Description

The mosque is an exceptional building that is as grand in scale as it is in its gesture. Massive concrete petal-like shells rise up to shelter the prayer room at its heart, and a broad stair ascends to a raised square from which a wooden portal leads into a long shopping arcade, the “bazaar”. The wedge-shaped rearward building acts as a protective backdrop to the main dome and two needle-tipped, crescent-moon-crowned turrets signal the mosque’s presence far and wide. The assemblage of forms cast in fair-faced concrete plays with the elements of classical dome mosques while complementing them, and at the same time figuratively represents what the Muslim population in Cologne has built up in many places over the past few decades: small clusters of shops and tea rooms often grouped around a prayer room. Most of them were provisional in character, often as interim tenancies or in backyard locations. Over time, the Muslim communities wanted to come forward and be more visible, and, with the support of the city of Cologne, embarked on building a new central mosque.

The mosque in Cologne is intended as a symbiosis of tradition and modernity and was the subject of a competition in 2006 won by Paul Böhm, whose design had the virtue of being both immediately recognisable while also leaving sufficient room for interpretation. Nevertheless, the presentation of the design marked the beginning of contentious and at times fierce public debate. Differences of opinion also arose between the architect and the client, the Turkish association DITIB. The design of the dome illustrates very vividly where the lines of conflict ran. Domes are not a genuine element of Ottoman architecture and can also be found in Christian churches as well as in prominent secular buildings all over the world. This form is an element that Böhm has frequently drawn on in his work, however here he designed not a closed hemisphere but rather a concentric system of rings that rise from street level first cylindrically upwards before arcing inwards towards each other to form a notional dome made of segments, with glazing spaces in between and at the top. Together, the individual parts create an interior that is sheltered and also open. As such, Böhm’s dome is far removed from any classical typology, an impression reinforced by walking around and entering the mosque.

Neither the architect nor the DITIB were, however, willing to compromise on the height of the minarets, which are 53 metres high plus two metres for the crowning crescent moon. The development of the minaret form away from the traditional closed tower on a square ground plan with balcony and pointed roof to a filigree, open needle, which is encircled towards the top by two steel, seemingly free-floating rings, was, like the shape of the dome, a significant step towards something new, and was created specifically for this place. The wedge-shaped building, which Böhm placed along the northern and western edge of the site remains much lower than the dome, picking up the 17.4-metre-high eaves height of the surrounding buildings, and creates an elegant backdrop for the entire complex. From the neighbouring petrol station and football field one sees predominantly long façades of fair-faced concrete unbroken save for stretches of window interspersed with regularly spaced pilasters that convey a sense of sober order.

Despite its tectonic complexity and freestanding position, the mosque – which with a net above ground floor area of almost 11,000 m² also serves as a cultural and conference centre, administration, library and general meeting place – can be reached from all sides. Two large open flights of stairs to the right and left of the dome lead to the raised square. The conference area, which is located below the dome on the ground floor, is accessed from the street via two entrances, as is the bazaar. Two large portals with a solid oak grille lead to the passage containing a bank, shops and service providers. The main entrance to the mosque, however, is via the wide stair, which leads visitors in a sweeping arc from the street to the level of the square and entrance to the dome. From here, one is already a step away from the world outside. The inner face of the otherwise austere office wing is fronted by an open wooded arcade that opens onto the fountains on the square. A total of nine doors open from here onto the prayer hall, the two central, double-height portals articulated as heavy oak doors. The gesture is unmistakably welcoming and indeed, the prayer hall is almost always open, not only for prayer, but also to other secular visitors.

The interior of the prayer hall was designed not by Böhm but by a group of Muslim artists. Böhm envisaged architecture and ornament as one, rather than ornament being applied, however his idea was not realised. 1800 locally-cast stucco panels grace the interior and have a modulated octagonal relief developed by Merih Aykaç, Semih İrteş and studio NAKKAŞ from Istanbul, interspersed with gilded calligraphic panels. Both the panels and the larger lettering on the galleries were made in Turkey. A shining star crowns the underside of the glass apex.

The bright, broad domed prayer hall is a striking and unique space, regardless of whether filled with 1200 believers or a single praying individual: light and shadow play across the network of lines and ornaments, while the gaps between the wall sections reveal strips of the city, surrounding trees and sky. It is perhaps precisely this mixture of modern clarity and ornamental exuberance that makes this space so special.

Originally published in Bauwelt 21.2017, pp. 28-37, abridged and edited for Building Types online, translated by Julian Reisenberger

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