Contents

Chapter-1. 1.1 1.2 1.3 1.4 1.5 1.6 1.7 About The Book (Synopsis)..................................................................... 3

Introduction of the topic................................................................................. 4 Need/ Concern for the topic ........................................................................... 4 Aim ................................................................................................................ 5 Objectives ...................................................................................................... 5 Scope: ............................................................................................................. 5 Limitations ..................................................................................................... 6 Methodology .................................................................................................. 7 Introduction .............................................................................................. 9

Chapter-2. 2.1 2.2 2.2.1 2.2.2 Chapter-3. 3.1 3.1.1 3.1.2 3.1.3 3.2 3.2.1 3.2.2 3.2.3 3.3

The term Islamic Architecture .................................................................. 10 Origin of Islamic Architecture ..................................................................... 11 Rise of Islam .......................................................................................... 11 Places and Buildings of Origin .............................................................. 12 A brief history on Traditional Islamic Architecture ........................... 15

Early Islamic Art and Architecture .............................................................. 16 Central Islamic Lands ............................................................................ 16 Eastern Islamic Lands ............................................................................ 16 Western Islamic Lands ........................................................................... 16 Medieval Islamic Art and Architecture........................................................ 16 Central Islamic Lands ............................................................................ 16 Eastern Islamic Lands ............................................................................ 16 Western Islamic Lands ........................................................................... 16 Advent of Islamic Architecture in India ...................................................... 16 Elements of Buildings ............................................................................ 20

Chapter-4.

4.1

Identifying the various elements and styles used ......................................... 21 Case Studies ........................................................................................... 22

Chapter-5. 5.1 5.1.1 5.2 5.2.1 5.2.2 Chapter-6. 6.1 6.2 6.3

Traditional Islamic Architecture .................................................................. 22 Indian ..................................................................................................... 22 Contemporary Islamic Architecture ............................................................. 29 Mosques ................................................................................................. 29 Buildings ................................................................................................ 32 Application in Contemporary World ..................................................... 36

Identifying the further implementation in Contemporary World ................ 36 Various aspects and elements that can be used ............................................ 36 Summarizing the applications ...................................................................... 36 Making of an Environment Friendly Contemporary Islamic Architecture 36 Merging Green and Sustainable Architecture .............................................. 36 Green architecture .................................................................................. 36 Sustainable architecture ......................................................................... 36 Climate sensitive architecture ................................................................ 36 Energy efficient architecture .................................................................. 36 Examples ...................................................................................................... 36 Conclusion ............................................................................................. 36

Chapter-7. Building 7.1 7.1.1 7.1.2 7.1.3 7.1.4 7.2

Chapter-8.

Chapter-1. About The Book (Synopsis)

1.1 Introduction of the topic

Islamic architecture encompasses a wide range of both secular and religious styles from the foundation of Islam to the present day which has influenced in the design and construction of buildings and structures. Initially, the principal Islamic architectural types included the Mosque, the Tomb, the Palace and the Fort but in modern time it has progressed and one can easily find its essence in the design of residential buildings, hospitals, offices, college campuses, shopping complexes and so on. Islamic architecture is not concerned only with the form or types of buildings. It signifies a process where all the phases and aspects of secular harmony are equally important. The process starts with having a proper understanding and vision which leads to making a right intention. It continues with the planning, designing and building stages, and ends with attaining the net results and how people make use of and benefit from them. Islamic architecture is a fine blend of all these factors which are interwoven with the treads of the belief system, principles, teachings and values of Islam.

1.2 Need/ Concern for the topic

Globalization and The Middle East. Each of these terms is widely-applied terms presents a considerable challenge to the Islamic world. However, one of the most important shields that can protect the heritage of Islam from melting away lies within Islamic culture. Islamic architecture itself has a significant heritage, the problem lies we are not making adequate efforts to develop this tradition to take its place across the contemporary globe. Islamic architecture, in particular, is one of the most important features within Islamic culture as it is the discipline that manifests heritage in tangible form. It should be, therefore, one of the main concerns for us as professionals working in the field to bring the spark of this unique style back to the contemporary scene.

During the last 50 years in the trend of modernization, the Western mode started its encroachment on the territory of the great Islamic cultural heritage; as a result many rich Store house of architectural heritage in the world have lost much of its historic styles. The impact of modernization has led to a rupture of continuity between the

inherited morphology and more recent urban structure. Ancient Islamic architecture has deep roots in the architecture of buildings even in modern times. Architectural culture is a localizing force that should bridge the gap which the historical conscience opened between the past and the present by creating new communities which are faithful to the traditional architecture in creating an urban environment which encourages the inspiration of the inherited cultural heritage.

1.3 Aim
To study the history of Islamic art and architecture particularly in the structures of Mosques and to apply the gained knowledge innovatively in Contemporary World.

1.4 Objectives
The main objective of this paper is: To study various design and structure of ancient Islamic architecture buildings. To project the importance of Contemporary Islamic architecture in different fields such as commercial places, educational institution, etc. To study about the integration of ancient and contemporary art and design of Mosques. To study construction techniques and features of different types Mosque that can be achieved. To aware people about the importance of Islamic Architecture in Contemporary World so that it defines new dimension in the architecture domain.

1.5 Scope:
The scope does not limit itself in a specified area or a specified time but it is boundless. Contemporary Islamic architecture can be used in design of shopping malls, offices, educational institutions, airports, hospitals and of course mosques in

small village to any mega cities. Great economic benefits can also be achieved by promoting Islamic architecture through tourism. This topic is dealing with details and its implication in availability of resources, use of various ideas in mosque designing without altering the salient features such as minarets, tomb, etc. different types of cultures and traditions and maintaining secular harmony.

1.6 Limitations
As we are aware the mosque is a religious place of worship for Muslims, therefore Islamic Architecture designing in contemporary world is limited to only a particular section of the society. Although, its concept and nature has the capability of attracting everyone as mentioned earlier and can easily be justified by the presence of ancient Islamic architecture in many public buildings.

1.7 Methodology

References

Two

Books Ettinghausen Richard, Grabar Oleg, Islamic Art and Architecture, Yale

Authors University Press, London, 1987

Online Books

Islamic Architecture and Its philosophy www.islu.edu.ml/content/islamicarch.pdf

Web links, Sites, Web documents, Wikipedia Islamic Architecture, 12.2.12, viewed 22.3.12

Wikipedia

http://en.wikipedia.org/wiki/Islamic_architecture Arab Architecture, 12.2.12,viewed 22.3.12 http://en.wikipedia.org/wiki/Arab_architecture

Webpage

Islamic Architecture in Modern World, 12.2.12, viewed 22.3.12 http://isesco.org.ma/english/publications/Islarch/P3.php

Chapter-2. Introduction

2.1 The term Islamic Architecture

Islamic architecture encompasses a wide range of both secular and religious styles from the foundation of Islam to the present day, influencing the design and construction of buildings and structures in Islamic culture. The principal Islamic architectural types are: the Mosque, the Tomb, the Palace and the Fort. From these four types, the vocabulary of Islamic architecture is derived and used for buildings of lesser importance such as public baths, fountains and domestic architecture The architecture of the peoples of Islamic faith, which from the 7th century onward expanded throughout the Mediterranean world and as far as India and China, and beyond, producing a variety of great regional works and local decorative styles. A number of classic styles and forms are found in Islamic architecture. The earliest form of moseque is the hypostyle, employing a quadrilateral form and a central courtyard; this remains a popular form in the Islamic world today. These are frequently accompanied by iwans, open niches in the exterior of the building. The classic four-iwan style is a common trope in mosque architecture, especially in Iran, with the largest iwan facing Mecca. The direction towards Mecca is also indicated by a niche in the interior of the building, known as a mihrab. A familiar part of the mosque is the minaret, the tower from which the muezzin announces the call to prayer. Other features are less specific to mosque architecture. The arabesque is a familiar form in which geometric and botanical forms are used to fill space on the walls of a building. Another frequently employed feature is elaborate Arabic calligraphy, yielding a similar effect. Domes and cupolas of various shapes are often associated with Islamic architecture, and have been employed in a wide range of buildings throughout the Middle East since before the dawn of Islam.

Fig 1. Islamic Architectural Style

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2.2 Origin of Islamic Architecture

The rise of Islamic architecture was largely influenced by the building being done in the Arabian Peninsula during the time of the Prophet. At the time, extant architecture included Greek, Roman, Byzantine, and Zoroastrian Persian works, each with their own motifs. Even the Kaaba, the holiest building of Islam, predates the actual religion by (at least) hundreds of years. Early Muslim architects adopted arch forms from Greco-Roman cultures, botanical depictions from the Persians, and dome forms from the Byzantines. The first refinements of Islamic architecture were made during the Rashidun Caliphate (632-661 CE), followed by a further elaboration during the Umayyad Caliphate (661-750 CE). After this, different regions began to develop distinct traditions of architecture, reflecting the inherent syncretism between Islam and local culture. In the Arab World, architectural tradition hewed closely to Medieval styles. A particular golden age of Islamic architecture came about under the Mamluk rule in Egypt, where the streets of Cairo became an expression of the Islamic ideal. Similar examples can be found in the medinas of cities throughout North Africa. Unlike in constructions further East, Arabic architects employed a muted color palate, making use of the gray and brown stone of the harsh desert regions. Rather than color, the emphasis was on geometric form. 2.2.1 Rise of Islam In the Qur'an the word Masjid, although used many times, is only applied to three specific buildings: the Masjid al Haram (ka'ba), the Masjid al Aqsa (Jerusalem) and the Masjid built at the oasis site called Quba, south-east of Medina. This was the first Masjid of Islam after the advent of Prophet Mohammad (s). A Masjid is a place where one can feel the pulse of any Islamic Architecture. From the earliest times, the Masjid has always been a religious and social centre for the community. Along with ritual prayers, a Masjid has been a place of learning both secular and religious studies, a place for commemorating important historic occasions as well as providing a platform for political pronouncements at Friday midday prayers. Therefore, besides its religious role, the range of activities traditionally associated with the Masjid was comparable to those previously associated with the Greek Agora or the Roman forum.

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2.2.2

Places and Buildings of Origin

The Ka'ba This is the most significant monument of Islam. Built originally by the Prophet Ibrahim (a.s.), this simple cubicle structure has gone through several renovations and expansion, although still maintaining its original style. This is the very structure that Muslims from around the globe face during ritual prayers. It is a place where Muslims converge for the pilgrimage of Haj. Among its other merits, it symbolizes the unity of Muslims, the simplicity of Islam as well as the dynamism of this faith. The Ka'ba was also the birthplace of Imam Ali (a.s.). It was a monument highly venerated by all from the time its foundation was laid. Masjid al Aqsa The earliest architectural monument of Islam that retains most of its original form is the dome of the rock (qubbat al-sakhrah) in Jerusalem. It was the first Qibla of Islam, that is, the place where all Muslims faced during their ritual prayers. Muslims believe it to be the spot from which Prophet Muhammad ascended to heaven. Among its other exquisite features, this masjid has mosaics depicting scrolling vines and flowers, jewels, and crowns in greens, blues and gold. It is among the most magnificent architectural monuments ever built. Masjid at Quba Dating from the time of the Prophet, the Masjid of Quba is considered the first mosque built by the Prophet and his followers. In the Qur'an (sura 9:108) there is a mention of the first public Masjid built at the place called Quba. Situated about 3 miles south-east of Medina, this oasis was the first place where the Prophet rested before entering Medina. The mosque was a rectangular covered space measuring 54 x 63 cubits (approximately 26 x 30 m or 85 x 100 ft), built of mud brick and with datepalm trunks supporting the roof. It was in this mosque in the seventeenth month of the hijra, that the direction of the Qibla changed to face Mecca. Thus this Masjid also came to be known as Masjid al-Qiblatayn (i.e. with two qiblas). First Masjid at Medina The first Masjid at Medina was built by the Prophet and his followers. It was designed with utmost simplicity symbolizing the purity and simplicity of the new way

12

of life. The Prophet's as well as the Ahlul Bayt's homes opened onto the rectangular courtyard which served as the main hall of prayers. For the comfort of the worshippers, a portico (zulla) made of palm trunks and branches was built on the north side of the courtyard, together with a smaller one (suffa or shed roof) which gave shelter to visitors who sometimes spent the night there. The zulla also served as a place for deliberations on community affairs, hence to this day the Masjid has retained its multivalent role as the place of prayer, social activities and political debate. From this modest beginning has developed the basic iconography of the Masjid. Later on a minbar (pulpit) was added to address the gatherings at the mosque. The call of prayer was given from the roof. Minarets, which are prominent architectural features of Masjids today, were added to Masjids much after the death of the Prophet when Islamic architecture evolved and synthesized with other cultures. In the century after the death of the Prophet Muhammad (a.d.632), his Arab followers spread his teachings through Egypt and North Africa, as far west as Spain, and as far east as Sassanid Persia. Because of their rapid expansion and the flexibility of the Islamic architectural principles of the Arabian peninsula, the Muslims derived their unique style from synthesizing the arts of the regional areas along with traditional Arab styles. The great strength of Islamic art as a whole lies in its ability to synthesize native design elements with imported ones. While formal elaboration of Masjid design in Muslim history has created totally different concepts of architecture and regional styles, the image of the archetype remained unchanged : the concept of a courtyard (sahn) and a sanctuary (haram) which essentially consists of a hypostyle hall (i.e., an interior space with multiple supports for the roof) has survived to this day. Such features are examples of architectural symbolism that retain their validity in a practical sense. Certain other unique and outstanding features in Islamic art and architecture, like calligraphy and abstract decoration were born and evolved while Islam reached different regions of the world. Such features are as varied as the regions themselves and exist till date.

13

References

Two

Books Ettinghausen Richard, Grabar Oleg, Islamic Art and Architecture, Yale

Authors University Press, London, 1987

Online Books

Islamic Architecture and Its philosophy www.islu.edu.ml/content/islamicarch.pdf

Web links, Sites, Web documents, Wikipedia Islamic Architecture, 12.2.12, viewed 22.3.12

Wikipedia

http://en.wikipedia.org/wiki/Islamic_architecture Arab Architecture, 12.2.12,viewed 22.3.12 http://en.wikipedia.org/wiki/Arab_architecture

Webpage

http://www.imamreza.net/eng/imamreza.php?id=4416 12.2.12,viewed 22.3.12 http://www.onlineuniversity.net/architecture/islamic-architecture/ 12.2.12,viewed 22.3.12 Online Dictonary McGraw-Hill Dictionary of Architecture and Construction

14

Chapter-3. A brief history on Traditional Islamic Architecture

15

3.1 Early Islamic Art and Architecture

3.1.1 3.1.2 3.1.3 Central Islamic Lands Eastern Islamic Lands Western Islamic Lands

3.2 Medieval Islamic Art and Architecture

3.2.1 3.2.2 3.2.3 Central Islamic Lands Eastern Islamic Lands Western Islamic Lands

3.3 Advent of Islamic Architecture in India

Indo-Islamic architecture begins with the Ghurid occupation of India at the close of the 12 century A.D. The Muslims having inherited a wealth of varied designs from Sassanian and Byzantine empires and being naturally endowed with good taste for buildings, never failed to adapt to their own requirements the indigenous architecture of almost every foreign country that they conquered. The most important factors common to both forms of architecture, especially in respect of mosques and temples, were that to both styles, ornamental decoration was very vital and that the open court in many cases was surrounded by colonnades. But the contrast was equally striking: the prayer chamber of the mosque was spacious, whereas the shrine of the temple was comparatively small. The mosque was light and open, whereas the temple was dark and closed. The difference between the lay-out of a temple and a mosque is explained by the essential difference between the Hindu and Muslim forms of worship and prayer. A cell to house the image of the deity, garbhagriha, and often small halls in front for the worshippers was regarded adequate for a simple Hindu temple. But the Islamic form of worship, with its emphasis on congregational prayer, requires a spacious courtyard with a large prayer hall, pointed towards Mecca, as its western end that is, to the West of India. In the rear wall of the prayer-hall, the centre is occupied by a recess or alcove, called mihrab; and indicates the direction of prayer (quibla). A pulpit (mimber) at its right is meant for the imam who leads the prayer. A tower or minaret, originally intended for the muazzin to call 16

the faithful to the prayer, later assumed a mere architectural character. A gallery or compartment of the prayer hall or some other part was screened off to accommodate the ladies who observed purdah. The main entrance to a mosque is on the east, and the sides are enclosed by cloisters (liwans). A tank is provided for ablutions usually in the courtyard of a mosque. In the Hindu style of construction spaces were spanned corbels, held together by making courses project, each further than the one below, so that the open span was gradually reduced to a size which could be covered with a single slab or brick. Although there exists some evidence to suggest that the true arch may have been known in India earlier, it is the Muslims who are believed to have brought the principle of building a true arch so as to hold up the roof or ceiling or a top part of a structure, the bricks or stones laid to reproduce a curve, held together by the key-stone on the top of the rise. In many cases even if the true arch was familiar to indigenous architects in ancient times, it was re-introduced by the Muslims. The result was that flat lintels or corbelled ceilings were replaced by arches or vaults, and the pyramidal roof or spire by the dome. The necessity of raising a round dome over a square construction introduced multiplication of sides and angles by providing squinches so that a base with many sides usually 16, could be obtained to raise a circular drum for the dome. A sunshade or balcony was laid on cantilever brackets fixed into the projection from the walls, which introduced the chajja (caves or sunshade). The practice of the burial of the dead, as distinct from the cremation practised by the Hindus, chamber, a mihrab in the western wall and the real grave (qabr) in an underground chamber. In larger and more complex tombs, there is also a mosque, and well planned garden. The mode, theme or motifs or ornamentation employed in Islamic buildings also made a departure from the earlier vogues. The Hindu style or ornamentation is largely naturalistic showing human and animal forms and the luxuriant vegetation life. As among the Muslims the representation of living beings was taboo by way of decoration or ornamentation, they introduced geometrical and arabesque patterns, ornamental writing and formal representation of plant and floral life. In short the contribution of the Muslims to Indo-Muslim architecture is profound and no less interesting. Among the architectural features introduced by them mention may be made of arches, domes, minars and minarets, the pendentive, squinch arch, half domed double portals, kiosks (chhatris) and the use of concrete as a factor of

17

construction. They also introduced gilding and painting in varied colours and designs. Muslim decorative elements are usually of the nature of embroidery. Even though lime was known and to certain extent used in construction work in India fairly early, mud was generally used for brick work and large blocks of stones were laid one on top of the other and held by means of iron clamps. The Muslims, like the Romans, were also responsible for making extensive use of concrete and lime mortar as an important factor of construction and incidentally used lime as plaster and a base for decoration which was incised into it and held enamel work on tiles.

The Qutub Minar of Mehrauli was built around 1199 by Qutub-ud-din and finally completed by his son-in-law and successor IItutmish (1210-35). In one sense this tower was raised in adjunct to the mosque to allow the mulah to call the faithful to prayer: it could also be a tower of victory, not unlike some erected by Hindu rulers. Originally the minar had four storeys, the uppermost of which was damaged by lightning in 1373. Feroz Shah Tughlaq (1351- 88) rebuilt its two storeys. With its projecting balconies, carved with decorated elements on the underside, inscriptional surface carving and variegated fluting, this 72.5 m. high minar with 399 steps, is the highest stone tower in India. Another early mosque, is the well known Adhai-din-ka-Jhonpra at Ajmer which was also constructed from the material obtained after demolishing Hindu temples. This one is also laid on the same plan as the Delhi mosque constructed by Qutub-ud-din, with carved pillars used in colonnades. The Sultan Ghari tomb is situated 4 miles west of the Qutub and is the ftrst example of a monumental Muslim tomb in India. It stands like a fortress within a walled enclosure with bastions on the comers, with its octagonal grave chamber underground. This also has a number of stone pillars, carved lintels and other pieces originally used in temples, re-utilised here by chipping off the Hindu decorative elements. 18

The Alai-Darwaza was, built by Allaudin Khilji by enlarging the Quwwat-ulIslam Mosque's enclosures of colonnades and providing them two gateways. In this and other buildings constructed by the Khiljis, the true arch in the form of a pointed horseshoe, broad dome, recessed arches under the squinch, perforated windows, inscriptional bands and use of red sandstone relieved by marble are features characteristic of Khilji architecture. With advent of the Mughals, Indo-Muslim architecture got a blood transfusion as it were, architectural activity having declined significantly during the role of the Lodis. The Mughals were quick to realise that they could not hope to establish a lasting empire in India unless they took within their fold, mixed and mingled with the local population, especially the Rajput princess of Rajasthan. From being merely satisfied with establishing and somehow safeguarding their Sultanates as in the case of the Delhi Sultans, thinking themselves to be the conquerors, keeping aloof from their subjects and thus creating a wide gulf between themselves and the people of the country that they had the good fortune to rule, the Mughals turned deliberately towards conciliation and pacification of the Hindus. Akbar, did everything possible to live in peace and amity with his Hindu subjects. His policy of conciliation, his open admiration of Hindu culture and his unorthodox ways as the creator of a new eclectic religion, the Din-i-illahi, are reflected in architecture. Jahangir was half Hindu by blood, his mother, Jodhabai, being a Rajput princess. Shahjahan too continued this policy of tolerance and respect for the Hindus. The Mughal empire, as well as Mughal architecture, flourished and rose to great heights under their benign rule, but all this ended abruptly under the last of the great Mughals, Aurangzeb, a puritanic Muslim, who tried to put the clock back and in this process stopped it and broke it by trying to reverse the entire conciliatory policy of his ancestors. He looked upon art, music, dance, painting and even architecture as an evil born of worldly desire and therefore there was an abrupt decline and eventual downfall in aesthetic appreciation and architectural enterprise.

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Chapter-4. Elements of Buildings

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4.1 Identifying the various elements and styles used

Art is an important part of Muslim culture. The abstract, decorative and floral designs are unique to Islamic art and architecture. Muslim art is always devoid of depictions of the animate, especially human beings according to the dictates of Islam or Muslim religion. Portraiture is taboo to the culture and traditions. Islamic art focuses on the omnipresence of Allah, the 'One who cannot be represented by imagery'. Arabic calligraphy is a recognized art form used to write verses from the Qur'an. As Islam spread, the first mosques to be built outside Arabia were definitely influenced by the local houses of worship and churches. Though the architectural form and simplicity of the mosque remained, frequently, materials for columns and beams were taken from other edifices of previous cultures. While creating such spaces or places of worship, embellishment and monumentality were certainly not the predefined objectives. It was much later, that a style evolved wherein, with the contribution of creative builders and artisans, a third dimension of spirituality was created through colors, patterns and calligraphic designs based upon quotations from the Koran. The outcome of such an approach today stands out as the hallmark of Islamic art in architecture. While the engravings and calligraphic quotes portray the very essence of humility and submission to God, the artistry and sometimes grandeur inspires awe. Islamic architecture is common in the following features: Large courtyards Central prayer halls Minarets A wall niche indicating the direction to Mecca Domes Iwans to separate sections Repetitive art forms Arabic calligraphy Fountains Bright color

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Chapter-5. Case Studies 5.1 Traditional Islamic Architecture

5.1.1 Indian

5.1.1.1 Jama Masjid, New Delhi The mosque is also known by different other names, such as the Masjid-i Jahn-Num in Persian language which stands for the World-reflecting Mosque. The biggest mosque in India, the Jama Masjid witnesses thousands of pilgrims everyday who visit to offer their prayers to Allah. Depicted as the most picturesque mosque in the country, it is situated in the starting point of the bustling Chawri Bazar Road, which is one of the main thoroughfares of Old Delhi. The shrine is home to many remnants that have been kept in a secret area in the north entrance. If you want to see an age old transcript of the Quran printed on deer skin, the footmarks, sandals, and a red beard-hair of Prophet Mohammad, you have come to the right place.

History of Jama Masjid The construction of the beautiful Jama Masjid was started by Mughal emperor Shah Jahan who is also famous for constructing the Taj Mahal. The construction began in the year 1644 and was accomplished in 1656. The foundation stone of this mosque was placed by the famous Mughal emperor in Shahjahanabad, which is now known as Old Delhi. The day was the 10th of Shawwal 1060 or October 19, 1650 AD. 22

It took the collective endeavor of more than 6000 artisans to build this magnificent shrine. At that time, the amount of money spent for the construction was Rs.10 lakhs. Another architectural wonder, also a creation by Shah Jehan, the Red Fort is also located in front of the Jama Masjid. With four towers, three grand entrances, and two minarets that have a length of 40 meters, this shrine is a true feast to the eyes. Approximately 25,000 pilgrims can offer their prayers in this mosque together. Architectural pattern of Jama Masjid The aesthetic architectural pattern of the Jama Masjid will surely amaze you. This Islamic architectural wonder has the capacity to accommodate around 85,000 visitors. When you arrive at the holy shrine, you will see that there is a sprawling rectangular shaped square and the area of the square is 75 meters by 66 meters. There are three big domes and two minarets in the shrine. The western portion of the shrine constitutes a huge hall which features 260 columns that have been sculpted in the Jain and Hindu architectural pattern. You can get to the main courtyard of the mosque from three directions; north, east and south. The gateway to the east takes you to one more tourist attraction which is the burial chamber of Sultan Ahmed Shah. You can get to the main square of the mosque from three directions as mentioned above by three flights of stairs which were constructed with red sandstone. There are staircases in the northern entrance of the shrine. The eastern entrance of the shrine was used by the village people. Historically, these staircases were used for food stalls, stores, and road performances. The eastern portion of the shrine was switched to a marketplace for selling birds and poultry in the morning. When you visit the mosque, you will see that the shrine is south facing. The length of the mosque is approximately 8058 meters or 22561 feet and its breadth is 549 meters or 258258 feet. There are eight domes at the top of the shrine with recurring streaks of white marble and purple. The open areas of the shrine are enclosed with walls and every one of them features a tall entrance in the middle. There are two towering minarets in the shrine that are approximately 41 meters tall and have 130 stairs, lengthwise streaked with red sandstone and white marble. These two minarets are placed on both sides of the domes.

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There is a hall beneath the attics of the shrine which feature seven vaulted gateways that face the west. All the boundaries of the shrine are waist-high and coated with marble. If you walk to the far side of this, you will come across a hall for offering prayers, and the area of the hall is approximately 61 meters by 27.5 meters. There are 11 vaulted gateways to this prayer hall. White and black marble has been used to coat the floor of the shrine.

Features of the Mosque 1. The courtyard of the mosque can be reached from the east, north and south by three flights of steps, all built of red sandstone. 2. The northern gate of the mosque has 389 steps. 3. The southern side of the mosque has steps. 4. The eastern gate of the mosque was the rural entrance and it has 774 steps. 5. These steps used to house food stalls, shops and street entertainers. 6. In the morning the eastern side of the mosque used to be converted into a bazaar for poultry and birds in general. 7. The mosque faces south. Its free sides are covered with open farchiet chrophyll, each having a lofty tower-like gateway in the centre. 8. The mosque is about 22561 feet (8058m) long and 258258 inch feet (549 m) wide, and its roof is covered with eight domes with repeated stripes of purple and white marble, with its lowermost parts covered with loasd.

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9. Two lofty minarets, 130 feet (41 m) high, and containing 130 steps, longitudinally striped with white marble and red sandstone, flank the domes on either side. 10. The minarets are divided by three projecting galleries and are surmounted by open twelve-sided domed pavilions. 11. 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. 12. Beyond this is a prayer hall, which is about 61 meters X 27.5 meters, with eleven arched entrances, of which the centre arch is wide and lofty, and in the form of a massive gateway, with slim minarets in each corner, with the usual octagonal pavilion surmounting it. 13. 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. 14. The mosque stands on a platform of about five feet (1.5 m) from the pavement of the terrace, and three flight of steps lead to the interior of the mosque from the east, north, and the south. 15. The floor of the mosque is covered with white and black marble ornamented to imitate the Muslim prayer mat; a thin black marble border is marked for the worshippers, which is three feet long and 1 feet wide. In total there are 899 such spaces marked in the floor of the mosque. 5.1.1.2 Atala Masjid, Jaunpur Atala Masjid is a 15th century mosque in Jaunpur, Uttar Pradesh, India. It was built by Sultan Ibrahim (1401-1440), Sharqi Sultan of Jaunpur on foundations laid during the reign of Tughluq Sultan Firuz Shah III (1351-1388). Though the emergence of this mosque dates back to 1377 A.D., the construction work was completed in the year 1408. The Atala mosque, and early specimen of the Jaunpur style, is the most ornate and most beautiful mosques. This splendid piece of architecture covers an area of 258 square feet. Its courtyard is 177 feet in diameter, around which on three sides are the cloisters and on the fourth the sanctuary. The west side where the sanctuary stands is divided into five compartments. At the back of the principal propylon is the central

25

room. Next to it on either side is one long room,62-0 by 28-8 , of one storey. Then there are two more small rooms in each corner. These small rooms consist of two storeys, and had originally been separated with stone screenwork from the rest of the buildings. The central chamber is oblong in form, i.e. , 25 feet in length and 29-6 in width, and has been roofed above with a grand dome. Thies entire chamber which once formed an elaborate and artistic piece of work, has now been marred by various coats of whitewash form time in time. It has transept pillars on either side. Its decorative treatment consists of three different stages, each depending on an arrangement of arches or arcades for its effect. The lowest atage of this compartment has three mihrabs; of these the central one has been recessed 4-4 from the face of the wall. All these mihrabs have been beautifully carved and have black bands round their arches. To the north of the central mihrab stands a pulpit.

The second decorated stage of the above-mentioned compartment, i.e., of the central chamber, has decorative arches, four of which are squinched as well as bridged across the angles. This gives it the shape of an octagon. Through the screened

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openings of these arches light comes to its upper part. Then comes the upper stage which is sixteen-sided and supports the dome. The grand dome, which has an octagonal shape, is 56-2 in height from the inner side. For its interior decoration black marble has largely been used for the same purpose there of this dome is sixteen- sided; from its springs the cupola, which has been divided into enriched panels by projecting ribs of black marble. The external cornice from which this dome springs is executed in stone, through its external coating has been cemented. Its crowing bands are ornamented with pointed arcading which projected from the face. Finally there are rosette carvings in the centre of each other in relief, which give a very noble appearance. Each of the pillared long rooms on either side of the central room measures 62-0 by 28-8. They are also roofed by smaller domes. These domes have stone molding around their bases. Then in each corner at the further end, there is another low room of two storeys on either side. Their upper storeys are surrounded by perforated stone screens for use as Zamana(female) galleries. Their ceilings are paneled are richly carved. The external wall of these Zamana galleries on the north and south sides respectively, are pierced with window openings filled in with stone trellis-work, and their western walls are divided into bays. The most striking feature of this Sharqi architectural gem is its propylon, where Jaunpur architects have combined their artistic skill with remarkable originality. This splendid part of the mosque recalls the propylon of an Egyptian temple. It was used instead of minarets. Its height is 75-0 and its width across the base is 54-7; across the top it remains only 47-0. There are staircases on each side of it leading to its top. Their exterior is divided into six storeys which have been decorated by string courses. All storeys except the first and the sixth storey are embellished with recessed arches. The central portion has a great arched recess of eleven feet in depth. Its upper portion is pierced with openings and was filled in originally with screen work. It also has entrances to the nave on its lower portion. There are propylons on a smaller scale which have been placed on either side of it and have also been decorated with carvings and other geometrical devices.

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The courtyard of this grand mosque is reached by here massive gateways, which lie in the centre of the north, south and east facades. They have staircases on either side of them which lead to the upper cloisters. The height of each of these gateways is 34-6 from the base and from the top which remains 38-0. The screen walls of these gateways over the inner arch are paneled where in the centre of each a Persian inscription still exists, through in a broken condition. Towards the courtyard side at the front of both north and south gateways there is an octagonal room of one storey high with doomed roof. These paneled domes are enriched by decorative cornices both internally and externally. The whole structure of these gateways is supported by square pillars; shafts of these are of Hindu design, placed one above the other to the height of one storey. But the third entrance of the eastern side is the largest and most beautiful, and in design generally resembles that grand propylon whixh is in the front of the grand dome. From the centre it is recessed and spanned by a four-centered arch of ogee form and the spaces above its spandrels are paneled and ornamented by pietra dura. The upper part of the gables is pierced whereas the lower is divided into paneled bands which are beautifully fretted. The whole structure stands on a massive podium. Its top iscrowned bt an elaborate, hold cornice and its dome has the same sort of decoration as that of the other two. Like the other two gateways it also has a Persian inscription slab, which has now been replaced by a new one.

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Some distinct features of the mosque are Square-shaped mosque with robust appearance, Use of great rectangular pylons in the center of liwan, influence of circular

tapering turrets of Tughlaqs resolved into rectangular shape, Hindu influence is present in bracketed openings, Huge arch springing between two pylons, On the either side of Maqsura pylon are two identical mini pylons and three

separate gateways are also installed in northern, eastern and southern liwan

5.2 Contemporary Islamic Architecture

5.2.1 Mosques

Faisal Mosque The Faisal Mosque is the largest mosque in Pakistan located in the national capital city of Islamabad. It is shaped like a desert Bedouin's tent designed by Turkish architect, Vedat Dalokay and completed in 1986.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. It is located on an elevated area of land against a picturesque backdrop of the Margalla Hills. This enviable location represents the mosque's great importance and allows it to be seen from miles around day and night. The Faisal Mosque is conceived as the National Mosque of Pakistan and named after the late King Faisal bin Abdul-Aziz of Saudi Arabia, who supported and financed the project. It is the largest mosque in South Asia and one of the largest mosques in the world. The Faisal Mosque was the largest mosque in the world from 1986 until 1993, when it was overtaken in size by the completion of the Hassan II Mosque in Casablanca, Morocco. Subsequent expansions of the Masjid al-Haram (Grand Mosque) of Mecca and the Al-Masjid al-Nabawi (Prophet's Mosque) in Medina, Saudi Arabia during the 1990s relegated Faisal Mosque to fourth place in terms of size.

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The Faisal Mosque is the work of famous Turkish architect, Vedat Dalokay who won the Aga Khan Architectural Award with this project. The mosque's architecture is strikingly 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 Bedouin's tent, with its large triangular prayer hall and four minarets. However, unlike traditional masjid design, it lacks a dome. The minarets borrow their design from Turkish tradition and are thin and pencil like.

The shape of the Faisal Mosque is an eight-sided concrete shell inspired by a desert Beduoin's tent and the cubic Ka'ba in Mecca, flanked by four unusual minarets inspired by Turkish architecture. The architect later explained his thinking to design school students. I tried to capture the spirit, proportion and geometry of Kaaba in a purely abstract manner. Imagine the apex of each of the four minaret as a scaled explosion of four highest corners of Kaaba - thus an unseen Kaaba form is bounded by the minarets at the four corners in a proportion of height to base. Shah Faisal Mosque akin to Kaaba. Now, if you join the apex of each minaret to the base of the minaret diagonally opposite to it correspondingly, a four-sided pyramid shall be bound by these lines at the base side within that invisible cube. That lower level pyramid is treated as a solid body while four minarets with their apex complete the imaginary cube of Kaaba. 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 still houses a library, lecture hall, museum and cafe. 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,

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and a spectacular Turkish-style chandelier. The mosaic pattern adorns the west wall, and has the kalimah written in early Kufic script, repeated in mirror image pattern. The mosque's architecture is a departure from the long history of South Asian Islamic architecture. It is one of the most outstanding and modern Islamic architecture examples in the world. The Faisal Mosque has a covered area of 5,000 m2 (54,000 sq ft). It can accommodate 10,000 worshipers in its main prayer hall,[1] 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 (the world's third largest mosque), Faisal Mosque has the third largest capacity of accommodating worshipers in its adjoining grounds after the Masjid alHaram (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 tallest minarets in South Asia) and measure 10 x 10 m in circumference.

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5.2.2

Buildings

5.2.2.1 PETRONAS Tower Height: 1,483 ft (452 meters) Owners: Kuala Lumpur City Centre Holdings Sendirian Berhad Architects: Cesar Pelli & Associates Engineers: Thornton-Tomasetti Engineers Contractors: Mayjus and SKJ Joint Ventures Topping Out: 1998 Official Opening: August 28, 1999 On April 15, 1996, the Council on Tall Buildings named the Petronas Towers the tallest in the world, passing the torch to a new continent. Although the project's developers, a consortium of private investors in association with the Malaysian government and Petronas, the national oil company, had not originally set out to surpass Chicago's Sears Tower, they did aspire to construct a monument announcing Kuala Lumpur's prominence as a commercial and cultural capital. In the design of American architect Cesar Pelli they found a winning scheme--twin towers of elegant proportions with a slenderness ratio (height to width) of 9.4--that would capture not only the title but the public imagination.

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Pelli's design answered the developer's call to express the 'culture and heritage of Malaysia' by evoking Islamic arabesques and employing repetitive geometries characteristic of Muslim architecture. In plan, an 8-point star formed by intersecting squares is an obvious reference to Islamic design; curved and pointed bays create a scalloped facade that suggests temple towers. The identical towers are linked by a bridge at the 41st floor, creating a dramatic gateway to the city. The structure is high-strength concrete, a material familiar to Asian contractors and twice as effective as steel in sway reduction. Supported by 75-by-75foot concrete cores and an outer ring of widely-spaced super columns, the towers showcase a sophisticated structural system that accommodates its slender profile and provides from 14,000 to 22,000 square feet of column-free office space per floo Other features include a curtain wall of glass and stainless steel sun shades to diffuse the intense equatorial light; a double-decker elevator system with a sky lobby transfer point on the 41st floor to accommodate the thousands of people who use the complex daily; and a mixed-use base featuring a concert hall and shopping center enveloped by nearly seventy acres of public parks and plazas. In both engineering and design, the Petronas Towers succeed at acknowledging Malaysia's past and future, embracing the country's heritage while proclaiming its modernization. The end result, says Pelli, is a monument that is not specifically Malaysian, but will forever be identified with Kuala Lumpur. Architectural Details The architectural design of the Petronas Twin Towers floor plan is based on simple Islamic geometric squares creating a shape of eight-pointed stars, reflecting unity within unity, harmony, stability and rationality. To create more space, eight semi-circles were superimposed in the inner angles of the interlocked squares. These semicircles are themselves anchored by the main structural columns of the buildings. The twin towers are symmetrically aligned and are connected with a suspended sky bridge.

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The design details became prominent as the building rise in height towards the pinnacles. To maintain the vertical axis of the design, the towers are set back five times.

At the top of the Petronas Twin Towers are structural steel pinnacles, which stood 73.5m tall. As two different contractors worked on the pinnacles, therefore one was made in Japan and the other South Korea. Each pinnacle is composed of a spire, mast ball and ring ball. The ring ball consisted of 14 concentric tubes of differing diameters. In overall, the pinnacle is made up of 50 unique elements, lifted all piece by piece into place, making up a single 176 tonne in weight.

Each of the towers is supported by sixteen cylindrical columns that is made of concrete, encircling the core in the centre. They are placed on the inner corners of the

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star shaped plan with columns linked by slightly arched ring beams, also of concrete. The core and cylindrical frame system is constructed from in-situ high-strength concrete, including smaller perimeter columns around the two bustles. Some structural steel was used for typically long span floor beams to support concrete-filled metal deck slabs.

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Chapter-6. Application in Contemporary World 6.1 Identifying the further implementation in Contemporary World 6.2 Various aspects and elements that can be used 6.3 Summarizing the applications

Chapter-7. Making of an Environment Friendly Contemporary Islamic Architecture Building 7.1 Merging Green and Sustainable Architecture
7.1.1 7.1.2 7.1.3 7.1.4 Green architecture Sustainable architecture Climate sensitive architecture Energy efficient architecture

7.2 Examples

Chapter-8. Conclusion

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References. (Bibliography) Books Two Ettinghausen Richard, Grabar Oleg, Islamic Art and Architecture, Yale

Authors University Press, London, 1987

Online Books

Islamic Architecture and Its philosophy www.islu.edu.ml/content/islamicarch.pdf

One Author

Brown Percy, Indian architecture, D.B. Taraporevala Sons & Co.Pvt. Ltd.,Bombay, 1956

Web links, Sites, Web documents, Wikipedia Islamic Architecture, 12.2.12, viewed 22.3.12

Wikipedia

http://en.wikipedia.org/wiki/Islamic_architecture Arab Architecture, 12.2.12,viewed 22.3.12 http://en.wikipedia.org/wiki/Arab_architecture

Webpage

http://www.imamreza.net/eng/imamreza.php?id=4416 12.2.12,viewed 22.3.12 http://www.onlineuniversity.net/architecture/islamic-architecture/ 12.2.12,viewed 22.3.12 Online Dictonary McGraw-Hill Dictionary of Architecture and Construction

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Petronos Tower, Malaysia http://www.skyscraper.org/TALLEST_TOWERS/t_petronas.htm Petronos tower Islamic Architecture http://www.yangsquare.com/petronas-tower-in-detail/

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