ISLAMIC

ARCHITECTURE
HISTORY OF ARCHITECTURE – II
SEMESTER 3 AR 17-37
AR. SHERIN VARIKKATT
THEJUS COLLEGE OF ARCHITECTURE
MODULE I GLOBAL ISLAMIC ARCHITECTURE
TYPOLOGY, CHARACTER AND CONSTRUCTION
A brief introduction into origin & characteristics of Is-
lamic architecture:
building types, elements, structural systems, con-
struction techniques.

Islamic Architecture of Syria and Egypt- Great Mosque

of Damascus Syria , Dome of the Rock Jerusalem , The
Mosque of Ahmad Ibn Tulun, Cairo
Persia - The Masjid-i Shah, Isfahan
Spain - The great mosque at Cordoba. The Alhambra
Morocco -King Hassan II Mosque, Casablanca

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iSLAM - ORIGIN

Muslim chronology dates from A.D. 622, the year of

Hegira (Hijrah), when Mohammed moved from Mec-
ca to Medina. In the succeeding ten years of his life
Mohammed established the framework of the reli-
gion and the beginnings of the military organization
charge with spreading the faith.

Immediately after
his death in 632, there were efforts of the Arabian
tribes who carried then as conquerors into Central
Asia and westwards towards the Atlantic.

The spread of Islam has been frequently associated

with MILITARY CONQUEST, RACIAL MOVEMENTS
and in some cases with the CONSEQUENT DISPLACE-
MENT OF ESTABLISHED POPULATIONS.

The most important of these movements were the

Arab expansion northwards and westwards out of the
Arabian Peninsula, and the drive of the Turkish and
Mongol groups south, south-east and south-west of
the Central Asia.

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ARCHITECTURE
Islamic Architecture encompasses a wide range of BUILDING TYPES
both secular and religious styles from the foundation
of Islam to the present day, influencing the design •Mosque/Masjid/Jami–Principal place of worship
and construction of buildings and structures in Islam- •Madrassah–public school
ic culture. •Hammam-A structural design for a hot bathhouse
The principal Islamic Architectural types are: the •Caravanserai-A road side inn for travellers
MOSQUE, the TOMB, the PALACE and FORT. •Casbah/Citadel-a fortress
From these four types, the vocabulary of Islamic Ar- •Mausoleum-a tomb or a monument
chitecture is derived and used for buildings of less •Serai-A Palace
importance such as PUBLIC BATHS, FOUNTAINS ad
DOMESTIC ARCHITECTURE.

Umaid Bhawan Palace -Jodhpu,

Suleymaniye Mosque, Istanbul Tomb of Shah Rukn-e-Alam Red Fort , Delhi

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ISLAMIC BUILDING TYPES

■■The mosque was by far the most common type of

building erected by Muslims. It was also their most
ingenious architectural invention. The mosque origi-
nated simply as a place set aside for prayer.

■■The direction of prayer was indicated by the wall

nearest Mecca, the qibla wall. Quite early it became
the custom to identify this wall by placing in it a small
semicircular niche, called the mihrab, which might
have had its origin in Arabian pre-Islamic religious
buildings.

■■Another element that became associated with

mosques very early was the dome. In important
mosques, it was placed on the axis of the mihrab, in
front of it. It has been argued by some scholars that
this dome was used to honor the importance of the
caliph and his representative, who read khutba from
a raised podium called minbar. The precedent here
would have been the dome over the throne room of
Persian kings.

■■During the Prophet’s lifetime, the call for prayer, the

adhān, was made from the rooftop of a house. Later
the minaret was used for this purpose when the com-
munity had grown larger. The minaret also served as The first mosque was born in Medina, an idea from
a visual marker for locating the mosque from a dis- the Prophet Mohammad was a rectangular build-
tance and, after dark, for orienting travelers (when a ing constructed of mud and covered the roof of
palm leaves on local style flat construction that has
lantern or other source of light was hung at its top). four walls with two opposite sides of the roof. All the
impression of the mosque can be described as a
■■In addition to the mihrab, minbar, and minaret, a building with a flat surface of the roof in a primitive
number of mosques provided a maqsūra (an open style with a generous compound of various open
enclosure which provided a praying niche, made usu- spaces, the idea of the multipurpose room, was a
ally of an openwork screen) for the caliph or his repre- place of worship and prayer, and an idea of an open
space of multi usage.
sentative

Early Islamic Mosques

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 MOSQUE;THE MOST IMPORTANT TYPOLOGY

Beyond minor regional and dynastic variation, many

different formal types of mosques can be found
throughout the Islamic world. The more predominant
types are listed below:

1.
A hypostyle hall type, with a flat roof, with the possi-
ble additions of one or more domes, approached from
an axially placed front courtyard (believed by many
scholars to have been derived during the early Islam-
ic period from the Persian royal hall, the apadana), as
seen in both Arabia and Africa. Examples include the
Great Mosque at Samarra in Mesopotamia (modern
Iraq) built in 847, the Great Mosque of Kairouan in Tu-
nisia, built in 670 with many later modifications, and
the Great Mosque of Mahdia, also in Tunisia, built in
Great Mosque at Samarra
the early tenth century.

2.
A prayer hall, with mud-brick or rammed-earth
piers, arches, and walls, structurally strengthened
on the outside by closely spaced buttresses, as seen
in sub-Saharan Africa. Examples of this type include
the Great Mosque of Djénné, the Great Mosque of
Tombouctou, and the Sankore mosque in Tombouc-
tou, all in Mali. All of them were built in the fourteenth
century with many later modifications.

Great Mosque at Djenne

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 3.
A large courtyard surrounded by a prayer hall, with
multiple domes, on one side and by shaded galleries
on the other three sides, as seen in Arabia, North Afri-
ca, Egypt, and India. Examples of this type include the
Great Mosque of Hama in Syria built in eighth centu-
ry with many later modifications, and the Bādshāhī
mosque in Lahore, Pakistan.

Great Mosque at Hama, Syria

4.
A prayer hall with a sloping roof or superimposed
roof in a pyramidal form, set within a walled area, as
seen in the Southeast Asia. Examples of this type in-
clude the Great Mosque of Sumenep, the mosque in
Sendang Duwur, and the mosque in the Lake Sing-
karak area of West Sumatra, all in Indonesia .

Great Mosque at Sumenep

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 5.
A four-īwān courtyard structure, mostly seen in Cen-
tral Asia and Iran but not limited to these regions.
Examples include the Masjid-i Jami in Isfahan, Iran,
built in the eighth century with many later modifica-
tions, the Bībī Kānum mosque in Samarkand (begun
1399), and the Masjid-i Shāh in Isfahan (1612–37).

6.
A prayer hall with its central area covered by a large
dome, approached from an axially placed courtyard,
characteristic of early mosques in Anatolia and Timu- Masjid-i Jami in Isfahan, Iran
rid mosques in Central Asia and Iran. Examples of this
type include Yesil Cami (Green Mosque) in Iznik (1378–
‘91) and Üç Şerefeli Mosque in Edirne (1438–47), both
in Turkey later evolved as a prayer hall covered by a
very large central dome supported by a series of half-
domes and often approached from an axially placed
frontal courtyard, as seen in the mosques of the lat-
er Ottoman empire. Examples include the mosque
at the Şehzade Mehmet in Istanbul (mid-sixteenth
century), the mosque at the Sülemaniye complex in
Istanbul (1550–‘57), and the mosque at the Selīmiye
complex in Edirne, all in Turkey (1569–75). Üç Şerefeli Mosque in Edirne

7.
The whole complex is walled and there is a series of
inner courtyards serving as the outdoor spaces with
detached gable roof structures of timber as the walls
of the building as in BeijingNiujie Mosque, China

Beijing Niujie Mosque

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9 SEM III HOA II AR. SHERIN VARIKKATT
ISLAMIC ARCHITECTURAL COMPONENTS

BUILDING COMPONENTS

 Mihrab: semicircular niche oriented towards Mecca

 Mimber: raised platform for ceremonial announce-
ments
 Iwan, Ivan: (Persia): open-fronted vault facing on to
a court
 Bab: gateway
 Sahn: courtyard of a mosque
 Minaret: tower from which call to prayer is made
 Harem: women’s private quarters of a house or pal-
ace
 Selamlik:(Turkish)men’s or quest’s quarters
 Mashrabiya: Projecting window enclosed with
carved wood latticework
 Qubba,Dome: focal point , covering the main
prayer hall Mihrab Mimber Iwan-Jameh Mosque of Isfah- Bab Al-Futuh
 Muqarnas: stalactite vault, persian architectural Hagia Sophia, Istanbul an Iran
ornament

Sahn- Muhammad Ali Dome and Minaret Harem Mashrabiya Window Muqaranas
Mosque, Cairo Eygpt Taj Mahal Istanbul Turkey

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11 SEM III HOA II AR. SHERIN VARIKKATT
PRINCIPLES OF ISLAMIC STYLE
GRID

■■ The patterns of decoration in Islamic art and archi-

tecture were always controlled by regulating lines or
grids.

■■ These grids tied different components of the dec-

oration together into a consistent whole.

■■ They allowed components to be removed from

the surface without causing the whole to disintegrate.

■■ The primary grids of a decoration determined the

composition of the whole; the secondary grids, the
parts. Sometimes tertiary grids controlled parts with-
in parts.

■■ The contours of a surface generally defined the

primary grid; at other times, when the surface was
very large, as in the case of the Great Mosque of Da-
mascus, primary bands were used to define the grid
on the surface.
The patterns of decoration in Islamic art and archi-
■■ Secondary grids controlled the patterns of the tecture were controlled by regulating lines or grids.
parts defined by the primary grid. They could contain Top Left: the Shaykh LutfAllāh Mosque in Isfahan,
the same element repeated several times, or they Iran.
could contain several motifs, patterns, colors, materi- Top Right: the entrance gateway to the tomb of Ak-
als, or inscriptions defined by the tertiary grids. bar in Sikandra, India
Bottom Left: Humayuns Tomb in Delhi, India
■■ In essence, the regulating grids of the decoration
allowed Muslims to manipulate their decoration eas-
ily, while still integrating it with the overall design of
the buildings.

■■ Grids systems where prevalant in planning as well

as you see in the Islamic gardens associated with var-
ious buildings.

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REPETITION

■■ Islamic art and architecture paid precise atten-

tion to the principles of repetition, permutation, and
combination.

■■ Very frequently, a motif or a shape would be re-

peated numerous times, or it would first be trans-
formed in different ways and then repeated.

■■ In the end, any sense of materiality attached to

the motif or to the shape would tend to be lost. Its
appearance in a pattern so generated would only be
a fleeting one, as only a part of a design that could be
extended infinitely—and by implication beyond the
physical materiality of the world.

■■ It represents the balance and proportionality of

Allah’s creation, an indivisible unity that exists behind
the multiplicity of manifested forms in physical reali-
ty. At the same time it could be read as a simple met-
aphor for eternity.

Examples from Casa Blanca, Morocco

Top : King Hassan II Mosque, Morocco

Right: Royal Palace-Fes, Morocoo

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SYMMETRY

■■ Symmetry is created in Islamic geometric design

through the repetition and mirroring of one or more
basic design units—usually shapes such as circles and
polygons.

■■ Although the design can be elaborated and made

complex, the basic symmetrical repetition and mir-
roring of these shapes creates a sense of harmony.

Top : Taj Mahal, Agra, India

Bottom Left: Moroccan Pavillion, Malaysia
Right: Agha Bozorg Mosque, Iran

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ELEMENTS OF ISLAMIC ARCHITECTURE

Geometric pattern Colours

These patterns exempli- Color schemes, whether monochromatic or polychro-
fy the Islamic interest in matic, were used in a complementary manner with
repetition, balance, sym- other available means of decoration to achieve de-
metry and continuous sired effects. Colors were applied on both the exterior
generation of pattern. The and interior surfaces. In general, Muslim builders used
integration of geometry colors to avoid giving any undue prominence to any
with such optical effects single element in the decoration of their buildings.
as the balancing of posi- Colors were also used to create a relaxing and tran-
tive and negative areas, a quil effect as opposed to a restless and disquieting ef-
skillfuluse of colorand tone fect. Even when vividly contrasting colors were used,
values. a sense of conflict rarely existed in Islamic decoration.

Arabesque (islimi) Light

Arabesque designs are Light highlights the rhythms through its variation
biomorphic, floral patterns across the muqarnas. It separates the dome from the
representing the under- body on which it was physically and structurally de-
lying order and unity of pendent. It reflects on surfaces carefully articulated
naturewith a great deal of with different colors, patterns, and shapes. It filters
accuracy. flowers and trees through screens meticulously perforated with intri-
might be used as the mo- cate patterns. Light also adds a time dimension to Is-
tifs for the decoration of lamic architecture, frequently producing different ef-
textiles, objects and build- fects at different times of the day. Light gives a sense
ings. of weightlessness or ephemerality and provides artic-
ulation and dynamism to Islamic architecture.

Calligraphy Water
Like other Islamic decora- Water is used practically to provide cooling in hot, dry
tion, calligraphy is closely climates (e.g. the courtyard fountains and pools typi-
linked to geometry. The cally found in the Middle East and North Africa). It is
proportions of the letters used aesthetically to emphasize visual axes, reflect
are all governed by math- the surrounding environment, and visually multiply
ematics. Inscriptionsare the adjacent architecture and its decorative detailing
most often used as a frame (e.g. the reflecting pools and watercourses at the Al-
along and around main el- hambra and Generalife in Granada, Spain). Third, it is
ements of a building like used symbolically to represent the life-giving, sustain-
portals and cornices. ing, and purifying aspects of water mentioned in the
Qur’an (e.g. the ablution fountains found traditionally
in the central courts of mosques).

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 INTERPRETATION OF ISLAMIC STYLE
- The concept of Allah’s infinite power is evoked by de-
sign with repetitive theme which suggests infinity
-Figurative forms are rarely depicted in decorative art
as Allah’s work is matchless.
-Plants is a frequent motif but typically stylized or
simplified
-The use of calligraphy is actually means of education
and reminder as they are taken from the verses of
al-Quran
-It has been called the ‘architecture of the veil’ be-
cause the beauty lies in the inner spaces which are
not visible from the outside
- Use of impressive forms such as large domes, tower-
ing minarets and large courtyard has both symbolic
meaning( as the vault of the heaven) and purposes

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ELEMENTS OF ARCHITECTURAL AND
STRUCTURAL SYSTEMS

The earliest mosques were pillared hypostyle halls

such as the Great Mosque at Cordoba .
Approached through an open courtyard, the sahn,
their interiors are divided by rows of columns lead-
ing, at the far end, to the mihrab niche of a qibla wall,
which is oriented toward Mecca

A second type, the four-iwan mosque, was original-

lyassociated with madrasas (schools for advanced
study). The iwans- monumental barrel-vaulted halls
with wide-open,arched entrances- faced each other
across a central sahn;related structures spread out Hagia Sophia, Istanbul, Turkey
behind and around the iwans. squinch , pendentive & dome
Central plan of hypostyle
Four-iwan mosques were most developed in Persia, mosque, Great Mosque, Cor-
inbuildings like Isfahan’s Masjid-i Jami. Central-plan doba, after extension by al-
mosques, such as the Selimiye Cami at Edirne, were Hakam II
derived from Istanbul’s Hagia Sophia and are typical
of Ottoman Turkish architecture. Central-planinteriors
are dominated by a large domed space uninterrupted
by structural supports. Worship is directed, as in other
mosques, toward a qibla wall and its mihrab opposite
the entrance

Islamic builders used a number of innovative struc-

tural devices. Among these were two arch forms,
the horseshoe arch and the pointed arch. There are
many variations of each, some of which disguise their
structural function beneath complex decoration.
Structurally, a muqarna is simply a squinch. Muqar-
nas are used in multiples as interlocking, load- bear-
ing, niche-shaped vaulting units.
Over time they became increasingly ornamental and
appear as intricately faceted surfaces. They are fre-
quently used to vault mihrabs and, on a larger scale,
to support and to form domes.

Central plan of four-iwan mosque, Masjid-I Jami, Isfahan. Various arch forms used in structural configurations
17 SEM III HOA II AR. SHERIN VARIKKATT
ISLAMIC ARCHITECTURE OF SYRIA AND EYGPT
THE DOME OF THE ROCK JERUSALEM
QUBBAT AL-ṢAKHRAH

Location-Temple Mount,Jerusalem
■■Both the Dome and Al-Aqṣā Mosque are located on
the Temple Mount, the site of Solomon’s Temple and
its successors, an area known to Muslims as al-Ḥaram
al-Sharīf.

Style
■■The Dome’s structure and ornamentation are root-
ed in the Byzantine architectural tradition, yet its con-
struction in the 7th century represents an early stage
in the emergence of a distinct Islamic visual style.

History
■■The Dome of the Rock in Jerusalem, one of the most
important shrines of Islam, was built by the Umayyad
caliph ‘Abd al-Malik.
■■The Sacred Rock, or the Sakhra, underneath the
building is associated both with Abraham’s sacrifice
of his son and the prophet Muhammad’s night ascent
to heaven.

Architecture
■■The structure is basically octagonal. It is capped at
its centre by a dome, approximately 20 m (66 ft) in di-
ameter, mounted on an elevated circular drum stand-
ing on 16 supports (4 tiers and 12 columns).
■■The octagonal building contains two ambulatories
around a circular arcade of 24 piers and columns with
the Sacred Rock.
■■The outer walls are also octagonal. They each mea-
sure approximately 18 m (60 ft) wide and 11 m (36 ft)
In the layout of the Dome of the Rock in Jerusalem, builders high. The outer and inner octagon create a second,
followed a very simple geometrical order based on rotated outer ambulatorium surrounding the inner one.
squares placed in the circle that circumscribes the exposed
part of the Sacred Rock.
■■Both the circular drum and the exterior walls con-

18 SEM III HOA II AR. SHERIN VARIKKATT

tain many windows. Crusaders in the twelfth century. in the 16th century by Suleiman the Magnificent.
■■The building can be entered through four doors ■■Inscriptions are an important part of the mosaics Al-Isra, the Surah 17 which tells the story of the Isra or
placed on the cardinal points. of the building. Except for one or two changes in the Night Journey, is inscribed above this.
names of the patrons, these inscriptions are original. ■■Architectural elements and construction tech-
Interior and Exterior ■■The decoration of the outer walls went through two niques used in the building were derived mostly from
■■Originally, decorated with colorful mosaics, the exte- major phases: the initial Umayyad scheme comprised a late-ancient-classical vocabulary.
rior of the building was redecorated with carved mar- marble and mosaics, much like the interior walls. ■■Building materials were taken from the spolia avail-
ble plaques below and colored tiles above in 1545–46. 16th-century Ottoman sultan Suleyman the Magnif- able in the city, modified in various ways before being
■■The interior of the building, sheathed primarily in icent replaced it with Turkish faience tiles. The Otto- used in the building.
mosaics with vegetal designs, is much closer to the man tile decoration was replaced in the 1960s with
original scheme. faithful copies produced in Italy.
■■The geometric pattern on the inner surface of the ■■Surah Ya Sin (the ‘Heart of the Quran’) is inscribed
dome is a reproduction of an original dome by the across the top of the tile work and was commissioned
Since its construction the Dome of the Rock has been
modified several times. One significant restoration,
ordered by the Ottoman sultan Süleyman I in the 16th
century, replaced the exterior mosaics with coloured
ceramic tiles. In the 20th century, damaged interior
and exterior ornaments were repaired or replaced,
and the dome was given a new gold covering.

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THE UMAYYAD MOSQUE DAMASCUS SYRIA
THE GREAT MOSQUE OF DAMASCUS

Brief History
The Umayyad Mosque also known as the Great Mosque
of Damascus located in the old city of Damascus, is one
of the largest and oldest mosques in the world com-
pleted in 715 AD. Umayyad Mosque stands on a site
that has been considered sacred ground for at least
3,000 years. The spot where the mosque now stands
was a temple of Hadad in the Aramean era. The site
was later a temple of Jupiter in the Roman era, then a
Christian church dedicated to John the Baptist in the
Byzantine era, before finally becoming a mosque

After the Muslim conquest of Damascus in 634, the

mosque was built on the site of a Christian basilica
dedicated to John the Baptist, honored as a proph-
et by Christians and Muslims. A legend dating to the
sixth century holds that the building contains the
head of John the Baptist.

Two shrines commemorating Husayn ibn Ali whose

martyrdom is frequently compared to that of John
the Baptist, exist within the building premises. The
mosque is also believed by Muslims to be the place
where Jesus will return at the End of Days. The mau-
soleum containing the tomb of Saladin stands in a
small garden adjoining the north wall of the mosque.

Architecture
■■ The ground plan of the Umayyad Mosque is rectan-
gular in shape and measures 97 meters (318 ft) by 156
meters (512 ft).
■■ A large courtyard occupies the northern part of the
mosque complex, while the haram (“sanctuary”) cov-
ers the southern part. The courtyard is enclosed by
four exterior walls.
■■ Arcades (riwaq) surround the courtyard supported
by alternating stone columns and piers. There is one
20 SEM III HOA II AR. SHERIN VARIKKATT
pier in between every two columns. ■■ The central transept divides the arcades into two ■■ Three arcades running parallel to the south wall
■■ Three arcades make up the interior space of the halves each with eleven arches. The entire sanctuary form the covered prayer area of the mosque. A broad
sanctuary. They are parallel to the direction of prayer measures 136 meters (446 ft) by 37 meters (121 ft) and transept, running from north to south, bisects these
which is towards Mecca in modern-day Saudi Arabia. takes up the southern half of the mosque complex. arcades.
The arcades are supported by two rows of stone Corin- ■■ Four mihrabs line the sanctuary’s rear wall, the main
thian columns. Each of the arcades contain two levels. one being the Great Mihrab which is located roughly
The first level consists of large semi-circular arches, at the center of the wall. The Mihrab of the Compan-
while the second level is made up of double arches. ions of the Prophet (named after the Sahaba) is sit-
■■ This pattern is the same repeated by the arcades uated in the eastern half. According to ancient Mus-
of the courtyard. The three interior arcades intersect lim engineer Musa ibn Shakir, the latter mihrab was
in the center of the sanctuary with a larger, higher ar- built during the mosque’s initial construction and it
cade that is perpendicular to the qibla (“direction of became the third niche-formed mihrab in Islam’s his-
prayer”) wall and faces the mihrab (niche in the wall tory.
which indicates the qibla) and the minbar (“pulpit”).

21 SEM III HOA II AR. SHERIN VARIKKATT

1.Minaret of the Bride Christ, who is considered a prophet in Islam, will reap-
he was a man of his word and she donated the lead free of
The Minaret was built by Caliph al-Walid ibn Ab- charge. The mosque minaret was thereafter given the name
pear at this place shortly before the day of judgement.
of ‘the bride’ (Al Arus) who had provided its leaden covering.
del-Malek in the center of the northern wall of the The upper part of the Minaret that can be seen today
Mosque. It was restored a second time by Saladin af- was built in the Ottoman period after the earthquake
2. Minaret of Qaitbay
ter a fire that occured in 1174. During the Memluk pe- of 1759, and the lower part is from the Memluk period.
The Western Minaret was built by Mamluk sultan Qa-
riod, the minaret was used to relay the message to It is the tallest minaret with 77m height.
itbay in 1488. The Western Minaret displays strong Is-
the people of Cairo that the Mongols were about to
lamic-era Egyptian architectural influence typical of
invade from the north. 4. The Dome of the Treasury
The reason for its name is attributed according to a popular
the Mamluk period. The minaret is octagonal in shape
The Dome of the Treasury (Qubbat al Khaznah) was
tradition to a certain businessman’s daughter who became and is built in receding sections with three galleries
built during the reign of the Abbasid ruler Fadil ibn
the king’s bride after she provided him with enough lead to
Saleh to protect public funds from thieves and fire. It
cover the roof of the minaret. She gave him the lead after he 3.Minaret of Jesus
agreed to pay her the weight of the lead in gold, due to the is exquisitely decorated with fine mosaic work and is
The minaret in the southeast corner is called the Min-
scarcity of the material in Damascus. This convinced her that elevated by eight marble supports and stands in the
aret of Jesus (Issa) because it is believed that Jesus

1 2 3 4 5 6

western section of the Omayyad Mosque courtyard. Interior panorama of the Barada River, is on the back wall of
The floor of the mosque was paved with marble. A the west portico. The origin of the regular pattern of
5. The Dome of the Eagle band of marble panel, with pilasters and marble grilles hexagon groups used in some window grilles of the
The Dome of the Eagle (Qubbat Al-Nisr), a circular cu- at intervals, ran all around the wall at a height of 16 mosque can be traced back to the Roman period.
pola 36m(118’) high , rests on an octagon located ex- feet (5m) from the ground.
actly in the center of the space, is considered one of The frieze above the marble panel was decorated
the architectural highlights of the Umayyad Mosque. with long undulating vine-stem gilt, alternating with
It was so named because the architect who built it an acanthus scroll and grapes after the Dome of the
imagined the dome as the head of an eagle, the tra- Rock.
cepts as it’s body and the aisles at its right and left as A large section of the surface mosaic above the frieze,
its outspread wings. containing trees and little pavilions on a golden back-
ground, has been preserved in good condition. How-
6. Mihrab and Minbar ever, the most splendid piece of mosaic, showing the
22 SEM III HOA II AR. SHERIN VARIKKATT
THE MOSQUE OF AHMAD IBN TULUN
CAIRO, EGYPT

■■ The ‘Abbāsid governor Ahmad Ibn Tūlūn built this

hypostyle-type mosque from 876–879.
■■ The mosque was constructed in the Samarran
style common with Abbasid constructions. It is con-
structed around a courtyard, with one covered hall
on each of the four sides, the largest being on the
side of the qibla, or direction of Mecca.
■■ The original mosque had a fountain (fauwara) in
the middle of the sahn, covered a gilt dome support-
ed by ten marble columns, and around it were 16
marble columns and a marble pavement. Under the
dome there was a great basin of marble 4 cubits in
diameter with a jet of marble in the centre. A distinc-
tive sabil with a high drum dome was added in the
central courtyard at the end of the thirteenth centu-
ry by Mamluk Sultan Lajin instead of the "fauwara"
■■ The mosque proper forms a 400 feet by 459 feet
(122m by 140m) rectangle but the three narrow en-
closed wings called ziyadas bring the outer dimen-
sions of the building to an almost perfect square of
1744 feet (531.5m).
■■ The northwest ziyada, once the principle façade,
has an entrance portal about 16 feet (5m) higher than
the outer walls.
■■ Arcades on brick piers support the flat wooden roof

23 SEM III HOA II AR. SHERIN VARIKKATT

of the mosque.
■■ The present stone minaret, a reconstruction by
Mamlūk Sulatn Lajin in 1296, is placed off-axis.

Interior

The stucco moldings and the marble columns with

Byzantine capitals of the central mihrāb, the carved
stucco ornament of the soffits of the arches, the stuc-
co window grilles, and the decoration of the wooden
lintels, all strongly influenced by styles of Samarra, are
from the period of Ibn Tūlūn.
The typical vine leaves and palmettes and the window
grilles of the mosque follow the principles of the mar-
ble grilles of the Great Mosque of Damascus
The interior arched windows provides natural light
against the hollow dome. Each pointed arch has a
window and is designed with plain geometric design

Minaret

It is built entirely of well-fired red brick, plaster, and

carved stucco. Stucco is cement-based plaster that
is mixed on-site and applied wet which hardens to a
very dense solid.[8] The mosque is also built from this
material. The staircase extends up to the tower 170
feet in height.

Prayer Niches

There are six prayer niches (mihrab) at the mosque,

five of which are flat as opposed to the main concave
niche.The main niche is situated in the centre of the
qibla wall and is the tallest of the six. It was redecorat-
ed under Sultan Lajin and contains a top of painted
wood, the shahada in a band of glass mosaics and a
bottom of marble panels.

24 SEM III HOA II AR. SHERIN VARIKKATT

MASJID-I SHAH (IMAM) ISFAHAN IRAN
C.E 1611

Shah Mosque also known as Imam Mosque is con-

sidered as a masterpiece of Persian architecture. It
is registered, along with the Naghsh-i Jahan Square,
as a UNESCO World Heritage Site. The chief architect
Shaykh Bahai ,created masterplan a Char-bagh ave-
nue & a monumental square with the masjid at the
southern side at an angle to it. The mosque was de-
signed by Ali Akbar Isfahani.

Architecture
■■Standing in the public square, or Maidan, the en-
trance-iwan (gateway) to the mosque takes the form
of a semicircle, resembling a recessed half-moon and
measuring 27 meters in height, the arch framed by
turquoise ornament and decorated with rich stalac-
tite-like tilework called muqarnas, a distinct feature of
Persian Islamic architecture.

■■At the sides rise two minarets, 42 meters high,

topped by beautifully carved, wooden balconies with
muqarnas running down the sides.

■■In the middle, in front of the entrance, stood a small

pool and a resting place for the horses, and inside the
worshipers found a large marble basin set on a pedes-
tal, filled with fresh water or lemonade.

■■When passing through the entrance portal, one

reaches the main courtyard, centered around a large
pool. The two gateways (iwans) on the sides leads one’s
attention to the main gateway at the far end, the only
one with minarets, and behind it the lofty dome, with
its colorful ornamentation.
The Minarets
■■The distinct feature of any mosque is the mina-
ret, and the Masjed-e Shah has four. Still, in Persian
mosques, tall minarets were considered unsuitable
for the call to prayer, and they would add an aedicule,
known in Persian as a goldast (bouquet) for this par-
ticular purpose, which in the Masjed-e Shah stands
on top of the west iwan.

25 SEM III HOA II AR. SHERIN VARIKKATT

 The Four-Iwan format typically took the form of a
square shaped, central courtyard with large entrances
at each side, giving the impression of being gateways
to the spiritual world. The mosque had an aedicule,
known in Persian as a goldast (bouquet) for prayer
calls which in the Masjed-e Shah stands on top of the
west iwan. From the main courtyard, the iwan point-
ing to east contained a religious school, or madrasa.

The Measurements
■■The port of the mosque measures 27 m (89 ft) high, The Dome
crowned with two minarets 42 m (138 ft) tall. The Reaching 53 meters in height, the dome of the Mas-
Mosque is surrounded with four iwans and arcades. jed-e Shah would become the tallest in the city when
All the walls are ornamented with seven-color mosaic it was finished in 1629. It was built as a double-shelled
tile. dome, with 14 meters spanning between the two lay-
■■The most magnificent iwan of the mosque is the ers, and resting on an octagonal dome chamber.
one facing the Qibla measuring 33 m (108 ft) high. Be-
hind this iwan is a space which is roofed with the larg-
est dome in the city at 53 m (174 ft) height. The dome
is double layered.
■■The whole of the construction measures 100 x 130
metres (330 ft × 430 ft), with the central courtyard
measuring 70 x 70 metres (230 ft × 230 ft).

26 SEM III HOA II AR. SHERIN VARIKKATT

Entrance portal of the mosque is entirely executed in Intricate arabesque in golden yellow and dark blue,
tile mosaic in a full palette of seven colors –Haft ran- cover both interior & exterior surfaces.
gi-(dark Persian blue, light Turkish blue, white, black,
yellow, green and bisquit).
A wide inscription band with religious texts written in
white script on a dark blue ground frames the iwan.

Haft rangi tiles (Polychrome)

The mosque employed the new haft rangi (seven-co-
lour) style of tile mosaic. In earlier Iranian mosques
the tiles had been made of faience mosaic, a slow
and expensive process where tiny pieces are cut from
monochrome tiles and assembled to create intricate
designs. In the haft rangi method, artisans put on all
the colors at once, then fired the tile. Cheaper and
quicker, the new procedure allowed a wider range of
colors to be used, creating richer patterns,pleasant to
the eye.
Polychrome tiles, intended to give the spectator a
sense of heavenly transcendence.

27 SEM III HOA II AR. SHERIN VARIKKATT

THE GREAT MOSQUE OF CORDOBA, SPAIN

Introduction
Mosque Córdoba is the most important example of
Islamic architecture in the West. Combines both the
Islamic Umayyad style of Spain as well as Gothic, Re-
naissance and Baroque styles of the Christian tradition
because of its long history and evolution over time.
The complex is located in the historic city center, near
the Guadalquivir River and next to the Roman bridge.

History
The site of the mosque has been used throughout
history as a place of worship.
On site which was originally a Roman temple for Ja-
nus, and later a Visigoth church, the Basilica of Saint
Vicent in AD 572

Time LIne
VI century Visigoth basilica of San Vicente.
784-786: Sultan Abderramán I.
833-852: Expansion of Abbderramán II.
951-952: Expansion of Abderramán III.
961-966: Expansion of Al-Hakam II.
987: Extension of Almanzor.
1238: Consecration of the temple and cathedral.

28 SEM III HOA II AR. SHERIN VARIKKATT

EVOLUTION OF THE COMPLEX

Stage 1: 784-786: Sultan Abder- Stage 2: 833-852: Expansion of Stage 3: 961-966: Expansion of Al-
ramán I Abbderramán II Hakam II

Stage 4: 987: Extension of Al Stage 5: 1238: Consecration of the

Manzur temple and cathedral

29 SEM III HOA II AR. SHERIN VARIKKATT

The Layout

■■The building’s floor plan is seen to be parallel to

some of the earliest mosques built from the very be-
ginning of Islam. It had a rectangular prayer hall with
aisles arranged perpendicular to the qibla, the direc-
tion towards which Muslims pray. The prayer hall was
large and flat, with timber ceilings held up by arches
of horseshoe-like appearance.

■■Hisham’s mosque covered an area of 460 by 280

feet (140 m × 85 m). It was flanked by stout, fortified
walls, with watch towers and a tall minaret. There
were nine outer gates and eleven inner doors. Each
door led to an aisle within the mosque. The court had
spacious gates on the north, west, and east sides, and
fountains for the purification of the pious. The elev-
en north-to-south aisles were crossed by twenty-one
narrower ones running from east to west.

■■One hundred and fifty years after the mosque’s cre-

ation, a staircase to the roof was added, along with
a southward extension of the mosque itself. The
mosque was later expanded even further south, as
was the courtyard which surrounded it. The mosque
was built in four stages, with each ruler and his elite
contributing to it.

■■Until the 11th century, the courtyard was unpaved

Features
earth with citrus and palm trees irrigated – at first by
rainwater cisterns, and later by aqueduct. Excavation
■■The building is most notable for its arcaded hypo-
indicates the trees were planted in a pattern, with sur-
style hall, with 856 columns of jasper, onyx, marble,
face irrigation channels made of stone
granite and porphyry. These were made from pieces
of the Roman temple that had occupied the site pre-
■■Abd al-Rahman III added a new tower. The minaret
viously, as well as other Roman buildings, such as the
contained two staircases, which were built for the sep-
Mérida amphitheatre.
arate ascent and descent of the tower. The minaret
■■The double arches were an innovation, permitting
is four-faced, with fourteen windows, having arches
higher ceilings than would otherwise be possible with
upon jasper columns, and the structure is adorned
relatively low columns. The double arches consist of a
with tracery
lower horseshoe arch and an upper semi-circular arch.
■■The famous alternating red and white voussoirs of
the arches were inspired by those in the Dome of the
Rock and also resemble those of the Aachen Cathe-
dral, which were built almost at the same time.
30 SEM III HOA II AR. SHERIN VARIKKATT
■■Horseshoe arches were known in the Iberian Pen-
insula since late Antiquity. A centrally located honey-
combed dome has blue tiles decorated with stars.
■■The mosque also has a richly gilded prayer niche or
mihrab. The mihrab is a masterpiece of architectural
art, with geometric and flowing designs of plants.
■■ Other prominent features were an open court (sahn)
surrounded by arcades, screens of wood, minarets,
colourful mosaics, and windows of coloured glass.
■■The walls of the mosque had Quranic inscriptions
written on them. As many adherents of Islam reject
sculptural or pictorial representations of people or of
God within religious contexts, all decoration of the ca-
thedral is accomplished through tile work, calligraphy
and architectural forms.
■■Arrazi, an Arab writer, speaks of the valuable wine-co-
loured marble, obtained from the mountains of the
district, which was much used in embellishing the
naves of the mosque.
■■In the mosque, the architects incorporated a num-
ber of Roman columns with capitals. Ivory, jasper,
porphyry, gold, silver, copper, and brass were used in
the decorations.
■■Marvellous mosaics and azulejos( Spanish tin-glazed
tilework) were designed. Panels of scented woods
were fastened with nails of pure gold, and the red
marble columns were said to be the work of God.
■■The main hall of the mosque was used for a variety
of purposes. It served as a central Prayer hall for per-
sonal devotion, the five daily Muslim prayers and the
special Friday prayers. It also would have served as a
hall for teaching and for Sharia law cases during the
rule of Abd al-Rahman and his successors.
■■The Great Mosque of Córdoba exhibited features and
an architectural appearance similar to the Umayyad
Mosque of Damascus,which may have been used as
a model.

31 SEM III HOA II AR. SHERIN VARIKKATT

ALHAMBRA, GRANADA, SPAIN

The Alhambra is located on the left bank of the river The Alhambra is a palace city, formed by a group of
Darro, east of the city of Granada, Spain. palaces, gardens and defense strength that form a
whole and whose name is not entirely clear. One the-
ory explains that the word Alhambra has its origin in
the Arabic word “Al- Hamra ” which means “red cas-
tle”, acquired by the tone, own the land, ferruginous
clay used for building towers and walls

Historic Period
Alhambra was first built by the Zirites as a fortress or
alcazaba in the 9th century. Alhambra was expanded
into a royal residential palaces or alcazars beginning
in 1238 and the rule of the Nasrites, a Muslim domi-
nation that ended in 1492. The Christian ruling class
during the Renaissance modified, renovated, and ex-
panded Alhambra. The Emperor Charles V (1500-1558),
the Christian ruler of the Holy Roman Empire, is said
to have torn down part of the Moorish palaces in order
to build his own, larger residence.

32 SEM III HOA II AR. SHERIN VARIKKATT

 PARTAL PALACE
PALACE COMPLEX

GATE OF JUSTICE
(BAB-AL’SHARIYA)

ALCAZABA (FORTRESS)

PLAN OF THE ALHAMBRA

ARAB BATHS 1,730 meters (1 mile) of walls and thirty towers of vary-
ing size enclose this city within a city. Access was re-
stricted to four main gates.
The Alhambra's nearly 26 acres include structures
PALACE OF CHARLES V with three distinct purposes, a residence for the ruler
and close family, the citadel, Alcazaba—barracks for
the elite guard who were responsible for the safety of
the complex, and an area called medina (or city), near
the Puerta del Vino (Wine Gate), where court officials
ARMOURY
lived and worked.
The different parts of the complex are connected by
paths, gardens and gates but each part of the com-
plex could be blocked in the event of a threat. The ex-
quisitely detailed structures with their highly ornate
interior spaces and patios contrast with the plain walls
of the fortress exterior.
33 SEM III HOA II AR. SHERIN VARIKKATT
Three Palaces
The Alhambra's most celebrated structures are the
three original royal palaces. These are the Comares
Palace, the Palace of the Lions, and the Partal Palace,
each of which was built during 14th century. A large
fourth palace was later begun by the Christian ruler,
Carlos V.
El Mexuar is an audience chamber near the Comares
tower at the northern edge of the complex. It was built
by Ismail I as a throne room, but became a reception
and meeting hall when the palaces were expanded in

34 SEM III HOA II AR. SHERIN VARIKKATT

the 1330s. The room has complex geometric tile da- with a pool, now known as the Court of the Myrtles. tiles laid in intricate geometric patterns. The remain-
does (lower wall panels distinct from the area above) This is the focal point of the Comares Palace. ing surfaces are covered with intricately carved stuc-
and carved stucco panels that give it a formality suit- co motifs organized in bands and panels of curvilinear
able for receiving dignitaries above. The Court of the Myrtles (Patio de los Arrayanes) has patterns and calligraphy.
received different names throughout time. Its current
name is due to the myrtle bushes that surround the
central pond and the bright green colour of which
contrasts with the white marble of the patio. It was
also called the Patio of the Pond or the Reservoir
(Patio del Estanque o de la Alberca) because of the
central pond, which is 34 metres long and 7,10 me-
ters wide. The pond divides the patio and receives
its water from two fountains (one at each end of the
pond). There are chambers on both sides of the patio
and several porticoes on the shorter sides of it. These
porticoes rest on columns with cubic capitals, which
have seven semicircular arches decorated with fret-
work rhombuses and inscriptions praising God. The
central arch is greater than the other six and has sol-
id scallops decorated with stylised vegetal forms and
capitals of mocarabes.

The Comares Tower (Torre de Comares) is 45 meters

high and therefore the highest tower in the Alhambra.
It is so called because of the stained glass windows in
the balconies that light the big inside hall, which are
called «comarías»

The Alhambra’s largest tower, the Comares Tower,

contains the Salón de Comares (Hall of the Ambassa-
dors), a throne room built by Yusuf I (1333-1354). This
room exhibits the most diverse decorative and archi-
tectural arts contained in the Alhambra.

It is a square hall, of 11.30 x 11.30 meters and it is 18.20

meters high. Its floor was once made out of marble,
The Comares Palace although it is now made of clay floor tiles, with the
coat of arms of the Alamares made of glazed ceramic
Behind El Mexuar stands the formal and elaborate Co- tiles from the 16th century. The walls of the hall are 2.5
mares façade set back from a courtyard and fountain. meters wide and have three arches each leading to
The façade is built on a raised three-stepped platform three small rooms and twin balconies and windows
that might have served as a kind of outdoor stage for above.
the ruler. The carved stucco façade was once painted
in brilliant colors, though only traces remain. The double arched windows illuminate the room and
provide breathtaking views. Additional light is provid-
A dark winding passage beyond the Comares façade ed by arched grille (lattice) windows set high in the
leads to a covered patio surrounding a large courtyard walls. At eye level, the walls are lavishly decorated with
35 SEM III HOA II AR. SHERIN VARIKKATT
The Palace of the Lions
The Palacio de los Leones (Palace of the Lions) stands
next to the Comares Palace but should be considered
an independent building. The two structures were
connected after Granada fell to the Christians.
Muhammad V built the Palace of the Lions’ most cel-
ebrated feature in the 14th century, a fountain with a
complex hydraulic system consisting of a marble ba-
sin on the backs of twelve carved stone lions situated
at the intersection of two water channels that form a
cross in the rectilinear courtyard.
An arched covered patio encircles the courtyard and
displays fine stucco carvings held up by a series of
slender columns. Two decorative pavilions protrude
into the courtyard on an East–West axis (at the narrow
sides of the courtyard), accentuating the royal spaces
behind them.
To the West, the Sala de los Mocárabes (Muqarnas
Chamber), may have functioned as an antechamber
and was near the original entrance to the palace. It
takes its name from the intricately carved system of
brackets called “muqarnas” that hold up the vaulted
ceiling.
Across the courtyard, to the East, is the Sala de los
Reyes (Hall of the Kings), an elongated space divided
into sections using a series of arches leading up to a
vaulted muqarnas ceiling; the room has multiple al-
coves, some with an unobstructed view of the court-
yard, but with no known function.
This room contains paintings on the ceiling repre-
senting courtly life. The images were first painted on
tanned sheepskins, in the tradition of miniature paint-
ing. They use brilliant colors and fine details and are
attached to the ceiling rather than painted on it.

36 SEM III HOA II AR. SHERIN VARIKKATT

There are two other halls in the Palace of the Lions on
the northern and southern ends; they are the Sala de
las Dos Hermanas (the Hall of the Two Sisters) and the
Hall of Abencerrajas.

The Hall of the Two Sisters was built by order of Mo-

hammed V. It is square, has bedchambers with inter-
lacing ceilings connected with the Emperor’s Cham-
bers (Habitaciones de Carlos V) and, through a balcony,
with the Gardens of the Partal (Jardines del Partal).
The hall’s paving is made of marble and has a small
fountain with a jet and a little channel that carries the
water to the Patio of the Lions (Patio de los Leones).
The most impressing element of the hall is the beau-
tiful and perfect dome of mocarabes. Its lighting was
carefully considered and it receives the light from lat-
eral little windows

The Hall of the Abencerrajes (Sala de los Abencer-

rajes) is located in front of the Hall of the Two Sisters
(Sala de Dos Hermanas). It is so called because it is said
that the Abencerrajes knights were there beheaded.
The entrance to the hall is marked by two arches sep-
arated by a corridor, which is connected with the high
floor on the left and with the original entrance’s hall
on the right. The hall’s central square has bedcham-
bers on its sides, with arches exquisitely decorated,
blue capitals and painted ceilings. The walls have plas-
terwork covers and a tile skirting board from the 16th
century, of Renaissance style. A wonderful dome of
mocarabes rests on eight pendentives of mocarabes

37 SEM III HOA II AR. SHERIN VARIKKATT

Charles V Palace The Partal Palace
The Palacio del Partal (Partal Palace) was built in the
The Emperor ordered the construction of the palace early 14th century and is also known as del Pórtico
next to the Alhambra in order to enjoy its wonders. The (Portico Palace) because of the portico formed by a
architect in charge of the works was Pedro Machuca, five-arched arcade at one end of a large pool. It is one
an experienced architect in love with the Renaissance. of the oldest palace structures in the Alhambra com-
The works started in 1527 and were totally finished in ple
1957. The construction went through several stages,
the lack of financing resources, revolts that stopped
the works, etc. The building was sometimes neglect-
ed to such an extent that the ceilings collapsed.

The palace is square and its main façade is 63 meters

wide and 17 meters high. Its circular patio is unique
and it is the most important building of Renaissance
style in Spain. Only the southern and western façades
are completely decorated. The northern and southern
sides are not because they are connected to the pal-
aces of the Alhambra.

38 SEM III HOA II AR. SHERIN VARIKKATT

KING HASSAN II MOSQUE, CASA BLANCA, MOROCCO

The Hassan II Mosque is a mosque in Casablanca, Mo-

rocco. It is the largest functioning mosque in Africa
and is the 7th largest in the world. Its minaret is the
world’s second tallest minaret at 210 metres (689 ft).

Completed in 1993, it was designed by Michel Pinseau

commissioned by King Hassan II and built by Moroc-
can artisans from all over the kingdom.

The minaret is 60 stories high topped by a laser, the

light from which is directed towards Mecca. The
mosque stands on a promontory looking out to the
Atlantic Ocean; worshippers can pray over the sea but
there is no glass floor looking into the sea.

The walls are of hand-crafted marble and the roof is

retractable. A maximum of 105,000 worshippers can
gather together for prayer: 25,000 inside the mosque
hall and another 80,000 on the mosque’s outside
ground.

The mosque rises above the Atlantic Ocean. The

building is built partially on land and partially over
the ocean. This siting was accomplished by creating
a platform linking a natural rock outcrop reclaimed
from the sea, where a swimming pool had previously
been located

Apart from the mosque, other structures in the area

are a madrasa (Islamic school), hammams (bathhous-
es), a museum on Moroccan history, conference halls,
and a very large library said to be the “most compre-
hensive in the Islamic world.”

Notable architectural features include the conspic-

uous columns, the horseshoe arches, and the innu-
merable muqarnas embellishing the ceilings. The
dome, arches and walls give a grand ambiance to the
mosque.

MINARET: Soaring nearly 200 m, the minaret is

39 SEM III HOA II AR. SHERIN VARIKKATT

topped by a sky-light and a metallic cover made of
shining copper called jamour. Because of its excep-
tional height, sophisticated technology and modern
construction techniques were used to erect the min-
aret. This is made of reinforced concrete (béton armé),
which is able to resist against the combined effects
of the wind and earthquakes. At night, lasers shine a
beam from the top of the minaret toward Mecca, “to
point the way to God.”

PRAYER HALL: The prayer hall can hold over 25,000

people. Its rectangular plan is supported by 78 pillars
and is 200 meters long, 100 meters wide and 60 me-
ters high. It has three naves perpendicular to the qibla
wall. The central nave is larger and higher than the
rest. The roof of the prayer hall undulates with a suc-
cession of varied domes, where suspended glass and
chandeliers-imported from Italy- light the hall.

In plan, the complex is reminiscent of a basilica in that

the narrow end of the rectangular prayer hall (200 x
100m.) is the qibla wall, is considered an unconven-
tional layout, given that it is customary for the rows
of worshipers facing Mecca to be as wide as possible
rather than extend farther back..

ROOF: The 3,400 square meter roof is movable and is

capped with emerald green tiles. In Islam, green de-
notes goodness and spiritual plenitude. Once this mo-
bile roof is opened, it changes the central part of the
prayer hall in a magnificent, sun-bathed courtyard.

MADRASSA: The madrassa, a building that houses

theological and other modern classes for pupils, cov-
ers 4,840 square meter and includes a basement and
two stories. It is built back onto the qibla wall. The
madrassa includes a library, a museum and multi-pur-
pose rooms for seminars, colloquia and conferences.
These rooms are all equipped with sophisticated au-
diovisual equipment.

THE ABLUTION HALL: The ablution room and a vast

40 SEM III HOA II AR. SHERIN VARIKKATT

public hammam are in the basement, with its own
entrance.Tadelakt, a plastering technique which adds
egg yolks and black soap into mixed plaster, was used
in the hammam baths.

WOMEN’S GALLERIES: Women’s galleries occupy

mezzanine floors along each side of the main hall with
direct access from the ablution facilities.It is beauti-
fully carved of dark wood. The prayer area is spacious
and carpeted in red. • On either side of the prayer hall,
there are mezzanine floors with carved dark wood
furnishings, which are reserved for women

The building, following the styling of the historical Mo-

roccan mosques, is far larger in scale and even richer
in the use of materials and detailing.

MATERIALS USED: Granite, marble, plaster, wood

and other materials used in the construction-extract-
ed from around Morocco, with the exception of some
Italian white granite columns and 56 glass chande-
liers. The exterior surfaces of the mosque display tita-
nium, bronze, and granite finishes. There are beautiful
mosaics, stone and marble floors and

The sumptuousness of the interiors takes traditional

Moroccan craftsmanship and ornamentation to new
heights and the beige marble, green tile work, copper
and brass doors, and traditional green roofs of the ex-
terior help unify the grand complex .

41 SEM III HOA II AR. SHERIN VARIKKATT

Fountains: These are decorated with zellij tile work Seen from the exterior, these are double doors in the The stairway features decorative woodcarving, mul-
and framed with marble arches and columns shape of pointed arches framed by column s. Many tiple arches, and marble, granite, and onyx columns,
are clad in incised bronze. arranged in a harmonious ensemble.

The cedarwood-paneled interior of the dome, over Fountains: These are decorated with zellij tile work
the prayer hall, glistens with carved and painted and framed with marble arches and columns
decoration.

42 SEM III HOA II AR. SHERIN VARIKKATT