This document summarizes a presentation on designing mosques in the West given by Ali A. Alraouf. It discusses the rise of Islamophobia and how this has led to mosquephobia, or fear of mosques. It examines case studies of innovative mosque designs that have helped overcome this fear by making mosques more open, transparent and engaging for communities. Key principles discussed include designing mosques as public community spaces rather than just ritual places, revisiting sacred geometry to promote spiritual contemplation, and creating openness to encourage visitation and understanding between religious groups. The goal is to transform community members into mosque advocates rather than promoters of mosquephobia.

1. The 2nd Mosque Design & Development Summit
3-4 May, 2017. Dubai, UAE.
Ali A. Alraouf, Ph.D.
Prof. of Architecture and Urbanism
HBKU University, EC.
Head of Research and Development –QNMP, Doha, Qatar
From Islamophobia to Mosquephobia
How to Design a Mosque in the West?

2. From Islamophobia to Mosquephobia
How to Design a Mosque in the West?

3. Islamophobia
• Islamophobia refers to fear, prejudice, hatred
or dislike directed against Islam or Muslims,
or towards Islamic politics or culture.
– Locally Constructed.
– Globally Consumed.

4. Islamophobia
Islamophobia has emerged as an ideology that
threatens the tradition of tolerance deeply embedded
and rooted in the core principles of Islam.

5. Islamic Diversity Multiculturalism And
Dialogue.
“The attacks of September 11th, 2001 and the continued efforts of these
extremists to engage in violence against civilians has led some in my
country to view Islam as inevitably hostile not only to America and
Western countries, but also to human rights. This has bred more fear
and mistrust”. Obama, 2009.

6. The Other Voices: Islamophobia is a Tool

7. Mosquephobia
A New Form of Fear

8. The process of Mosquephobia as a breed of
Islamophobia.
The used to be powerful and dominating image of the mosque,
is currently subjected to accelerating resistance and rejection
particularly in the west.

9. On Mosquephobia
Mosquephobia is the phenomenon which triggered
preciously in Western communities against Islamic
physical representation primarily Mosques and
cultural centers.

10. Rejecting The Image of The Mosque

11. The First Wave of Mosquephobia
An artistic rendering of the proposed Park 51 Islamic
Community Center designed by Soma Architects.

13. Contemporary Muslim Community
A Defining Moment
• Historical Situation:
– Muslim communities are continually balancing the
essence of their faith with the diversity of
geography, politics, cultures, and economies.
• Contemporary Situation:
– Challenging Time.
– Shattered Image.

14. MOSQUES WITHIN CONTEMPORARY SOCIO-
CULTURAL AND ARTISTIC CONTEXTS
“Traditional Islamic civilization is marked by its emphasize upon beauty being
wedded to every aspect of human life, from the chanting of the Quran to the
making of pots and pans. The traditional Islamic ambience, both the plastic and
the sonoral, have always been beautiful, for traditional Islam sees beauty as a
complement of the Truth.” Nasr (1990) p: 20

15. The Holistic Concept of Beauty in Islam
• Perfect beauty (al-jamal-al-akmal).
–Visible beauty (al-jamal-al-zahir) .
–Inner or invisible beauty (al-jamal-al-
batin).

16. The Concept of Creativity
“Islamic art can be distinguished from
any other kind of art by the “internal
creative purpose… rather than the
external formal, iconographic, or
functional characteristics”.
• Oleg Grabar Formation of Islamic Art.
“The creativity of the Islamic artist is
directed to God, not to a man”.
• Tatiana Starodub, The Islamic World.

17. Architecture and urbanism used to be the physical representation of
Muslim communities’ abilities, creativity, and positive contributions in
mankind development

18. The Creativity Crisis
• Islamic art has been in recession for such a
long time. We see that artists are trying to
reproduce the same models again and again.
• Being traditional does not mean being
outdated. Historically, Islamic art welcomed
innovations .

20. Mosques in the West

22. The Alternative: Regional Case Studies
The Vanishing Mosque. Dubai, UAE.
The Vanishing mosque is intended to blend with
the city and engage its community.

23. King Abdullah Financial Center’s Mosque, Saudi Arabia
Emphasize on The Spiritual Experience
The external composition of the mosque is distinguished by
abstraction reflected positively in the internal prayer space .

24. Architecture as a Creativity - Provoking Catalyst:
Buildings as Educational tools.
Buildings as Inspirational Mediums.
From Madrassa to College: Knowledge CenterArchitectureProvokesCreativity
Faculty of Islamic Studies Building and EC Central Mosque .

25. Assayfaah Mosque, Singapore.
• The spiritual experience created spatially in the
main prayer hall at Assayfaah mosque.

26. The Islamic Forum in Penzberg, a Mosque and Islamic
Center, Bavaria, Germany.
• Penzberg mosque’s transparency created unprecedented visual connectivity
between the internal spaces and outdoor street life.
• The cultural dialogue represented in the opposing entrance walls with Arabic
and German translation of Quran verses.

27. The New Mosque, Islamic Centre, and Museum of
Religious Harmony. Tirana, Albania

28. Suggested Emerging Design Principles
Mosque as a Public Place
”The winning proposal was chosen for its ability to create an inviting public
space flexible enough to accommodate daily users and large religious events,
while harmonically connecting with the Scanderbeg square, the city of Tirana
and its citizens across different religions.

31. The Mosque of Reijka, Croatia, designed by the Croatian sculptor Dušan
Džamonja (b. 1928 – d. 2009), was opened in 2013.

32. The Sancaklar Mosque, Istanbul, Turkey, was designed by the Emre Arolat Architects, and built
between 2011 and 2013.

33. Alternative Mosque Design
Conceptual Understanding
The Future Mosque
A Vibrant Place not a Deserted
Space
–Creativity in Functions, Activates
and scenarios for Users.
–Claim Your Mosque.
–From a Ritual Place to my Place.

34. Conclusion: Towards a new paradigm
Western Mosques vs. Mosques in the West
• A mosque to be a place for the community; for people to
meet and congregate, not necessarily for religious reasons.
• Revisiting Spatial Geometry: Sacred Spaces for Global
Contemplation.
• A place which engage different people in a profound and
deep spiritual experience that would transcend all
differences.
• The contemporary outlook will create openness and a new
perception of mosques and will encourage many, including
non-Muslims to visit the mosque.
• Building sense of belonging and transform community
members into advocates for mosques rather than promoting
for mosquephopia.

36. Thank you
Ali A. Alraouf, Ph.D.
alialraouf@gmail.com