Assyafaah Mosque, Singapore by Tan Kok Hiang and Forum Architects -- Full Page | Project Portfolio | Architecture-PageAssyafaah Mosque, Singapore
Designed by Tan Kok Hiang and Forum Architects, this building provides a boldly modern face to Islam by creatively re-interpreting the traditional form of the arabesque - a universally recognizable symbol of Islamic Art and Architecture. Contemporary materials such as fair-faced concrete and aluminum (for the intricate arabesque screens) are used to dramatic effect.
By: Forum Architects
View of the Assyafaah Mosque in its urban context.
Project Details
- Project name: Assyafaah Mosque
- Client: Majlis Ugama Islam Singapura
- Project type: Religious Building
- Principal designer/s: Tan Kok Hiang
- Design team:
- Structural engineer: Web Structures
- Mechanical & Electrical: Alpha Engineering Consultant
- Quantity surveyor: Davis Langdon & Seah Singapore Pte. Ltd.
- Interior designer: Forum Architects
- Calligrapher: Yahiya, Xian China
- Contractor/s: Evan Lim Construction Pte. Ltd.
- Date of commencement of project: May 2000
- Date of completion of project: April 2004
- Location of site: 1 Admiralty Lane, Singapore 757620
- Site area: 2500 s.m.
- Built-up area: 3489 sq.m.
Traditional motifs are transformed and re-interpreted: (left) arabesque screens add an intricate porous layer to allow daylight and cross ventilation to extended prayer gallery (right) recessed mihrab in white aluminium panel with Islamic calligraphy cutout in the main prayer hall.
The Project
The Assyafah Mosque is a project that makes creative use of a contemporary interpretation of the arabesque, a universally recognizable symbol of Islamic Art and Architecture, to create an original identity for the modern mosque. The use of the positive arabesque, a double arabesque to make the notions of overlapping geometries more explicit and negative arabesques are seamlessly incorporated in the design of this mosque. The architects state that "the use of the arabesque patterns to symbolize the Quran's attributes provides a link to the past."
Elevation drawing - of the mosque showing the rich pattern of arabesque screens that wrap the building [opens in pop-up window - 26KB image]
The arrangement of spaces takes advantage of the site which is askew from the orientation to Mecca (the Kiblat) "to create more proportionate architectural masses as well as emphasize the segregation of different functions."
Plan of the ground floor - showing the orientation of the mosque with respect to its site, as well as the main hall with its ribbed and arched fairfaced concrete structure. [opens in pop-up window - 50KB image]
The finishes are infused with suggestions of the arabesque patterns, laid not in the traditional gridded fashion but layered with additional play of geometry. The patterns of the specially designed carpet in the main prayer hall suggests a multi-layering of patterns whilst serving as guides as 'safs' for the people who pray.
Prayers in the main hall in session on the custom made carpet with 'saf' line, with the Quran rack visible in the background.
Views of the minaret made of modular rusted metal plates in receding layers rising towards the sky, that marks the entrance of the mosque: (left) the minaret at the forecourt against the front facade in aluminium arabesque screens (right) the stainless steel crescent star at the top.
Drawing of the minaret [opens in pop-up window - 32KB image]
The finish of the minaret (which would develop a coat of rust over a period of time) is intended to minimize the need for maintenance as well as allude to a natural colour. The arches are intended to present a raw feel to contrast with the generally stark and well finished interiors.
The column free prayer hall framed by its ribbed and arched fairfaced concrete structure rising from the floor and opening upwards towards the quadruple volume in front of the mihrab wall (on the right).
Drawing of the arched concrete superstructure [opens in pop-up window - 27KB image]
The three-dimensional arches, which serve the purpose of transferring the structural loads of the upper three storeys help provide a column free span in the lower prayer space. At the same time, they serve to guide the eye of the user towards the four-storey high marble clad mihrab wall, bathed in natural light.
Views of the toplit four-storey high volume in front of the marble-clad inclined mihrab wall: (left) when not in use and (right) with prayers in session led by the Imam.
Longitudinal section - along main axis, with the inclined mihrab wall on the right. [opens in pop-up window - 32KB image]
Elevation of the mihrab wall - with recessed central panel. [opens in pop-up window - 12KB image]
The main prayer hall as well as the women's gallery is naturally ventilated. The ground floor is raised above the existing ground level to facilitate better wind flow to the prayer hall which is open on three sides. Even the basement is designed with a 25% natural ventilation that exempts it from mechanical means of ventilation as well a sprinkler system. This results in capital savings as well as reduction in energy usage over the long run.
Transverse section - drawing showing the main prayer hall open on three sides. [opens in pop-up window - 27KB image]
In the words of the architects, "the modern face of the mosque allows its members to 'distance themselves from Islamic terrorism' since modernity is the enemy of fundamentalist Muslims". The modern design invites everyone, including non-Muslims to visit and thereby plays down the boundaries between people of all races and religions.
The Quran rack in the main prayer hall made of glass shelves cantilevering from the wall partitioned by modular steel plates washed with daylight from above.
Quiet reflection on the black granite floor opening towards the white mihrab wall in the main prayer hall.
Credits
- Text courtesy the architects.
- Photographs: Albert Lim, Singapore
- Compiled by Suprio Bhattacharjee
