lit study-mosque

7/24/2019 lit study-mosque

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Contents

MOSQUE INTRODUCTION ............................................................................................. 2

MOSQUE TYPOLOGIES ............................................................................................... 3

COMPONENTS OF A MOSQUE................................................................................... 61. Space Organization ............................................................................................ 6

2. The Qibla wall and Mihrab ................................................................................ 6

3. The Minbar (pulpit) ........................................................................................... 7

4. The Dikka .......................................................................................................... 7

5. The Kursi ........................................................................................................... 7

6. The Muqsura ...................................................................................................... 7

7. The Ablution fountain /Hauz ............................................................................. 8

8. The Minaret ....................................................................................................... 89. The portal ........................................................................................................... 8

10. ORNAMENTATION ........................................................................................ 9

CONCEPT ......................................................................................................................... 10

Masjid India, Kuala Lampur .............................................................................................. 12

Concept .......................................................................................................................... 12

Spatial Arrangement ...................................................................................................... 16

Requirements ................................................................................................................. 16

Special Requirements......................................................................................................... 18Daylight.......................................................................................................................... 18

Acoustics ........................................................................................................................ 20


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MOSQUE INTRODUCTION

The origin of Islam is directly connected to

the Prophet Mohammed who founded the

Islam. Mohammed the prophet of the third

monotheistic religion Islam was born in year

570 in Mecca.Medina became the Prophets place of

residence until his death in the year 632. The

first mosque was established in the prophets

home and still exists today under the name

Masjid al Nabvi meaning the mosque of the

Prophet.

The term mosque comes from the Arabic

word Masjid and literally means a place

for prostration. A mosque serves as a place

for worship five times a day and is consideredas a sacred space and the most important building in Islamic world. The mosque history

could be dated back to year 622 when the holy Prophet Mohammed emigrated to Yatrib,

later named Medina. The first example on Muslim architecture appeared during the

prophets life time where he adapted his residence to the first mosque for worship for the

believers of Islam.

Other words used for Mosque in the Islamic world is Jami, this term is used for

congregational mosque where people gather for the Friday prayer. The Jami was often

connected to the political authority and it was there where the official Friday ceremony

khutba was delivered. [Naquib, Mosques in Norway, 2001:56]

Khutba originates from the practice of the Prophet Mohammed who used to deliver words

of exhortation, instruction, or command at gatherings for worship in the mosque.

[Wikipedia, khutba].

Only a square marked out by a line drawn in the sand is sufficient for a communal prayer,

underlining the only demand that the prayer is facing the direction of Kaaba in Mecca.

Still, the mosque plays an important role in the Muslim societies, and functions as place

for gathering where prayers are celebrated and public affairs are connected. A prayer in a

mosque is also seen as more virtuous

In terms of architecture and styles, the

evolution was dependent on local building

traditions and availability of raw materials.

This gave a variation in Mosque stylesinfluenced by existing local culture. In the

early days Islam like

Christianity borrowed features from existing

buildings associated with local religions

before establishing its own specific

architectural identity. [Frishman & Khan, 1994:12]

Figure 1MASJID AL NABVI

Figure 2 The early development of the mosquein based on The house of the


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MOSQUE TYPOLOGIES

Including regional factors one can say that every mosque ever built before the modern

movement in 20th century falls under one of five main categories of mosque types.

These are;

1. The Arab hypostyle mosques mostly found in Arab

heartland. Spain and North Africa are recognized with aclear reference to the Prophets mosque in Medina. The

hypostyle halls were constructed with rows of columns

supporting a "at roof and a central large space covered with

one or more smaller domes. This type of mosque was the

dominant type in the early period of Islam.

Example on hypostyle mosque is the Umayyad Great

Mosque in Damascus (709-15) and the mosque of Ahmed ibn

Tulun in Cairo (876-9).Figure 10Umayad Great Mosque,

Damascus Figure 10,Figure 11

2. The bi-axial four iwan Mosque known from Iran

and Central Asia is a basic arrangement derived fromfour vaulted gates arranged axially around a squared

courtyard. Each iwan except the one serving as

entrance represents the gate to a prayer hall. The style

of this mosque type was most popular in the medieval

period and remained dominated in Iran.

The Friday Mosque in Isfahan is a great example on

four iwan mosque.Figure 8

3. The Indian subcontinent triple dome Mosque is

typical for Mughal for architecture and could be

connected to Imperialism in the 15th and 16th

century. In the reign of Mughal Empire one of the

most important styles of Islamic architecture occurs.

A melting of Hindu and Islamic traditions resulted in

a mosque type with three domes, walled with a large

courtyard. This Mosque was often of monumental

scale.

Some of the most known triple dome Mosques is

Jami Mosque in DelhiIndia and Badshahi

Mosque in LahorePakistanFigure 12

4. Central Dome Mosque was introduced by the Ottoman

Empire in the 15th century. This Mosque was arranged with prayer hallbased on the Mosque of the Prophet as a regular hypostyle hall, covered

by a central large dome surrounded by smaller and lower semi-domes.

Hagia Sophia Church erected in the 6th century was converted to a

Mosque in 15thcentury. The design of Hagia Sophia became an

inspiration for the design of other imperial Mosques. The Blue Mosque

in Istanbul is an example on Central Dome Mosque.Figure 9

Figure 3 ARAB HYPPOSTYLEOSQUE

Figure 4 FOUR IWAN MOSQUE

Figure 5 TRIPLE DOME MOSQUE

Figure 6 CENTRALDOME MOSQUE


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5. Mosques with detached pavilions within a walled

garden could be found in China. Chinese Islamic

architecture reflects the local building traditions in its

style with small influences from western style.

Example on traditional Chinese Mosque architecture is

The Great Mosque of Xianfrom the year 792[Frishman & Khan]Figure 13 Figure 7 MOSQUE WITH DETACHED

PAVILLIONS

Figure 10Umayad Great Mosque, Damascus Figure 11Ahmad ibn Tulun Mosque, Cairo

Figure 8Friday mosque Isfahan, Teheran Figure 9Blue mosque, Istanbul

Figure 12Badshahi mosque, Lahore - Pakistan Figure 13The Great Mosque Xian, China


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6. 20THCENTURYS MOSQUE ARCHITECTURE

The 20th century Islamic architecture was

confronted with technical advantages and

influence of western architecture. The

discussions about large mosques were often a

political agenda and the issue of whether themosque should be based on its pure form or

if it could be possible to find a way to keep

the regional traditions in combination with

Modernism. The co mmon response to the

advancement of modernism was to demand

that mosque architecture too kept free of

western influence. This notion was supported

by many Islamic nations. Many architects

designed buildings relying on traditional

materials and forms of construction. To

maintain the regional architectural vocabulary many technical advances have been

avoided in the construction. Though keeping

the regional traditions, the present day

technology has not been ignored. The King

Hassan II

Mosque in Casablanca is the second largest

place for worship in the world and is an

example of a building built upon regional

traditions. Modern technology is applied to

the roof construction which can be opened

hydraulically, and a la ser beam pointing

towards Mecca is demonstrating this.

Moving away from traditions and toward

modernism many examples could be seen.

Examples from Iran show the Iranian

contribution to modernism.

The Iranian architect Kamran T. Diba

designed the buildings of the Johndishapor

University in Iran. The complex was constructed in yellow brick without a dome,

minarets and ornamentation. A few years later he designed a prayer room in the ground of

the carpet museum in Tehran in the form of two plain cubes one enclosing the other. So aclear change in direction towards modernism is visible in the Islamic architecture.

Architectonic regionalism transported to nations of Diaspora is visible many places in

Europe. The need of upholding cultural traditions has resulted in Mosque architecture

with strong parallel to traditional Muslim houses of worship. Shia Imam Ali Mosque in

Hamburg (1960-65) is an example visibility in nations of Diaspora. The form of this

building is for instance closer to traditional Islamic mosque design than the above

mentioned examples from Iran. The first Jami Mosque in Norway, built in 1995, is also

designed according to traditional Islamic design.

Figure 15Namaz khane - Teheran, Iran

Figure 14SHAH FAISAL MOSQUE, PAKISTAN

Figure 16Penzberg mosque, Germany


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COMPONENTS OF A MOSQUE

In its capacity as a house of worship, the Mosque has a standardized assembly of

components. Depending on the type of Mosque, small variations could occur whether its

a small local mosque or a large Jami/Friday Mosque. The basic elements of the Mosque

are:

1. Space Organization

1. A defined space partly covered and

partly open to the sky. The size of the

prayer hall (haram) varies according

to the size of the courtyard (sahn),

often surrounded on three of its sides

by columns or arches and the fourth

side giving the access to the prayer

hall. The principle effect on the size

of a mosque depends on the numbers

of the worshippers to beaccommodated. The prayer hall,

usually square or rectangular in plan,

is a common shape as a hypostyle hall with

a roof supported by a large numbers of

evenly distributed columns. This shape is inspired by the first Mosque in the

house of the Prophet Mohammed in Medina. The shape and layout of the Mosque

varies depending on the location, local climate and building traditions.

2. The Qibla wall and Mihrab

2. The prayer hall must have one wall

facing the direction of Mecca. In the

middle of this wall, a mihrab is

placed as a recess or a niche. A

Mihrab is usually the most decorated

feature of the Mosque. The mihrab

itself is not seen a sacred, what is

seen as sacred is the direction of the

prayer mihrab indicates. Mihrab is

the prayer niche from where the

imam leads the prayer, beside this the

feature also serves as an acousticdevice to reflect the sound to the

worshippers behind him. It is said

that the place where The Prophet

Mohammed used to stand was marked with a stone (qibla) after his death. The

architectural shape of the Mihrab is adapted from the Roman niche, semi-circular

in plan and an arched top. The qibla wall and mihrab are the most essential

features of all Mosques other than Haram Al Sharif in Mecca where Kaaba is

located. Since all worshippers at prayer must face Kaaba in Mecca they form rows

parallel to it. This practice explains the tradition of rectangular plans for a

mosque.

Figure 17Standard components of the mosque

Figure 18Mihrab, Hagia Sophia - Turkey


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3. The Minbar (pulpit)

3. This feature is always positioned to the right of the

mihrab and consists of a staircase in varying heights

from three steps to more monumental scale leading up

to a platform often covered with a cupola typed roof.

The minbar was first introduced in the house of theProphet in Medina when numbers of his fol lowers

started to increase. The idea behind the pulpit was for

the Prophet to position himself above the head of

audience to make his words more easily heard. Minbar

became an important equipment of the mosque where

large numbers of Muslims assembled for Friday prayer.

The weekly khutba (oration) was delivered from the

minbar, always one step below the top platform which

is symbolically reserved for the Prophet.

4.

The Dikka4. A wooden single storey platform

positioned in the same line as the mihr

ab, from where the qadi (respondent)

of the mosque repeat the words of

imam so the stages of prayer could be

transmitted to a large congregation.

Depending on the climate and

location, this feature could also be

placed in the courtyard. Today the

position of dikka has been replaced by

modern technology as loudspeakers.5. The Kursi

5. Is a small lectern on which the holy Quran

is placed, often placed next to the dikka.

6. The Muqsura

6. Is a separate square enclosure in the

mosque often placed next to the mihrab,

and was used to screen the rulers from rest

of the worshippers. [Naquib, Mosques in

Norway 2001:59]

Figure 19Minbar

Figure 20Dikka, Sultan Hasan Mosque, Cairo

Figure 22KursiFigure 21kursi

Figure 23The Muqsura


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7. The Ablution fountain /Hauz

7. This feature is often placed centrally

in the courtyard with or without a

fountain, and is indented for the

prescribed ritual ablution before

prayers. When used for ablution thefountain is often designed for a

number of worshippers to wash

simultaneously under running water.

The pool is often displayed with

inventive design with domes and

pavilion like roofs. Some places the

pools only function is ornamental

and washing facilities are placed in a close distance.

8. The Minaret

8. The original purpose of this feature,

besides marking as a landmark, wasto reach the voice of the muezzin

making the adhan to a far distance,

calling people for prayer five times a

day. During the life time of the

Prophet the adhan was given from

the roof of his residence in Medina.

This way was adapted and practiced

until the fourteenth and fifteenth

centuries. The architectural form of

the minarets was based on the

inspiration from Roman watchtowers, lighthouses or church towers.

The single minaret was generally provided to the Mosques. Under the Ottoman

and Mughal Empire, to signify royal protection, twin minarets were frequently

built. Some examples have four and up to six minarets like in the Sultan Ahmed

mosque in Istanbul with six minarets. The figure of minarets is only exceeded in

Mecca with seven minarets. Today in modern designed Mosques its usual to

include a minaret but its inclusion is not essential.

9. The portal

9. A general characteristic of Mosque

architecture from the Muslim world

is the concealment of the building

from outside with high walls. The

gateway to the Mosque has a

powerful psychological importance

marking the entrance to the Gods

house is an important feature to be

applied to a Mosque.

Figure 24Ablution fountain/Hauz

Figure 25Minars, Masjid Al Nabvi

Figure 26Buland Darwaza, The Portal - India


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10. ORNAMENTATION

Use of figurative art is forbidden in Islam and is a result of injunction from the hadith.

Aesthetic in Islamic visual art rests on four main factors, these are:

1. Mathematics and geometry;

often used in composition ofoverall patterns. The basic

shapes for these patterns are

based on a circle and its star

shaped derivatives.

2. Decoration and

ornamentation; main function is

to make a space whole by

marking the boundaries between

them and at the same time

connecting them.

3. Writing; often referred to asCalligraphy. Arabic has

acquired a special status of

sacredness in the Muslim world,

and is the standard language for

writing monumental inscription.

Calligraphy plays the same role

as the religious symbol of the

holy cross in Christianity. The

writing is often used as art by

decorating important features as

mihrab, minbar and walls andportals by repeating writings

from Quran and hadith.

Calligraphy in a mosque has a

notion to provide the viewer

with a message and focus on

meditation.

4. Use of colors has been used

in Islamic visual art to

contribute giving a three

dimensional texture to patterns.

Seven basic colors are mainly used for this purpose. These are: black, dark and light blue,

turquoise, green, red-brown, yellow ochre and white. These colors are sometimes charged

with symbolic meanings and vary from region to region. A combination of all these

features mentioned above have together contributed in spectacular pieces of art in Islamic

Architecture. [Naquib, Mosques in Norway, 2001]

Figure 27Ornamentation based on circles and star shaped geometry

Figure 28Combination of colorful three dimensional ornamentation andcalligraphic writings


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CONCEPTDEFINING THE MOSQUE'S KEY CONCEPTS AND PRINCIPLES

1. Defining the Mosque in the light of IslamQur'an and Hadith

Mosque in Qur'an:

IN THE HOUSES [of worship] which God has allowed to be raised so that His name beremembered in them, there [are such as] extol His limitless glory at morning and

evening(Quran, 24:36)

Unlike other religions the notion of sacred space does not apply to the Mosque.

Concept derived: A Mosque as a congregation point of the community.

2. The Idea of the Mosque from the Hadith

'I was not commanded to build high mosques'

Thus, from the hadith we can understand that the idea of the mosque does not

approach that of a monumental building meant for a single ritual worship act.

The Prophet's Mosque in Medina was used as a social, political and religious centre.

Concept derived: Mosque as a synergic space

Multiuse of space

We must approach the mosque not as a building for a single set of ritual worship but

more of a kind of social centre.

3. Prayer and the Mosque

Prayer is universally accepted to be the basic reason for the existence of the mosque.

Hence, this consist the most important function that the Mosque should cater for. This

space defining the mosque has to be suitable for prayerclean as one prostrates with

his face in this surface.

Concept derived: Cleanliness of Space

Figure 29Position of Prostration/Sajda

4. The congregational prayer is

performed in straight rows

parallel to Kiblah wall. The

Prophet said, "Straighten

your rows as the

straightening of rows is

essential for a perfect and

correct prayer"

Concept derived: Rows of

Prayer

Figure 30Rows in a Mosque


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5. The Mosque and the Spatiality of Prayer

Several prophetic sayings, such as, Wherever you pray, that place is a mosque, and, I

have been given the whole earth as a sanctuary, raise questions about how and why an

identifiable mosque architecture emerged and developed. In its formal and

compositional characteristics, the typical mosque remains an intriguing phenomenon

that is at once simple and complex.Concept derived: The importance and relevance of space vs. expression

Figure 31Importance of space

6. Prayer as Visualization

Islamic prayer requires no tangible object, such as an icon or a statue, to induce a sense

of divine presence and serve as a support for worship. Visual engagement is therefore

unnecessary.

The only visual engagement it requires is that whereby Muslims orient themselves

toward the Kiblah.

"And from whence-so-ever you start forth (for prayers) turn your face in the direction of

(the Sacred Mosque of Mecca) Al-Masjid-ul Haram... (Quran:2:149)

Concept derived: Directionality

Figure 32 Directions to Kaba


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From these definitions of Mosque under the light of Quran and Sunnah (two main sources of

Islam), the conclusion in these conceptual features of the Mosque which would serve as

principles and criteria for generating the Mosque as a multivalent space and institution:

1. Directionality

2. Space3. Cleanness of space

4. Rows of prayer (saffs)

5. Multiuse of space

Masjid India, Kuala Lampur

Concept

ARCHITECTUREASTAWHID:UNITY&UNICITYOFALLAH

The mosque is used by The Indian Muslim community in Kuala Lumpur.

It serves as a community and gathering space for the Indian Muslim.

Figure 33Ground Floor Plan


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ARCHITECTUEROFIHTIRAM:RESPECT,PROPRIETY/ADAB

ARCHITECTUREWITHIKHLAS:SINCERITY

Integration of Mathematics:

Embodiment of geometric proportion, harmony, balance

Figure 35Geometric Patterns: Interior

Figure 34Entrance


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ARCHITECTUREASPURSUITOFILM:KNOWLEDGE

Calligraphy of wisdom word of Al-Quran on the Mihrab wall and on the slab shows to the

people to keep remembering the Almighty Allah.

Figure 36 Calligraphy: Interiors

ARCHITECTUREFORIQTISAD:BALANCE

The balance is shown to both its vertical and horizontal entity. The building is balanced asa complete structure.

Figure 37Section: Masjid India


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Figure 38Plan: Masjid India

ARCHITECTUREOFHAYA:MODESTY

Privacy screen + aesthetic features +

environmental features

Translucent window that is not

transparent for the woman space to

prevent the space to be seen by the

outsiders.

The mosque is surrounded by

a magnificent size of courtyard forpublic use.

This discreet approaches

give respect before the Muslim really

enter the mosque.

Figure 39Woman Praying Area


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Spatial Arrangementpublic area

Requirements

PrayerSpace

Two prayer halls, one for male worshippers and one for female worshippers, will be the

central spaces in the Mosque. The spaces will have different sizes with segregated

entrance areas, but are intended to provide the same quality in terms of architecture and

the spatial experience. The prayer hall for males will be considered as the main prayer

room including the mosque components as mihrab and Kursi. The female part must bedesigned with a clear element indicating the direction of Mecca.

Ablution

Segregated areas must be provided for the ritual ablution before prayer. Additional

ablution space in connection with funerals must be established.

Entrance

Common segregated entrance spaces with wardrobe facilities. Both entrance areas will

have the same spatial quality leading to the different prayer halls.

Administration

Office spaces for administration and meeting rooms must be planned. The spaces must be

centrally placed giving access for both male and female users.

facilityfuneral

technical

sanitaryfacilities

meeting

room

administration

facility segregatedentrancezones

segregatedentrancezones

facility

prayer hall

females

common

kitchen

posibilty for

library /

computer lab

teaching

cultural centreconference

roomactivity

technical

administration sanitary

facilities laundry

Accomandation

for imam

Accomandation visitors

prayer hall

males

public area

main

entrance


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Additionalspaces

Common sanitary facilities, storage space and technical room must be arranged. The

exact numbers of rooms and sizes is presented in more detail in the room program.

Culturalcentre/Conferencehall

The cultural centre is meant to be a gathering space separated in function from the sacredmosque space but still connected to the mosque providing additional spaces. The cultural

centre is thought to be a new social meeting place across the cultural boundaries for both

Muslims and non-Muslim citizens of the city, contributing to narrow down the cultural

gap in the society.

Administration

Office spaces for administration and staff in total two rooms, additional space for copy

machines and office equipment.

Teaching

Lecture rooms for religious and language teaching for kids and adults. In total at least 6rooms must be planned.

Conferenceroom

Large space intended to have qualities for taking conferences of international format. The

space must be designed spatial qualities. Beside this the acoustic qualities and

technological facilities such as a projector and screen must be provided.

Library

Library space with literature and computer facilities.

Kitchen

Large scale kitchen layout.

ActivityspaceWith pool and table tennis, a separation for the youngest kids with playing facility.

Commonrooms

Two segregated common rooms in connection with the kitchen, serving as smaller

common living spaces.

Additionalspaces

Common sanitary facilities, storage space and technical room must be arranged

AccommodationforImam

Living facility with 3 bedroom apartment for imam with family. The apartment must be

designed with all necessary facilities for a family with outdoor space according to the

municipality demands. The outdoor connecting space could be either arranged on groundlevel or as a balcony or roof garden.

The apartment is intended to be designed based on the spatial experience and bright

minimalistic expression.

OutdoorSpace

The whole outdoor space is planned as an open public space, with park like environment

and paved paths leading to the planned functions on the site. The intended open

connection with public flow along the shore line as promenade will be implemented in the

planning of the footprint of the building mass. Outdoor spaces with appealing design will

hopefully contribute to a natural public interaction to the area. The design must at the

same point reflect the presence of the sacred space a mosque is representing. The entrance

area must, through the design, create expectations for the sacred activity of a mosque.


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The outdoor spaces will be planned without vehicle traffic. The paths will still be planned

with possibility of getting to the main entrance of the complex with emergency vehicles

and fire truck.

Outdoorlighting

To define direction of paths, the light could either be low light poles or integrated in the

pavement.

Parking

Size pr. parking 2.5m x 5.0 m and HC- parking size 3.7 x 5 m

Waste

Closed storage space for waste.

Special Requirements

Daylight

The phenomenon of daylight is making life possible on earth. The simplest function oflight allows a human being to see and know their surroundings.

Daylight is the source of energy that makes possible all growth and activity of all living

things on earth and maintain the human biological rhythm and hormonal distribution.

[Henry Plummer, The Architecture of natural daylight, 2009]

Light has been a fundamental element of architecture throughout history, the light in the

sky effect every part of our life. The way this source has been handled historically by

architects proves that light can change buildings and shape space. Play of light and

shadow creates a feeling of architectural shapes and materiality. The light has the

phenomenal capacity to create spiritual atmosphere in a sacred space touching human

emotions.

Beside this, the light and shadows help the human, through perception, to get a sense oftime understand the depth of a space with a more three dimensional understanding. The

light could be used creatively to enlarge space, or make it look smaller, highlight points

of interest or simply create connection between spaces both inside and outside. The

medium of light has through history been used to create a spatial atmospheric feeling in a

space. The most remarkable of these spaces are religious where light was employed to

arouse feeling of mysticism and to convey sacredness of a space.

Different cultures and religions have, through history, used the light to express the feeling

of their sacred space. In Christianity, light became on a metaphoric level a symbol of God

himself, a divine light that shines in the darkness and was incarnate in the Christ, who

claimed: I am the light of the world. Illumination of an Ottoman mosque was often

designed to produce a calm environment where emotions were reduced and tensionresolved. By contrast Hindu and Buddhist temples were often designed with gloomy

darkness, expressing the spiritual rebirth in the access area ending up in an emergent

center. All the mentioned examples have used the medium of light to somehow express

the sacredness of the space. [Henry Plummer, The Architecture of natural daylight, 2009]

Daylight is a challenging task to work with. The nature of this phenomenon is changing

constantly during a day and through different periods of the year, with changing character

through intensity and colors. Working with a source without being able to touch it, calls

for creative solution to grasp the quality. The focus in this project will partly be to work

with natural daylight in relation to the architectural perception in sacred mosque space


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and the adjacent functions in the community centre. Materials in combination with light

are important features to consider in the design.

Material can reflect, diffuse and absorb light. The perception of light in a space is highly

tied to materiality and must be considered carefully in the interior design in order to

achieve the intended atmosphere in the mosque.

Figure 41Ronchamp chapel, LeCorbusier Figure 42Daylighting in Interiors

Figure 40Hagia Sophia, Turkey


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Acoustics

Acoustics are an important part of the total

experience of being in a space; design with

focus on this task creates a more total

solution where materiality is playing an

active role. Our aural perception in a space isconnected to the design and shape of the

space and its materiality.

Imagine a room with hard surfaces as

concrete walls and tiled floor and no curtains

on the windows. This space will often create

a feeling of something cold. The acoustic in

such a space will be hard and with high

sound reflection. By putting a carpet on the

floor and curtains in front of the windows

the same room will change character in our

aural perception; the acoustic will be felt softer and the space will appear warmer. Thissimple example above proves the human ability to experience architecture through sound.

Acoustic and functions sound in sacred spaces has always been of great importance for

the perception of spatiality. However the way sound is received varies in the different

religions and their house of worship. The acoustic design of a mosque will be totally

different from a church where the space is designed for both speech and music. The

acoustic must be designed for the specific purpose. In case of a mosque the main acoustic

objectives are speech intelligibility since music is not allowed in a mosque space.

The normal prayer ritual performed in a mosque is done by congregation standing in lines

side by side behind the imam facing the qibla wall in direction of Mecca. The imam is

usually standing in the prayer niche in the qibla wall. In many cases this niche is working

as a reflector for spreading the sound to the receivers behind. The mihrab often is one of

the most decorated architectural features of a mosque, besides being a sacred feature, this

also serves an acoustic purpose. The acoustic design of a mosque must be carefully

thought according the ritual performed in a mosque. The main ritual is the prayer as

earlier mentioned and the other is the weekly Friday speech given by the imam facing the

congregation.

The reflections of the sound in a room are very important to the way the sound is

perceived by the listener. Different surfaces can gather or scatter the reflections a bit

while others diffuse the reflections depending on the shape of reflectors. Concave

surfaces gather the reflections, linear surfaces scatter the reflections and the convexsurfaces diffuse the reflections.

Figure 43Soft acoustic, Ummayad mosque - Damascus

Figure45Reflection from aconcave surface

Figure46Reflection from alinar surface.

Figure44Reflection from aconvex surface.


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The reflections are also dependant on the surface treatment of the reflector. If the

irregularities on the surface are small in relation to the wavelength, the reflections will

behave as with a smooth surface. If the irregularities on the surface are comparable to the

wavelength the reflections will behave as if the surface is made from many planes.

To prevent echoes it is important that the difference between the direct and the reflected

sound is less than 50ms or 17m. This can be done be shaping the room in the right way

and using materials to absorb the sound waves in troubled areas. Long rooms can be hard

to create in a way where the echoes do not exist because of the distance to the rear

wall/the reflectors in relation to the length of the direct sound.

The organization of the receivers in a room is related to the position of the sound source.

For the receivers to get the right amount of sound they have to be organized in a way

where they do not screen for each other. This can be solved be placing the sound source

high in the room or creating a surface that is sloping upward for the receivers.

Figure 48Reflection from asurface with smallirregularities

Figure 49Reflection from asmooth surface. Figure 47Reflection from a

surface with big irregularities

Figure 51 The difference between direct and Rectangular rooms have problem with echo

reflected sound should be maximum 50ms

Figure 50 Example of a bad solution. The direct The direct sound should be able to receive the reciever

sound is not optimal for the receivers behind without screening from others

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