Nigeria’s rich historical background has derived an exclusive indigenous Architecture that displays different variations and influences. Mosque Architecture happens to be one of the unique type of architecture for its primary function is a community worshiping centre. The primary purpose of this article is to study and identify the essential elements of a mosque and their functions, and their development from the precolonial, colonial and post-colonial period as regards to changes in the morphology, symbolism, technology and design of mosques in Northern Nigeria. This article will focus on some selected mosques in Nigeria which represent the original traditional architecture through to the modern. The changes made were examined based on characteristics of morphology, design articulation and technology based on the history of Hausa mosque architecture. This was done through existing publication on the subject and the author’s experience. Findings shows that the emergence of the colonial masters and some of the Arab merchants in Nigeria has affected the existing culture and traditions which obviously weakened the bonds between the traditional and modern architecture. Mosques were not only not conserved in their originality but changed thereby destroying the traditional forms.

1. IMPACT OF MODERNITYON MOSQUE ARCHITECTURE OF
NORTHERN NIGERIA:A CRITICAL ANALYSIS
Zakari Mohammed Saleh 15500468
Department of Architecture, Eastern Mediterranean University, Gazimagusa, TRNC, Via Mersin 10, Turkey
Email: cve00007@myport.ac.uk
ABSTRACT
Nigeria’s rich historical background has derived an exclusive indigenous Architecture that
displays different variations and influences. Mosque Architecture happens to be one of the
unique type of architecture for its primary function is a community worshiping centre.
The primary purpose of this article is to study and identify the essential elements of a mosque
and their functions, and their development from the precolonial, colonial and post-colonial
period as regards to changes in the morphology, symbolism, technology and design of mosques
in Northern Nigeria. This article will focus on some selected mosques in Nigeria which
represent the original traditional architecture through to the modern.
The changes made were examined based on characteristics of morphology, design articulation
and technology based on the history of Hausa mosque architecture.
This was done through existing publication on the subject and the author’s experience.
Findings shows that the emergence of the colonial masters and some of the Arab merchants in
Nigeria has affected the existing culture and traditions which obviously weakened the bonds
between the traditional and modern architecture. Mosques were not only not conserved in their
originality but changed thereby destroying the traditional forms.
INTRODUCTION
Mosque architecture like other architectural typology has tremendous development all around
the globe (Hillenbrand (2000).
Nigerian Muslim communities had freedom to build mosques to their taste which fulfils their
religious functions and teachings as their traditional culture. Traditional here can be seen as a
culture inherited from generation to another which is accepted and practiced by the people
(Rikko & Qwatau 2011).
Fathy & shearer (1986) iterated that the proven ability of the local vernacular forms to be
energy efficient and green made from locally available resources, geography and climate has
inspired a lot of practitioners in the building traditions.
Mosques built before colonisation of Nigeria were mainly done through the influence of the
traditional rulers which refined and encouraged mosque construction to a high level of
aesthetics. Most of the mosque in that era were designed and built by local builders and their
families.
By the arrival of the British colonial masters, the traditional rulers lost their power through
indirect rule.
During the British rule, some of the mosques were built by rich and influential people in the
society. After the British rule, mosque construction were latter done by members of
communities and some few by foreign architects and engineers.

2. Changes were latter observed due to modernity which occurred through digitization,
introduction of western education, continuous investments into building constructions and
involvement of international architects.
Gharipour (n.d) delineated that the lack of systematic critic on Architecture and its potential on
the society and its culture is caused by the absence of order in the construction industry. Some
of the modern day Architects feels the traditional buildings are out dated and not in vogue and
therefore resulting to a break with tradition, and typifying everything that rejects the inheritance
(Heynen, 2000).
The main factors that influenced the transformation of mosques architecture are its function as
a community centre of worship and its openness to external influences and responsiveness to
external factors which could be historical, environmental or cultural (Kuban, 1974).
In order to take advantage of this situation, an accurate recollection of the past can serve as a
resource with open ended application (Tosh & Lang, 2006).
This paper established an examination of the significance of applauding the Hausa traditional
Architecture with the intention to properly elucidate the professionals in the built environment
whom should take into consideration the local design theory associated to the approach of the
traditional building.
This study entails a descriptive criticism, since it doesn’t judge nor interprets but helps other
to see what actually exist by identifying relevant fact to ones encounter with the environment.
Architectural typology is said to deal with function, form, style, materials (Leach, 2010;
Pevsner, 1997).
To test the proposed formal characteristics and components of a typological approach in
studying mosque architecture, some mosques were shortlisted to represent a range of mosque
variations from precolonial to post-colonial period while the discussions are included in the
text.
Fig.1Zaria mosque (1835-1847 Fig.2Kano mosque (1950s) Fig.3 katsina mosque (1980s)
Fig.4 Abuja mosque (1984) Fig.5 Jigawa mosque (2010)

3. Some selected mosquesranging from pre-colonial to post-colonial period
MORPHOLOGY
Morphology in architecture is the study of the evolution of form within the built environment.
Which often describes discursive processes, such as in the evolution of a design concept from
first conception to production, but can also be understood as the categorical study in the change
of buildings and their use through a historical perspective (Wikipedia).
Architectural typologies are often described by the movements that gave rise to a certain
aesthetic, the influences of which are usually cultural or philosophical in origin. Some
examples are, indigenous architecture, classical architecture, baroque architecture, modernism,
postmodernism, DE constructivism, and futurism.
Therefore this section describes the morphology of the mosque architecture in terms of its
overall mass and volume as well as the spatial organisation of the architectural elements in the
interior of the mosques.
Hausa Traditional mosques in Nigeria are characterised by irregular shaped hypostyle floor
plan as shown in the Zaria mosque which is approximating to a parallelogram (20m x 23m)
(Collins, 1999).
Zaria mosque built around1835-1847 is one of the surviving mosque of Hausa traditional
Architecture which set example for other parts of the country. Rowan (1980) this mosque was
constructed during third Fulani emir of Zaria (Abdul Karim) by the chief (local) builder name
Mallam Mikhaila Babban Gwani.
The ablution chamber of this mosque was used as a buffer zone between the mosque’s
courtyard and the main busy street. This tradition has however disappeared, instead now place
in the court yard. Example of this is found in the jigawa mosque. More also, the court chamber
serve as the main entrance of the emir in to the mosque and other part of the building. These
features are similar to the typical Hausa home planning.

4. Fig.7Floor plan of Zaria mosque
Fig.8Ceiling/Roof plan of Zaria mosque (kahera,1987)
Fig.9Isometric views of Zaria mosque
1. Court
2. Screenedareaforwomen
3. Entrance and ablutionarea
4. Latrine toilet
5. Mihrab

5. An inflow of the Arab merchants from Egypt to Nigeria to survey the spread of Islam gave a
reason to construct another mosque in Kano state where an observatory tower was added to
mosques. This was the influence of the Arab merchant. The Gobarau tower is the only remaining
type of this tower still standing.
Fig.10Gobarau tower katsina (1393) Fig.11demolished Kano mosque tower(1890)
(Arch net)
The emergence of the British colonials changed Mosque architecture where its patronisation shifted
from traditional rulers to the rich and influential people in the society thus the deterioration in
the quality of building materials used in the constructions. The ablution/ entrance (zaure) in the
Zaria mosque has been replaced by the 4 iwan as seen in the Kano mosque thus erasing the Hausa
traditional culture’s need for privacy. Furthermore the traditional defensive observatory tower attached
to mosques were abandoned and replaced with high minaret. This is evident in the Kano mosque
which was built by Egyptian contractors in 1950s and sponsored by the British colonials, as a
reward to Nigeria for its role in the World warII.
However with modernity, the closely spaced columns in traditional mosques where replaced by
spacious and improved building technology.
With the increase in population, the floor plans grew larger in scale but even though the overall
geometry of the mosques’ prayer hall remains the same in terms of symmetry, it encountered some
additional functions and ceremonial spaces.
Fig.12Zaria mosque (interior) Fig.13Kano mosque Fig.14Katsina mosque (interior)
(Dmochowski,1990) (author)

6. Fig.15Abuja mosque(Mihrab) (author) Fig.16Jigawa mosque(Mihrab) (author)
After Nigeria got independence in 1960, mosque continued developing until the traditional mosques
begin to disappear. This can be seen in katsina and jigawa mosques above and also the Abuja central
mosque which has different floors. The planning and organisation of the mosque transformed from the
traditional setting of the basic multi-functional prayer halls to different spaces with different functions
like the seminar room, multipurpose hall and so on which were in contrast to the traditional Hausa
mosques.
Furthermore, the symbolic and visual importance of the roof parapet pinnacles of the mosques
design similar to Hausa homes had however disappeared.
According to Collins (1999), the roof construction in Hausa traditional mosque was a domed
mud roof supported on mud arches which was the most expensive and most prestigious made
from fronds of raphia palm tree.
The Zaria mosque dome was supported by piers which were placed in a wrong place covering a clear
space for the Mihrab. The arcs on the columns of the traditional mosque were approximately semi-
circular form with its base close to the floor (kahera, 1987). However, the modern mosques were
designed with less Columns as seen in the Abuja and katsina mosque above.
the ceiling of the Zaria mosque consist of patterns of Azara(raphia palm) trunk tied to eachother which
were used to fill up the space (kahera, 1987)
Fig.17Zaria mosque dome Fig.18 Kano mosque dome Fig.19Jigawa mosque dome
Dmochowski, Z. R. (1990). (author)

7. Fig. 20Abuja mosque dome fig.21Jigawa mosque ablution area
(author) (author)
TECHNOLOGY
The building materials during the pre-colonial era were Tubali (cone shaped) sun baked bricks, cow
dungs and Azara (palm trunk) beams which has the property of resisting termite infection were
readily available (Dmochowski, 1990). The use of material like cement, concrete, iron rod and
glass used can me noticed in the Kano mosque built by the colonial masters and subsequently
after colonisation as seen in the mosques above. Also, corrugate roofing sheet wee latter used
in the local mosques. The use of the Azara (palm trunk) for roof construction, vaulted ribbed
arches designs found in the Zaria mosque, reveals a technically sound knowledge in use of
local materials. However due to technological improvements, mosque were latter built using
steel, timber and concrete as seen in the subsequent mosques which were built in a modern
style.
The colonial and post-colonial periods experienced a change in construction methods brought
by the Arab merchants, the British colonials, architects studying abroad, invention of our local
universities and the rich individuals who travels abroad to lift design to Nigeria.
Fig.22Mosques in Nigeria showing the use of corrugated roofing sheets and no domes (author)
DESIGN ARTICULATION
According to Al-Faruqi & Al-Faruqi (1986), studying the decorative language can be done
through elements of calligraphy, plant based, floral, geometrical and architectural motifs.
Zaria mosque is enriched of geometrical motifs patterns on its structural arches, Islamic
calligraphy, carvings, motifs, patterns, decorations, visual emphasis, scale and proportion.
According to (kahera, 1987), the interior of the mosque were usually decorated instead of the
exteriors with curvilinear medallions and deeply incised triangular motifs which signifies
strange eternal meaning. He further explained that the acts of symbolism function and

8. cultural attachment were deeply significant to the Hausa and Fulani culture as applied
building. A symbol is the conditional stimulus which is linked up with responsive behaviour
only by the process of conditioning and symbolism.
Fig.23 Zaria mosque Interior (Dmochowski,1990)
In contrast, mosque built during the post-colonial era have discarded those traditional
symbolism, motif and replaced them with abstract motifs and Arabic inscriptions painted on
walls as seen in Abuja mosque on the quibla walls with designed glasses on the facades
which was copied from the Egyptian mosque.
Modernity is constantly in conflict with tradition, elevating the struggle for change to the
status of purveyor of meaning par excellence (Heynen, 2000).
Fig.24Entrance door of Abuja mosque Fig.25Mihrab of Abuja mosque
Looking at the interior of Abuja mosque, the visual impact of the traditional motifs on the columns,
their strange eternalmeaning, and ornamentations, were not considered in the design instead marble
was used in both the walls and columns.
Furthermore, from the colonial to the post-colonial periods, the visual symbolism of the iconic image
of traditional mosques architecture seems to be affected with the invention of town planning laws laid
by colonial masters and also loud speakers for Ahzan (call for prayer). People tend to build even
against the laws in building some mosques which seems to look like an after taught. This can be seen
in the pictures below (Akanni, 2013).

9. Fig.26Small portion of this building is used Fig.27mosque identified by a loudspeaker
as mosque (Akanni, 2013) (Akanni, 2013)
Fig.28 (Akanni, 2013) Fig.29mosque as part a house identifiedby
a loudspeakerinNigeria (Akanni, 2013)
Discussion
The traditional mosques in Nigeria bear the testimony of the glorious Islamic heritage and its
advanced building techniques. From the onset of the colonial masters to the post-colonial era,
to the present days, the creation of other buildings like universities, railway stations airport
and others have caused changes in the traditional mosque architecture. As such individuals in
the society made the architects to make modern designs borrowed from other parts of the
world neglecting their local architectural identity. The same time, threatens to destroy
everything we have, everything we know and everything we are (Heynen, 2000).
Some element of the traditional mosque design were found in some of the mosques, but the
conceptual meaning attached is no doubt missing.
Even though modernity had made a great influence with regards to the Hausa traditional
building materials, construction methods, styles, and professionalism, the construction
processes has developed to an advanced level in a modest simplistic, qualitative minimalist,
and aesthetically appeasing way. Integration of the modern and traditional Architecture is
recommended and encouraged in order to bring back what is lost.

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