Project 2 CASE STUDY NATIONAL MOSQUE MALAYSIA

In project 2, we are required to have a case study about Malaysia National Mosque and also understand the National Mosque and interviews on tourists and local workers.

Project 1  ISLAMIC ARCHITECTURE IN CHINA

In this project, we study about the Islamic Architecture of China through different dynasty. We also look into the application of 7 Islamic Principles of different Mosque.

7 principles of islamic architecture

Tawhid- Unity and Uniquity
Based on Shahada,"There is no god but The God/Allah and Muhammad is his Messenger/Prophet"The notion of Tawhid in architecture is the formless essence between the nature of space, forms, order, and orients and the place where man connects with the presence of Divine UnityExample: the Holy Ka'abah

Ihtiram-Respect
The understanding of Ihtiram is the self-conscious acts, courtesy to Allah in all actions. In terms of architecture, structures and buildings are built to serve the pillar of religion-the heart and unifier of the Muslim community. The architecture practice in turn contributes in purifying and improve the conduct and build up inner and outer self fulfilment, by submitting owns will to that of Allah.

Ikhlas- Sincerity
 There are 2 modes of expression of submissions in the way of God-outward physical action, through the prayer and dress up; and inward actions of the heart by having deep contemplative/constant thought of Allah Architecturally, the notion of Ikhlas is translated into the union of sincerity and purity through design motivation, to build within conformity to God's will. The expression of sincerity to Allah is through the absence of human imagery and idols in its space construction, to prevent idolatrous worship. Instead, subtraction of geometry becomes the idea of art itself and can be applied in to any architecture elements.

Pursuit of 'Ilm- Knowledge
Islam encourages Muslims to pursuit knowledge wherever and whenever they are. In architecture, inscriptions of Quranic verses and the use of light as expression that illuminates the wall inscriptions. Besides that, the structure/building itself plays a role in contributing to the notion of 'Ilm, which is to serve as a centre of knowledge, attracting scholars of all cultural and religious backgrounds to gather and exchange knowledge.

Iqtisad- Balance

Moderation and balance expresses essential considerations of the nature of aesthetics, and the composition of the aesthetics is derived as model for creativity and artistic activity in addition to our life and behaviour


Haya'- Modesty

In architecture, statements of 'modesty' is expressed by retaining the values of Muslims in their everyday existence, sacred actions and family lives



To preserve the dignity of Muslims, screen, sanctuary and privacy is provided based on the idea of the adoption of the veil to as acceptance of Muslim woman of what she can control in front of strangers (humbleness between her and Allah). An example of a feature highlighting modesty is the mashrabiyya where it does not only serve as a privacy screen, but also an aesthetic feature as well as an environmental feature

Dhikr- Remembrance

Remembrance is reflected in the architecture of monotony, where repetition in the structure/building and its rhythmic precision mirrored in the contemplative chanting of God's innumerable attributes (dhikr). The manifestation of contemplation maintains a sense of unity through rhythm, seen as the eternal and infinite nature of God's essence

The Abbasids of Baghdad

Under the Abbasid caliphate (750–1258), which succeeded the Umayyads (661–750) in 750, the focal point of Islamic political and cultural life shifted eastward from Syria to Iraq, where, in 762, Baghdad, the circular City of Peace (madinat al-salam), was founded as the new capital. The Abbasids later also established another city north of Baghdad, called Samarra’ (an abbreviation of the sentence "He who sees it rejoices"), which replaced the capital for a brief period (836–83). The first three centuries of Abbasid rule were a golden age in which Baghdad and Samarra’ functioned as the cultural and commercial capitals of the Islamic world. During this period, a distinctive style emerged and new techniques were developed that spread throughout the Muslim realm and greatly influenced Islamic art and architecture.

Since the style set by the capital was used throughout the Muslim world, Baghdad and Samarra’ became associated with the new artistic and architectural trend. As virtually nothing remains from Abbasid Baghdad today, the site of Samarra’ is particularly significant for understanding the art and architecture of the Abbasid period. In Samarra’, a new way of carving surfaces, the so-called beveled style, as well as a repetition of abstract geometric or pseudo-vegetal forms, later to be known in the West as "arabesque," were widely used as wall decoration and became popular in other media such as wood, metalwork, and pottery. In pottery, Samarra’ also witnessed an extensive use of color in decoration and, possibly, the introduction of the technique of luster painting over a white glaze. Admired for its glittering effect reminiscent of precious metal, luster painting, the most notable technical achievement at the time, spread in the following centuries from Iraq to Egypt, Syria, Iran, and Spain and eventually also contributed to the development of ceramic decoration in the Western world. In terms of architecture, along with the palace of Jawsaq al-Khaqani (ca. 836 onward), the mosques of al-Mutawakkil (848–52) and Abu Dulaf (859–61) in Samarra’ were important in setting the style that was emulated in regions as far as Egypt or Central Asia, where it was adapted to need and taste.

Islamic Architecture in Umayyad Period

 The Abbasid dynasty (750-1517 AD / 132-93 AH) seized political leadership of the Islamic world from the Umayyad caliphs in the middle of the eighth century, asserting their position as male descendants of Muhammad through his uncle, al-Abbas, to legitimize their claim to the caliphate.

Whereas Umayyad architecture developed from the Hellenistic and Late Antique tradition of the eastern Mediterranean, Abbasid architecture is marked by a new monumental scale, the use of structural systems composed of massive brick piers and arches, and decoration of brick and carved and molded stucco. 

Abbasid palaces demonstrate the same monumental scale, the use of brick construction, and widespread stucco ornamentation that appear in the mosques. In contrast to the relatively modest and self-contained Umayyad estates, the Abbasid palaces of Samarra (founded 836, abandoned in 892) and the Jawsaq al-Kharqani or Bayt al-Khalifa of c. 836 included military quarters, extensive gardens and recreational spaces, residential courts and richly decorated ceremonial spaces in sprawling complexes along the Tigris.

Each of the four gates to al-Mansur s Round City possessed a complex, bent entrance passage designed to guard it against violent attack. Each gate was surmounted by an elevated chamber reached by staircases or ramps. Each of the chambers was crowned by a dome, and the whole 50-cubit (82 foot, 25 meter) structure was topped by a weathervane in the shape of a human figure. The caliph used these rooms as audience halls when he wished to view anyone who might be approaching or whatever lay beyond the city walls. The audience halls also marked the extension of his personal domain and authority over the extremities of the city.

Islamic Architecture in Prophet Muhammad (pbuh) Era

The aspects contributed by the Prophet (PBUH) to Islamic architecture signify both the quintessence of Islamic architecture and the vitality that is woven through its each and every facet and feature. Thus, the permanent and most consequential side of Islamic architecture is as old as the Islamic message and the Islamic community but which at the time of the Prophet (PBUH) could take no more than an austere and unsophisticated physical form.
It thus can be concluded that the first signs of Islamic architecture clearly existed during the Prophet’s time, though its physical expressions were extremely rudimentary and unrefined. Prophet Muhammad’s time represents the first and certainly most decisive phase in the evolution of the identity of Islamic architecture, as it is known today. The paper is divided into five following sections: (1) Islam and society; (2) The Qur’an and the Prophet’s sunnah (traditions) as the foundation of Islamic architecture; (3) Islam and the categorization of building activities; (4) Prophet Muhammad’s attitude towards architecture; (5) The Prophet’s mosque as an epitome of the Prophet’s contribution to the evolution of the identity of Islamic architecture.

So concerned is Islam about quenching man’s thirst for socializing and interacting with others that some people could not help observing that the Islamic ideals have a preference for the sedentary over the nomad and for the city dweller over the villager. This assertion is not totally baseless, though. To be sure, Islam’s treatment of human settlements and the standards and values that nurture and sustain them is such as no other religion or ideology is able to parallel it. Islam in its capacity as the only religion in the sight of God (Alu ‘Imran, 19) carefully strikes a balance between its precepts and values meant for the personal and family realm, on the one hand, and such as are meant for the whole society (humankind), on the other. While a number of them govern each of the two poles, a big portion of the tenets of Islam is still shared by both. Unless propounded at the societal scale, Islam, a universal way of life and a religion that came to raze people’s erring living patterns and furnish them with those based upon the tawhidic paradigm instead, will, therefore, fail to materialize as such. Its real colors will thus be granted no adequate ground to exhibit their glow and aptitude, and people will be left short of perceiving and experiencing fully the excellence, beauty and pragmatism of its worldview and value system. It stands to reason, therefore, that some of the goals of Islam, direct or indirect, are the creation of civilization, society and its establishments, towns, cities and built environment.

Islamic Architecture

Is an architecture whose boundaries are not geographical but theological. That was produced in many different geographic regions whose diverse cultures were unified through the religion of Islam.
Certain architectural features have become fixed and eternal. In this modern world, they help us find our architectural roots and remain true to our identity.Almost every architectural structure addresses, in a direct sense, cultural identity and philosophy within a physical context.
If we want to understand, appreciate, and evaluate the architectural quality of a building, we need to develop a sense of dimension, topography, climate, material, structure, and proportion, and of the surrounding physical environment — both natural and human-made. This sense goes far beyond the building’s ability to serve utilitarian needs.
The Islamic world — and the Middle East in particular — is undergoing a transformation today unprecedented in its history, writes architect Garry Martin in the essay “Building in the Middle East Today — in Search of a Direction.” Oil wealth, along with social and political change, have threatened Islamic culture and traditions. This identity crisis is readily apparent in architectural design.
Many Muslim planners and architects are reacting to this invasion of Western culture by reasserting their Islamic heritage. This leads to the questions of just what constitutes Islamic architecture!!! Central to this definition, Martin explains, is the Islamic concept of Unity. Writes Martin:
“The concept of Unity in multiplicity is the determining factor in integrating Islamic societies. Historically the revelation of Islam as expressed by the prophet Mohammed (P.B.U.H)and the Holy Koran brought together the most diverse cultures and peoples from Spain across to India and beyond.
The architecture of the Islamic world throughout history adapted and responded to different cultures and existing traditions of buildings without weakening the spiritual essence which was its source of inspiration.
 Urban centers in Islamic cities evolved over long periods of time with generations of craftsmen whose sensitivity and experience added variety and a diversity of styles to the environment. The traditional Islamic city reflected a unity which related the architecture of the mosque, the madrassa , the souq, palace and the home as a sequence of spaces… The identity of the city lay in the relationship of its elements.
These relationships were generated by the harmonizing of the community with the forces acting on it, that enabled the interaction of cultures, building methods and methods to evolve an Islamic identity in the same way a language maintains its own identity even when it absorbs outside words.