Description

Situated in the middle of the exceptionally varied urban townscape northwest of Al Nasser Square in the quarter of Deira in central Dubai, the mosque stands slightly offset from its neighbours. This is the only way it can assert its sacred function in the midst of its high-rise surroundings. The building has a rectilinear, stepped concrete form that rises three times from east to west and is clad in brown brickwork. The stepped terraces rise from 13.2 metres to 16 and finally 18.8 metres and underline the importance of the west side of the building that faces Mecca. The mihrab projects from the centre of the base of this elevation in the form of a white marble box, marked additionally by a thin vertical marble stripe that continues upwards to the roof. At the corner of the building, the minaret rises 45.3 metres into the sky, its tip projecting high above the Muezzin’s balcony.

Compared with this demonstrative symbol of faith, the two entrances are accorded less emphasis. The opening of one of the portals is located on the northwest corner of the mosque, the other on its southeast corner. A few steps invite the faithful to enter the building. A wide frieze over the lintel leads from right to left with Arabic script carved into the white marble relating texts from the Koran and intended as contemplative inspiration for the faithful.

A dedicated small building for ablutions lies to one side, while the shelves for stowing shoes are located directly next to the entrance to the mosque. One proceeds onwards into the depth of the narrow room. The predominantly marble-and-brick entrance hall has a large L-shaped plan with a wide, open staircase that winds around its corner and lends the entrance to the prayer hall and women’s gallery a ceremonial character: on the one hand with a shallow pool beneath the landing, and on the other through two levels, each half rounded.

Morning light falls through the three horizontal clerestory windows in the vertical “risers” of the stepped volume, making the west wall the lightest part of the room. The broad panels of coloured mosaics to the left and right of the mihrab, whose pattern and calligraphy oscillate between image and word, shine with a radiance not found anywhere else in the building. From afternoon into late evening, spotlights and lamps continue the effect of the morning light. The prayer hall is always light, and fully air-conditioned.

The entire building was financed by a private benefactor. The political climate of the United Arab Emirates imposes few restrictions on the activities of landowners and businessmen; fiscal restrictions are minimal. As such, a significant amount of private wealth has amassed in Dubai, without which the benefaction of such luxurious architectural creations as the Bin Madiya Mosque – which delights in refined materials without being showy – would never be possible.

Holod, Renata, Khan, Hasan-Uddin: The Mosque and the Modern World. Architects, Patrons and Designs since the 1950s, London 1997, pp. 26-, p. 29, p. 256, p. 274 | Tombazis, Alexandros N., Schmiedeknecht, Torsten: Tombazis and Associates Architects. Less is Beautiful, Milan 2002, pp. 12-

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Originally published in: Rudolf Stegers, Sacred Buildings: A Design Manual, Birkhäuser, 2008.