A Study of the Design

7/31/2019 A Study of the Design

1/25

A study of the design of mosques

of the ministry of Awqaf and Islamic aairs in Kuwait

OMAR KHATTAB

Department of Architecture, Faculty of Engineering & Petroleum, Kuwait University, Kuwait.

e-mail:[email protected]

ABSTRACT

The mosque is the prominent and perhaps only religious building in Islam. It is a

building type which often reects the impact of the manifestation of local architectural

traditions, which later on formed the core of Islamic architecture. Indeed the mosque is

sometimes considered the prime symbol of a country's religious stance, or national

identity. In an attempt to assert its national identity, the State of Kuwait has constructed

numerous mosques over the past few decades. Through various ministerial agencies,

funds were raised for mosque-building schemes. This paper attempts to provide a visual

and architectural survey of the mosques built by the Ministry of Awqaf & Islamic Aairs

[MAIA] in Kuwait. It investigates the similarities and dierences in the design patterns,

and searches for underlying endeavours to create distinctive styles that reect traditionalvalues of Kuwaiti mosque architecture.

The primary objective of this paper is to document the design process of MAIA

mosques as well as to provide a glimpse of their architectural features. With the intention

of searching for underlying similarities and dierences in their design patterns. There are

very few documented studies on mosque architecture in general in Kuwait (Al Roumy

1988). But certainly there is no study, whatsoever, on the MAIA mosques. which

represent one third of government mosques and around 14% of all existing mosques in

Kuwait. This makes this preliminary reconnaissance study, which documents

qualitatively all MAIA mosques and which visually analyses their architecture, the rst

in its eld and an initial contribution to the study of this important topic.

Keywords: components; design; mosque architecture; visual analysis.

INTRODUCTION

The appearance of new Muslim nations/states, particularly after the progressive

dissolution of the Western colonial empires, has introduced a somewhat dierent

source of funding. Since c. 1960 these states, whatever their political ideology, haveincreasingly engaged in mosque-building projects at all levels and on several scales.

These ever more capital-intensive building programmes can be seen as attempts to

Kuwait J. Sci. Eng. 29(1) pp.135 - 159, 2002


2/25

create new expressions not only of political power, social control and piety, but

also of sovereignty, national identity and modernity (Khan 1994, p. 248).

The State of Kuwait is no exception to this prevailing pattern. Even more so,after earning its independence in 1961, Kuwait needed to further assert of its

national and Islamic identity in the Arab and Muslim world. Hence, the country

embarked on a mosque building scheme starting from the early seventies.

Although all the mosques in Kuwait are under the administration of the MAIA,

they can be classied, according to construction nancing, under two main

categories; those mosques directly nanced by the MAIA, and other public or

private mosques. The rst category is subdivided into large gathering principal

mosques (Masjed for Friday prayer) and relatively smaller district mosques for

everyday congregational prayers (Jama').

The primary objective of this preliminary study is the documentation of the

architectural design of the mosques commissioned and built by the MAIA from

1973 to 1990. These mosques represent all the MAIA mosques (Fig. 1). Another

objective is to examine, through visual analysis, whether the design process of

these mosques has produced architecture that reects some of the Kuwaiti

mosque heritage and architectural traditions. During this period 107 mosques

were completed featuring 15 design types in addition to 7 mosques which have

not followed the set-forward design types, totalling 114 completed mosques

(Fig. 2). This gure represents 14% of all existing mosques in Kuwait, which

shows the signicance of MAIA mosques.

The reason for the choice of this particular time period is the availability of

data on the subject at the Ministry of Public Works' [MPW] archives. Also,

Fig. 1. Total number of MAIA mosques completed from 1973 to 1990.

(Ref. MAIA in 50 years 1997).

136 Omar Khattab


3/25

after 1990, the MAIA and the MPW have slowed down, or virtually halted, the

construction of new mosques, and concentrated eorts, instead, on nishing the

commissioned and uncompleted mosque projects, as well as on restoring other

mosques damaged or destroyed as a result of aggression during the Gulf War.

Mosque types were put forward as a set of basic requirements for variable

mosque sizes. They represent the design brief for individual MPW design sta.

Each design type states the components that must be found in a particular size

mosque, in addition to determining the areas of, and the relationships betweenthese components. Each design type also species the architectural treatments

that should be followed and the nishing materials that should be used. In short,

design types give almost a complete description of the mosque to be designed

leaving little room for individual designers' innovations.

An Historical Background

Over the years, benevolent people of Kuwait have built mosques all around the

country, as an act of charity and a means of approaching Allah by encouragingMuslims to pray with in congregation in each vicinity. There benevolent people

in their wills. allocated a third of their inheritance as Waqf for mosque

construction. They did not only nance the construction of mosques, but have

also furnished and equipped them with all the essentials and have allotted

money to pay for maintenance and running costs. The rst mosque to be built in

Kuwait was Al-Baher (Al-Ibrahim) mosque, completed at 1696 (MAIA 1997,

p.27). Mosque building and maintenance activities continued in the same

individual benevolent manner over the years from 1696 up to 1949. MAIA

renovated most of the old mosques built around Kuwait during the period from1949 to 1960. After independence, most mosque construction activities were

given to the Design Section [DS] at the MPW. In the newly founded residential

Fig. 2. Total number of MAIA mosques according to design types.(Ref. MAIA in 50 years 1997).

137A Study of the Design of Mosques Of The Ministry of Awqaf and Islamic Aairs in Kuwait


4/25

areas, the National Agency for Housing Welfare [NAHW] was given the task of

mosque construction since it is responsible for the establishment of these areas.

After completion of construction. The MAIA takes over the responsibility of

supervision, maintenance and operation of these mosques in terms of theappointment of Imam and Muezzin for each mosque.

METHODOLOGY

To determine the main design components of MAIA mosques it was necessary

to carry out an architectural survey. A sample of the total population of these

mosques was selected for the visual architectural survey. Sample selection was

based on availability of architectural drawings of MAIA mosques and aimed to

cover the most frequently used and more recent MAIA mosque types. Aftercollecting a large number of mosque drawing for the sample, the author

classied them and sieved the relevant ones that could be used for the visual

analysis. Time and resource limitations available to the author restricted the

number of mosques selected.

As mentioned earlier the total number of MAIA mosques is 114. This

represents 14% of the existing 795 mosques in Kuwait according to 1998

statistics from the Mosques Department [MD] at the MAIA. This comprises all

public and private, old and new mosques, including those of the MAIA (Fig. 3).Of that number there are 345 government-funded mosques in Kuwait, one third

of which are the MAIA mosques. This puts the MAIA mosques in context in

terms of size and magnitude.

Governates

Fig 3. Distribution of total existing number of mosques in Kuwait by governate.

(Ref. MAIA in 50 years 1997).

138 Omar Khattab


5/25

Out of the population of MAIA mosques, a sample of 12 mosques was

chosen for analysis in this paper. There are 15 dierent design-types, as well as 7

non-type mosques that are developed by the DS sta at the MPW for the

MAIA. Due to limitations of available data at the MPW, a sample of 9 of thesetypes are covered in the visual and architectural survey in addition to 3 other

non-type mosques that do not follow the design-type system, which are

Musallam, Mulla Saleh and Jahra mosques. Table (1) shows the relation

between the surveyed sample and the total population of MAIA mosques.

Table 1: Relation between sample size and total number of MAIA

mosques according to design types.

Type 1 2 3 4 7 8 9 9A 10 11 11A 13 15 20 60 Non-type Total

Number 4 6 11 1 14 11 1 9 7 13 3 16 9 1 1 7 114

Sample 0 0 0 0 0 0 0 1 1 1 1 1 2 1 1 3 12

As stated ealier, each design type prescribes a set of areas and proximity

relationships for all the functional components that need to be designed. In the few

specic cases of MAIA mosques that did not follow the type system [non-type

mosques], more freedom was given to DS sta to formulate the design brief

according to site conditions, basic requirements, context, and personal innovations.

The available architectural drawings of the 12-mosque samples were obtained fromthe MPW and redrawn by the author who also photographed their external facades.

Attention is given in this paper to the documentation and analysis of the

design component parts of the mosques surveyed. According to the criteria set

by Frishman (1994), the main components of a mosque are the haram (prayer

hall), sahn (courtyard), riwaq (colonnade), qibla wall, mihrab (niche), minbar

(pulpit), dikka (tribune), kursi (Qur'an holder), maqsura (imam's lodge), maida'

(ablution place), minaret, and portal. For the purpose of this research and due

to the nature of MAIA mosque design the visual analysis in this paper is limited

to some of these components namely the haram, sahn, riwaq, qibla wall,minbar, mihrab, minaret, maida' and portal. The rest of the components are not

dealt with here. The focus is, however, on plan forms, elevations and external

components, e.g. minarets, and portals.

It is not the aim or scope of this paper to make a comparison of the design of

old and new mosques of Kuwait. However, in order to describe the typical

component parts of a traditional Kuwaiti mosque, two outstanding examples of

old mosques, Al-Khalifa and Al-Saeed mosques, are referred to. While the rst

example is regarded as the most representative among old Kuwaiti mosques

(Lukoke 1978, p. 148), the second example is said to be the only remainingmosque in old Kuwait town which preserves many of its original architectural

features (Al-Rashoud 1995, p. 203).



6/25

A DESIGN PROCESS

As a common practice in Kuwait after the commission to build a mosque is

given to the MPW by the MAIA, the DS at the MPW takes over the job andembarks on completing the design documents of the new mosque. The MPW in

conjunction with the MAIA have developed a set of design guidelines for

mosques, dealing with all aspects of mosque construction.

While the MAIA has developed a set of general design requirements for all

mosques, the MPW has developed the design types for various mosque sizes and

outlined the specic design guidelines for each type. The latter include a list of

all component parts, the preferred square meter area for each of them as well as

the governing relationships among all these components, in addition to the

prescribed architectural treatment and nishing materials selection.

However, some freedom is given to individual DS sta in the choice of

architectural treatment of each project providing they abide by the guidelines.

Since the MPW employs foreign expatriates as DS sta, the nal design output

depends, to some extent, on each designer's professional background. This has

resulted in the variety of architectural treatments of the mosque types and in the

dierent interpretations of the MAIA design guidelines. In order to study the

design of MAIA mosques it is essential to rst understand the nature of these

guidelines. Therefore, it is important to summarise these guidelines as athreshold for the analysis of the output design patterns.

MAIA & MPW Guidelines for Mosque Design

The guidelines are divided into general comments on the design as a whole, and

specic requirements for various mosque components. Extracts from MAIA &

MPW archives were obtained and translated by the Author. While the genral

requirements apply to all mosque sizes and types, the specic requirements vary

between types depending on their size.

General Requirements

These come in the form of a set of general design suggestions as follows:

1 - Simplicity must be sought in internal and external design, without

contradictions to worship requirements.

2 - Circular shapes must be excluded and plans should be congurations of

rectangular and square shapes to ensure regularity of prayers lines.

3 - Friday mosques should be provided with fully equipped libraries.

140 Omar Khattab


7/25

4 - Harmony must be sought in selection of indoor furnishings and outdoor

colours.

A marble plinth of at least 1m high should be made all around internal walls.

Specic Requirements

This part deals with detailed requirements for each mosque component. They are

meant to help designers form evaluation criteria for the design of new mosques.

They include specic guidelines on area, height, shape, and proportions of all

mosque components, such as the haram, sahn, riwaq, minaret, and maida'.

VISUAL, ARCHITECTURAL ANALYSIS

Frishman (1994) has identied nine typical mosque components; demarcated

space (which contains the haram, sahn, and riwaq), the qibla wall, minbar,

dikka, kursi, maqsura, pool, minaret, and portal (Frishman 1994, pp. 32-41).

The visual analysis in this paper focuses on six of these nine components,

leaving out the dikka, kursi, and maqsura, as they are not customary to Kuwaiti

mosques in genral (Ibn Al-Roumy, 1988).

Each of the six components is visually analysed across the 12 sample

mosques, then singled-out in a separate descriptive sketch plate containing aselection of representative examples from the surveyed sample. Each sketch

plate contains the author's hand-drawn plans, sections, or elevations

representing a particular mosque component. One of the plates contains the

author's most recent photographs of some of the MAIA mosques surveyed in

order to demonstrate visually the similarities and dierences in the architectural

image of the sample.

Prior to analysing the MAIA mosque sample, the author traced the historical

precedent of mosque components, drawing on some examples of traditional

Kuwaiti mosques with a focus on the two cases of Al-Khalifa and Al-Saeed

mosques. This is done with the aid of old photographic records of some other

traditional mosques (Fig. 4) and more recent images, plans, elevations, and

minaret details of the old Al-Khalifa and Al-Saeed mosques (Figs. 5 & 6),

indicating the existence of all the six main components in traditional Kuwaiti

mosques. As Lukoke (1978) states about the design of these mosques:

Old mosques of Kuwait were built following the open-mosques type prevailing in

the Arabian peninsula. The roofs of prayer halls in these mosques were supported

by wooden columns. Each mosque contained one prayer hall preceded by a riwaqon the entry side which is connected to an open courtyard on the opposite side of

the qibla wall. (Lukoke 1978, p. 148).



8/25

The Haram Al-Awadi Mosque The Mihrab & Minbar Al-Mataba Mosque The Portal Al-Khalifa Mosque

The Portal Said Al-Atibi Mosque The Qiblawall Al-Mutawa Mosque The Qibla Wall Naif Mosque

The Minaret Al-Flaij Mosque The Minaret Naser Al-Badr Mosque

The MinaretAl-Mediras Mosque

The MinaretIbn Habla Mosque

The Minaret Al-Nisf Mosque

Source: From Ibn Al-Roumi "History of Old Mosuqes of Kuwait".

Fig. 4. Examples of early mosques built in Kuwait over the past 3 centuries.

142 Omar Khattab


9/25

Al-Khalifa Mosque Al-Saeed Mosque

Entry Facade, Al-Khalifa Mosque Entry Facade, Al-Saeed Mosque

HISTORICAL

PRECEDENT

Minaret Details Minaret Details

Source: Author's sketches after drawings obtained from the Architectural & EngineeringAffairs Department, the National Council for Culture, Arts, and Letters, Kuwait.

Haram Riwaq Sahn Haram Riwaq Sahn

Fig. 5. Main components of Al-Khalifa and Al-Saeed mosques.



10/25

Riwaq Haram

Qibla WallPortal

MinaretAl-Khalifa Mosque

Sahn

Qibla Wall & MinaretAl-Saeed Mosque

HISTORICALPRECEDENT

Mihrab & Minbar

Fig. 6: Recent images of Al-Khalifa and Al-Saeed mosques.

144 Omar Khattab


11/25

The plans of the Al-Khalifa and Al-Saeed mosques demonstrate the presence

of haram, riwaq, and shan in similar procession in old Kuwaiti mosques. The

rest of the main components, i.e. qibla wall, minbar, maida', minaret, and

portal, are also visible in the visual analysis of both traditional mosques (Figs. 5& 6). These two examples are, to a great extent, typical of the conguration of

traditional Kuwaiti mosques.

MAIA Mosque Components

1 . The Demarcated Space

This component contains the sub-components of haram, sahn, and riwaq.

Originally the haram and riwaq were roofed while the sahn was open to the sky.Due to the harsh weather in Kuwait, all MAIA mosque-types have adapted a

modied version with all three sub-components covered and mechanically air-

conditioned. From the architectural survey carried out on the MAIA mosque

sample, it is clear that the riwaq separates the sahn and haram as a transitional

space in all cases. Upon entry, one rst comes to the sahn which is a large space

with a high ceiling, then passes through the riwaq which is narrower and lower,

to arrive nally at the haram which is the main focal element that is naturally-lit

by sky light or clearstory.

The proportions of these 3 parts vary according to mosque capacity and

design. This variation is apparent in Table 2, which is based on the MAIA

mosques sample and in Table 3, which is based on the old mosques sample.

Comparison of the averages in both tables indicates that while the sahn played

an important role in old mosques where it occupied 50% of the demarcated

space area, its role is marginal in MAIA mosques (only 20% of demarcated

space). At the same time the role of the haram has increased from 20% of the

area in old mosques to 50% in the MAIA sample. This can be attributed to

adaptation to severely hot weather in Kuwait where an open sahn should bekept to the minimum size.

Table 2: Proportion of the haram, riwaq and sahn to the demarcated space

in the MAIA mosques sample.

Type 9A 10 11 11A 13A 15 15A 20 60 Musallam Jahra M.Saleh average

Haram 0.5 0.4 0.4 0.4 0.4 0.6 0.6 0.6 0.4 0.5 0.4 0.5 0.5

Riwaq 0.4 0.2 0.2 0.2 0.2 0.3 0.3 0.3 0.3 0.2 0.2 0.4 0.3

Sahn 0.1 0.4 0.4 0.4 0.4 0.1 0.1 0.1 0.3 0.3 0.4 0.1 0.2



12/25

Table 3: Proportion of the haram, riwaq and sahn to the demarcated space

in the old mosques sample.

Type Al-Khalifa Al-Saeed average

Haram 0.25 0.3 0.3

Riwaq 0.25 0.2 0.2

Sahn 0.5 0.5 0.5

The sahn, in 50% of the cases surveyed, is surrounded by the riwaq on 4

sides, while the other 50% has only a single riwaq from the haram side. A

Mosque's main entrance is often found perpendicular to the qibla wall. The

haram has a partly high level ceiling in its centre, covered by a dome with aclearstory in 60% of the sample and covered only by a clearstory in the

remaining 40%. Arrangement of the components of the demarcated space, i.e.

the haram, riwaq, and sahn, in the MAIA mosque sample is shown in Fig. 7.

Mosques are identied in all the analysis gures in this paper by either a name

or a type number depending on whether they are following the type design or

not. In addition to this, design-types 11, 13 and 15 were modied from the

original type design throughout the period of implementation, and therefore are

referred to in the gures as 'modied'types.

2. The Qibla Wall

What makes a mosque a mosque? The answer is forbiddingly simple: a wall

correctly oriented towards the qibla, namely the Black Stone within the Ka'ba in

Mecca. (Hillenbrand 1994, p. 31).

The wall that Hillenbrand meant in this quotation is the qibla wall. This

important component contains the focal point of any mosque, namely the

mihrab which is a recess or niche in the wall for the Imam to lead the

congregation in prayer. Worshippers have to observe the location of mihrab in

order to face the right direction during their prayers. With mihrab in its mid-

point, the qibla wall has become an important element in mosque architecture.

All MAIA sample mosques have adopted a qibla wall model that has no

openings, at least at the worshippers' level, and has a mihrab alcove exposed

outside the wall. This important element, externally visible, has led this

component to become a reference point to qibla direction for residents in the

mosque's vicinity. The reason for the windowless qibla wall, as indicated in the

MAIA design guidelines, is to avoid distraction and diversion of prayers'attention during the Friday sermon (khutba) and during prayers. A few rear

views and sections of qibla wall from the surveyed sample are shown in Fig. 8.

146 Omar Khattab


13/25

Jahra Mosque

MosqueType 11

MosqueType 20 Mulla Saleh Mosque

Source: Author's sketches after original drawings obtained from M.P.W. Kuwait.

Haram,Sahn, &Riwaq

Qibla Direction

MosqueType 15

MosqueType 9A

Musallam Mosque

HARAM

RIWAQ

RIWAQ

SAHN

HARAM

RIWAQSAHN

HARAM

RIWAQ

SAHN

HARAM

RIWAQ

RIWAQ

SAHN

HARAM

RIWAQ

SAHN

HARAM

RIWAQ

RIWAQ

SAHN

HARAM

RIWAQ

SAHN

Fig. 7: Haram, Sahn, and riwaq as surveyed in the MAIA mosque types.



14/25

Type 20

Type 20 Type 11 [Rear Side]

Type 11 Type 9AMusallam

Cross Sections

Source: Author's sketches after originaldrawings obtained from M.P.W., Kuwait.

Qibla Wall

Jahra [Rear Side]

Type 15 [Rear Side]

REAR SIDEOF MIHRAB

REAR SIDEOF MIHRAB

REAR SIDE

OF MIHRAB

Fig. 8: Qibla wall examples as surveyed in the MAIA mosque types.

148 Omar Khattab


15/25

3. The Minbar

This is a pulpit or raised platform for the Imam to be comfortably seen by

worshippers during the delivery of the Friday sermon. The mihrab and minbar

are assumed to be the most important features of a mosque, as all worshippers

have to position themselves perpendicular to them during prayers. Therefore, or

eort is made to distinguish the minbar and mihrab from the rest of the qibla

wall through architectural treatment and ornamentation. MAIA mosques have

adopted a built-in type minbar integrated with the mihrab, and always

positioned to its right, in a single unit that may have been inspired by inuences

from the nearby Indian sub-continent. Ninety-two% of the MAIA mosque

sample showed a three-compartment unit for the minbar and the mihrab and aspace for or amplifying sound system to the left of the mihrab which is in the

middle of this unit. The remaining 8% of the sample, which is type 15, showed a

two-compartment unit. The three-compartment unit has an axis of symmetry

passing through the centre of the mihrab with some special articulation to

highlight the minbar. This articulation for both minbar and mihrab mainly uses

Islamic geometric and oral patterns and motifs, such as mukarnas, integrated

with Arabic calligraphy of verses of the Qura'n as the main source of

decoration. Frequently used materials for decoration of minbar and mihrab in

MAIA mosques sample are marble, ceramic tiles, and stucco. Some surveyedexamples of minbar and mihrab demonstrating the prevailing variations are

shown in Fig. 9.

4. The Pool, or Ablution Place

Traditionally this element is introduced as an outstanding feature, with or

without a fountain, in the open-to-sky sahn. In addition to fullling the

prescribed ritual of ablution before prayer, it also serves as an aesthetic element.

Since MAIA mosque types have a roofed and air-conditioned sahn, the pool

took the form of an enclosed unit containing ablution space and restrooms at

the edge of the mosque.

The location of the pool is decided based on the Islamic rule that a man using

a toilet should not be in the direction of qibla, which is clear from the

orientation of all W.C. cubicles shown in Fig. 10. It is also apparent from

surveyed examples that the pool has a direct access from outside, in addition toan access to riwaq or sahn, in order to maintain the separation between the

impure domain of the W.C. area and the pure domain of the haram.



16/25

Type 15

Type 9A

Musallam

Mulla Saleh

Type 11

Type 15

Source: Author's sketches after original drawings obtained from M.P.W., Kuwait.

The Minbar

&

The Mihrab

Type 20

Type 20

Jahra

Jahra

Fig. 9: Minbar and mihrab as surveyed in the MAIA mosque types.

150 Omar Khattab


17/25

Mulla Saleh Mosque

Qibla Direction

Type 9A

Type 15

Source: Author's skectche after original drawings obatined from M.P.W., Kuwait.

The Pool [Ablution]

Jahra Mosque

Musallam Mosque

SAHNMEN'SW.C.

MEN'SW.C.

MEN'SW.C.

WOMEN'SW.C.

ENT.

ENT.

STORE

WASHBASINS

MEN'SABLUTION

MEN'SABLUTION

IMAM'S ROOM

WO

MEN 'S

ABL

U TION

MEN'S

ABLUTION

MEN'SABLUTION

ELECTERICAL

ROOM

SUPER-VISORS

ROOM

RIWAQ

Fig. 10: The pool or ablution as surveyed in MAIA mosque types.



18/25

5. The Minaret

Although this component part has lost, to a great extent, its original intent as a

high place to broadcast the call for prayer (adhan) as far as possible, it has

acquired a greater role in mosque, and perhaps Islamic architecture. The

minaret has not only become the identifying feature of a mosque, but also it has

become the symbol of Islam. The tradition was to build one minaret for each

mosque until the Ottoman era when twin minarets came in to existence (Fletcher

1998). Currently there are mosques with more than two minarets, for example

Al-Haram Al-Sharif Mosque in Mecca has seven minarets.

Minarets in the mosques of Kuwait were building of low height and almost at

roof level or slightly higher. (Lukoke 1978, p. 148).

Lukoke (1978) states that in 1912 there were a few minarets in Kuwait thatcould hardly be seen above the rooftops of the houses due to their low height.

Also Gardiner (1983) conrms that during the 1920s there was no signicantly

high minarets.

There were no great buildings in Kuwait, no mosques with gleaming sea-blue

domes, no unique pieces of special historical signicance. (Gardiner 1983, p. 39).

This emphasises the fact that traditional mosques of Kuwait were simple and

humble in their architectural features. MAIA mosque-types have adopted the

single and simple minaret model, apart from the large capacity model type 20

(more than 2000 worshipper capacity) where there are two minarets. It is alsoobserved that all minarets in the sample are located to the right of haram, apart

from Jahra mosque where it is to its left. Again, this is in adherence with the

specic requirements in MAIA design guidelines. The dominant plan forms of

minaret shafts in the surveyed sample are the octagon and the square shapes

(percentages are 67% and 25% respectively). Occasionally we nd a shaft with a

circular plan (only 8%) as in Table 4.

Table 4: Minarets' shaft plan shapes in MAIA mosques sample.

Minaret's shaft plan shapes Total no.

Plan shape Octagon Square Circle

No. in sample 8 3 1 12

All minarets have a spiral concrete staircase in the centre leading to mosque's

roof and balcony level. All surveyed minarets are relatively low (height ranges

from 21 to 29 meters), apart from type 20 where height is 45 meters, with only

one balcony level ending with a bronze crescent xed over their dome-like top

part. Again this brings to mind the traditional Kuwaiti forms of low rise, one-balcony level minarets shown earlier in the examples of old mosques. Examples

of minarets from the MAIA mosques sample are shown in Fig. 11.

152 Omar Khattab


19/25

The Minaret

Type 11

Type 11

Type 20

Source: Author's sketches after original drawings obtained from M.P.W. Kuwait.Note: Minarets are not drawn to the same scale.

Section

Jahra

Type 15

Type 15

Jahra

Musallam

Musallam

Mulla Saleh

Type 9A

Type 9A

Fig. 11: Minarets as surveyed in MAIA mosque types.



20/25

6. The Portal

This is basically the threshold between hasty earthly life and the tranquil

atmosphere inside the mosque. It is overloaded with symbolic meanings, as the

saying goes; believers should take their mind o all earthly matters as they take-

o their shoes at the portal to enter the mosque. While, traditionally, the minaret

served as the reference to the location of a mosque from a far distance the

portal, at a closer distance, is the reference to its heart, i.e. the prayer hall. Much

attention is paid to design of portals in MAIA mosques in order to dene them

unmistakably. In all surveyed examples the portal is raised a few steps above

pavement level and is surrounded by a protruding frame, colonnade or canopy

casting shadow on it for further identication from the rest of the entry wall.

Furthermore, the portal should also reect the generosity of the mosque'spatron, in case it is nanced through individual Waqf (inheritance) administered

by MAIA. For this, the patron's name is engraved on a marble sign put close to

the portal which also identies the mosque's name (if dierent from that of the

patron's) and completion date (Fig. 12). MAIA mosques use a combination of

building materials, which is standardised for unity and simplicity. Combinations

include lime or sand bricks for walls with plaster and paint for roof trims.

Alternatively lime or sand cut-stones for walls together with marble slabs for

roof trims.

Similarities and Dierences

Previous analysis demonstrates that through the application of MAIA mosque

guidelines, a number of design patterns have emerged in the form of the various

mosque-types developed. Visual analysis shows that there are underlying

similarities and dierences between these design patterns. One of the similarities

is that all mosque types follow the pre-set MAIA guidelines and have the same

component parts. They share a simple plan and elevation and, to some extent,

reect values and traditions of old mosque arcchitecture in Kuwait; e.g. simple

and regular plan forms without formal sophistication, low and single balcony

minarets, and simple parapets without crenellations. Also all types use more or

less the same combination of nishing materials with minor variations; e.g. cut

limestone instead of lime bricks.

However the design types, though generated through the same guidelines,

dier amongst themselves in the architectural variations of facades and main

elements, such as domes and minarets where individual designer's innovations

are permitted. They also have dierent plan congurations for the same

component arrangement (Fig. 13). The previously mentioned similarities anddierences are merely observational and stem from the visual analysis. A more

in-depth comparison study of the MAIA mosque-types on the one hand, and of

154 Omar Khattab


21/25

Type 11

The Portal

Type 9A

Source: Author's sketches after original drawings obtained from M.P.W. Kuwait.

Musallam

Type 15

Type 15

JahraJahra [detail]

Fig. 12: The portal as surveyed in MAIA mosque types.



22/25

Type 15 [modified] Musallam mosque

Source: Author's transparencies.

Type 60 Type 20 Type 15

Type 11 Type 11 [modified] Type 10

Type 9A Type 13 [modified] Mulla Saleh mosque

Fig. 13: Examples of surveyed MAIA mosque-types.

156 Omar Khattab


23/25

the old mosques of Kuwait on the other, may substantiate these ndings and

reveal more results.

CONCLUSION

In this paper a representative sample of the MAIA mosque population was

visually and architecturally surveyed in an attempt to document the design

process and features of this signicant segment of mosque architecture in

Kuwait. Since these mosques are directly nanced and designed by the Kuwaiti

government, it is assumed that they should be a symbol reecting the country's

political stance and asserting its inherited values and traditions. The author tried

to examine how much the design process of MAIA mosques allows for that

intent to materialise.

MAIA mosque types are a product of two processes; the rst is the

application of the MPW and MAIA guidelines for mosque design and the

second is the limited individual innovations of the DS sta at the MPW. As

indicated earlier, application of the rst process has produced some similarities

among MAIA surveyed mosques especially in terms of plan congurations and

overall appearance. Application of the second process has led to some

architectural dierences among them notably in fac ade treatment and specic

design components such as domes and minarets.

Like the homes and buildings the mosques of old Kuwait were simple, with low

minarets and little decoration. Today there is an exquisite mosque in every street,

some in traditional, many in ultra modern, Islamic styles. (Kuwait State

Directory 1998, p. 19).

While the latter part of this statement conrms the fact that new mosque

architecture in Kuwait, by-and-large, has little attachment to its past, its rst

part probably summarises the design criteria that MAIA mosque-types are

adopting. That criteria is generally simple, straight forward, and to some extent

derived from old Kuwaiti mosque forms as has been primarily presented

throughout the visual and architectural survey of the sample. So far, this criteria

has succeeded in creating an easily recognisable and unmistakable image of most

MAIA mosques. What is yet to be achieved is a contemporary image that

reects the long tradition of mosque architecture in Kuwait. This can only be

possible when more insightful architectural guidelines, derived from the careful

analysis of the traditional mosques of Kuwait, are available to designers for

reference and application.

This study does not claim to have deeply exhausted the issue of MAIAmosque design, since this requires a more extensive, deep and broad study using

a larger sample size and more in-depth coverage. Nonetheless, it regards itself as



24/25

the threshold to further elaborate research on the matter. Parallel to this, a

similar study has to be conducted on the traditional mosques of Kuwait in order

to explore further the historical precedent and to draw a set of reference

guidelines for the design of new mosques that may reect Kuwait's nationalidentity. Comparative analysis across these two studies would help in giving

some needed insight to MPW design sta responsible for the design of new

mosques.

REFERENCES

Al-Rashoud, C.F. 1995. Mosques of Kuwait. In: Fullerton, A. & Fehervari, G. (Ed). Kuwait Arts

and Architecture, a Collection of Essays. Pp. 199-207. Oriental Press, UAE.

Fletcher, B. 1998 (20th ed.). A History of Architecture. Architectural Press, Oxford, UK.

Frishman, M. 1994. Islam and the Form of the Mosque. In: Khan, H.U. & Frishman, M. (Ed). TheMosque. Pp. 17-41. Thames and Hudson Ltd, London, UK.

Gardiner, S. 1983. Kuwait the Making of a City. Longman, Essex, UK.

Hillenbrand, R. 1994, Islamic Architecture. Edinburgh University Press, Edinburgh, UK.

Ibn Al-Roumy 1988. Tariekh Masajed Al-Dierah Al-Qadima. [or History of the Country's Old

Mosques] Al-Qabas Commercial Press, Kuwait. (in Arabic).

Khan, H.U. 1994. An Overview of Contemporary Mosques. In Khan, H.U. & Frishman, M. (Ed).

The Mosque. Pp. 247-267. Thames and Hudson Ltd, London, UK.

Kuwait State Directory 1998. Kuwait, Multimedia Publishing, Kuwait.

Lukoke, R. 1978. Al-Emara Al-Taklidiya Al-Kuwait wa Shamal Al-Khalij. [or The TraditionalArchitecture of Kuwait and the North of the Gulf]. London, U.K. (in Arabic).

Ministry of Awqaf and Islamic Aairs [MAIA] in 50 years 1997. A Ministerial report prepared by

the Information Unit, Planning and Follow-Up Administration, Planning and Development

Section, Ministry of Awqaf and Islamic Aairs [MAIA]. Kuwait.

(Submitted 14 May 2000)

(Revised 4 February 2001)

(Accepted 21 March 2001)

158 Omar Khattab


25/25

OQGS?yAZ}+~|T9FOhRGQIG}hs9ahGyW|hfGS;|+?p,Gyw(*B

f}QLa9H

sT~Gyg}9QI,vz+?Gy%"OS?hGy=AQhd,F9|g?Gyw(*B

L;Y?

Gy}TGO$(C$~hChd

A Study of the Design

Documents

Transcript of A Study of the Design