By Mozhan Khadem, Partner & Design Head, Payette Associates
Architectural Guidelines
What is currently happening in the Middle East from an architectural and artistic point of view is quite upsetting. A region that once produced truly original and magnificent examples of architecture is currently witnessing the desecration of its landscape by either a multitude of foreign imports (outrageous copies of the latest published architectural fads of Europe and America), or a vulgar display of superficial design motifs, decoration and arches that have been copied from Eastern historic examples. Undoubtedly, a multitude of religious, economic, social, political, climatic and geographic forces shaped the character of Islamic art and architecture. For the sake of brevity and at the risk of over-simplification, I would like to point out and compare two parallel but dissimilar aspects of Islamic and Christian ideology that in my opinion contributed to the evolution of architectural planning and design in their respective cultures.
Christianity with its emphasis on the mysticism of the sacraments from the very beginning greatly influenced the articulation of the space concept of Western architecture. The cathedral, therefore, has traditionally been treated as an “object” of adoration in space standing apart and aloof from man.
By the reason of the clarity of its exterior geometry and scale it is overwhelming. The interior, likewise, remains conceptually overpowering, for as the observer continues on his axial approach and after he has committed the act of entry into the inner spaces of the edifice, he is confronted with the symbolism of the altar whereupon occurs the mystery of the Holy Eucharist, an act that his mortal mind cannot comprehend.
This design attitude, especially as it pertains to the exterior of buildings, is one of the elements that has prevailed in the Western architecture. In modern times, although the functional basis for such a formal approach has ceased to exist, the majority of architectural programs are executed as objects in space. This has contributed significantly to the chaos of our modern cities.
In Islam, however, the secular aspects of life have been fully recognized. The mosque has never been considered a place where mystical phenomena occur. The Mihrab simply designates the direction for prayer. Many mosques have often served a multiplicity of civic functions such as schools, library, com-munity center, etc. It is indeed most interesting that both the exterior and interior architectural planning and space concept of these mosques correspond to their secular character. A great number of the mosques do not have a comprehensible exterior geometry and therefore are not “objects in space.” They literally merge from the fabric of the city and are integrated with their surroundings. Their architectonic value is that of the continuous interior spaces and courtyards that surround the observer, not an isolated building that stands apart from him. 1
In this kind of planning the diverse physical requirements of human society are incorporated into one organic whole and the significant architectural episodes such as the mosque, the university, the hostel, etc. are represented through the identification of appropriate entrance portals, fountains, changes of levels, vistas, etc. The beholder, therefore, is not aware of the exterior of any particular edifice. His architectural experience consists of his entry through a magnificent portal and the interlocking procession of the interior courtyards and spaces. 2
The sequence of spaces is not simply a series of mechanically laid out courtyards connected with links – a fallacy that has led to many abortive architectural attempts in the East and West – it is rather a procession of a variety of enclosures with differing scale, proportion and function. 3
The manner of transition between courts is most significant. These spaces of transition have been handled with supreme artistry. Each provides for a different function which psychologically prepares the observer for the succeeding architectural event. Each has its appropriate entrance portal that partially or completely conceals the full impact of the magnificent court behind it. 4
As these delightful courts unfold in a rythmic and hierarchical sequence before the bedazzled eye of the beholder he gains a profound artistic experience that cannot be attributed to any singular- architectural episode or any specified point in time. The experience is derived from the whole of the complex while observed in a state of motion (kinetic architecture).
Surface Treatment (Interior Design and Landscaping of Courtyards) Guidelines
As stated, the architectural organization of the project is conceived as continuous interior spaces and courtyards surrounding the observer rather than an isolated building that stands apart from him. We believe this reflects Islamic tradition in architecture. In such a concept of environmental design, architectural, landscape and interior space issues are not considered as separate tasks. They constitute integral and inseparable aspects of every design decision. The landscaping of an interior courtyard and the interior design treatment of walls and ceilings are thus part of one continuous exercise of “surface treatment” (e.g., Alhambra Palace).
1. Surface Treatment Reinforcing Architectural Principles
Surface treatment should bring to focus the intrinsic architectural characteristics of the complex and should express the geometry of the design and the structural concepts of the building more eloquently (e.g., Masjedi Shah, Isfahan. 5
2. Surface Treatment as Sensual Stimulus
In order to enhance the function of each particular space, surface treatment should respond to different human senses of meditation, interaction, privacy, repose, motion, etc. The flower bed (smell), running water and the fountain (sound), the decorative pool and the paving pattern of a courtyard (touch) should be recognized as integral parts or extensions of the surface treatment of the walls and ceilings with the calligraphy, tilework, niches, mosaic and decorative design of natural motifs such as flowers, birds and trees (e.g., the court-yards of Alhambra Palace, Qurauim Mosque, Fez). 6
3. Surface Treatment as Symbolism
Surface treatment in Islamic architecture seldom depicts a story as do frescoes in a Christian church. Be it calligraphy or a composition of motifs based on natural forms, it possesses very significant symbolic, cultural and theological meaning. Different kinds of birds, trees and flowers possess differing symbolic significance (as in Attar’s Mantiq-ul-tair). Depending on the degree of the sophistication of the observer, one can discover in such imagery and calligraphic designs, a host of literary, cultural, and religious concepts (e.g., wall treatment in Masjedi-Jami, Isfahan and other Islamic examples). Through the use of a variety of images, the interior of Islamic architecture can evoke in the viewer a mood and state of mind which in intentional. As the observer ponders these images, his state of mind is further enriched by the gradual unfolding of the magnificent symbolic content of these very same images. These interiors are reminders of the organic unity of the physical and ideological aspects of life. There are numerous histroic examples: Meydani-Shah Complex, Isfahan, Vazir Khan Mosque, Lahore, Alhamra Palace. 7
4. Surface Treatment of Entrance Portals
Entrance portals should be given very special attention in Islamic buildings since, very often, they are the only means by which an architectural function is identified. They have great importance. They also signify the beginning of a new architectural and artistic experience. Islamic entrance portals have traditionally received very special surface and volumetric treatment to articulate the nobility of their function. Quite often, over a period of time these portals are given names with mystical significance which attest to the artistic and cultural impact they have had for generations.8
Mozhan Khadem is the partner and design consultant of Payette Associates and this article is written in 1981.
References
1. The Aga Khan Hospital and Medical College does not have a defined and readily comprehensible exterior geometry. Like Masjedi Shah, Isfahan, Alhambra Palace and other historic Islamic examples, it consists of a weave of completely and partially enclosed interior spaces (courtyards) that always surround the observer.
2. In the design of Aga Khan Hospital and Medical College, significant architectural episodes and building functions are always identified by an entrance portal, changes of level, water fountain, etc.
3. All spaces in the Aga Khan Hospital and Medical College have a functional program including the courtyards, e.g., courtyard adjacent to outpatient department is the waiting room of the hospital. These courtyards, also depending on the functional requirements of the program, are designed to encourage interaction or privacy (e.g., courtyards of Medical College).
4. The entrance portals of Aga Khan Hospital and Medical College almost always lead to a transition space which prepares the beholder for the succeeding architectural experience.
5. The vocabulary and geometry of design for the interior surfaces always reinforces the existing architectural experience.
6. The sensual stimulus has been used often in the design of courtyards and the design of imagery used on the interior wall surfaces (e.g., Filter Clinic courtyard, interior wall surface of the Medical College Auditorium.
7. The decorative imagery designed for the interior of the facility such as the walls of the emergency patient room auditorium is calligraphy in the form of birds but with adequate concentration the work Mohamad can be read. The image of the birds reminds one who is familiar with the classic literature of Islam of works like Attars mystical birds and their search for truth. Also in the Medial College Auditorium a calligraphic design has been used recalling the face of a lion. Close inspection reveals that the design is made of the word ALI who is considered “The Lion of God” and this can recall a multitude of works by classic Islamic men of letter. All images used in the surface treatment have the kind of symbolic mystical content stated above. For the sake of brevity we will not elaborate further on this report.
8. All entrance portals and gates of the project have received special attention. For example, the entrance gate of the School of Nursing is metal gate with six calligraphic panels stating the following Koranic verses in mirror image.
a) Laellaha Ella Allah b) Allaho Akbar c) Odkholooha Be Salamen Amenin
