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King Faisal Foundation Mosque


Description


KING FAISAL FOUNDATION MOSQUE is part of a multi-use complex that includes offices, shops, educational facilities and residential apartments. The complex is located on a rectangular site. Its buildings surround an open courtyard. The mosque is located at the eastern end of the site between two rectangular buildings. To the west of the mosque lies a central plaza, which provides a place for worshipers and serves the users of adjacent buildings. Behind the plaza lies also an office building.

The design of the complex, as seen in the architectural drawings, reveals a multi layered architectural solution, which provides different levels above and below the ground floor, with access via the main plaza to the mosque from the ground floor. However, the levels have been carefully designed to house different functions including an entrance hall on the main level of the prayer hall, while parking area has been concealed below the main level of the mosque in the basement within two different levels. The library has been designed to complement the design of the mosque, as it is located in the basement floor as shown in the cross section. The cross section reveals that the cylindrical volume that rises above the prayer hall makes unique contrast with the linear background of the overall complex on the one hand, and an interesting balance with the office building that lies at the farthest end of the complex on the other hand. 

The mosque design uses simple geometric shapes instead of architectural vocabulary and motifs associated with traditional mosque architecture. The mosque sits on a square base facing Mecca direction, while the prayer hall is cylindrical. Whereas the wall that envelopes the prayer hall contains vertical incision that starts from its highest point. The cylindrical wall has been designed with a slope to resemble the Islamic Crescent, which is seen on top of the minarets when viewed from the ground level. 

The abstraction and the use of pure geometric forms in the design are unprecedented and commendable in this design. Such an approach to design highlights the need to shift away from the ‘conventional stereotyping’ of mosque architecture that has been going on for ages across the history of mosque architecture. The abstraction seen in the design of the minaret is only matched by its current functional symbolism where the ‘functional historical call for prayer’ by means of the minaret has been replaced by modern technology using loudspeakers, leaving the minaret as a symbol for function and a form. However, its form as the highest vertical feature of the mosque balances the horizontality of the design, whilst being used as reference point in the skyline of the mosque and its surroundings. 

The minaret is designed in two square shaped parts. The first part consists of a base parallel to the surrounding buildings. The second part, which is the body of the minaret, is located above the base and deviates from its axis by 45 degrees. The two parts appear together in plan as an eight–pointed star. 

Abstraction is also seen in the facades of the mosque. The designer avoided completely using anything but abstract geometrical shapes with minimal openings or windows in the elevations and some blind niches. This lack of windows has been compensated by the narrow slits on the corners that allow natural light during the day to the inside of the mosque, providing a relaxing atmosphere for prayers without distractions. 

The plain elevations with recessed niches and narrow windows are echoed in the interior, which feels solemn and silent, where tranquility is transmitted throughout the mosque. Such segregation of the interior from the exterior is required within a complex that comprises multi-functions and different building typology. The required atmosphere inside the mosque called for such design measures to keep the interior free from surrounding pollution, physically and spiritually. 

Natural lighting is allowed inside the mosque in quality not quantity. The interior of the mosque reflects purity and a great deal of privacy. There are no windows or ornaments, as the interior looks bare of unnecessary additions. Light is allowed in through either windows on the corners or from above indirectly through the cylinder that covers the prayer hall. This design method not only casts a special atmosphere upon the prayer hall, but also keeps light and heat out, enhancing the need for more cool and quite internal space in contrast with the harsh, hot and noisy exterior. The mosque was constructed using a reinforced concrete cast in situ and columns and steel facade of glass and aluminum. The outside walls were clad of marble-white matte. Its interior walls were covered with blue tiles. 

The design solution manages to provide a contemporary interpretation of mosque architecture without the recourse to the usual conventional forms or features. Instead, it crosses the line between a historic tradition and the required modern advancement towards 20th century architecture by means of a new outlook of pure geometric forms blended in such an intelligent way that does not compromise the very essence of mosque architecture. The design puts forward an architecture that provides a sharp split between the harsh exterior and the interior, between the physical world and the spiritual one. 

 


Details

Location

As Sulimaniyah, Riyadh 12212, Saudi Arabia

Owners

King Faisal Foundation

Architect Name

Kenzo Tange (Tange Associates)

Year of Build

1982

Drawings

Map

Description

KING FAISAL FOUNDATION MOSQUE is part of a multi-use complex that includes offices, shops, educational facilities and residential apartments. The complex is located on a rectangular site. Its buildings surround an open courtyard. The mosque is located at the eastern end of the site between two rectangular buildings. To the west of the mosque lies a central plaza, which provides a place for worshipers and serves the users of adjacent buildings. Behind the plaza lies also an office building.

The design of the complex, as seen in the architectural drawings, reveals a multi layered architectural solution, which provides different levels above and below the ground floor, with access via the main plaza to the mosque from the ground floor. However, the levels have been carefully designed to house different functions including an entrance hall on the main level of the prayer hall, while parking area has been concealed below the main level of the mosque in the basement within two different levels. The library has been designed to complement the design of the mosque, as it is located in the basement floor as shown in the cross section. The cross section reveals that the cylindrical volume that rises above the prayer hall makes unique contrast with the linear background of the overall complex on the one hand, and an interesting balance with the office building that lies at the farthest end of the complex on the other hand. 

The mosque design uses simple geometric shapes instead of architectural vocabulary and motifs associated with traditional mosque architecture. The mosque sits on a square base facing Mecca direction, while the prayer hall is cylindrical. Whereas the wall that envelopes the prayer hall contains vertical incision that starts from its highest point. The cylindrical wall has been designed with a slope to resemble the Islamic Crescent, which is seen on top of the minarets when viewed from the ground level. 

The abstraction and the use of pure geometric forms in the design are unprecedented and commendable in this design. Such an approach to design highlights the need to shift away from the ‘conventional stereotyping’ of mosque architecture that has been going on for ages across the history of mosque architecture. The abstraction seen in the design of the minaret is only matched by its current functional symbolism where the ‘functional historical call for prayer’ by means of the minaret has been replaced by modern technology using loudspeakers, leaving the minaret as a symbol for function and a form. However, its form as the highest vertical feature of the mosque balances the horizontality of the design, whilst being used as reference point in the skyline of the mosque and its surroundings. 

The minaret is designed in two square shaped parts. The first part consists of a base parallel to the surrounding buildings. The second part, which is the body of the minaret, is located above the base and deviates from its axis by 45 degrees. The two parts appear together in plan as an eight–pointed star. 

Abstraction is also seen in the facades of the mosque. The designer avoided completely using anything but abstract geometrical shapes with minimal openings or windows in the elevations and some blind niches. This lack of windows has been compensated by the narrow slits on the corners that allow natural light during the day to the inside of the mosque, providing a relaxing atmosphere for prayers without distractions. 

The plain elevations with recessed niches and narrow windows are echoed in the interior, which feels solemn and silent, where tranquility is transmitted throughout the mosque. Such segregation of the interior from the exterior is required within a complex that comprises multi-functions and different building typology. The required atmosphere inside the mosque called for such design measures to keep the interior free from surrounding pollution, physically and spiritually. 

Natural lighting is allowed inside the mosque in quality not quantity. The interior of the mosque reflects purity and a great deal of privacy. There are no windows or ornaments, as the interior looks bare of unnecessary additions. Light is allowed in through either windows on the corners or from above indirectly through the cylinder that covers the prayer hall. This design method not only casts a special atmosphere upon the prayer hall, but also keeps light and heat out, enhancing the need for more cool and quite internal space in contrast with the harsh, hot and noisy exterior. The mosque was constructed using a reinforced concrete cast in situ and columns and steel facade of glass and aluminum. The outside walls were clad of marble-white matte. Its interior walls were covered with blue tiles. 

The design solution manages to provide a contemporary interpretation of mosque architecture without the recourse to the usual conventional forms or features. Instead, it crosses the line between a historic tradition and the required modern advancement towards 20th century architecture by means of a new outlook of pure geometric forms blended in such an intelligent way that does not compromise the very essence of mosque architecture. The design puts forward an architecture that provides a sharp split between the harsh exterior and the interior, between the physical world and the spiritual one.