Interior designer

The mosque complex is comprised of two levels. The first level consist of main prayer hall, administrative office, library, royal antechamber, imam’s room, verandah area, conference hall, mausoleum, and rectangular pool where the minaret is located and a covered walkway which provides access to the mausoleum. *fix , kefir, The separate women prayer space is on a mezzanine floor above the main prayer hall. This space is accessible by two concrete staircases located on either side of the front entrance to the main prayer hall.

The classrooms, service areas and ablution facilities are located at the ground floor area. The configuration of the National Mosque layout portrays a ” sense within space” spatial relationship. In this type of space relationship, there exists visual and spatial continuity between the inner and external spaces. The prayer hall is also positioned and orientated according to the same and lines of the verandah area. The verandah acts as an ancillary or transition spaces before entering the primary area.

Although the overall spaces in the mosque complex are in the form of one assemblage focusing at the center, it presents a loosely controlled combination of spaces. This is due to the existence of pathways from ultimate entrances the link main prayer hall and secondary areas. The path configuration inside the mosque is not based on a straight linear path where a dominant axial path organizes the series of spaces and movement.

Instead , it portrays a configuration of pathways that is designed based on ” ring syntax”, where it is punctuated by a series of important nodes like the reflecting pool and covered pavilion. This ” ring syntax” employs a combination of movement patterns due to nodes like the reflecting pool, covered pavilion and open courtyard that punctuate the paths of movement throughout the building. This series of nodes not only serves as a visual counterpoint for the users, but also allows them to have a different experience each time they move throughout the inner areas of the mosque.

Here the designers seem to succeed in the spatial arrangement since the building no longer acts as block of built form but as a series of spaces connecting the outside and inside. Instead of placing all the spaces in too single. The facade of the National Mosque does not present a hierarchical composition or order of vertical elements. The dimension of the horizontal elements at the north, out, east and west facades are extended further and emphasized horizontally. This results in a stable overall exterior form.

The horizontal element visually lowers the overall building height. Although there are elements that are drawn vertically, such as the minaret, the exterior facade does not present any distinct fulcrum at all subordinate levels at the roof, wall and base sections which can produce perceptual dominance. Here, the configuration of figures (vertical and horizontal elements) at the three levels of the exterior facade is not overtly articulated. This forms unity and rhythm, as the aground spaces between these figures are not segregated but homogeneous in character.