VOLUME 6 2013

The International Journal of the

Inclusive Museum

__________________________________________________________________________

The Museum of Islamic Art

Form, Perception, and Environment
M. Salim Ferwati

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 The Museum of Islamic Art: Form, Perception,
and Environment
M. Salim Ferwati, Qatar University, Qatar

Abstract: Islamic Arab societies have a distinctive but culturally common system of beliefs, attitudes and values that over
time have formed traditional expression. These traditions have been articulated through art, architecture, community
designs, social institutions and conventional behavior; all of which form spatial patterns. Knowledge regarding Islamic
and Arab architecture is in hand through numerous publications. Recently, in Arab Gulf countries, the conservation of
local identity has become the center of attention. Their attempts have been specifically demonstrated through the
conversion of significant historical buildings into museums or applying neo-vernacular architectural styles in newly built
museums. One might question their utilization of specifically museums. Museums symbolize cultural values, wealth,
global status, and a center attraction. Contemporary architecture of the Museum of Islamic Art in Doha, Qatar is a
conspicuous example that is going to be the focus of this research. Even though the building was designed by I.M. Pei, a
well-known architect who is foreign to Islamic design principles and to Qatari local architecture, it is one of the most
protuberant landmarks in the city and one of the emblematical icons of neo-vernacular Qatari architecture that catalyzes
urban rejuvenation. It is anticipated that the key of success of the architecture of the Museum of Islamic Art studied in
this research suggests an approach for analysis of museum study.

Keywords: Physical Appraisal, Environmental Appraisal, Perceptional Appraisal, Pragmatic Analysis

Introduction

M useums carry quality exhibitions that pertain to nations. It is collectively agreed "a
museum is an institution that cares for a collection of artifacts and other objects of
scientific, artistic, cultural or historical importance and makes them available for
public viewing through exhibits that may be permanent or temporary." (Alexander and Alexander
2008) Not only is it an abstract space that carries products of high achievement of the human
mind (Lilla 1985), but also a carrier of significant intangible aspects that people feel, read, and
interact with. In his book, “Museum Ideals”, Benjamin Gilman introduces the term aesthetic
cultural as one of the museum embodied characteristics that requires further devotion. In his
words, “culture is an affair of the feelings, and what are called the ‘sensitivities’” (Gilman 1981,
p. xii); his definition surpasses liking the museum merely as an educational institute. “Along with
the rise in social consciousness of the last few decades has come awareness of the subtle, and
sometime not so subtle, messages museums convey to the public in their physical and social
contexts” (Falk and Dierking 2002, p. 85). Consequently, it is now clear that museums are
always built with a paramount form for the public. Again, a museum goes beyond its function, in
this case, a space-identity maker. It is an attractive point that leaves a good impression especially
when its aspects leave a good image and later evokes nice memories (Lynch 1960). When a
building is unique and successfully designed, it becomes irreplaceable. Such qualitative building
aspects help explain the success of an architectural design and determine its failure. In the last
few decades, literatures in the field of architecture and environmental psychology have often
indulged into three aspects of prime interest to architects: space perception, essence of places,
and urban semiotics. Museologists are rarely considering these aspects when searching for
factors influencing the visitors’ attraction to museums. The study of semiotics refers to urban
elements and architectural features as signs that carry meanings to observers. Meaning of signs
are called by Uexkull “the essence of the object” that is neither materials nor energy (Uexkull
1957 cited in Ferwati 2010). Whether these signs are expectable or not and leave a nice
impression or not, they are constantly encountered.

The International Journal of the Inclusive Museum

Volume 6, 2013, onmuseums.com, ISSN: 1835-2014
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THE INTERNATIONAL JOURNAL OF THE INCLUSIVE MUSEUM

The Museum of Islamic Art (MIA) in Doha, Qatar is newly built as a neo-vernacular
structure with sleek exterior finishing. The stretching out from the land into the sea makes it
stand as a pearl floating on water. People visit the place, not only to watch the excellent exhibit
collections, but also to enjoy other supplemental facilities, the atmosphere, architectural details,
the landscape, and the pulse of the crowed of different nationalities moving individually and in
groups. The pertaining landscape setting plays a major role in the enrichment of the imageability
of the building, as the research will demonstrate a number of physical, perceptional, and
environmental analyses.
The research aims to find the essence of the MIA, one of I.M. Pei’s masterpieces and how
the rich and complex heritage of Islamic building is contextually and architecturally summarized
in a simple and new form. In other words, the research seeks the revelation of the key to success
in the architecture of the MIA. The achievement of this goal is possible through three objectives:
physical, environmental, and perceptional appraisals. In order to achieve these objectives, a set of
questions is raised:

1. What are the fundamental design elements and their originality?

2. What are the environmental aspects presented in both urban and architectural
designs?
3. What is the visitor’s perceptional experience of the exterior and interior settings?

Figure 1: From an urban and architectural point of view, the proposed study model shows that to
ensure a successful museum design, physical, environmental, and perceptional aspects should be
integrated.
Source: This model is developed from two other models one presented by John Punter (1991)
and the other by John Montgomery (1988), both cited in Carmona, et.al 2003, 99.

Question 1 addresses design elements that derive from the past and their effective
applications. Going through the physical analysis of the building is a way of considering the
presentation of urban context that governs the secret behind the suitability of the physical form
and cultural sustainability. Question 2 highlights the importance of an indispensable aspect that is
often referred to as Genius loci (Norberg-Schulz 1984), the spirit or essence of the place (Day
2006), the language of the place (Lawson 2005), the social logic of the space (Hillier and Hanson
1984), or the sense of the place (Relph 1976). In this research the focusing on this aspect is
demonstrated by the exploration of the social logic of the space, the space layout and spatial
environment. Question 3 focuses on visual experience of the space that governs the secret behind
 FERWATI: THE MUSEUM OF ISLAMIC ART: FORM, PERCEPTION, AND ENVIRONMENT

the visual effectiveness of the built form and location. It seeks the perception-cognition process
that has a direct response of visitors to the architectural form. The findings from these questions
are substantial. They are perceived and evaluated by visitors as a result of three salient factors:
excitement, pleasantness, and calmness. The study model in Figure 1 shows that three spatial
aspects (physical design, environmental characteristic, and perceptional quality) that their aptness
are responsible for archiving a successful museum setting.
Three approaches are followed to develop the research: first, literature review helped direct
the research a step forward by finding related international studies; second, data collection, site
visiting, photographic survey, and site observation were of prime importance to get acquainted
with the site and the place; third, a questionnaire helped register visitors’ perception-cognitive
view and their feedback. These approaches are anticipated to examine three aspects: to determine
elements with different intensity, size, and combination and their degrees of visual domination;
to find out the effect of a building layout and building accessibility on the pedestrian’s
observations; finally, to pinpoint the variation of functional areas and their relative locations, and
how that results in catching the attention of the visitors. In order to support these methods and
discuss the findings, analysis of the collected data, tabulation and illustration of traditional and
neo-vernacular elements of the museum are applied throughout the research.
A survey was conducted with 83 visitors to the MIA. Questions mainly focused on the
spatial quality to discover how different people perceive the museum and its environment. The
visitors ranged between 20 to 50 years old, all with various levels of education. It was observed
that only 30% of the visitors were identified as Qataris.

Overview of the Museum

The museum was constructed in 2008 and had opened its gates to the public on the first of
December of the same year. Designed by the pritzker prizewinner architect I. M. Pei, the building
was constructed on an artificial island with an area of 64 acres (260,000 m2) approximately 195
feet (59 m) off the Doha Corniche (Figure 2) 1. This island was built by request of the architect to
prevent the overriding of the building by future construction “I worried a lot about what will
come after,” Mr. Pei said (Ouroussoff, 2008).

Figure 2: Arial view of the MIA

Source: Spread Architecture, accessed on 18 October 2013.
http://www.spreadartculture.com/2010/12/28/qatars-building/attachment/26111909/

1 http://www.spreadartculture.com/2010/12/28/qatars-building/attachment/26111909/
THE INTERNATIONAL JOURNAL OF THE INCLUSIVE MUSEUM

Physical Appraisal, an Inside towards the Historical Aesthetics

Arab and Islamic architecture pertains to several eras and regions. Some noticeable features of
this architecture are embodied in the MIA in new coherent forms and functions. Building
materials and construction methods mostly enhances the application of contemporary
architecture. The designer’s success is attributed to three considerations: borrowing elements
from the past, integrating these elements in harmonious patterns and abstract forms that link past
and present, and creating various social logic of space that ranges from pleasurable public space
to intimate spatial setting. 67% of the visitors to the museum were attracted mostly to the
geometrical shape, while 97% were fascinated with the exterior of the building. Some of them
were attracted by the entrance fountain (28%) and very few with the palm tree rows (17%).
I.M. Pie was first convinced that his own architecture would be modern; however, his
designs would follow something more than being totally international and modern. The exterior
architecture of the Museum of Islamic Art follows a simplistic architectural trend, yet it was
inspired by the Mosque of Ibn Tulun (Figure 3) 2. Athough it was inspired by the Mosque of Iban
Tulun, 64% of the visitors have stated that their first impression of the building was that it was a
museum.

Figure 3: Fountain of Ibn Tulun Mosque

Source: Accessed on 10 November 2013:
Trekearthhttp://www.trekearth.com/gallery/Africa/Egypt/Delta/Cairo/Cairo/photo1158183.htm

I.M. Pei mentioned how he applied the idea behind Ibn Tulun mosque in Cairo (876-879)
(Jodidio 2006, p 34). Accordingly, it can be said that he was mainly inspired by the fountain
located in the middle of the mosque. He believes that this element surrounded by double arches,
moving from an octagon to a square and from a square to a circle, creates the cubist expression
that he has considered as an essence of Islamic architecture. Although the design of the MIA has
been inspired from Ibn Tulun mosque, there are other similarities between the architectural
design of the museum and other architectural forms as will be explained below through different
elements and principles of design. The traditional Islamic architectural elements, their origins,

2 http://www.trekearth.com/gallery/Africa/Egypt/Delta/Cairo/Cairo/photo1158183.htm
 FERWATI: THE MUSEUM OF ISLAMIC ART: FORM, PERCEPTION, AND ENVIRONMENT

and how these elements were altered to fit the contemporary architecture will be illustrated and
explained in the following historical aesthetical appraisal through three sections: the floor plans,
design elements, and design principles.

The Floor Plans

As Jodidio described it (2006 P.181):

“The upper and lower basements plans of the museum have irregular shapes formed
mostly by rectangles and squares with a strong inclined line indicating the link between
the bridge and the entrance of the museum. However from the second to the fifth floor,
the plans take the shape of an octagon where four of the ribs are distinctly larger than
the other four and it gives the impression of a square plan.”

A similar use of the octagonal plan in Islamic architecture was witnessed during the
Umayyad dynasty (ruled in 661 to 750), specifically in the Dome of the Rock. The octagon shape
sides are equal in length unlike the museum. The number of pilasters inside the inner ring of the
Dome of the Rock is four as the ones inside the museum’s atrium under the dome. (Figure 4 and
5)

Figure 4: Entrance level plan Figure 5: Second & third floor plan
Source: Source: Accessed on 15 Oct: 2013, Source: Accessed on 15 Oct: 2013,
http://www.arcspace.com/features/im-pei- http://www.arcspace.com/features/im-pei-
architect/the-museum-of-islamic-art/ architect/the-museum-of-islamic-art/

Elements of Design
There are several significant design elements that originate from various periods of Islamic
history:

Water Canals
Water canals were mainly applied in the Persian Chahar-Bagh garden. The quadrilateral garden
is divided by walkways and flowing narrow water canals. (Ettinghausen and Grabar 1987)
(Figure 6) 3 However, in the museum such a concept is limited to one water canal aligned with the
building axil. This canal is set in steps with two attached climbing ramps that lead up to the main
entrance.

3
http://reep.org.uk/resources/islamic-gardens/design-chaharbagh-layout.php
THE INTERNATIONAL JOURNAL OF THE INCLUSIVE MUSEUM

Figure 4: Chahar-Bagh Persian Garden

Source: Gardens of the Islamic world , accessed on 15 November 2013,
http://reep.org.uk/resources/islamic-gardens/design-chaharbagh-layout.php

Water Fountain
In ancient times, fountains were used mainly in the sacred architecture of different periods, like
churches and mosques. It has been, later, considered as one of the salient Islamic architectural
elements of all Islamic dynasties. In the MIA, this element has been added in front of the main
entrance, creating a beautiful scene and a holistic expression particularly to those who are
familiar with Islamic architecture. (Figures 7 and 8)

Figure 6: MIA Water Canal

Figure 5: The MIA Fountain
Source: Author
Source: Author
Domes
One may argue that the dome has become the symbol of religious structures. The Dome of the
Rock is a good example (Papadopoulo 1976). The main dome of the Museum of Islamic Art is a
doubled-shell dome taking a cubic shape from the outside, whereas from the inside the architect
went for a used coffered metal work to create the stainless steel dome that covers the atrium of
the museum. The concept of coffered domes or muqarnas domes was initiated in the Abbasid era
using stone. In the mausoleum of Saiydah Zainab in Iraq, the technique of a muqarnas dome was
used with small openings between the units to allow light to the space under the dome. The dome
of the museum has only one opening in its center, yet the same effect of lighting by the small
openings is obtained through the material -stainless steel- that reflects the light on different
 FERWATI: THE MUSEUM OF ISLAMIC ART: FORM, PERCEPTION, AND ENVIRONMENT

angles along the repeated geometrical shapes. By combining the two elements from two different
Islamic eras, the architect reached an excellent decorative aspect in this modern Islamic building.
Another approach for the dome element in the interior of the Museum of Islamic art was the
coffered domes that cover the ceilings of each floor (Jodidio 2006). In Islamic architecture the
concept of using small domes covering the ceiling of the mosque interior and exterior was
initiated during the Seljuk time which can be seen in the mosque of Ala’a Udin in Turkey. The
use of smaller domes on the whole roof surface is one of the important features of late Islamic
architecture. (Figures 9 – 14)

Figure 9: The MIA Dome – Exterior Figure 10: The MIA Dome – Interior
Source: Author Source: Author

Figure 1211: Al-Kamil Argony Bemaristan, Syria

Figure 11: Coffered domes Source: Author
Source: Author

Figure 8: Dome of great mosque in Cordoba Figure 7: Load transition in The MIA dome
Source: Accessed on 15 November 2013 Source: Author
http://en.wikipedia.org/wiki/File:Cordoba_mos
chee_innen5_dome.jpg
THE INTERNATIONAL JOURNAL OF THE INCLUSIVE MUSEUM

It is noticed that metal is mainly used as a decorative material since it gives a shiny effect that
replaces the intensive decorative methods used in Islamic historical buildings. Other than lamps,
the metallic elements were also used in the capitals of the columns and the triangular flags –
squinches. 4

Mihrab
A mihrab is a niche in the wall, which marks the direction of Mecca where the imam stands to
perform prayer among the crowd (Figure 16) 5 . Similarly, but with monumental scale and a
transparent wall, the huge mihrab of the MIA coveys the spirit of Islamic architecture even
though it is not functioning as mihrab and it is not oriented towards Mecca. (Figure 16)

Figure 13: Mosque mihrab. Figure 12: The MIA mihrab

Source: Accessed on 15 November 2013 Source: Author
http://www.culture-
reflection.net/forum/showthread.php?t=1494.

Semicircular Arches

The origin of semicircular arches goes back to Roman architecture; used as load distributers and
decorative elements in different times and regions, especially in the Umayyad era. The
semicircular arches of the MIA are not decorated as they would be in traditional Islamic
architecture due to the modernity that is injected to its design.

The Atrium

I.M. Pei had carefully chosen the design elements of the building to convey the touch of Islamic
art and architecture. He had selected his elements from the most powerful Islamic periods, a
large-scale geometrical pattern that combines an Islamic and modern theme of ornamentation to
decorate the flooring of the atrium. Aside from the design, the used materials, the decorative
concept, and the inner atrium-flooring pattern were all inspired by the Mamluk era (Figures 17
and 18).

4
http://naim-almadani.com/cc/showthread.php?p=3924
5
http://www.culture-reflection.net/forum/showthread.php?t=1494
 FERWATI: THE MUSEUM OF ISLAMIC ART: FORM, PERCEPTION, AND ENVIRONMENT

Figure 157: Mamluk Courtyard Figure 148: MIA Atrium

Source: Author Source: Author

Ablaq

The ablaq is applied on the exterior elevation as well as to the stairs located at the sides of the
galleries. The use of the ablaq method in decorating the walls was once used by Muslims in the
Mamluk era in their elevations and for decorating the arches with the use of contrasting colored
stones such as black and white, brown and white, or yellow instead of white stones (Alaam, N.,
1977, P.191).

Figure 16: Mamluki Jaqmaqiya Figure 171: Ablaq on the MIA

Figure 18: Ablaq on the MIA
School -Damascus, Syria. interior walls.
exterior
Source: Author Source: Author
Source: Author

Design Principles
The principles of design are what can be felt by observing any design or composition and what
makes them more beautiful and memorable. Standing next to the sea and observing the MIA, the
beholder enjoys its beauty. In the MIA, several principles can be recognized by its architectural
and decorative design.
THE INTERNATIONAL JOURNAL OF THE INCLUSIVE MUSEUM

Movement

Movement can be seen through the different exterior cubes getting smaller and smaller towards
the top and while they rotate upwards.
This is another principal that appears on the exterior of the building as well as the interior.
One can feel the storm and water waves and that the building is a continuation of a sea wave
while observing the exterior. The contrast between the exterior cover of the dome and its metallic
interior structure also creates harmony between traditional design and the modern dimension of
the building (Figure 22).

Symmetry

The section in Figure 22 shows that symmetry has also been applied to the building.

Figure 192: Section through the MIA

Rhythm

Rhythm is a principle that has been traced to Islamic architecture for many eras. In the MIA, this
principle is used to create harmonic design. For example, the coffered domes on the interior
ceiling were repeated and organized in a way that adds a decorative theme to the modern design
of the building.

Centralization

One of the main principals demonstrated by the central atrium with its legible setting that
maximizes its function. It is furnished with a geometrical pattern on its floor and a large circular
lantern above it that states its position stronger than other elements around it.

Transformation

Another major element of design is the transformation of geometrical shapes in order to form the
dome; including squares, columns, triangular flags, octagons and finally circles. Such
transformation of forms gives a complex and interesting design look for the interior.
 FERWATI: THE MUSEUM OF ISLAMIC ART: FORM, PERCEPTION, AND ENVIRONMENT

Pragmatic Experience: Perceptual & Environmental Appraisal

The intention of the architect was to create a spatial in-out environmental experience that is rich,
varied, and memorable. This experience starts as one approaches the building from the street,
cruising through the surrounding landscape, and ending up at the galleries. To ensure an
objective appraisal of the overall pragmatic experience, the study elongates into both the
environmental and perceptional level.

Environmental Appraisal
Russell and Snodgrass (1987) introduced a model that relies on human evaluation and feelings in
environments that have three salient factors: pleasantness, excitement, and calmness. It is
anticipated that the designer successfully achieved these three factors that essentially contribute
to the spirit of the museum.

The Museum as a Pleasant Place

Since its construction, the MIA has become inseparable from its surroundings. It contextually
counterparts the surrounding and at the same time, provides a rich scenery and a colorful spatial
qualification. According to the survey, 47% of the visitors stated that their main purpose of
visiting the museum was its location, while 56% varied between their historical interests and the
museums’ collection. Consequently the museum is conceived as a product of a successful
composition of the architectural elements and an appropriate design style. It attunes with the
contemporary lifestyle of the visitors, who expect both global coherence and local individuality.
The central atrium visually connects these amenities and encourages visitors not only to
spend time strolling through the gallery halls of temporary and permanent exhibitions, but also to
enjoy the rest of the amenities, which for some, might be the reason for their visit. Such an
indoor atmosphere deepens the notion of public space, which encourages people to relax, enjoy
watching the conspicuous view of the city high-rise business district through the glass-wall, and
to interact with the ongoing action inside the building.

Overloaded Places vs. Calm Places

Besides the pleasant setting, people experience calmness or excitement within the physical
setting, which requires further investigation of the components of the museum site plan. The
museum ties up three different spatial bubbled areas each of which stands up with its pertaining
constituent elements and environmental essences. A serenely traditional dhow port that embodies
the past of the Qatari harbor, stands on the left side is one of these areas. It depicts their tradition.
Just next to this bubble area stretches out a second area on the left side of the museum; its
spacious grass-covered park characterizes it. There, people spend time for relaxation,
socialization, and enjoyment of the tension-free atmosphere.
The third area is the most important to the urban setting because it links the museum with
land and bears a highly active public street that props directly the periphery of the museum. The
street is awfully noisy and prominently crowded. On the opposite side of the museum, just across
the street, a wall-like office proudly stands with various modern architectural dresses. These
buildings form a clear buffer solid line between the museum area and the urban neighborhood
with few side routes penetrating the area. With its modern low-raised buildings the main cornice
street forms the background to the museum from the northern side. Once passing the outer
magic-like gate of the museum, people experience the transition in time and space. People have
new spatial involvement that can only be described as a quiet, peaceful, and luxurious. Even
people’s pace becomes slower and shorter, standing mostly in groups beholding the space, or
planning their next space interaction.
THE INTERNATIONAL JOURNAL OF THE INCLUSIVE MUSEUM

Once entering the museum, people are engaged in another type of experience that is
occupied with formality and movement through hierarchically connected spaces. The exhibition
galleries are distributed in a categorized manner as the importance of historical pieces are
ascending from the ground floor to the second floor. The highest floor, on the other hand, is
reserved for VIP visitors; it has a meeting room and a valuable library. The location of
circulation systems within the museum is studied well to urge people moving around in all
directions, though keeping them intact with its core. Two staircases start on the first and end up
on the fifth floor, for instance, and are located a fair distance from the ground floor freestanding
stairs that only lead up to the first floor. As one climbs up any of these symmetrically located
staircases, he or she will be able to enjoy the scenery of the atrium.
The exhibitions are set deep from the entrance and other shallow depth areas to ensure a
quiet, peaceful and calm atmosphere. (Figure 23) Furthermore, the dark lightened exhibition halls
do not facilitate the social interaction between people as it encourages the concentration on the
exhibited precious objects. It is indispensable to provide splendor and importance to the
exhibitions. The atrium, pertaining shallow depth, besides the café and gift shop and the outdoor
attached park, provides social space which creates a balance with higher depth areas.

Figure 203: Degree of Depth the MIA Spaces.

Source: Author
 FERWATI: THE MUSEUM OF ISLAMIC ART: FORM, PERCEPTION, AND ENVIRONMENT

Perceptional Appraisal
Physical, environmental and perceptional spatial aspects bond with the space functional
requirements of the museum and its outdoor setting; the outdoor setting possesses various
components including a pleasure garden, a relaxation landscape, and socialization areas; all of
which enrich the legibility and imageability of the museum. In this regard, this section
demonstrates perceptional and contextual spatial readings of the Museum of Islamic Art.
Due to the nature of the land on which the building was built, there is only one side to reach
the main entrance and the library entrance. The park stretches out from the museum bay and
partially surrounds the building satisfying the desire of visitors to view the right side of the
building. The perception of special events, often held in the park, keeps the open area active,
adding a colorful stimulus to the park. The public bazaar and exhibition of regional handcraft
products are two typical examples of outdoor activities.
The beholder experiences one, two, or even three front-landscape levels which enrich the
beholder’s experience of the variation of circulation systems such as, ramp, stairs and glass
elevators that make wandering around the building smooth while providing different perspective
points that add to the feeling of amusement and attraction to the place (Ferwati 2007). However,
the transparent elevator ensures that the presence of technology is less dominant and visually
incompatible with the two identical rows of palm trees on the sides of the ramp that connect the
main gate entrance with the building main door. In doing so, the designer ensures that visitors
will not miss the beauty of the main elevation of the stony-cladded museum. (Figure 24)
As a manipulated view, while the beholders climbs up the ramp, they can observe the
skyscrapers gradually hide behind the museum as they approach the building entrance and its
fountain. Those skyscrapers will later be framed through the mihrab of the inner atrium,
delivering a message that the museum is not solely concerned with its main function but also
highlights the important areas surrounding it.
While coming closer to the building, visitors will love the details of it. The contrast of
material colors, such as the black stone of the flooring, fountain, and columns with the beige
stone of the building creates emphasis and direct vision to the building itself. Viewing the
building from different points, modes, and situations enriches perceptional features. The
following illustrates all possibilities of spatial beholding situations.

Mosaic View

The view of the building from a main road where the beholder is in linear motion at every point
shows changes in the visual view of the museum.

Imageable View

The view that the beholder admires and remembers most about a building depends on distance,
visual angle, and time of day or season. It is subjective or inter-subjective, which is the beauty
behind it. The building’s reflection on the surrounding water surface is a good example of this.
Cases of the imageable view selection are uncountable since subjective or inter-subjectivity
stands behind the admiration of one snapshot over another.

Manipulated Views

This is different from the mosaic view as the beholder’s movement is limited to the site’s
topographical surface, geographical direction, and pedestrian layout. As a result the view
sometimes appears full, partial, or disappeared depending on the pedestrian standpoint. This
motion can be exemplified by the park surrounding the building from the right side. Another
example is the view of the high rise West Bay downtown, which is seen as one approaches the
THE INTERNATIONAL JOURNAL OF THE INCLUSIVE MUSEUM

building, but the landscape of the palm trees creates a staggered view, or an in-out kind of
perceived view. Once the beholder gets closer to the building, the view of the West Bay
disappears and again appears inside the building and through the mihrab.

Outreached View or Extended View

This perceptional system can be defined as the view of a space or an object through another
space or object. It is common to see photographs being captured through a doorway, open
window, arch, or screen fence. In the Museum of Islamic Art, the designer ensures the possibility
to see the Western Bay downtown throughout the glazed mihrab.

Centrifugal View

A centrifugal view is an automatically drawn view of the beholder from the central standpoint
outwards. The atrium of the museum is surrounded by three story walking rings that lead to
different exhibition halls.

Centripetal View

The centripetal view is perceptional system opposite to the centrifugal view as the central hall
hooks the beholder’s eye. This is the result of the visitors’ curiosity to see activities on the
ground level and to observe how the view zoom changes at each floor level.

Figure 24 illustrates all possibilities of spatial beholding situations.

Source: Author
 FERWATI: THE MUSEUM OF ISLAMIC ART: FORM, PERCEPTION, AND ENVIRONMENT

Conclusion
Like other countries in the region, Qatar has is recently been experiencing extensive urban
developments on various scales. As stated in the Qatar National Vision 2030, the aim of the
future developments is the creation of unique, attractive environments that generates modern
images in response to international standards. One of several new prominent projects in Doha is
the Museum of Islamic Art. As a product of neo-vernacular architecture, it is a figurative
building. It stretches out from the land to float on water as a salient eye-catching landmark.
Visitors enjoy both watching the excellent exhibit collections and engage in various activities.
The research explored the essence of the MIA, the masterpiece of I.M. Pei. It demonstrates
richness with elements borrowed from the heritage of Islamic architecture that are integrated in
simple and new architectural forms. The study shows how the museum, as a cultural institute
product, serves manifold objectives. Going through the physical, perceptional, and environmental
appraisals of the building, lessons can be learned from the museum’s architecture:
• The production of an elegant museum requires a strong presence of quality townscape.
• The contextual suitability of nearby activities contributes to the creation of a strong
sense of place.
• The museum is a social and educational meeting place.
• A good selection for museum location enriches the visual experience for the viewer.
• A unique architectural solution enhances the sense of the central urban area.
• The museum design can be articulated to create a unique urban space that supports
various activities.
• The museum can appear as a monumental sculpture in a simple layout landscape
surrounded by a body of water from three sides.
The Museum of Islamic Art demonstrates how the architect was capable of designing a
modern building that reaches the essence of contemporary Islamic architecture by implementing
particular elements inspired from both historical Islamic and modern architectural themes. The
geometrical forms of the building display both cubism and Islamic architecture or art along with
other features, including water canals, the water fountain, a mihrab, and arches. All of which
strengthen the design principles that the architect produced with basic strong harmony between
the building and its site. The study presents an advantageous approach to museum design that
people in the field, including architects, can refer to in order to express shared responses among
users, and guide designs which incorporate public meanings and their evaluative image of
museums.

Acknowledgement
This article was made possible by a Startup Grand awarded from the Qatar National Research
Fund (a member of The Qatar Foundation). The statements made herein are solely the
responsibility of the author[s]. I would like to express my gratitude to Architect Mirna Ammar
for her enormous assistance and useful suggestion.
THE INTERNATIONAL JOURNAL OF THE INCLUSIVE MUSEUM

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ABOUT THE AUTHOR

Dr. M. Salim Ferwati: Dr. Ferwati obtained in 1982 a Bachelor’s degree in Architectural
Engineering from the Architectural Faculty at the University of Damascus, Syria; in 1988, a
Master’s Degree in Urban Design from the University of Kansas, USA; in 1993 a Ph.D. degree in
Cultural /Behavioral Geography at the University of Western Ontario, Canada. Between 1996
and 1999 he was active in three areas: teaching, architectural documentation of 80 historical
buildings, and running his own architectural firm. In 1999, he moved to Saudi Arabia, to work at
the College of Architecture and Planning at King Faisal University as a lecturer. In August 2005,
he joined the Department of Civil and Architectural Engineering at Sultan Qaboos University as
an assistant professor to teach and help in establishing the new architectural engineering
 FERWATI: THE MUSEUM OF ISLAMIC ART: FORM, PERCEPTION, AND ENVIRONMENT

program. From September 2011 and up to present, he, as an assistant professor, joined the
Department of Architecture and Urban Planning at Qatar University to participate in teaching
both graduate and under graduate students. His research interests are related to spatial behavior
as generator of spatial pattern, space perception, and urban semiotics. Ferwati’s contact address:
Department of Architecture and urban Planning, Qatar University, Doha-Qatar, Postal Code:
2713. Mob.: 974-70358160, Email: sferwati@qu.edu.qa.
The International Journal of the Inclusive Museum
addresses a key issue: In this time of fundamental social
change, what is the role of the museum, both as a
creature of that change, and perhaps also as an agent
of change? The journal brings together academics,
curators, museum and public administrators, cultural
policy makers, and research students to engage in
discussions about the historic character and future
shape of the museum. The fundamental question of
the journal is: How can the institution of the museum
become more inclusive?

In addition to traditional scholarly papers, this journal

invites case studies that take the form of presentations
of museum practice—including documentation of
organizational curatorial and community outreach
practices and exegeses analyzing the effects of those
practices.

The International Journal of the Inclusive Museum is a

peer-reviewed scholarly journal.

ISSN 1835-2014