case studies of different mosque and their quality of design in bangladesh .

1. THE MOSQUEAND
ISLAMIC CULTURAL
CENTRE OFROME, ITALY
Mujahid Kajal
3PD14AT014

2. • Architects- Paolo Portoghesi, Sami Mousawi , Vittorio Gigliotti
• Client-Islamic Cultural Centre of Italy
• Location - Rome, Italy
• Design-1976
• Completed-1992-1995
• Site- 29,915 m2
• Ground floor- 6050 m2 + rivaq- 3116 m2
• Total floor-19708m2
(including basement, ground floor, and all upper floors)

3. INTRODUCTION
The mosque and Islamic cultural Centre of Rome
was officially inaugurated in 1995 after 20 years of
design and construction when the idea of its
establishment was envisioned as an international
competition in 1976.
The final realization of the project is a synthesis of
elements that are derived from historic references of
Islamic, roman, and baroque architecture. the
incorporation of these elements into unified whole
results in a unique landmark that speaks to the
Islamic and western worlds.
OBJECTIVES:
To provide an architectural setting where Muslims can perform
the prayers, and to accommodate a wide spectrum of
educational and cultural activities such as lectures, seminars,
and exhibitions.
Objectives
•To provide the Italian community with a clear and better
understanding of Islam.
•To provide social and socio-religious services to the Muslim
community.

4. Climate and site:
Climatic conditions :
Generally, Rome enjoys a mild weather
relative humidity : 50% to 60%
Winter temperatures : 4 degrees to 5 degrees celsius
Summer temperature : 28 to 35 degrees celsius
night temperatures : 20 degrees celsius
Site context :
• The Mosque and Islamic Cultural Centre of Rome is
located to the north, approximately 5.00 km. from the
historic core of the city.
• It is situated in the Parioli district
• The site of the project is considered a historically
significant area although it is relatively far from the
historic centre.
annual precipitation : 84 cm.
Site topography :
• The area was a dump site at the foothills of Villa Ada Park.
• The site of the project is nearly triangular with very slight slopes toward the southeast, with an area of 30.000 sq.m.
• Via della Moschea is the road that leads to the centre.
• It was especially paved for accessibility purposes based on the request of the authorities of Rome

5. Site plan:
Facilities
•Prayer hall - 2500 worshippers of
whom 500 would be females
•Smaller prayer hall -150
worshippers,
• Educational section
• Library
• Classrooms
• Conference
• Auditorium- 400 people
• Exhibition area
•Two residential sections-for Imam of
the Mosque and the visitors.

6. Layout plan:
1. MAIN PRAYER HALL
2. MINARET
3. DAILY PRAYER HALL
4. ISLAMIC CULTURAL
CENTRE
5. RECEPTION HALL.
6. ISLAMIC LIBRARY
7. CONFERENCE HALL.
8.MEETING ROOMS &
MUSEUM.
9. FOUNTAIN

7. Site section and elevation:
1. SUHAN
2. MULTI PURPOSE HALL
3. CONFERENCE HALL
4. PARKING
MAIN SECTION
WEST ELEVATION

8. Plans:
PRAYER HALL REFLECTED CEILING PLAN

9. Prayer hall section and elevation:
NORTH ELEVATION OF MAIN PRAYER HALL
SECTION THROUGH MAIN PRAYER HALL

10. Materials:
A wide variety of materials have been used in the complex.
For the rendering of facades and exterior finishes travertine and peperino Romano were used with classic Roman brickwork.
Exterior spaces are either tilled with typical roman stone and marbles.
Roads in the premises of the centre are paved.
For the flooring of interior spaces marble finishes were used.
The sahan and riwaq floors are finished with strips of travertine based on the modular design 3.60m x 3.60. m. with brick
paving in between.
Lead was used as a sheathing material for the domes.
Interior finishes of the domes of the main prayer hall were made of particular coating of encaustic stucco.
Mosaic stucco decorative panels in the main prayer and the small prayer halls were made by Moroccan and Turkish craftsmen.
Office spaces, classrooms are simply painted, while marble finishes are used for floors.

11. The piazza of the Islamic Centre is along the main approach
from the north. The domed volume of the prayer hall is seen on
the left. To the right, steps lead to the cultural Centre.
The main entrance is through one of the three courtyard
spaces formed between the two, two-storey rectangular
wings which make up the H-block. The staircase leads to
the reception hall.

12. The main prayer hall can
accommodate 2500 worshippers. It
is capped by a large, lead sheathed
central dome surrounded by 16
smaller domes. Ceramic tile work,
stucco finishing, and Moroccan
chandeliers highlight the interior.
A raised plaza leads to the
cultural centre wing.
Travertine marble panels
and yellow Roman brick are
used as the interior finishing.

13. The interior and exterior structural components throughout
the complex also serve as decorative elements. In the prayer
hall, four branches of the main concrete columns shoot out to
form a web of arches and ribs that articulate the area
beneath the domes
The web-like rib which highlights the underside of the
central doe during construction. It was built using both
pre-cast and cast-in-situ elements. Unlike the columns
which support it, the ribs are purely decorative.

14. The Approach
View to East Wing
View from West Wing to Sahan

15. View from West to Mosque Sahan

16. The main dome
Small
domes with
chandeliers

17. The Mihrab
Prayer hall,

18. Analysis:
The image of the tree expressed the diversity inherent in the unity of Islam. thirty two concrete columns do exist in the main prayer hall, these
branches are surprisingly decorative rather than structural. another symbolic reference appears in the central 20 m. diameter dome. it rests on
seven step concentric circles which are intended to represent the seven sacred hills.
Prayer hall is on the raised area and below with ablution area thus separating from disturbance.
The project is a synthesis of elements that are derived from historic references of Islamic, roman, and baroque architecture. the incorporation of
these elements into unified whole results in a unique landmark that speaks to the Islamic and western worlds.
It has vast open area by through we are entering gives whole view of the building.
Entries are to the first floor where main entry is the middle one via courtyard reaches reception.
Gallery space is used by female worshippers during the pray time.
Library space and museum is placed away from prayer hall thus preventing the noise to prayer hall.
Cultural Centre, library and museum have separate entries and are connected helping for space utilization.
Natural light is available since it has large courtyard.

19. SULEYMANIYE MOSQUE
Istanbul, turkey

20. INTRODUCTION:
Suleymaniye mosque, or better known as the mosque of
Suleyman the Magnificent, was built in the 16th century by
the great Ottoman architect Mimar Sinan for
Sultan Suleyman the Magnificient, also known as the
Legislator. It stands on a hilltop (3rd hill) dominating
the Golden Horn and contributing to the skyline of
Istanbul. The mosque is the largest mosque of Istanbul.
The mosque was ordered by the sultan Suleyman, and
architect Sinan built it in 7 years, between 1550-1557 AD.
Like all big and important mosques of that period, also this
mosque was built as a complex including a hospital,
library, madrasa, kitchen and hospice for the poor, hamam
, and shops. It's one of the best examples
of Ottoman Islamic architecture in Istanbul.

21. (1) Mosque
(2) mausoleum of Süleyman
(3) mausoleum of Hürrem
(4) Koran recitation school
(5) public fountain
(6) elementary school
(7) first (evvel) madrasa
(8) second (sani) madrasa
medical
(9)remains of
school
(10) hospital
(11) Hospice
(12) guesthouse,
(13)Sinan's tomb with domed
sabil and empty plot of his
endowed school and
residence
(14) The janissary
agha's residence
(15)Third (salis)
madrasa
(16) Fourth (rabi)
Madrasa
(17)Bathhouse
(18)Hadith college
(19)Madrasa near
the palace of Ftama
Sultan and Siyavus
Pasa
Facilities

22. MAUSOLEUM OF SUL
TAN SULEYMAN INTERIOR OF THE MAUSOLEUM OF EMPEROR
SULEYMAN

23. • Constructed on 1550 and finished on 1557
• 59 meters in length and 58 meters in width
with 4 minarets, having a total of 10
galleries indicating that Suleiman I was the
10th Ottoman sultan
MOSQUE
PLANANDSECTION

24. Floor plan Section

25. MADRASAH

26. IWAN

27. BATH HOUSE(HAMMAM) HADITH COLLEGE

28. Design and Appearance
The Süleymaniye Mosque is an impressive and unique combination of both Islamic and Byzantine
architectural styles. Many of its design features, such as its domes and minarets, are reminiscent of
Byzantine churches, particularly the Hagia Sophia.
The Courtyard
The Mosque features a very large courtyard. While
courtyards were common for Imperial style mosques,
the Süleymaniye’s is particularly grandiose. It features
several columns crafted from marble, granite, and
other fine materials.
The courtyard is also home to four minarets with ten
galleries. The four minarets signify that the
Süleymaniye Mosque was endowed by the sultan,
while the ten galleries are representative of
Süleyman’s position as tenth sultan.

29. The Dome
•One of the most notable and easily distinguished features
of the Mosque is its main dome, which is surrounded by
smaller domes, as well as a series of arches.
•The arches contain decorative windows and are supported
by buttresses partially hidden within the structure’s walls
and further covered by galleries. This “hiding” of the
buttresses was a first for Imperial architecture, and is one of
the most unique features of the Mosque.
•The dome of the Süleymaniye Mosque is 53 meters high,
making it the tallest dome in the Ottoman Empire at the
time of its construction.
•Inside, the mosque is 59 meters long by 58 meters wide.

30. Minarets
•The mosque has four minarets that are designed in
accordance with the gorgeousness of the building.
• These are divided into two groups as the “Mosque
Minarets” and “Hareem Minarets” and also each one is
again specified as left and right minarets.
•The structure designed for carrying the minarets were
also thought to be used as the corner counter forts of the
main building. Hence they are formed in the rectangular
prism shapes.
• Each has a height of 76.46 m.
•The minarets at the west part of the courtyard have a
plain structure with two balconies and are considerably
lowered to be close to the low courtyard walls and they
set on polygonal basis. Each has a height of 55.42 m.

31. Interior Decoration
•While one would assume that a Mosque with such a massive courtyard and such intricate designs would
be very strongly decorated inside, the opposite is actually true. Compared to the Mosque’s exterior and to
other Mosques built within the period, the Süleymaniye Mosque’s interior is actually quite bland.

32. There is some Iznik tile work, however, as well as a few ivory designs. Mother of Pearl designs can
also be seen, though they are understated.
Even the Mosque’s mimbar, usually a prime spot for decoration, is very softly designed

33. The Doors
•When entered into the Suleymaniye Mosque
courtyard through the Imaret Door, the portal of
the mosque which appears to be like a palace
elevation has great importance due to its
architectural design, decorative elements and its
inscriptions.
•The marble tulips at the bottom surfaces of the
courtyard entrance door and the front entrance
door still exists.
•The floor of the inner courtyard is covered by
marbles and it has three gates: the main
entrance door is named as the north–west door
and the other two side doors as the north-east
and as southwest doors

34. The Windows
•The mosque receives light through 138
windows.
•On the accounting records of the mosque,
the existence of 5 sets of windows on the
altar wall, 2 sets of windows on each side
wall and 9 ornamental windows with
different sizes on the qibla wall were
mentioned.
•Those stained glass windows on the altar
wall are the works of art of the famous
master Ibrahim, of those days.

35. Mihrab and Minbar
•The mihrab which raises between chine
decorations was made as a single piece
having two columns made with raised
grooves on top of stalactite base covered
with golden gilding.
• It has a plain structure.
•The minbar which was constructed according
to the esthetics of the mosque was made up
of marble.
•It was also informed that the crescent of the
minbar was gilded with golden coins and
kiosk of the minbar is a hanged ball covered
with golden leafs.

36. Analysis:

37. FAISALABAD MOSQUE
FAISALABAD, PAKISTAN

38. INTRODUCTION:
The Faisal Mosque is the largest mosque in Pakistan and
is located in the national capital city of Islamabad. Faisal
Mosque is conceived as the National Mosque of Pakistan.
It is the Largest mosque in South Asia and one of the
Largest mosques in the world.
The Faisal Mosques is named after the Late king Faisal
bin Abdul-Aziz of Saudi Arabia, who supported and
financed the project.
Location -The mosque is located in the capital of Pakistan
Islamabad, It is situated at the north end of Faisal Avenue,
putting it at the northernmost end of the city and at the foot
of Margalla Hills, the westernmost foothills of the
Himalayas.
Architect/planner- Vedat Dalokay

39. SITE PLAN:

40. The Faisal Mosque is the work of Turkish architect Vedat
Dalokay, who won theAga KhanAward forArchitecture for
the project. The mosque's architecture is modern and unique,
lacking both the traditional domes and arches of most other
mosques around the world.
The mosques relatively unusual design fuses contemporary
lines with the more traditional look of anArab Bedouins tent,
with its large triangular prayer hall and four minarets.
However, unlike traditional Masjid design, it lack a dome.
The minaret borrow their design from Turkish tradition and
are thin and pencil like.
Design:

41. Entrance to mosque:
• Entrance is from the east, where the prayer
hall is fronted by a courtyard with porticoes.
The International Islamic University was
housed under the main courtyard, but
recently relocated to a new campus.
• The Mosque has also a library ,lecture hall
,cafe , and Museum as well.

42. • The interior of the main tent-shaped hall
is covered in white marble and decorated
with mosaics and calligraphy by the
famous Pakistani artist Sadequain, and a
spectacular Turkish-style chandelier
• There is also chandelier at shah faisal.
INTERIOR:

43. Size and planning:
It has a covered area of 5000 sqm (54,000 sqft).
It can accommodate 10,000 worshippers in its main prayer hall, 24,000 in its porticoes, 40,000 in its
courtyard and another 200,000 in its adjoining grounds.
Although its covered main prayer hall is smaller than that of the Hassan II Mosque in Casablanca,
Faisal Mosque has the third largest capacity of accommodating worshippers in its adjoining grounds
after the Masjid al Haram (Grand Mosque ) of Mecca, the Al-Masjid al-Nabawi (Prophets’s Mosque)
in Medina.
Each of the Mosque’s four minarets are 80 m (260 ft) high.
The mosque is flanked by four tall minarets measuring 300’-0” (90m).
Influenced by Turkish architecture, the minarets are slender and pointed, the form an abstraction
derived from a square base formed by the intersection of two planes. (the tallest minarets in South
Asia) and measure 10x 10m in circumference.
A later addition to the grounds of the Faisal Mosque is the mausoleum of General Zia –ul-Haq,
(President of Pakistan, 1978 to 1988), which receives people who stop to offer fateha (prayer for the
deceased).

44. Masjid Verandah

45. Crescent Sculpture
Analysis
The mosques has unusual design fuses contemporary lines with the more traditional look of an Arab
Bedouins tent, with its large triangular prayer hall and four minarets lacking a dome.
Influenced by Turkish architecture, the minarets are slender and pointed, the form an abstraction
derived from a square base formed by the intersection of two planes.
Courtyard