Innovations Through the Ages

By Lubna Agha

This article is a review of "Designed Mosques of North America," an exhibition of photographs by Dr. Omar Khalidi of the Agha Khan Program for Islamic Architecture. It appeared in the March 7, 1999 edition of "Dawn," and is reprinted here with the permission of the author. Copyright (c) DAWN Group of Newspapers, 2000.

Having literally covered a lot of ground from his childhood in Deccan to the Kansas State University, then to the University of Wales for his doctorate, and now at MIT, Boston, Dr. Omar Khalidi is at present a professor with its department of archaeology. With special interest in Islamic architecture, the professor is currently on a visit to Pakistan with his latest research on the emerging designs of mosques in North America.

Having travelled extensively throughout the Islamic world, studying designs, techniques and history of its buildings through the ages, the soft-spoken Dr. Khalidi is a progressive architect who is of the opinion that there is no reason to 'museumize' Islamic architecture: "It must be made as functional as possible. We can accomplish this by restoring damaged portions, instituting regular maintenance programs and adding modern functions like electricity to keep them alive and breathing."

Responding to a question about the role of Islamic architecture in a global perspective, he said: "the core of architecture, despite globalization, remains the same. In all ages it has to be receptive to the climate, material available, time, space, science and technology at hand in the region. There is no distinct Islamic design, the dome predates Islam and the minaret is more of a symbol of power, a place from where the call of prayer could reach far and wide. These techniques were also a result of the need of the times, an innovation of existing designs. The only essential part is the Qibla wall, once that has been determined the design that follows speaks of the dictates of the person holding the purse strings; be it an invader, a ruler or a philanthropist, the architect has little say in the matter.

The construction also depends on the prevailing building designs of the area. I have seen mosques in China resembling pagodas. The mosques in Egypt differ from the mosques in Indonesia, those in the subcontinent are different from those in Morocco, the new emerging mosques in the West are a far cry from just domes and minarets."

The professor feels that within the parameters of Islamic design there is great room for innovation. Our perceptions of Islamic architecture are bound by age-old traditions that have little to do with the intent and purpose for which they were built and that a change in structure will never harm the spirit behind the building.

Over the years the premise behind building mosques has undergone a kind of evolution. Earlier, a mosque was an announcement of the arrival of Islam in a conquered land, it was a statement of the invader and the subsequent rulers, it was a sign of power and authority, so it needed to be unique, it needed to speak of the lands from where it came, not necessarily blending in with the existing scenario, so as to seem a trifle aggressive. Then, as Islam entered the region from the east with a view to expand, the mosque took a friendlier face, hence we can see triangular structures in Indonesia. More recent is the spread of Islam through immigration. People traverse to far off lands seeking knowledge or better standards of living where they need to establish places of worship. To be welcomed you need to be pliable and accommodating, you need to blend in with the existing environment, not to send out incorrect and belligerent messages and be looked upon as intruders.

Dr. Khalidi classifies three topologies of mosques in North America; the neighborhood mosque, which may be a small makeshift building in the immediate area of residence, the mosque for Juma prayers, which needs to accommodate larger numbers on a regular basis and the Eidgah which is needed only twice a year and for much greater numbers. So for this, usually, a community centre is used. It is the second type that is developing faster as that is the one most in use.

The scope of this mosque now extends beyond just a place of worship. Many mosques now have Islamic schools, marriage halls, libraries, counselling offices, funeral homes with adjacent cemeteries, some mosques even have a gymnasium. So in a country where most of the week every individual is busy working it becomes a place for the family to spend time together, which is very different to the purpose of mosques here in Pakistan.

Another major difference is space for women. In Pakistan women are not expected to visit the mosque so there is no particular area for them, but in America women are an integral part of mosque activities and play a very active role in mosque activities so provisions have to be made for them as well. In this context Dr. Khalidi recounts an interesting time when once at the mosque at Harvard a very able and learned lady delivered a khutba.

The architecture of mosques in North America, according to the professor, can be divided into three categories. The transplantation of a design which is a result of an extreme case of nostalgia, where the design is almost lifted from the mother country; a good example is the Washington D.C Mosque which was built by the Egyptians in Mamluke style. Then there is replication or reinterpretation, which means keeping some of the traditional characteristics, yet, also borrowing from the local environment, and lastly the unprecedented design which is beyond time and space and has no resemblance to any traditional Islamic structures.

Talking of these new emerging designs Dr. Khalidi sounds averse to what he calls a 'Disneyfication' of mosques: "it should not evoke images of some kind of fantasy, not seem something out of the 1001 Arabian Nights, we should not make caricatures which elicit ridicule. You have to make it real to the population at large. Once, while at Orlando, I saw a strange structure (of a mosque) it was square block with something like a topi on top. A passerby remarked, 'is this the latest addition to Disney World?' Another remark I heard about a mosque in the south, 'is this the new Mexican restaurant?'"

The professor also feels that as yet there is no American design for a mosque, it has only been two decades since these structures started emerging, it's still in its fledgling stage. Over time a standard design will evolve which will be a happy blend between nostalgia and innovation. So far, immigrants still carry in their minds what they have left behind in their homeland, their nostalgia urges them to want tradition. It's probably those born in America and the new converts, having no visual connection with their roots, who will accept the blend more easily. But as long as there is an influx of immigrants from Muslim countries the nostalgia will remain.

When asked whether he was in favour of tradition or encouraged change, he said: "Muslims have either been resisting or yielding to the West. I'd say there is a third approach, innovation. Traditional Islamic architecture itself was designed from rational principles and not heavenly edicts. The vernacular architect adjusts to the climate, it does not fight it whereas modern architecture wants to conquer. It is a clash of egos. Who will win? Actually no one, it is only 'ijtehad' that will prevail."

Dr. Khalidi recognizes the sectarian divisions within Islam, which also manifest themselves in the US, but remain in check so no untoward incident occurs to disturb the peace of the area. But at the same time Muslims from various beliefs are welcomed in every mosque. "It is obvious that growth in population results in diversity, we all have our differences. I can only hope that these replicated divisions in the US will work towards the positive result of unifying Muslims by encouraging tolerance."

Talking about his work under the Aga Khan Programme of Islamic Architecture, Dr. Khalidi lauds the efforts of Prince Karim Aga Khan, who instituted this programme realizing the need for advancement in this field for Islamic countries. As one closely connected with the building of schools and hospitals throughout the Muslim region he feels that architecture here requires a more technically-sound foundation. Donating large sums of money to Harvard and MIT, he gave Muslim students the opportunity to acquire modern skills and then adapt into their own environment. This together with the Aga Khan Award for architecture has definitely made a tremendous difference to architecture of the Islamic world. It has provided a forum in which critical issues affecting buildings (environmental, regional and local) could be discussed and it has sensitized the general as well as professional public to safeguard their rich architectural heritage.

When asked how Karachi appeared to him and what suggestion would he have for us, he was of the opinion that Karachi like a typical metropolis had the architecture of 'nowhere'. The builders and architects must respect tradition and culture. Karachi has a lot of colonial culture, which seems to be readily torn down only to be replaced by commercial high rises. These buildings should not be looked upon as marks of imperial domination, but as art. Even though they have foreign roots, they are examples of matured and researched skills and creativity which give character to a city.

Judging from his limited experience of construction in Karachi, he feels that projects should be more labour intensive rather than capital intensive. There should be a revival of crafts, e.g. the original craft of tile-making of Sindh needs to be developed by local engineers to form a major component for local construction. This would not only be put indigenous material to use, but would also bring down costs, provide employment to rural labour and at the same time encourage a tradition to live on.

Dr. Khalidi feels that not enough is being done in the field of preservation; the preservation of historic buildings is of great importance, especially for retaining cultural identity. His future plans include the arranging of a course in 'preservation' at the MIT.