottoman architects was (and remains) Mimar Sinan, who lived for approximately one hundred years and designed several hundreds of buildings, of which two of the most important are Süleymaniye Mosque in Istanbul and Selimiye Mosque in Edirne. Apprentices of Sinan later built the famous Blue Mosque in Istanbul and the Taj Mahal in India.

The most numerous and largest of mosques exist in [Turkey], which obtained influence from Byzantine, Persian and Syrian-Arab designs. Turkish architects implemented their own style of cupola domes. For almost 500 years Byzantine architecture such as the church of Hagia Sophia served as models for many of the Ottoman mosques such as the Shehzade Mosque, the Suleiman Mosque, and the Rüstem Pasha Mosque.

The Ottomans mastered the technique of building vast inner spaces confined by seemingly weightless yet massive domes, and achieving perfect harmony between inner and outer spaces, as well as light and shadow. Islamic religious architecture which until then consisted of simple buildings with extensive decorations, was transformed by the Ottomans through a dynamic architectural vocabulary of vaults, domes, semidomes and columns. The mosque was transformed from being a cramped and dark chamber with arabesque-covered walls into a sanctuary of esthetic and technical balance, refined elegance and a hint of heavenly transcendence.

Sino-Islamic architecture

The first Chinese mosque was established in the 7th century during the Tang Dynasty in Xi'an. The Great Mosque of Xi'an, whose current buildings date from the Ming Dynasty, does not replicate many of the features often associated with traditional mosques. Instead, it follows traditional Chinese architecture. Some Chinese mosques in parts of western China were more likely to incorporate minarets and domes while eastern Chinese mosques were more likely to look like pagodas.

An important lathan feature in Chinese architecture is its emphasis on symmetry, which connotes a sense of grandeur; this applies to everything from palaces to mosques. One notable exception is in the design of gardens, which tends to be as asymmetrical as possible. Like Chinese scroll paintings, the principle underlying the garden's composition is to create enduring flow; to let the patron wander and enjoy the garden without prescription, as in nature herself.

Chinese buildings may be built with either red or grey bricks, but wooden structures are the most common; these are more capable of withstanding earthquakes, but are vulnerable to fire. The roof of a typical Chinese building is curved; there are strict classifications of gable types, comparable with the classical orders of European columns.

Indonesian-Malay architecture

The predominantly-Muslim regions of South East Asia have been slow to adopt Middle Eastern architectural styles for Islamic sites. For centuries, most Javanese mosques lacked a dome. Instead, they had a multi-tiered roof (of Javanese or even Chinese influence) comparable with the multi-level pagodas of neighbouring Bali.

The design elements

Islamic architecture may be identified with the following design elements, which were originally a feature of the Masjid al-Nabawi.

lan view of Bab al-Barqiyya alongAyyubid Wall.

• Mihrab or prayer niche on an inside wall indicating the direction to Mecca.A four-iwan plan, with three subordinate halls and one principal one that faces toward MeccaMinarets or towers (these were originally used as torch-lit watchtowers, as seen in the Great Mosque of Damascus; 
• Domes and Cupolas.
• Pishtaq is the formal gateway to the iwan, usually the main prayer hall of a mosque, a vaulted hall or space, walled on three sides, with one end entirely open; a Persian term for a portal projecting from the facade of a building, usually decorated with calligraphy bands, glazed tilework, and geometric designs.
• The use of Islamic geometric patterns and foliage based arabesques.
• The use of mocárabe and muqarnas, a unique Arabic/Islamic space-enclosing system, for the decoration of domes, minarets and portals, as used at the Alhambra.
• The use of decorative Islamic calligraphy instead of pictures which were haram (forbidden) in mosque architecture. 
• Central fountains used for ablutions (once used as a wudu area for Muslims).
• The use of bright color, if the style is Persian or Indian (Mughal); paler sandstone and grey stones are preferred among Arab buildings. Compare the Registan complex of Uzbekistan to the Al-Azhar University of Cairo.

7 principles of Islamic architecture

7 Principles of Islamic architcture

Divine Inspiration: Seven Principles of Islamic Architecture


Seven Principles of Islamic Architecture is an exhibition that aims to illustrate the intrinsic relationship between Muslims, their beliefs and how these manifest themselves in everyday architecture. Islam embodies a way of life and serves as a cohesive force among ethnically and culturally diverse peoples. There is no essential difference between spiritual and secular art in Islam, allowing the virtues of Islamic architecture to transcend mere form and function.
Each of the key beliefs explored; Tawhid (Unity), Ihtiram (Respect), Ikhlas (Sincerity), Iqtisad (Moderation/ Humility), Haya’ (Modesty), ‘Ilm (Pursuit of Knowledge), Dhikr (Remembrance), will contextualise and shed light on the visible and invisible nature of both the Islamic belief discussed and its corresponding architectural principle. Covering examples from across the globe - discussing their cosmic dimensions - this exhibition will highlight the long interrupted tradition of sacred and scientific knowledge that has gained Islamic architecture a well-deserved reputation of outstanding nobility.

1. Architecture as Tawhid: Unity & Uniquity of Allah 

- An Islamic building should focus on strengthening the bond between muslims within conformity of God's will

2. Architecture of Ihtiram: Respect 

- An Islamic building should represent Muslims respect and obedience to Allah 

3. Architecture with Ikhlas: Sincerity 

- A Muslim architect should show sincerity and purity in their design motivation, and built within conformity to God’s will 

4. Architecture as Pursuit of Ilm: Knowledge 

- An Islamic building celebrates knowledge through calligraphy of religious Inscriptions and uses light as an expression of knowledge. 

5. Architecture for Iqtisad: Balance 

- An Islamic building should have harmony between functional and spiritual elements 

6. Architecture of Haya’: Modesty 

- An Islamic building should be discreet and preserve the dignity of its owner or users. 

7. Architecture as Dikr: Remembrance 

- An Islamic building should be an aid to remembrance of Allah

The prophet Muhammad (PBUH)

The Prophet Muhammad (PBUH)

Full Name : Abū al-Qāsim Muḥammad ibn ʿAbd Allāh ibn ʿAbd al-Muṭṭalib ibn Hāshim

He came into this world at the time when the Arabians were indulged in extreme ignorance, deterioration of morality and association of partners with Allah. They were brutes who killed ruthlessly and knew no morality.In his boyhood and youth, he remained exemplary in character and he steered clear of all the evils of the contemporary society. He had ideal morals and was renowned as Sadiq (the truthful) and Amin (the honest) even to his worst enemies and this was all before prophet-hood.At the age of forty, during his daily meditation in Cave of Hira, he received first revelation from Allah Almighty through the angel Gabriel (A.S.).He began preaching Islam and proclaimed himself as prophet and messenger of Allah.He was readily accepted there and he started a true Islamic society there. The brutes of Arabia were turning into polite and civilized human beings by hundreds and thousands every day.His success included Conquest of Makkah. After the Hajja-tul-Wida’, he left the world leaving the Muslims bereaved and mournful. He was buried in the Mosque of the Prophet. He gave the Muslims his life as a way to follow and Quran as a source of inspiration and hidaya.

“Our Prophet was a radical too - he fought against the injustices of his community and challenged the feudal order of his society, so they called him a radical. So what? We should be proud of that!”

Abu Bakar Bashir, Indonesian reformist