Sumit Singhal loves modern architecture. He comes from a family of builders who have built more than 20 projects in the last ten years near Delhi in India. He has recently started writing about the architectural projects that catch his imagination.
Mosque Architecture by Iki Architecture
June 18th, 2011 by Sumit Singhal
Article source: Iki Architecture
IN MEMORY OF THE GREATEST ARCHITECT SINAN “ON MOSQUE ARCHITECTURE IDEAS COMPETITION”
Transparency and simplicity which are the basic principles of Islam, are the most basic fundamentals that shape our proposals.
The habit for arranging the worshipping area with Qibla direction was continued to be organized in a square form. The surrounding for this square form should be a transparent “Glass Lantern”. So that an idea emerged to create a “glass prism” where the carrying blocks and surfaces are formed by the same material in which the worshipping area will have an visual quality of the highest degree between the exterior day light and the worshipping area. In order to capture strong mystical ambiance, all the verses of the Quran were stamped on the transparent walls and ceiling surfaces.
The dome that has been the most powerful form of the memory of mosque architecture for ages, was taken from its traditional use and turned into an overall coating that will cover the mosque’s internal and external activities and ensure the sun control. Instead of the idea of covered inner yard that is widely seen in traditional uses, an approach of outer yard for which a holed coating is identified and localized to be open at four sides, attention-inviting, and in the form of pressed dome. It was in this way made into a structural pattern that emerges through filled and empty spaces on the coating that is one of the familiar prototypes of Islamic architecture. While this prototype is always perceived in the ceiling between the worship area and the outer area activities (such as ritual ablution, bayram celebrations, and funeral prayer), a strong spatial effect that will be created by the shadows was obtained.
The pool that surrounds the glass prism from three sides, that is pressed by the outer cover from two spots, and the minarets are located on, was important because it was either reflecting the sky to the floor or it was forming a humanitarian approach to the volume of worshiping. The inscription of “Allah” that was planned to be written on the bottom of the pool was made to create a mystical visual influence together with the reflection of the sky during the worship. The impact from the illumination of this inscription on the bottom of the pool at night was considered to increase the enlightenment either of the night from the worship are or from the outside of the building.
The minarets took their places in the composition as elegant monumental landmarks. The mihrab and the minber were made of glass panels in harmony with the general structural language. On the holed wall in front of the women’s area and the final prayer’s area as well as the reliefs on the fountain of ablution Islamic patterns were used.
It was assumed that the heating, cooling, and ventilation problem of the glass prism can be solved via suction and exhaust registers working in integration with the floor and that the illumination can be subject to specific details to illuminate along the surfaces of the carriers in addition to the traditional round chandeliers.
From 27 January to 31 March 2012 the ifa-gallery (Institute für Auslandsbeziehungen/Institute for Foreign Cultural Relations) in Stuttgart (Germany) will show the exhibition “Mosque modern” (Culture Transfers#4).
The building of a new mosque is nearly always accompanied by controversy and debate. In this exhibition we take these debates as an opportunity to discuss new and innovative ideas in the architecture of contemporary mosques, not only in Germany but also including outstanding examples from the Islamic world and from outside Europe.
Furthermore, one feature of the ifa Gallery programme is the presentation of both fine art and applied art, and therefore we are showing both contemporary building projects and artistic positions. The ifa Gallery sees its role here as providing a platform for discussion.
To complete our exhibition, we would like to give your proposal for “In remembrance of Sinan the Great” from 2010 a place to show contemporary projects of architecture. Therefore, we sending a request to you if it’s possible to get material (high-res pictures; plans, renderings, videos) of this project.
About ifa-Gallery Stuttgart and the series “Culture Transfers”:
The Institut für Auslandsbeziehungen e.V., created to be the leading German institution for international art exchange, organizes and promotes exhibitions of German art all over the world. The non-commercial ifa-galleries in Stuttgart and Berlin present and mediate contemporary art, architecture and design from Africa, Asia, Latin America and Eastern Europe. ifa brings together people from different cultures in exhibitions and events, scholarship and exchange programmes and also in international conferences relating to foreign culture and education policy, thus initiating intercultural dialogue and discourse.
“Culture Transfers” is the title of the exhibition series starting in 2010 by the Stuttgart and Berlin ifa galleries, addressing the various forms, standards, subject matter and strategies adopted by cultural transfer operations between the centre and the periphery. Even the working method of institutions such as ifa is based on cultural transfers, promoting, demanding, supporting and initiating intercultural encounter and discussion.
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