Mosques of Madinah: Designing towards Authenticity

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MANNING Mahmud , ABU AL HAIJA Ahmed
1
Urban Design Consultant MA Urban Design, Birmingham City University
2
Faculty of Engineering Executive Director, Centre for Islamic Urban Heritade, Taibah
University

E-mail: zvsvol@gmail.com - alhaija2@gmail.com

Abstract: The architecture of mosque design since the establishment of Islam in

Madinah has witnessed various forms of development and political precedent.
Form and function, construction methods, material use and decoration have led
and sometimes followed technological innovation. The majority of mosques built
in Madinah in the 20th century have a single communal character; a copy of
historic architectural forms without a connection to that historical culture or politic.

Various contemporary positions within the nature of these changes are held;
some consider that contemporary design does not need to have historical
references to buildings which are not part of that political or geographical arena,
while other thought recognises historic layers even if out of context with building
methods, materials or social norms.

This paper discusses in brief the principles of historic mosque architecture within
the first city of Islam in terms of architectural and artistic expression which
illustrates the intellectual and physical factors contributing to this architectural
heritage. A philosophical criticism is helpful in order to establish some reflections
concerning the relationship between authenticity and concept of design in the
21st century.

Key words: Principles, Imitation, Tradition, Innovation, Authenticity.

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 1. Introduction

From a Muslim perspective, Madinah represents an eternal archetypal city and place of wisdom
received through revelation by the Prophet Muhammed 1435 years ago. Governed according to
the innovative treaty of the Sahifat al Madinah (Amatulla) the city became a declaration of social
justice and reflected the new societys purpose and the establishment of Madinahs first Mosques
within Islam.

Madinah was a fertile crossing point within a harsh desert climate; a geographic bowl, where rain-
water drains into from the surrounding mountains. It became a centre for trade caravans. Watch-
towers were built as protected look-out posts against marauders and bandits. Madinah was not a
walled city; its defense was in part due to the difficulty of its approach and harsh climate.

The initial buildings of note were built using local materials of Basalt and lava stone with red
earthenware clay. The lava stone spread throughout the region from volcanic eruptions and lava
flows. The stone is strong and yet friable and was used for foundations and walls which rose
above grade. Clay walls would continue in the French Pise tradition of building, as well as the
production and use of unfired clay brick. Roofs were flat with palm trunk spas and joists. Domes
and vaults were not known or used until the Mamluke and Ottoman eras.

Fig. 1 Simulation of the Mesjid Nebawi; the early mosque built during the establishment of Islam

The main element of a mesjid is primarily a clean open space to pray together. A further element
is the direction to pray, incumbent to face Mecca and its centre, the Kaaba, an open house with a
celestial stone embedded within one corner. A raised platform or tower enables a person to call
people to the daily prayers but is not mandatory. Lastly there must be a facility for washing,
enabling cleanliness for the prayer to be performed in an accurate manner.

From these elements of purpose sprang an architecture which contained these criteria, using the
modest and available local materials. This early architecture in its simplicity was a collective
response to need and identity; not just a spiritual identity but one informed through governance
and directive.

The various Muslim governments and their societies brought layers of expansion to each mesjid.
These were sometimes due to fire or lightning, which required repair or the need for an expanded
space as the Muslim population grew. Mesjid al Nebawi grew from simple clay walls and palm

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trunks to stone pillars during the authority of the Caliph Umar. Rock wall foundations and further
stone pillars under the Umayyad Dynasty were added; each dynasty and epoch adding and
imprinting their own skills and architectural elements.

These expansions and developments reflected the governance and societal aspirations as well
as skills and developments in building; new techniques and materials were incorporated within
each new build. These reflect each epoch and therefore become a true critique and reflection of
that society. Each governing epoch portrayed its own outlook, expressed through the skills and
knowledge of its artisans. The simplicity of clay and its direct community involvement led to the
use of stone and a specialized workforce.

Contemporary mosque architecture also becomes an accurate reflection of society and is worthy
of investigation and comprehension. Our aim here is not to show the historical step by step
development of the main mesjids of Madinah, but nevertheless to show and reflect the society as
portrayed within the architectural models.

We conclude with a deeper appreciation of tradition, while acknowledging that pastiche and
imitation is not enough to accept a historic architecture. Respecting an environmental context, a
memory of place and the cultures of local people are important but allied to authentic use of
space and physicality with appropriate functionality.

This linear outward enquiry has three streams;

1. An historical reference and displacement using pastiche motifs and modern materials.

2. A post modern sensibility which recognises a cultural/historic legacy and its connection to
place while bringing a layer of empathetic personal identity.

3. A contemporary approach without location or historic reference.

2. Tradition and its meaning

A point to be clarified helping us understand the world of people living before our modern age is
to understand the meaning of tradition which concerns aspects of material culture, local
techniques of building and principles of common life, including faith and intangible heritage.
Therefore, the process of industrialization and its effect of globalization have widely marginalized
the spirit of creativity and authentic expression of specific cultural groups, affecting social and
individual behavior, transforming a local identity into a globalised identity. (Abu Al Haija, 2014)

Tradition should be understood from a tangible and intangible realm embracing culture. Each age
and people still held to innovative techniques bringing out a particular genius established through
their geographical location and identity. A tradition is tempered by hand skills and a passing on of
knowledge without the use of heavy machinery or an idustrialised process. (Foster, 1973) It is not
the buildings per se which are traditional but the society which produced them.

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 3. Three streams of Identity

We have within contemporary architecture three streams of identity which we hope to elucidate
here and which in fact reflects the social condition of our age. Madinah is not separate from this
and can be used as an example of inquiry which helps elucidate our modern condition and
situation. We have a dichotomy between Traditional society and Modern/Contemporary society
which still needs to be examined deeper in order for us to arrive at an appreciation of what is in
front of us.

These streams must be recognised as the inheritors of a lost or at least a broken traditional
architectural identity which reflected a traditional Islamic society. Traditional Islamic societies
have become technological. Echoes are in place; both in terms of building footplate and cultural
heritage, although society itself moves away from that echo within each passing decade. Mythos
is discarded, only logos remain. (Armstrong, 2004) This linear post traditional enquiry has three
streams;

2.1 Stream one: Imitation

The first stream emerging from this loss of tradition acknowledges historical style within a design
process. This style in fact becomes an icing on a concrete cake. It usually does not use the
materials of the past, (whether stone, wood, clay or fired brick) but the convenient materials such
as steel and concrete with various hollow brick infill. This style may also be adoptive and eclectic,
traditionally never simply surface decoration but something deeper, connected to use, function,
geometry and meaning. The Muqarnas within the Mihrab (or prayer niche) is a good example,
this stalactite form was not simply a decorative transition of square to circle, but an amplification
of sound, allowing the voice to be projected back to the far wall allowing all to hear and therefore
participate.

This historical necessity becomes a pastiche from its original source, an outward recognition but
hollow in its authenticity. Geometry (as visual number) is not considered in the buildings
conception and an identity to local people or their governance is not expressed. The mosques of
Qiblatain and Miqat, in their new emergence and enlargement receive a Mamluke style, with
interiors of Moroccan and Ottoman decoration. Mesjid Al Nebawi has an Andalusian Umayyad
style reminiscent of Seville and Damascus (Fig 2). When the decorative elements of yesterday
are copied and re-elaborated using modern technology.

Fig 2 Fig 3
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Fig. 3 Shade umbrellas are in place within the pavilions of Mesjid Nebawi. This innovative
design allows for a flexibility of space during different types of weather, they are not
overbearing in scale or foot-plate and are folded when not needed allowing a clear view-site.
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 2.1.1 Mesjid Qiblatain (Mosque of the two Qiblas) and Mesjid Miqat

Within the Qiblatain mesjid, the previous direction of prayer (to Jerusalem) has been removed,
excepting a small marker as reference. The scale and footplate is enlarged with external
Mamluke style decoration yet without the wonder of the carved sandstone dome present at the
Muayyad mosque or the simplicity of the Ibn Tulun Mosque at Cairo. So we start to see a
difference between past Traditional society and its build criteria and todays contemporary
pragmatic use of diverse internal decoration, applied as a surface aesthetic without connection to
the meaning of the whole architectural expression.

The Miqat and Qiblatain mesjids are mainly built of an extruded and fired light clay brick. The
arches contain a hidden reinforced concrete load bearing structure, although the Pendentives and
Domes are built in a manner reminiscent of the Nubian constructions of Upper Egypt. It is a
necessary compromise considering load and compressive strengths of the red brick when dealing
with this scale and the increase in load-bearing weights, time constraints and monetary budgets.

Fig. 4 Fig. 5

These monumental buildings are outwardly impressive and have been achieved with difficulty
and compromise. It still raises questions of accuracy in terms to our reference of history and
governance. What is the connection in design terms to the Mamluke period and the
established Saudi Kingdom?

However beautiful they may appear, scratching the surface of decoration produces an
eclectic mix divorced from local skills, governing directive or integrated build structure.
Instead it relies on an imported historic style devoid of governing directive.

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 th th
2.1.2 Ibn Tulun Mesjid, Cairo 9 Century Egypt and Mesjid Miqat, Madinah 20 Century

The contemporary mesjid of Miqat shows how materials and technology have driven the final
design. The mesjid of Miqat takes as a reference the Cairene mosque of Ibn Tulun. The mesjid of
Ibn Tuluns unique design, with its minaret staircase is also an echo of the mosque of Samarra,
Iraq (Fig. 6). It uses sandstone as its main material, while its scale still evokes a human measure.
A modesty of scale becomes intimate and inviting, not intimidating. The build materials are
transparent and have a quality of directness and honesty.

Fig. 6 Fig. 7

Cast concrete blocks (Fig. 8) are made for the Miqat capitols while a heavier scale and design
sensibility is introduced. The design above the doorways become heavy and arbitrary with loop-
holes as dcor (Fig. 9) while the Minara becomes a totem; a symbolic place for calling the
prayer. The brick remains visible, with a weather-proof paint coating and double pillars give an
impression of strength and scale, although are hidden reinforced and cast-concrete pours.

Fig. 8 Fig. 9

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 3.2 Stream two: Revised Modernism

The second stream is post-modern; one of re-connection to a historical/cultural past as well as a

consideration to location and specific use. It may embrace technological innovation and current
materials. It does bring innovation and is usually creative.

3.2.1The Grand Mosque of Rome

A strong example outside of Madinah would be the Mosque built in Rome and completed in 1995
by the architect Paolo Portoghesi. His architectural design is based upon hands raised in
supplication and prayer, while structurally it serves a purpose by holding a large covered prayer
area without heavy intervening pillars which can interrupt prayer lines (Fig. 9). It fulfills a similar
concern as the Ottoman mosques of Sinan. Scale and space is achieved yet with an integral
structure and design/concept sensibility. It uses modern techniques and materials imaginatively
which complement and illustrate the concept of prayer and supplication (Fig. 10 and 11).

Fig. 9

Modern technological systems are used to enlarge the open space of prayer. The structural
elements have also an expressive message in terms of forms and natural lighting. This example
may however become overly complicated, even a distraction to the main purpose of collective
worship. A design criteria concerned with its patronage may also have created a flamboyance or
overly complicated structural solution.

Fig. 10 Fig. 11

It does not reflect a specific Muslim community or governance; indeed it represents a community
mix with various outside patrons within a host Christian country and represents integration to a
city fabric. It aims to reflect a social integration of Muslim immigrant populations into a wider host
community. The interpretation of some religious actions into the use of forms abandons a
traditional expression in favour of shapes reflecting a concept of design. (Hands raised in
prayer.).

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 3.3 Stream three: Innovation

The third stream is of a contemporary style and divorced from place or cultural identity. It is its
own statement and a landmark building of notice and attraction. It may contain various materials,
though usually of reinforced concrete, glass-plate and cladded materials. This character may
carry its own concept usually independent or personal to the architect.

Jamia Mesjid in Prishtina, Kosovo

Fig 12 Fig 13

A design proposal for a Jamia Mesjid in Prishtina, Kosovo, showcases an individual approach
which is truly a Tabula Rasa after the social and political traumas of its recent past. It does
however have its own honesty of approach, imposing its own awe over the congregation,
spiritual or otherwise, despite an absence of historical reference (Fig. 12 & 13).

This example does bring simplicity to the internal space; an opening within the roof considers
natural light as well as the movement of the sun, while also promoting a cosmological
awareness and sense of spirit. It is calling for a shift in paradigm which is of worth and may
indeed become a model of aspiration for a return to first principles.

This model is not integrated within an urban context. According to the historic function of a
mosque it related directly with society and the urban fabric rather than a monumentality of
building. It continues to be technological and outside the skills implementation of the local
people it serves.

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 4. Conclusion

The historical element proclaimed a societal identity intrinsic to its structure, (through geometry)
as well as its decorative form as an outer expression of its political identity, whether Umayyad,
Mamluke or Ottoman. Contemporary architecture is essentially defined by technological terms
with a style identity added on; buildings reject a distinctiveness reflected in people as a governing
identity.

We can see that respecting tradition superficially may not be the same as standing within a
Tradition; a point perspective looking out from a confirmed source. We also recognise that
traditional Muslim societies are not in place and therefore allow an architectural confusion to
occur. Respecting an environmental context, a history and memory of place and the culture of
local people is important but also needs to be deeper. Is it an inside-out or an outside-in
sensibility?

Architectural elements should reflect not just an honesty of materials and technology integrated to
form and function, but should still be wary of imitating historical and previous political tradition,
especially if it is out context to the people the building serves. Imitation of traditional forms doesnt
mean a respect of tradition, but a shortage of creativity and correct architectural vocabulary. This
lies with the governing polity as much as the architect.

Importantly for an architectural expression to occur which is true to source, a re-appraisal, even a
new Nomos (C. Schmitt) is needed within architecture and Muslim society. It can be suggested
that this is achieved architecturally by a return to first principles including the important integration
of social inter-action and urban texture around mosques. Simplicity of space and importantly a
sense of spirit, as well as an inspiration for local governance within the collective must be
addressed. This may mean that the Dome or Minaret are seen as secondary elements,
historically important but not conditional.

A re-evaluation of human scale and compatibility as well as the essential elements of a clear or
flexible open space, without visible intimidations of worldly power would be a welcome return to
first principles.

The architecture of mosques and cities ultimately reflect the society they contain, not just a
philosophical position but its governing polity. This position is all encompassing including its
wealth and trade transactions. From this primary position the secondary important considerations
of durability, context within environment, human scale and cultural identity can then be formed.

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Amana, First Edition, 2014

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Behrens-Abouseif, Doris; Islamic Architecture in Cairo: An Introduction. Leiden, New York, 1989

Kaki, Abdelaziz; The Urban Texture of Madinah, Al Sarawat Ed. Jeddah, 2006

Foster, George McClellend; Traditional Societies and Technological change, Joanna Cotler
Books, 1973

Amatulla,Ruby; Muslim Heritage http://islamforwest.org/2011/12/28/the-constitution-of-medina-the-

first-written-constitution-of-the-world-2/

Schmitt, Carl; The Nomos of the Earth, Telos Press Publishing, 2006

Taha, Hatem; Taibah and its Fine Art, Taibah Ed. Madinah Munawarah, 2008

Figures

All photos as authors own except as indicated

Fig 1 http://muslimmatters.muslimmatters.netdna-cdn.com/wp-content/uploads/current-mosque-is-larger-
than-the-entire-city.jpg

Fig 5 http://www.beautifulmosque.com/wp-content/uploads/2013/06/Miqat-Mosque-in-Dhul-Hulayfa-Saudi-
Arabia-01.jpg

Fig 6 http://rolfgross.dreamhosters.com/Islam2013/Chapter2/Chapter%202_html_bfcc88d7.jpg

Fig 9
https://encryptedtbn2.gstatic.com/images?q=tbn:ANd9GcSa_nBb8bio0ergzNx5s1EuNX1OOJlCSj1bdHOCw-
phldbuB45TJ1o7OyUW

Fig 10
https://encryptedtbn2.gstatic.com/images?q=tbn:ANd9GcSa_nBb8bio0ergzNx5s1EuNX1OOJlCSj1bdHOCw-
phldbuB45TJ1o7OyUW

Fig 11 https://encrypted-tbn2.gstatic.com/images?q=tbn:ANd9GcSa_nBb8bio0ergzNx5s1EuNX1OOJl

Fig 12 http://www.archello.com/sites/default/files/imagecache/media_image/Facades_PTK.jpg

Fig13 http://www.archello.com/sites/default/files/imagecache/media_image/Final_Interior_view.jpg

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