{"id":138792,"date":"2020-03-31T00:01:30","date_gmt":"2020-03-31T00:01:30","guid":{"rendered":"https:\/\/news.iium.edu.my\/?p=138792"},"modified":"2020-03-31T00:03:26","modified_gmt":"2020-03-31T00:03:26","slug":"three-mosques-in-jeddah-as-examples-of-heterogeneous-neo-traditionalism","status":"publish","type":"post","link":"https:\/\/news.iium.edu.my\/?p=138792","title":{"rendered":"Three mosques in Jeddah as examples of heterogeneous neo-traditionalism"},"content":{"rendered":"\n

By Spahic Omer<\/strong><\/em><\/p>\n\n\n\n

The\nmosques of historic Jeddah and its immediate vicinity, where the first\ndevelopment following the demolition of the city walls took place, could be\ndivided into four broad categories: original traditional mosques; homogenous\nneo-traditional mosques; heterogeneous neo-traditional mosques; modern mosques.\nThe following are three examples of heterogeneous neo-traditional mosques.<\/p>\n\n\n\n

Al-Asnawi mosque          <\/strong><\/p>\n\n\n\n

This\nmosque is located halfway between al-\u02dcAqili mosque next to the Sharif Gate and\nthe midpoint of the historic part of the city which contains the Nassif House\nand al-Mimar mosque. It is on the right side of the Dhahab<\/em> street\ntowards the Sharif Gate. Its location marks a point where authentic traditional\nhouses, and traditional architecture in general, stop to dominate, and where\nbuildings with a modern architectural leaning start taking up the baton. <\/p>\n\n\n\n

The\nmosques design displays an awareness of, and duly acknowledges, this\ntransition. It tries to adopt and maintain the value of tradition, albeit\nthrough some modern means and channels. However, its espousal of tradition is\nheterogeneous. Its choice of traditional ideas and components, and their application,\nare inconsistent and almost haphazard, just as its embracing of modern concepts\nand their amalgamation with the former, are. <\/p>\n\n\n\n

The mosque thus stands for a typical hybrid type. It is neither traditional nor modern. At the same time, though, it in particular contexts can be categorised as either one. In any case, its reconciliatory efforts are to be commended and learned from.<\/p>\n\n\n\n

On\ntwo sides: the western and southern ones, the mosque is surrounded by\nmedium-sized modern buildings, whose main building materials are reinforced\nconcrete and glass. On the remaining two sides, the mosque is bounded by\nstreets. The mosques location is so restricted that it had to vie with its\nsurroundings for space and attention. Its plan and design had to be attuned\nsomewhat in order to conform to the specifications of the site and to make the\nmost effective use of it. <\/p>\n\n\n\n

The\nmosque has two levels. The ground level is occupied by shops, which serve as an\nendowment. The shops look very modern in terms of their plans, designs, merchandise\nand operation. At the same level there is a female prayer section. Toilets and\nablution facilities are located underground.<\/p>\n\n\n\n

At\nthe upper level is the mosque per se<\/em>. One can go up through a flight of\nstairs and an escalator. The prayer hall is dominated by a huge dome that\ncovers its central part – or two thirds of it – almost completely. The dome,\nhowever, is rather shallow, which is disproportionate to its expanse. Pierced\nin its drum, which is a dodecagon or a 12-sided polygon, are 36 good-sized glazed\nwindows. The dome is fully embellished with extravagant decorative styles. In\nsuch a way, it arches over the prayer hall, causing everything else to appear\nas though smaller, less important and less attractive.<\/p>\n\n\n\n

Domes\nsuch as this are normally used in larger mosque complexes where there is a\nsalient rhythm of space planning and configuration, and where there is a\nconspicuous harmony between all structural and functional aspects: internal and\nexternal, conceptual and operational. Massive mosques with such huge central\ndomes can be found on some historical mosques in Turkey, and on some modern\nones in Malaysia and Indonesia. <\/p>\n\n\n\n

The\nsituation is made yet more peculiar by the fact that the domed prayer hall is\nnot befittingly tall. As shallow as it is, the depth of the dome is\napproximately the height of the prayer hall, thus denying the space its visual\nsymmetry and equilibrium.  <\/p>\n\n\n\n

The\nprayer hall is excessively decorated, employing an endless variety of\ncalligraphy, colours, and floral as well as geometric patterns. There is so\nmuch decoration that it almost becomes a clutter, hindering a person form\nappreciating it. Yet a feeling can easily be developed that the decoration in\nquestion repels, rather than attracts. Hence, this is arguably one of the most\ndecorated mosques in Jeddah.<\/p>\n\n\n\n

The\nsubstantial rear of the prayer hall, which is not covered by the dome, is\nrendered two-floored, so as to augment the mosques potential. The section is\nabout one third of the prayer hall. However, the problem is that the prayer\nhall itself is not too high, and here, after the same elevation had been\nhalved, two low-slung levels were created. So low are the two levels that when\na taller person raises his hands, he can almost touch the ceiling. That means\nwhen the mosque is full and crowded, worshippers in the rear section can\ndevelop a degree of discomfort. Some people with certain medical conditions can\neven feel a sense of restlessness and claustrophobia.<\/p>\n\n\n\n

In\nthe prayer hall, there are two rows of windows, one above the other. The lower\nwindows are square, while the lower ones are arched. They use plain glass.\nHowever, due to a poor plan and a cluttered design, the intended function of\nthe windows is often obstructed. Some windows are only partly visible, while\nothers are hardly visible at all. <\/p>\n\n\n\n

Because\nof the constraints of the site, a minaret is erected on the qiblah<\/em> side.\nIt is an octagonal and relatively high structure with two balconies. It looks\nas if the minaret was envisioned to enhance the mosques identity, and to\nreinforce the latters physical presence in the midst of the neighbouring\npredominantly modern buildings. The height of the minaret is slightly above the\nheights of the tallest nearby buildings. One cannot help but think that such\nwas a premeditated strategy.<\/p>\n\n\n\n

The minarets shaft is a framework with eight corners and supports, through which runs a winding staircase with a central newel. The framework with its eight sides is filled from top to bottom with a dense concrete jali<\/em> (grill). The parapets of the two balconies are also screened in like manner. The minaret is capped by a dome, which in turn is topped by an elongated finial meant to emphasise the apex of both the minaret and its dome. <\/p>\n\n\n\n

\"\"
Al Asnawi Mosque
<\/figcaption><\/figure>\n\n\n\n
\"\"
The interior of Al Asnawi Mosque
<\/figcaption><\/figure>\n\n\n\n

The mosque of Ibn Mahfuz<\/strong><\/p>\n\n\n\n

This\nmosque is located halfway between the Sharif Gate and the Makkah Gate along the\nBanajah street. It is a relatively big mosque. It has only one level, which\nhowever is slightly raised off the ground. That means that after each entrance,\nthere is a small staircase that leads to the mosque proper. There are four main\nentrances: two on the western side, and one on the southern and northern sides\neach. Practically, the northern side, which partly adjoins the main street, is\nthe principal side of the mosque, with its entrance functioning as the\nprincipal entrance as well. On that side, there is an additional small entrance\nleading to the female prayer area. <\/p>\n\n\n\n

The\nmosque is located in a dense residential and commercial area. On all sides,\nexcept to some extent the northern side facing the main street, the mosque is\nencircled by a series of mid-rise buildings. Some of those buildings are part\nof the mosques endowment, while others are owned by the patron of the mosque.\nThe western and southern entrances to the mosque are routed through the\nbuildings. <\/p>\n\n\n\n

The northern (street) side of the mosque is the only side that is partly left unobstructed. It is therefore fully utilised for the purposes of \u0153announcing\u009d the presence of a mosque and for revealing its identity and style. It is no wonder why the mosques (principal) entrance on that side is grand. It resembles monumental neo-Mamluk arched portals. The height of that entrance is about three-quarters of the height of the adjacent buildings.<\/p>\n\n\n\n

For the same \u0153publicising\u009d purposes, bordering the fine arched entrance (portal) is a tall minaret. The minaret has two balconies. They are placed immediately one above the other, the upper balcony resting on eight short pillars that originate from the lower balcony. This is a unique design. It is not found as such in any other mosque in Jeddah. The two balconies thus create a feature that in part brings to mind the notion of chhatri<\/em> (canopy or umbrella), which is a prominent element in traditional Indian (Mughal) architecture. <\/p>\n\n\n\n

The\nminarets shaft is octagonal up to the two balconies, including the small\nsection between the balconies. The balconies are octagonal too. After that, the\nshaft turns cylindrical. For obvious reasons, the minaret soars significantly\nabove the height of the neighbouring buildings. It takes the contest for space\nand attention with its immediate congested built environment literally to\n\u0153another level\u009d.<\/p>\n\n\n\n

The architecture of this mosque is a crossbreed par excellence<\/em>, hybridising different features of several different styles. Moreover, it does so in such a heterogeneous and unsystematic way that its entire form and even function have been thus affected one way or another. The mosque arbitrarily combines elements from neo-Mamluk, Ottoman, traditional Saudi, modern, and even Indian architectural styles. It wanted like so to create its own identity and style. However, all things considered, the mosque is without a distinctive and appropriate identity. Both its appearance and function leave a lot to be desired. It resorted to many variables, but fell short of generating a cohesive and harmonious architectural blend that could ooze the senses of place, time and way of life. Indeed, excessively and imprudently following, as well as imitating, inevitably impede creativity, pragmatism and vision, just as uncontrolled freedom, ingenuity and innovation bring about egotism, eccentricity and defiance.<\/p>\n\n\n\n

It\nis obvious that the mosque faced a set of serious site constraints and\nlimitations. However, that is as much a setback as a challenge and opportunity.\nNeedless to say that a good architecture, together with good architects, thrive\nin such situations. A good design is a process that invites and integrates all\nsorts of advantages, and repels all sorts of disadvantages. Workable\nalternatives for the latter are then painstakingly sought. A good architect is\nalways in charge. He controls the situations, instead of being controlled\nthereby.<\/p>\n\n\n\n

Upon\nentering the mosque, one is immediately struck by its heterogeneity and\nhaphazardness. Since the qiblah<\/em> is not aligned with the street, and the\nmain grand entrance facing the street realistically had to be, a spatial\nmanoeuvre was needed to make a transition from the street to the prayer hall\nthat is naturally orientated towards the qiblah<\/em>. A bent vestibule behind\nthe entrance was used for the purpose. However, the execution of the manoeuvre\nwas neither complete nor smooth. As a result, the prayer hall is not fully\ncongruent with the qiblah<\/em> requirement, needing some extra angling.<\/p>\n\n\n\n

At\nany rate, since the mosque tends to show a propensity for neo-Mamluk\narchitecture, studying how expertly the Mamluks had dealt with the issue of\naligning their buildings with the streets of Cairo, might have been expedient.\nTaking a page from their book could certainly help.<\/p>\n\n\n\n

The mosque is a forest of columns, supporting thus a flat roof through the intermediary of slightly pointed arches. The columns and their arches try to copy those of the Prophets mosque in Madinah. There are 86 columns. They are organised in nine rows, forming ten arcades.<\/p>\n\n\n\n

However,\nthe rows of the columns and their arcades run asymmetrical to the qiblah<\/em>\nwall. They are neither parallel, nor perpendicular to it, but are closer to the\nformer. This creates a strange atmosphere inside the prayer hall. It also\nimpinges on the mosques overall function, because the rows of the columns are\nboth uneven and inconsistent. They vary in size and often interrupt the prayer\nrows (sufuf<\/em>), including the first and most important row (saff<\/em>).\nThere is hardly a prayer row that is not affected by the irregularity of the\ncolumns and arcades.<\/p>\n\n\n\n

The\nfirst row, next to the qiblah<\/em> wall, has only six columns. The subsequent\ntwo rows have twelve columns each, followed by a row of ten columns. Then,\nthere are two rows with nine and eight columns respectively, after which come\ntwo rows with eleven columns each, and then the last row with only seven\ncolumns. (The number of columns in the fourth, fifth and sixth rows \u201c ten, nine\nand eight respectively – is affected by the presence of the two covered\ncourtyards, as will be seen next.)<\/p>\n\n\n\n

In\npassing, the Prophet (pbuh) was against praying in congregation with people not\nstanding tightly together in rows (sufuf<\/em>). Gaps are not to be left\nbetween the people praying together in a row. The Prophet (pbuh) used to say\nthat Satan penetrates such rows (gaps). A companion Anas b. Malik is reported\nto have said: \u0153We were prohibited from performing prayers between pillars in\nthe period of the Prophet (pbuh) and we used to be driven away from staying\nbetween pillars.\u009d<\/p>\n\n\n\n

Finally,\nto add to the unevenness and asymmetry of the prayer hall, there are two\ncovered courtyards, or atriums. Although they do a commendable job in providing\nmuch needed natural light in the interior, their respective locations and sizes\ndo little to mitigate the lack of structural and visual unity as well as\nharmony inside the prayer hall. <\/p>\n\n\n\n

The\nfirst covered courtyard is square. It is placed near the grand entrance facing\nthe street. It occupies four bays, two bays in each of the fifth and sixth\narcade. The parapet along the courtyards roof edges has 24 windows, six\nwindows on each side. On the parapet, the courtyards ceiling rests. It is\nrichly decorated with repetitive geometric designs.<\/p>\n\n\n\n

The\nsecond and much bigger covered courtyard is located somewhat in the middle,\nslightly towards the southern side of the prayer hall. It is also square. Its\nsize is four times the size of the first courtyard. It occupies four bays in\neach of the fourth, fifth, sixth and seventh arcade, making it sixteen bays in\ntotal. Its parapet along the roof edges has 48 windows, twelve windows on each\nside. Its ceiling is also richly decorated, exactly like that of the small\ncourtyard. <\/p>\n\n\n\n

The ceilings of the two covered courtyards (atriums), together with the mihrab<\/em> area, are most conspicuously decorated. However, in the whole mosque, both internally and externally, there is little accord, along with co-ordination, between the decorative media, styles and contents. All that makes this mosque perhaps the most confounding, and at the same time most intriguing, example of the citys heterogeneous neo-traditional mosque architecture.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n
\"\"
The interior of the mosque of Ibn Mahfuz <\/figcaption><\/figure>\n\n\n\n

Al-Shati mosque<\/strong><\/p>\n\n\n\n

This\nmosque is located on the western side of the city, near the sea. Previously,\nthere was a fish market nearby and the mosque used to accommodate peoples many\nneeds. It was as busy as the market itself. Today, the market is no longer\nthere. There is only a vast empty space that functions as a parking zone. The\narea is also intersected by some minor and major roads which, while leading to\nthe newer and modern districts of the city, happily avoid the bustling historic\npart. Therefore, standing isolated, the mosque is rather a sign and a landmark.\nIt evokes, as well as preserves, a great many chapters associated with the\nplace and its former times.<\/p>\n\n\n\n

The\nmosques design is at once a curious and thought-provoking attempt to revive\ntraditional themes and styles. It does so boldly, sensibly, and often excessively.\nIt could be dubbed a mosque of mashrabiyyahs<\/em> and wooden jali<\/em>\nscreens. <\/p>\n\n\n\n

On\nthe exterior fa\u00c3\u00a7ade, for the purpose of screening windows the mosque employs\nthree unadorned mashrabiyyahs. <\/em>Inside the prayer hall, there are nine mashrabiyyahs<\/em>,\nwhich are elaborate and delightfully decorated. They are identical. There are\nthree mashrabiyyahs<\/em> projecting from each of the western, southern and\nnorthern walls. Those on the western wall serve as screened windows for a\nfemale prayer area that is located on the second level at the back of the\nprayer hall. <\/p>\n\n\n\n

The\nremaining six mashrabiyyahs<\/em> on the southern and northern walls of the\ninterior are used only for ornamentation purposes. They are intended the boost\nthe overall aesthetics and the symbolistic character of the mosque. They are\nmere symbols, yet artefacts, devoid of any practical function.<\/p>\n\n\n\n

All\nthe remaining windows and apertures of the mosque are screened with compact\nwooden jalis<\/em>. It is obvious that the mosque was intended to be of a\nlocal traditional genus. It was also envisioned to be identifiable with the\nmost prominent components of Islamic traditional architecture in the city: mashrabiyyahs<\/em>\n(and rawashin<\/em>) and jali<\/em> screens (shish<\/em>). Although such\ncomponents are most commonly found in residential architecture, the mosque\naimed to universalize them and expand their usage, ensuring thereby their\nlong-term importance and survival.<\/p>\n\n\n\n

Nonetheless,\nas important as articulating and preserving tradition may be, efforts are not\nto swerve and gradually slip into the worlds of abstraction, deadening\nsymbolism and blind formalism. Tradition is to guide and inspire, rather than\nmisadvise and stifle. Tradition, furthermore, is to encourage dynamism and\nforward-thinking, rather than cultural lifelessness and intellectual inertia.\nTraditional concepts and components – just like everything else relevant to man\n– are to be credited with adequate denotations, grades and functions. They are\nto confidently operate in the present moment (here and now), proudly honour and\ncherish their past, and courageously anticipate and prepare for the future. A\nsubtle combination of continuity and change is a foremost blueprint in nature;\nthat must be the case in the realm of architecture as well, because the latter\nis an upshot, yet a distant relative, so to speak, of the former.<\/p>\n\n\n\n

The\ndominant colour of the mosque is dark red \u201c of course besides white and light\ncream colours used for the interior and exterior facades respectively. Dark red\nis the innate colour of the twelve wooden mashrabiyyahs<\/em> (nine inside and\nthree outside), of the wooden jalis<\/em> of many windows and other openings,\nof the five huge wooden doors as part of the three entranceways, of the wooden minbar<\/em>\nand a wooden door in the mihrab<\/em> section leading to the minbar<\/em>, of\nthe minarets wooden balcony, and of many other minor components inside as well\nas outside the mosque. The overwhelming presence of genuine wooden elements\naccords the place a natural soothing atmosphere and a strong environmental\nvibe. <\/p>\n\n\n\n

However,\nin the midst of this naturally infused setting, a few decorative missteps have\nbeen committed. They affect the naturalness and consistency of the aura\ngenerated by the many wooden constituents and their natural dark red colour.\nEnjoying and appreciating the mosques aura is nearly rendered anticlimactic\nthereby. Those decorative missteps are: the two vertical decorative bands\nfeaturing floral and geometric patterns, and flanking the mihrab<\/em> segment\nthat contains the mihrab<\/em> along with the minbar<\/em>; a fragmented\ndecorative band featuring calligraphy, which runs horizontally around the\nprayer hall; and the mihrab<\/em> niche. <\/p>\n\n\n\n

The\ndecoration of all these components is dominated by different shades of a blue\ncolour. Nevertheless, when observing those rendered-blue elements against the\nbackdrop of the many dark red wooden components, one gets a feeling that they\ndo not really look good together. There is a degree of mismatch and\nirreconcilable disparity. As if they are two different realms operating\ndisjointedly. It is difficult to create an authentic feeling that the two\nsupport each other in creating a visual and emotional unity.<\/p>\n\n\n\n

This\nis especially so because neither of the two colours is the colour of the\nmosques either interior or exterior facades. They are the colours of the\nauxiliary, yet very essential and serviceable, components. And it is right\nwithin that utilitarian domain that visual rhythm and uniformity are expected\nmost. Hence, since the natural dark red is the foremost colour of the mosque \u201c\napart from the white and light cream colours of the walls – those\ndominated-by-blue decorative modules should have resorted to something else\nmore suitable, something more responsive to the implications of the RYB (red,\nyellow and blue) colour model.<\/p>\n\n\n\n

The\nminaret of the mosque is erected at the north-eastern corner. It is very tall\nand inviting, corresponding to the overall status of the mosque as a sign and a\nlandmark. It is square. However, from the point of its separation from the body\nof the mosque skywards, the minaret starts getting narrower. It does so\ngradually in five stages, and right through in a symmetrically wavy fashion\ntill the apex where it becomes merely a tip. All this takes place only on the\nminarets western and southern (internal) sides. Its external eastern and\nnorthern sides remain intact and unbroken.<\/p>\n\n\n\n

This way the minaret adopts what could be called a post-modernist disposition, which is characterised by playful, irregular, unpredictable, artistic and surprising design moves and solutions. One can hardly foresee a next step or a next stage, experiencing a rollercoaster of emotions, reactions and thoughts. The only predictable thing is unpredictability.<\/p>\n\n\n\n

Hence,\nattaching to this minaret a purely traditional wooden balcony, which is\nsupported by beautifully carved brackets and which has a parapet that features\nwooden jalis<\/em> similar to those elsewhere in the mosque, was somewhat wide\nof the mark. This type of minaret called for a bolder and more resourceful\noutcome. The existing balcony is a picture of a clear incongruity. A more tuned\nand more expressive solution was needed. <\/p>\n\n\n\n

In\npoint of fact \u201c as a potential solution – a balcony might not have been used in\nthe first place. It was not desperately needed as a functional element, in that\nnobody climbs minarets to call physically for prayers anymore. Accordingly,\nseveral loud speakers are placed as much on the minaret and its balcony as on\nthe rest of the mosques body. Moreover, when juxtaposed with the background of\nthe minaret and its audacious design, the balcony as an ornament also\nunderperforms. It comes into view almost as a form of visual awkwardness. Even\nconceptually it was not a necessity, as this minaret stands for a totally\ndifferent set of ideas, making it without equal in the whole of Jeddah.<\/p>\n\n\n\n

The\nminaret with its gradual narrowing and fading towards the sky represents a\ngradual separation from the confines of matter towards the spiritual\nfulfilment. It directs towards infinity in the heavenly realm. The minaret\nsignifies a journey, and its broken surfaces stages on that journey. Its\nextremely narrow apex represents the end of one realm and the beginning of\nanother. It further represents eternity and a continuous existential unfolding\ntowards it. It also exemplifies human struggles and endless hopes as well as\ndreams. <\/p>\n\n\n\n

Thus, affixing a balcony to such minaret was loaded with an extra difficult challenge. It demanded from architects and builders to give it their best shot. A balcony that could be a conceptual and functional hindrance, or a snag, should have been reconsidered. What was needed was something that could give extra support to the minaret in its perceptual and functional resolution. Not having a balcony at all, could have been considered as one of the prospects. ***<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n
\"\"
The interior of Al Shati’ Mosque<\/figcaption><\/figure>\n","protected":false},"excerpt":{"rendered":"

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