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The Construction of Mosque Architecture in Canada and the US By Competing Visions, Common Forms: The Construction of Mosque Architecture in Canada and the US By Nadia Kurd Department of Art History and Communication Studies McGill University, Montreal October 2013 A thesis submitted to McGill University in partial fulfillment of the requirements of the Doctor of Philosophy degree © Nadia Kurd, 2013 i ABSTRACT From minarets to geometric patterned tiles, the reach and influence of Islamic architectural forms extends far beyond the geographic limits of the Muslim world. Indeed, as early as the eighteenth- and nineteenth- century the architecture and visual cultures of Islam has travelled to North American shores and has affected its built environment. This dissertation examines the making of both the Moorish Revival and mosque architecture in Canada and the US. I argue that these two types of buildings, which have been created by Muslims and non-Muslims alike, show the variability and polarizing nature of contemporary Islamic architecture. For Muslim communities, the primary expression of Islamic architectural ideals is manifested in the building of mosques. In this study, I examine how these contemporary mosques straddle notions of traditional visual and architectural forms with the realities of urban, non- Islamic environments. Through the examinations of mosques that have either been renovated from existing structures and ones that have been purpose-built, I investigate the ways in which these buildings have been responsive to and shaped by the existing architectural norms, political and social circumstances in Canada and the US from the early twentieth century onward. In studying these two contrasting examples of mosques, I argue that a commonality between these structures exists: they both mark a break from the traditional practice of Islamic architecture and reveal a uniquely diasporic Muslim tension with the question of authenticity and difference. These contemporary mosques not only show what is at stake in the use of Islamic architectural tropes but also provide a glimpse ii of the varied application and amalgamation of built forms by Muslim communities living in Canada and the US. Within Western Muslim communities, debates on the nature of inclusion and agency of women in mosques have also increased in the last decade. The performance of women-led prayers and sermons, most notably led by Amina Wadud, has challenged the segregation of men and women commonly practiced in mosques. The reversal of normative gender roles in the performance of Islamic ritual has slowly made the way for change in the spatial configuration of mosques. Outside the Muslim community, groups such as the Shriners and Masons to wealthy individuals such as aviator-cum-entrepreneur Glenn H. Curtiss and Hudson-school painter Frederic Edwin Church have also made use of the architectural forms associated with Muslim cultures. I look at how built-forms such as the minaret, bi-coloured brickwork and use of hand-painted tiles have been incorporated in their homes and masonic lodges. Commonly referred to as the “Moorish Revival,” these buildings evoked both the grandeur of traditional Islamic architecture and affirm an unequivocal sense of wealth of its owners. Although Moorish Revival buildings utilize a visual language similar to those of mosques, they envisioned an Islam wholly through the lens of Orientalism and removed from the racialized realities of North American Muslim populations. During the eighteenth-and nineteenth-century, a number of pattern books, literary works, photographs and paintings made their way to the US and inspired artists, writers and architects to explore and appropriate the visual cultures of Islam. However, it was the medium of film that iii made the most significant impression on the North American imagination. Drawing on the work by Edward Said, I examine the lingering legacy of the Moorish Revival and that, when compared to Islamic mosques, and their diverse congregants show the distinct fundamental difference between the two. Lastly, this dissertation concludes with a look at the ways in which contemporary artists engage with the larger conceptual parameters of mosque architecture. Artists such as Michael Rakowitz, Azra Akšamija, Farheen Haq, and the AES Group draw from the mosques spatial mutability. In the case of the AES Group’s Islamic Project, their digital collages illustrate the racialized fear and tension that exists with the construction of mosques in traditionally non-Muslim countries. iv Résumé Des minarets aux tuiles à motifs géométriques, la portée et l’influence des ormesf architecturales islamiques se déploient bien au-delà des limites géographiques du monde musulman. En effet, depuis le dix- neuvième siècle, l’architecture de l’Islam s’est répandue en Amérique du Nord et a affecté son environnement bâti. Cette thèse examine le développement de la renaissance mauresque et de l’architecture des mosquées au Canada et aux États-Unis. Je soutiens que ces édifices, qui ont été créés par des musulmans aussi bien que par des non musulmans, démontrent la variabilité et la nature polarisante de l’architecture islamique contemporaine. Pour les communautés musulmanes, l’expression principale des idéaux de l’architecture islamique se manifeste dans la construction de mosquées. Dans cette étude, j’examine comment ces mosquées contemporaines font coïncider des notions de formes visuelles et architecturales traditionnelles avec les réalités des environnements urbains, non islamiques. En analysant les mosquées qui ont été rénovées à partir de structures existantes et celles qui ont été construites spécialement, j’étudie comment ces édifices ont répondu aux normes architecturales existantes et ont été façonnés par elles, ainsi que par les circonstances politiques et sociales au Canada et aux États-Unis, depuis le début du vingtième siècle. En étudiant ces deux exemples contrastés de mosquées, je soutiens qu’il existe des points communs entre ces deux structures : elles marquent toutes deux une rupture par rapport à la pratique de l’architecture islamique traditionnelle et révèlent une tension diasporique musulmane unique liée à la question de l’authenticité et de la différence. Ces mosquées v contemporaines témoignent non seulement des enjeux concernant l’utilisation des tropes de l’architecture islamique, mais offrent également un aperçu des diverses applications et fusions des formes architecturales par les communautés musulmanes vivant au Canada et aux États-Unis. De plus, les discussions sur la nature de l’inclusion et de l’engagement des femmes dans les mosquées se sont faites plus nombreuses au sein des communautés musulmanes, depuis une dizaine d’années. L’exécution de prières et de sermons dirigés par des femmes, notamment par Amina Wadud, a mis en cause la séparation des hommes et des femmes généralement pratiquée dans les mosquées. Peu à peu, le renversement des rôles normatifs liés au genre dans l’exécution du rituel islamique a occasionné des changements dans la configuration spatiale des mosquées. En dehors de la communauté musulmane, des groupes tels que les Shriners et les francs-maçons, ainsi que des individus fortunés, tels que l’aviateur et entrepreneur Glenn H. Curtiss, et Frederic Edwin Church, peintre de l’école de l’Hudson, ont également utilisé les formes architecturales associées aux cultures musulmanes. J’analyse comment les formes architecturales telles que le minaret, le briquetage bicolore et l’emploi de tuiles peintes à la main ont été incorporées dans leurs résidences et leurs loges maçonniques. Généralement décrits comme appartenant à la « renaissance mauresque », ces édifices évoquent à la fois la grandeur de l’architecture islamique traditionnelle et affirment sans équivoque la richesse de leurs propriétaires. Bien que les constructions néo-mauresques aient recours à un langage visuel similaire à celui des mosquées, elles offrent une perception de l’Islam à travers le seul prisme vi de l’orientalisme, perception détachée des réalités ¬racialisées des populations musulmanes d’Amérique du Nord. Au cours des dix-huitième et dix-neuvième siècles, plusieurs recueils de motifs décoratifs, oeuvres littéraires, photographies et peintures ont été introduits aux États-Unis et ont incité les artistes, les écrivains et les architectes à explorer et à s’approprier les cultures visuelles de l’Islam. Toutefois, c’est le cinéma qui a laissé l’impression la plus forte dans l’imaginaire nord-américain. À partir de l’oeuvre d’Edward Said, j’examine l’héritage persistant de la renaissance mauresque et comment émerge, par comparaison, la différence fondamentale avec les mosquées islamiques et à leurs différents groupes de fidèles. En conclusion, cette thèse analyse les pratiques des artistes contemporains qui travaillent les paramètres conceptuels plus vastes de l’architecture des mosquées. Des artistes tels que Michael Rakowitz, Azra Akšamija, Farheen Haq, et le AES Group s’inspirent de la mutabilité spatiale des mosquées. Prenant l’exemple du Islamic Project par le AES Group, j’explore la peur et la tension racialisée liées à la construction de mosquées dans des pays traditionellement non musulmans. vii ACKNOWLEDGEMENTS There have been many people who have generously assisted me in the pursuit of studying mosque architecture. First and foremost, I would like to acknowledge the countless members of Canadian and American mosques that have supported me during my site visits. Without their assistance with this research, I would not have had the necessary access and information
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