ISLAMIC CULTURAL CENTER, HYDERABAD

(PROPOSED PROJECT IN TELANGNA)

INTRODUCTION
A cultural center is an organization, building or complex
that promotes culture arts. Culture center can be neighborhood community arts organization,
private facilities, government sponsored.

Hyderabad Being ruled by the Asaf Jahi dynasty, it came to be known as the “city of Nizams”. As
this dynasty crumpled, the Mughals took over and brought about a sea change in the cultural
outlook of the people. Today Hyderabad flourishes in its rich cultural history.

Hyderabad, former princely state of south-central India that was centered on the city

of Hyderabad. It was founded by Nizam al-Mulk (Āṣaf Jāh), who was intermittently viceroy of
the Deccan under the Mughal emperors from 1713 to 1721 and who resumed the post again
under the title Aṣaf Jah in 1724. At that time he became virtually independent and founded
the dynasty of the Nizams (rulers) of Hyderabad.

Hyderabad being the capital of Telangana was used to be one of princely states which did not
surrender to Indian government even after independence till 1950 this shows the influence of
Nizam rulers in this area. Despite of being a place where fluoresced the beauty of Islam there
no proper places where we can exhibited there culture Islam holistically.

Despite of being tourist attraction for its beauty of Nizam architecture there no places where
people can understand Islam in a better way. According to the Telangana Social Development
Report- 2017, about half of the total population of Muslims in the state is residing in Hyderabad
district. Of the 44.65 lakh Muslims in Telangana, 17.13 lakh live in the Hyderabad district,
constituting 43.5 per cent of the total Muslim population in the state. The purpose of the project
is to introduce institution which can be spiritual and intellectual hub where we can have
communal harmony and religious diversity

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NEED OF PROJECT

1. Incipit being the core of Islam rulers in Deccan there is no such places where Muslim
community can celebrate their culture in Telangana.

2. There is ought to Develop a place, which is able to become a spiritual and intellectual hub for
Islam in Telangana which might promote the future of Islam in recently shaped state Telangana
and supply a doctrine future to Muslim communities.

3. There is no space in Telangana where someone can understand Islam which can facilitate
interfaith dialogue for better understanding of Islam and other faiths, increase communal
harmony and religious diversity thus Islamic cultural center comes into spot light in Telangana

4. An Islamic center on these lines would redefine the purpose of Masjid or a prayer place,
engage people and promote the social network much beyond the typical pray-and-go-type
worship place. This would be a new paradigm and a step forward for the future generations.

4. By introducing a defined space for activates like Community gatherings, Iftaar party, Eid
Milan would promote networking among not just Muslims but between other communities as
well

CULTURAL HERITAGE

The activities of the Islamic center would include organizing talks, discussions, lectures,
seminars and other literary programs in which scholars from different thoughts from India and
abroad would participate. Eminent delegates coming to India or Hyderabad would also be
invited to visit the center.

It would organize cultural programs such as Mushaira (Sher-o-Shayari) within the boundaries of
Islam and exhibitions on different subjects. So, the center would give a boost to cultural
heritage and provide a progressive approach towards religion.

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An Islamic center on these lines would redefine the purpose of Masjid or a prayer place, engage
people and promote the social network much beyond the typical pray-and-go-type worship
place. This would be a new paradigm and a step forward for the future generations.

AIM

This particular cultural center focuses on building a institute which will become spiritual and
intellectual hub for Islam which can promote the future of Islam.

OBJECTIVES

1. Providing an adequate, controlled and ideal environment for visitors and resource persons
for better dissemination of knowledge about Islam. To provide space for exhibition,
workshops and outdoor activity areas for exchange of views and ideas between religions.
2. The project can act as a central node for connecting all other heritage sites and developing
a tourist circuit, which in turn would help in revenue generation and create a new source of
employment.
3. The design will help in enhancing the understanding and interpretation of the heritage and
culture of the region.
4. .By introducing a defined space for activates like Community gatherings, Iftaar party, Eid
Milan would promote networking among not just Muslims but between other
communities as well

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SCOPE

 The idea is to extend the tourist circuit and providing them with better knowledge of
the region and its culture.
 The design will help in enhancing the understanding and interpretation of the heritage
and culture of the region.

LIMITATIONS

a. The Project will not be able to depict or contain the diverse culture of Telangana. Therefore,
it is only limited to the Islamic culture of Telangana.

b. The culture may be depicted through spaces, built forms and artifacts

C. Due to pandemic situation study is been done online.

SITE
LOCATION : Kokapeta, Hyderabad, Telangana.
AREA : 10acer.
TYPE OF OWNERSHIP: Government property.
The site is located in Kokapeta, near Hitec city, Hyderabad. The Site Area is 10 acres. Around
15,000 professionals belonging to the Muslim community work in the IT hub at Hitec City
(Madhapur, Gachibowli), at many IT/ITeS companies, including Dell, Microsoft, Google,
Facebook, Cognizant, Deloitte, Accenture, Oracle, TCS, Wipro and Tech Mahindra.
But the area has only a few mosques, which cannot accommodate these many professionals.
People have to squeeze in or have to have multiple sessions for their Friday prayers. This
necessitates the establishment of Islamic center somewhere around this hub. Where Kokapeta
comes into spot light which can be a center for intellectual hub.

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FUNDING ANF FINANCING: GOVT OF TELANGANA

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 CHAPTER 2: LITERATURE REVIEW

ISLAMIC ARCHITECURE IN INDIA

ORIGIN OF ISLAM
1. Locating Islam
 Islam originated in the Arabian peninsula around the 7 century. The people who
inhabited this area were known as Arabs (desert-dwellers)Islam is Arabic for “surrender”
 The city of mecca is considered the birth- place and holiest city of Islam. this is where
Muhammad, the founder of Islam was born

2. Origin of Islam
 Muhammad is considered the founder and greatest prophet of Islam. His followers
became known as Muslims. Allah (Arabic for “the sole god”) revealed his message to
Muhammad through the angel Gabriel Allah’s revelation unto Muhammad is the basis of
the Quran (Koran) the sacred text of Islam.
 The Quran is seen as the final revelation of god and Muhammad as the last prophet
Muhammad is considered the last prophet in a great line of prophets that include Adam,
Noah, Abraham, Moses, Jesus, etc.

INTRODUCTION:
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  Islam came to India in the 7th and 8th centuries CE chiefly through Muslim traders,
merchants, holy men, and conquerors.
 The religion spread in India over a time period of 600 years.
 Muslims in Gujarat and Sind had begun construction work in the 8th century itself. But it
was only in the 13th century that building activity on a large.
 Muslims absorbed many aspects of local architectural traditions and amalgamated them
into their own practices.

 Architecturally, a mix of many techniques, stylized shapes, and surface decorations

evolved through a continuous amalgamation of architectural elements from various
styles. Such architectural entities that showcased multiple styles are known as Indo-
Saracenic or Indo-Islamic architecture.
 While the Hindus were allowed to portray God in their art and were allowed to conceive
manifestations of the divine in any form, the Muslims were forbidden by their religion to

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 replicate living forms on any surface. So, their religious art and architecture mainly
consisted of arabesque, calligraphy, and geometrical patterns on plaster and stone.

TYPES OF INDO ISLAMIC OR SARSANIC ARCHITETCURE

1. Imperial Style
2. Provincial Style
3. Mughal Style
4. Deccani Style

1. Imperial Style

The start of the Delhi Sultanate in 1206 under Qutb al-Din Aibak introduced a large Islamic state
to India, using Central Asian styles. The important Qutb Complex in Delhi was begun under
Muhammad of Ghor, by 1199, and continued under Qutb al-Din Aibakand and later sultans. The
Quwwat-ul-Islam Mosque, now a ruin, was the first structure.

Like other early Islamic buildings it re-used elements such as columns from destroyed Hindu
and Jain temples, including one on the same site whose platform was reused. The style was
Iranian, but the arches were still corbelled in the traditional Indian way.

Beside it is the extremely tall Qutb Minar, a minaret or victory column, whose original four
stages reach 73 meters (with a final stage added later). Its closest comparator is the 62-metre
all-brick Minaret of Jam in Afghanistan, of around 1190, a decade or so before the probable
start of the Delhi tower.

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The surfaces of both are elaborately decorated with inscriptions and geometric patterns; in
Delhi the shaft is fluted with “superb stalactite bracketing under the balconies” at the top of
each stage.

2. Provincial style. Various styles- (Janunpur, Bengal, Malwa, Bijiapur, Gujrat)

 Main examples of the style are found in cities of Dhar and Mandu
 Malwa wad influence more by the early Tughlaq style from Delhi
 This was due to the Lack of significant local tradition in Malwa and hostile with
neighbouring Gujarat.
 Malwa province experienced the Indo Islamic architecture in the medieval
period with the invasion of the muslim invaders
 This province experienced a large no of Islamic architecture during muslim
dynasty

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  Gradually they develop their own style in building art of Islamic architecture.

SALIENT FEATURE
• BATTERED
• POINTED ARCHES WITH SPEAR HEAD FRINGE
• COMBINATION OF ARCH, LINTEL AND BRACKET.
• BOAT KEEL AND DOMES.
• MOST ARTISTIC COMBINATION OF ARCHES WITH PILLAR AND BEAM • BUILDING ARE RISED
ON HIGH PLINTHS, ACCESSED BY LONG AND STATELY FLIGHT OF STEPS.
• PROMINENT USE OF COLOR IN DECORATION. USE OF DIFFERENT COLORED MARBEL, SEMI
PRECIOUS STONES AND GLAZED TILES, THE ARTESIANS IN MALWA POSSESSED A SECRET
FORMULA FOR CREATING TURQUOISE BLUE COLOR

3. Mughal style.
With the coming of the Mughals, Indian architecture was greatly influenced by Persian
styles. The Mughals constructed excellent mausoleums, mosques, forts, gardens and cities.
The Mughal buildings show a uniform pattern both in structure and character.

Main features of Mughal Architecture:

 DOMES
One of the attractive features of Mughal architecture were the domes. It is found that domes
in prenMughal India have a standard squat circular shape with a lotus design and bulbous finial
at the top. These dome structures were derived from hindu architecture.

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  ARCHES
This shape of arch was used in the great architectural monuments that were built by Mughal
emperors centuries ago. India isn’t the only place where you’ll see this arch though – the
Mughal emperors were influenced by Persian designs and Islamic architecture of those times.
But I think nowadays, when you see this arch shape, it’s often an iconic Indian motif.

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  WINDOWS:

Deccan style
INFLUENCES IN THIS STYLES COMING FROM TWO SOURCES
• DELHI STYLE: Due to the forced migration of Muhammed Tughlaqian Delhi style were brought
to south.
• PERSIAN STYLE: Due to the migration of Persians South India via sea.

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CHARACTERSTICS IF ISLAMIC ARCHITECURE
PLANING:
 Typical character of any of Islamic structure is having geometrical forms.
 The concept of central courtyard in Mosque is brought in India from Arabic countries.

ORIENTATIONS:
 The main holy place of mosque is facing towards Macca, which is in west direction from
India so the main wall of Sanctuary is also towards west direction.

ELEMENTS:
 Arch, Plinth, Dome, are the main basic elements of Islamic architecture.
 The basic rule of the Islamic architecture is to measure the distance by an arch while in
Indian architecture beams were used for measure the distance.
USE OF WATERBODY:
In Islam water is seen as life giving, sustaining and purifying. The Quran states, “from water
every living creature was created.”

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  Waterbody is placed in the center of the central courtyard which is used before
entering the main holy building of mosque.
 Water is used In Islamic architecture for several basic reasons. First it is used practically
to provide cooling in hot, dry climates.
 Second it is used aesthetically to emphasize visual axes, reflects the surrounding
environment and visually multiply the adjacent and its decorative detailing.
 Third, it is used symbolically to represent the life-giving, sustaining , and purifying
aspects of water mentioned in the Quran
 Water is an important component of traditional Islamic gardens and courtyards. In the
quran the garden is used to represent the paradise promised to believers. One very
particular type of Islamic garden realted specifically to this concept is the so called
paradise garden.
 Pairi means around and Daeza means wall

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ORNAMENTATION:

 CALLIGRAPHY
 Calligraphy is a visual art related to writing. Like other Islamic decoration, calligraphy is
closely linked to geometry.
 The proportions of the letters are all governed by mathematics. Inscriptions are most
often used as a frame along and around main elements of a building like portals and
cornices.
 ARABESQUE
 Also called Islimi. Arabesque designs are biomorphic, floral patterns representing the
underlying order and unity of nature with a great deal of accuracy.
 Flowers and trees might be used as the motifs for the decoration of textiles, objects and
buildings.
 THIN WALL ,DOMES, ARCHES, ALL ELEMENTS WERE ORNAMENTED WITH NATURAL
COLOURS AND SYMMETRICAL PATTERNS.
 GEOMETRIC PATTERN
 These patterns exemplify the Islamic interest in repetition, balance, symmetry and
continuous generation of pattern.
 The integration of geometry with such optical effects as the balancing of positive and
negative areas, a skillful use of color and tone values.
 LIGHT
 Light can add a dynamic quality to architecture, extending patterns, forms and designs
into the dimensions of time.
 And the combination of light and shade creates strong contrasts of planes and gives
texture to sculpted stone, as well as stocked or brick surfaces.
 WATER
 In hot Islamic climates, the water from courtyard pools and fountains cools as it
decorates.
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  Water can not only reflect architecture and multiply the decorative themes, it can also
serve as a means of emphasizing the visual axes.

JAMI, SCREEN AND PARAPET:

 THIN WALL WHICH IS MADE BY GRILL PATTERENS OF SYMMETRICAL DESIGN WITH
PARAPET WHICH IS USED AS SCREENS.
ARCH:
 Islamic architecture is characterized by arches which are employed in all types of
buildings.
 Earliest form of arches employed in Islamic architecture were semi circular round
arches.
MINARATES:
 Minarate is a slim tower rising from the mosque.
 They vary in height, style and number.
 Minarates may be square, round or octagonal and are usually covered with a pointed
roof.
 Originally they are used as a high point and traditionally as a decorative feature of the
mosque.

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The Mosque (Masjid):
The mosque or masjid is the worshipping place of Islams. It is open in its design.
It contains the following main elements:
i. Sanctuary on west side
ii. Mihrab – a sacred focal point in the Sanctuary
iii. Minbar – a pulpit in the Sanctuary
iv. Surrounding cloisters called Liwans
v. An open courtyard called Sahn

Sanctuary:
The planning of a mosque starts with a sanctuary which is the essential and sacred part of a
mosque. Sanctuary is a pillared hall opening itself on east into the courtyard. The hall is used for
religious congregations and prayers called Namaz. A portion of the sanctuary is screened off
into a compartment for women (Zenana) in some mosques.
The sanctuary has a central nave and side aisles. The nave is often spacious and raised higher in
roof than the aisles. Some mosques have only sanctuary and they had no central open court
and cloisters. The façade of sanctuary was monumentally built in some mosques. There is
continuous change, innovation and development in the design of pillars, arches, mihrab,
parapets, kiosks and turrets.

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Mihrab:
A religious structure however needs a focal point. To meet this, a recess or an alcove called
Mihrab is placed in the center of western wall in the nave of sanctuary indicating the Qibla or
direction of prayer. Mihrab is a prayer niche. This is the most sacred and significant portion of a
mosque. It takes the form of an alcove in arch shape. In some examples it was formed into
multiple alcoves within each other containing a half dome over it decorated with ornamental
geometrical forms.

Rivaq:
A riwaq is an arcade or portico open on at least one side. It is an architectural design element in
Islamic architecture and Islamic garden design. A riwaq often serves as the transition space
between interior and outdoor spaces

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Minbar:
This is a raised platform with steps for the preacher to deliver the sermon. This is placed to the
north of Mihrab in the sanctuary. Number of steps and its design and decoration varies from
one to other.

Open Courtyard and Cloisters:

In front of sanctuary an open place takes place without roof called Sahn. The other three sides
are covered by pillared cloisters called Liwans. By this the mosque is totally enclosed and
secured. It is entered usually through three gates each on east, south and north except on west.
Main entrance mostly takes place on east. A water tank is placed in the center of open court for
ablutions. Occasionally a fountain also takes place in this tank.
Screen of Arches and Dome:
While constructing the historical earlier mosques at the end of 12th century at Delhi and Ajmer,
the pillars and the stones brought from the dismantled temples were utilized. Hence the
mosque sanctuary appeared like a temple pillared hall (Mandapa). Therefore to impose the
appearance of a mosque, a separate screen of arches of huge size was added across the front of
the sanctuary.
Arch became a symbol of Islam structures. But the added screen of arches is obstructing the
view of the dome of the sanctuary from the front, though this combination is pleasing from the
sides or back of the building.

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Such examples are:
i. Qutb mosque, Delhi
ii. Arhai-din-ka Jhompra mosque, Ajmer
Later in some mosque buildings, the dome was raised to more height than the screen, thus
giving a pleasing look from the front.
Eg- Jama Masjid at Ahmedabad, Jama Masjid at Champaner
In the mosques of south India built in provinces in Malwa, Bijapur and Deccan, the sanctuary
façade is not separately built or added. The façade was the outcome of united design with its
interior.
Designs of Mosques:
There are large number of varieties of mosques built in India. Layout of these mosques is same
in all mosques having sanctuary on west side and cloisters on other sides. Entrances, façades,
arches and domes are varied in their mass and design. Row of arches became the prominent
feature. Sanctuary façades varied much in their designs like simple, ornamental, artistic,
monumental, fine and royal.
Feature wise examples are mentioned here:
i. Sanctuary nave is spacious and pillars less in some mosques. Eg- Adina masjid, Pandua
Jaunpur mosques.
ii. Classical decorated pillars are made in the nave making a Rotunda extended in tiers above.
Eg- Jama masjid, Ahmedabad.
iii. Sanctuary and cloister entrances are much elaborated, projected and highlighted. Eg-
Jaunpur mosques and Jama masjid, Ahmedabad.
iv. Central arch of Sanctuary façade is made different by means of foliated arch. Eg- Jama
masjid, Bijapur.
v. One and only example of Mosque which has no open central court is- Jama masjid, Gulbarga.
vi. Worshiping hall for Royals (Chapel) and Zenana were added in first floor in a grand scale. Eg-
Adina masjid, Pandua and Jaunpur mosques.
vii. Royal and palace type mosques are- Jama masjid, Fatehpur Sikri, Agra and Jama masjid,
Delhi.
vii. Simple design mosques are- Jama masjid, Mandu and Bijapur.

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CASE STUDIES

Mosque and Islamic Cultural Center Rome, Italy.

• ARCHITECTS- Paolo Portoghesi, Sami Mousawi , Vittorio Gigliotti

• Client- Islamic Cultural Centre of Italy
• Location - Rome, Italy
• Design- 1976
• Completed- 1992-1995
• Site- 29,915 m2
• Ground floor- 6050 m2 + rivaq- 3116 m2
• Total floor- 19708m2 (including basement, ground floor, and all upper floors)

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INTRODUCTION
The mosque and Islamic cultural Centre of Rome was
officially inaugurated in 1995 after 20 years of design and construction when the idea of its
establishment was envisioned as an international competition in 1976. The final realization of
the project is a synthesis of elements that are derived from historic references of Islamic,
roman, and baroque architecture. The incorporation of these elements into unified whole
results in a unique landmark that speaks to the Islamic and western worlds.

OBJECTIVES
• To provide an architectural setting where Muslims can perform the prayers, and
to accommodate a wide spectrum of educational and cultural activities such as
lectures, seminars, and exhibitions.
• To provide the Italian community with a clear and better understanding of Islam.
• To provide social and socio-religious services to the Muslim community.

CLIMATE AND SITE:

Climatic conditions:
Generally, Rome enjoys a mild weather relative
• Humidity : 50% to 60%

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 • Winter temperatures : 4 degrees to 5 degrees Celsius.
• Summer temperature : 28 to 35 degrees Celsius.
• Night temperatures : 20 degrees Celsius.
• Annual precipitation : 84 cm.

Site context :
• The Mosque and Islamic Cultural Centre of Rome is located to the north, approximately 5.00
km. from the historic core of the city.
• It is situated in the Parioli district
• The site of the project is considered a historically significant area although it is relatively far
from the historic center.

Symbolism of Light(concept)
 The profound reflection on the theme of Islamic religiosity culminates in the attention
paid to the symbolism of light. The textual reference is to Sura 24 of the Koran, called
precisely the Sura of Light, in which the importance of light is also revealed in the prayer
room.

 In this sense, the internal spatiality is articulated in a sequence of 32 polystyle pillars,

which connect to the vaulted domes with intertwined and innervated elements, which,
by dematerializing the light, create chiaroscuro games, giving a sense of indeterminacy
and spirituality.

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  The pillars also continue outside in an arcade, becoming the main element of
Portuguese’s compositional language. In fact, being made of press-reinforced reinforced
concrete, they appear with more dynamic and articulated forms so that they can be
completely permeated by light and create suggestive environments for the faithful.
Detaching themselves from the classic "stem-capital" model, they mate in a square
section in order to evoke the gesture of the hands in prayer.

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  In addition, Portoghesi places stained-glass windows at human height on the main wall
of the mosque, that of the so-called qibla, or the wall perpendicular to the direction of
Mecca, on which the Mihrab opens, the niche directed towards the holy city . He then
installed artificial lights out of the sight of the faithful, positioning them at the top and
side. It gives lightness to the architecture, giving the impression that the roofs are
suspended in the air, cutting the perimeter walls of the central room with a large ribbon
window, immediately behind the long band of Koranic inscriptions that bear the verse:
"God it is light ”. The particular cut of these windows hides the origin of the light source
and makes the light reflect over the inscriptions

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SITE PLAN
The total built area of the complex is 13.800 sq. m. The complex consists of two masses.

 The first is a rectangular prayer hall measuring about 60 x 40 m with the longer sides facing the
south east, the qibla wall.
 The second part approximates the shape of H and accommodates the remaining functions of the
complex except for the ablution facilities that are located beneath the prayer hall.
 A water channel runs along the longitudinal axis of the H shaped mass and connects two pools,
one located in the centre of the mass and another to the northeast. The longest side of the H
shaped mass, which faces the northwest, curves away from the complex and toward the city,
while the other long side of it curves toward the prayer hall.
 The minaret is located southwest of the prayer hall, close to where the H shaped mass and the
prayer hall meet.

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  The structure is intended to be integrated into the surrounding green area, with a mix of
modern structural design and omnipresent curves.
 The massing of the complex seems to follow a traditional approach to the architecture of
mosques.
 The prayer hall is articulated by a large central dome with a diameter of 21.60 m. 16 smaller
domes surround the large central one.

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  Lights and shades are blended in order to create a meditative climate, and the choice of
materials, like travertino and cotto, evoke traditional Roman architectural styles. The
interior decor is mainly made of glazed tiles with light colors, with the recurrent Quranic
theme is God is Light.

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GROUND FLOOR PLAN

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Lights and shades are blended in order to create a meditative climate, and the choice of
materials, like travertino and cotto, evoke traditional Roman architectural styles. The interior
decor is mainly made of glazed tiles with light colors, with the recurrent Qur'anic theme is God
is Light

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Materials
 A wide variety of materials have been used in the complex.
 For the rendering of facades and exterior finishes travertine and peperino Romano were
used with classic Roman brickwork. Travertine and Peperino Romano is most ancient
material of Rome

TRAVERTINE AND
PEPERINO

CLASSIC ROMAN
BRICKWORK

 Exterior spaces are

either tilled with
typical roman stone
and marbles. Roads in the premises of the center are paved.

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  For the flooring of interior spaces marble finishes were used.

 The sahan and riwaq floors are finished with strips of travertine based on the modular
design 3.60m x 3.60. m. with brick paving in between.

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  Lead was used as a sheathing material for the domes.
 Interior finishes of the domes of the main prayer hall were made of particular coating of
encaustic stucco.

 Mosaic stucco decorative panels in the main prayer and the small prayer halls were
made by Moroccan and Turkish craftsmen.
 Office spaces, classrooms are simply painted, while marble finishes are used for floors.

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It has an area of 30,000 m2 and can accommodate more than 12,000 people.

ELEVATIONS AND SECTIONS

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INTERIORS
The interiors are decorated with simple yet beautiful mosaics creating more optical effects and
the floor is covered by an extremely soft Persian carpet with geometrical patterns as well. The
main prayer area can accommodate up to 2,500 worshipers. Above this are galleries that are
reserved for female worshipers. The main prayer hall is topped by a large central dome over 20
meters in diameter, which is surrounded by 16 smaller domes. The complex also includes an
educational area with classroom and a library, a conference center with a large auditorium, and
an area where exhibitions are held
The outcome is a fascinating architecture made of repetitious designs and amazing
geometric patterns, where an important role is played by the light aimed to create a
meditative atmosphere and various tricks of light as well.

The mosque contains several palm-shaped columns, which represent the connection
between Allah and the single devotee

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The Faisal Mosque in Islamabad

The Faisal Mosque in Islamabad, Pakistan represents a unique design for late twentieth century
mosque construction and decoration. Islamabad, the capital city of Pakistan, is a newly planned
city on the northern border of Punjab province. It is located against the backdrop of the
Margala Hills, on the northern edge of the Pothwar Plateau. The site has a central position on
the Grand Trunk Road, close to Punjab and north-west Frontier Province. The total area allotted
for the mosque complex was forty-six acres of land.

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Site plan

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GROUND FLOOR PLAN

1. The lowest level of the mosque is the entrance courtyard on the south, up a flight of
three stairs about one foot, six inches front ground level. The worshippers can enter
from the two side corners of the entrance courtyard.

2. Shoe racks are placed at both east and west sides and are covered. The entrance
courtyard area has two small rooms. The eastern room houses a model of the mosque,
and the western room is used as a gift shop.

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 3. The main feature of entrance courtyard is a large circular pool with a circular fountain
(plate 26). The pool is not exactly in the center of the area (Drawing figure 21). The
architect push it one side. Slightly more space is left on the north side. Its unusual
spacing signals to visitors immediately that this is not an ordinary mosque.

FIRST FLOOR:

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 1. The first floor can be entered through eleven entrances, eight from the main courtyard
of these entrances two are from the west and one is from the administrative block on
the north.

2. The main courtyard is approximately seventeen feet seven inches above the outer
grassy ground of the southern side.
3. It is a bold expression of vastness, modernity and abstractions. The first floor is
dominated by two major portions.
4. One is the main courtyard and open exterior court area surrounding the sanctuary and
the other is the sanctuary itself.
5. The main courtyard can accommodate 40,000 persons at a time.3 The area is 200,000
square feet paved with grey granite imported from Italy.4 In its centre a vast square
chamfered open space gives light to the fountain below.
6. Under the roof of the main courtyard on the east side is the Islamic Research Institute,
the printing press, cafeteria, library, book shop, and the offices of the administration. In
the main courtyard there are three other small openings besides the large openings for
the ablution fountain and the basin. These are to provide access the Islamic Institute
below.

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features of the Faisal Mosque
Throughout the architectural style has been a mean of expression of thought in constructive
form. It has undergone several stages of development in its design and style. Every civilization
developed its own architectural style which became its identity.

 The Faisal Mosque as a modern representation of religious monument became a

symbol of national identity and has international preeminence due to its uniqueness of
exterior constructive design.
 The mosque represents a modern phase of architectural decoration in constructive
form and as surface ornamentation.
 From the exterior the sanctuary and minarets are the most prominent features of the
Faisal Mosque. The huge sanctuary has a plan of 656.66 square feet.
1. The peak of the roof is 131.24 feet above ground level.

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 2. The four walls are in the form of isosceles triangles with a base of 215 feet and sides
of 128 feet and are constructed of steel and concrete.

3. Each crescent is one foot one inch in length, five inches thick at its center and eight
inches Clear glass is fitted into the crescent shapes and provides light to the interior.

4. The crescent motif is used as a finial above the roof, and also appears on the low
walls of the mu’adhdhin pew in the eastern courtyard.

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 5. The north and south walls are designed with twenty raised vertical sections, with
horizontal lines between the verticals that produce rectangles measuring two feet
nine inches by one foot two inches. Black tinted glass is fitted between the vertical
panels of rectangles
6. The roof is a major attraction of the mosque. It is consciously designed combining
historical and modern concepts. The top of the roof is based on a pyramidal roof
form but the lower part has a gabled roof structure. Every joining of slanting
triangular slab makes a gable point

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 7. the roof structure somewhat resembles the Gothic rib vaults in French method of
the years 1140-1194 But the Gothic vault gives flexibility and soft contours rather
than stiff sharp edges of the Faisal Mosque design.

8. The eight triangular concrete slabs are arranged in four pairs, with narrow
rectangles of transparent glass between them
9. The transparent glass allows day light to enter the sanctuary and reflects the
shimmering light of the sun in a pleasant manner. At night the artificial light of the
sanctuary reflects out side through these glasses and gives a very different skeleton
effect

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TRIVENI KALA SANGAM DELHI

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Basic Requirements
A. EXHIBITION AREA
1. Space Requirements: A typical exhibition area totals approximately 9000 square feet of
space, which &comfortably accommodates the display of about 100 art objects and 300 people.
2. Circulation: Vistors must be able to circulate in and through the space easily, along a
direct viewing path. Access to upper levels should be provided through stairs or elevators. At
least two exits should be provided on opposite sides of the overall space.
3. Displays: Wall panels should offer flexibility in size and placement. Pedestals should be
provided for three dimensional objects, and appropriately placed for viewing.
4. Lighting: A variety of lighting systems should be incoporated into the overall design, and
include natural light, incandescent lighting (track lights, wall washers, and eyeball spots ), and
fluorescent lighting.
5. Maintenance: Materials and finishes should be selected for ease of maintenance.
Consideration should be given to the use of linen fabric on wall panels, level loop carpeting on
floors, leather /vinyl upholstery on benches, anodized steel trim on all window frames, and
glazed, energy efficient glass for exterior windows.

B. OFFICE
1. Space Requirements: A typical office for one person should be designed with a minimum
of 150 square feet of space. Office for 12 people should be estimated at 1800 - 2200 square
feet of space, depending on functional requirements. Office space for 12 people should total
approximately 2000 square feet.
2. Circulation: Entry to the office area should be provided through locked doors with direct
access to a waiting area and reception staff. Visitors should then be guided to appropriate
executive offices.
3. Lighting: Consideration should be given to a variety of lighting systems. The office areas
may be illuminated be the use of downlights, task lights, and natural light. Suspended non-
combustion ceiling systems with lay-in panels and a metal suspension grid are desirable.
4. HVAC Systems: Environmental comfort for office users is critical. It may be achieved by
controlling fresh air, air movement, air filtering, humidity, and internal external thermal loads.

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C. RESTURENT
1. Space Requirements: A typical restaurant should be designed with a minimum of 18
square feet per person. Restaurant space for 80 people should be estimated at 1500 -- 2000
square feet of space, and the kitchen and preparation area should be about half this amount,
with an ancillary storage area of one and one half times the kitchen area.
2. Circulation: A foyer space should be established at the entry to set the mood for the
restaurant. It is important to provide a host station near the entrance as well as at waiting area.
A clear definition of seating areas is needed to separate them from circulation aisles, service
stations, and host areas. Each table should have some privacy from other tables.
3. Lighting: Restaurant should be illuminated by a variety of lighting systems, and as well as
natural light.
4. Safety: At least two exits on opposite sides of this area should be provided.
D.GIFT SHOP
1. Space Requirements: A typical small gift shop should total approximately 600 square feet
of space which comfortably accommodates a display of various gifts and about 30 people.
2. Circulation: Circulation is based on a knowledge of merchandising aimed at arousing and
maintaining customer interest. The location of merchandise must be carefully coordinated with
customer paths of travel (aisles) and service areas, such as cashier, wrapping, and information
counters. Storage should be located close to cashier and wrapping counters.
D.GUEST HOUSE FACILITY
1. Space Requirements: One room of a typical guest house facility should be designed with a
minimum of 460 square feet of space. A guest house facility for 18 rooms should be estimated
at 9000 square feet.
2. Circulation: Guests should come through the main entry, with direct circulation to the
reception and waiting areas. Access to upper levels should be provided through stairs or
elevators.
E. AMPHITHEATRE

 Stage Recommendations:
1. 24'-0"x 12·-0"
2. Apporx 16" Above grade

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 3. Handrail along rear and sides of stage

 Seating recommendations:
1. locate first row 20' from stage
2. 4' between rows
3. 16" from grade to top of bench

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E.TOILETS

 Legislation provides a guide to the minimum provision: this is usually inadequate

especially for women. A general guide to the minimum requirements is as follows:
 Men WCs minimum of 2 for up to 500 males, then one for each additional 500. Urinals
minimum of 2 for up to 100 males, then one for each additional 100. Wash basins one
for each WC plus one for each five urinals.
 Women WCs minimum of 2 for up to 75 females, then one for each additional 50. Wash
basin one for each WC.
 Also consider powder shelves, long mirrors and sanitary towel dispensers and disposal
in women’s toilets and provision for changing nappies Allow for handdrying facilities:
either electric warm air dryers, roller towels or paper towels with containers for
disposal.
 Separate toilet or toilets for disabled persons, containing 1 WC and 1 wash basin in each
toilet, are essential provision. Toilets should be located off the main circulation near the
entrance lobby and also at each level of the foyer in a multi-level auditorium.
D. PARKING

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Reception

 Managers room
 Staff room
 Meeting room
Cultural areas

 Auditorium
 Prayer halls
 Conference room
 Multipurpose halls
 Banquet halls
 Open air theatre
Gallery area

 Exhibition area
 Library
Other Areas

 Restaurants
 Cafeterias
 Landscape areas
 Parking
 Services area Any other activity, if required in the project would be added at the later
stages.

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