DOCSLIB.ORG

Reviving the Architectural Heritage Values of Al-Aqmar Mosque As an Archi- Tectural Inherited and a Source of Inspiration for Contemporary Interior Design

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Reviving the architectural heritage values of Al-Aqmar Mosque as an archi- tectural inherited and a source of inspiration for contemporary interior design RadwaMohamed Salah El Din 1, Prof. Dr. Ola Ali Hashim 2 , Prof. Dr. Ashraf Hussein 3 1) Demonstratorin the Department of Decoration and Interior Architecture - the Higher Institute of Applied Arts - 6th of October 2) Professor of Design, Department of Interior Design and Furniture - Faculty of Applied Arts - Helwan University 3) Professor of Design, Department of Interior Design and Furniture - Faculty of Applied Arts - Helwan University KEY WORDS: ABSTRACT: Keywords: architectural inher- The study examines the architecture of Al-Aqmar Mosque because ited, authenticity, architectural of its great importance in the Fatimid architectural inheritedand elements, entrances, muqarnas, the conclusion of the most important architectural values influenc- ing its construction and rooting those values through monitoring decades, architectural values. and analysis of some architectural elements and items through an- alytical studies provided by this mosque to show the extent of its impact on its design and how the mosque became a source of her- itage inspiration of the mosques of the following eras, with differ- ent parts of the design in the content and formulation according to the impact of the same era, and models of each type of following eras were selected for the Aqmar Mosque to confirm this, and how the security and wealth of the state affected the luxury of Fatimid architecture, The study also indicates how the material, texture, color, shade and light affect the architectural product and architec- tural treatments in the architectural formation. INTRODUCTION: element of Islamic decoration, as low-mounted domes Caliph Al AmrBeahkam Allah ordered the estab- appeared on spherical triangles and here have evolved lishment of the Al-Aqmar Mosque and his minister, to cover the corridors in the mosques in Egypt, and all al-Ma’mun al-Bataahi, supervised its construction of those features made Al- Aqmar mosque has historic that was completed (519 AH- 1125 AD). Fatimid value and dimension. architecture flourished in Egypt thanks to security, state wealth and religious tolerance and openness to RESEARCH PROBLEM: cultures. It is considered one of the most beautiful the lack of intellectual link between the legacy and Fatimid mosques and has several advantages: It is methods of application in contemporary interior de- considered the first facade decorated in the Egyptian sign, ie we see that contemporary design has become mosques, and through the analysis of this facade we a metaphor only formal without depth in the meaning find that the first phenomenon of decoration in the -fa of architectural formation. cade of the Al-Aqmar Mosque is the oyster radiation that emerges from the center that represents the sun, and the use of niche hanging from the top of the mihr- Research hypothesis: ab in the façade. It is also the first decorative example The architectural design of Al- Aqmar Mosque is a of its kind in the architecture of Cairo and even in the source of heritage inspiration for the mosques of eras whole Islamic architecture, in addition to the facade that follow it with some differences in both material contains a variety of ornaments that make it a unique and design according to the impact of the same era. masterpiece in the architecture of Cairo in the Fatimid era, and is also noted the first use of muqarnas as an 134 Volume 1, Issue 1, January 2020 Main objectives of the research are: tinuation of its past, and its future as a continuation of - To extract new relationships and lines of design that its present. Authenticity does not mean self-conflagra- serve the interior design in line with the spirit of the tion, rejection of others, and alienation of the stranger times and at the same time do not lose identity and as a fake intruder and intrusion in which the self-iden- maintain authenticity through the architectural and tity is lost, Authenticity in this sense is isolation. symbolic analysis of some architectural elements of Islamicinherited experienced authenticity and Al Aqmar mosque, and access to this analysis for the achieved it when it was contemporary, that is, when intellectual link between the legacy and contempora- it had an awareness of itself, time and history. With a neity as an applied axis of design. contemporary word when it was modern in its time, - Borrow concepts and items of traditional architecture this is the essence of modernity, creating authenticity in a modern and innovative way and integrate it into and not bringing it from anywhere, because the inher- contemporary concepts and items. ent is the first and last version of itself, and not from something else, so it was important to understand the The research follows: the historical and descriptive concept of communication. analytical approach. 1.4. Concept of communication: Communication is the interdependence of all time in 1.1 The concept of revival: the past, for it, interdependence does not mean confor- Revival is a concept of the process of intellectual link mity, but means developing it, preserving its spirit and between heritage and contemporaneity, which is the supporting it with modern methods and the latest sci- re-use of heritage deliverables at the cultural and civ- ence and arts techniques. Heritage is not something for ilizational level. Architectural revival means the com- transport, but for the addition, development, growth plete or partial recovery of ancient symbols, concepts, and modernization and linking it with the future, as ideas and solutions. linked to the past, and perhaps the most important There is no doubt that this requires a deep understand- thing when studying the culture of a society is the ing of the roots of architectural thought represented in study of the values contained in that culture, no doubt the architecturalinherited, which still retains its heri- that culture is a link to the past with the present and tage characteristics as a source of architectural forma- the future through shared and continuous and evolving tions and formulations, and these roots are the overall values between them. result of culture, civilization and the spirit of the times In order to preserve the principle of personality devel- with natural influences, meaning that the peoples who opment rather than reproduction, it is necessary to find aim to revive the ancient heritage must still maintain the language of intellectual communication between a large part of the elements of civilization in which the architectural inheritedand contemporary designs this heritage originated, and the process of revival of and apply it in designs that reflect the intellectual con- heritage depends on two basic and consecutive steps: nection between heritage and contemporaneity. reading and inspiring the values of heritage, and then revive heritage values inspired and integrate them into the architectural framework or contemporary interior design. 1.2 Architectural inherited: Architectural inheritedrefers to the sum of buildings that have continued and proved their authenticity and value against continuous change. The architectural inheritedstands out as a reference and a governing framework, comprising “visual and canvases con- stants” that can inspire, guide and influence the archi- tect in his search for “optimal formulas” to shape the environment and architectural production. 1.3. Authenticity: Authenticity means homogeneity in time and commu- nication with thelegacy, and that the present is a con- 135 مجلد 1 ، عدد 1 ، يناير 2020 Table (1) shows the analysis of the horizontal projection of Al Aqmar mosque: Description and analysis Symbolic analysis Illustrations Architectural Description: Symbolism emerged from the The mosque consists of a cen- falls of to be free in two direc- tral open courtyard square with tions, one horizontal level link- a small area and is surrounded ing it to the place of the Kaaba by four corridors, the largest of and the other vertical upward to which is the qibla hallway. In the sky appears through the dome mosques in the Ottoman era. and minarets and balconies, and The concept of alignment of the thus symbolize the absolute and building of the street first ap- interdependence between the peared in Al Aqmar Mosque, earth and the sky. where the mosque is directly di- Wrapping value: The laws of rected to the qibla and is aligned substance are the small wraps with the facade facing the street. around the large; the electron in The broken entrance area faces the atom revolves around the nu- the west to allow the facade to cleus, the moon around the earth, align with the street. This tenden- the earth around the sun, the sun cy to modify the position of the around the galaxy, and the gal- qibla in order to level the ranks axy around a larger galaxy. The of worshipers when praying and circumnavigation of the Kaaba Figure (1) Horizontal projector of Al thus became the Qibla in the cor- is one of the rituals of Muslims Aqmar Mosque “Quoting from the Cen- rect position inside the mosque in Hajj and Umrah. Where the ter for Registration of Islamic and Coptic deviated for its facade, and this Almighty says: (and (again) cir- Antiquities in the Citadel” architectural element appeared cumambulate the Ancient House) for the first time in Al Aqmar (verse 29) of Surat Al-Hajj, and mosque. It was taken by most the idea of roaming does not only mosques and mosques that have exist in the world, but also found been exposed to the phenomenon in the Hereafter at Paradise and of Qiblah tendency in the Islam- Hell, in Paradise the Almighty ic world and Egypt, where Egypt says (And round about them is deviated from the direction of will (serve) youths of perpetual the Kaaba and the qibla in Egypt (freshness) {Verse 17} of Surat year southeast in the direction of Al Waqea, in hell, the Almighty the Kaaba.
Recommended publications
  • THE AMERICAN UNIVERSITY in CAIRO School of Humanities And

    THE AMERICAN UNIVERSITY in CAIRO School of Humanities And

    1 THE AMERICAN UNIVERSITY IN CAIRO School of Humanities and Social Sciences Department of Arab and Islamic Civilizations Islamic Art and Architecture A thesis on the subject of Revival of Mamluk Architecture in the 19th & 20th centuries by Laila Kamal Marei under the supervision of Dr. Bernard O’Kane 2 Dedications and Acknowledgments I would like to dedicate this thesis for my late father; I hope I am making you proud. I am sure you would have enjoyed this field of study as much as I do. I would also like to dedicate this for my mother, whose endless support allowed me to pursue a field of study that I love. Thank you for listening to my complains and proofreads from day one. Thank you for your patience, understanding and endless love. I am forever, indebted to you. I would like to thank my family and friends whose interest in the field and questions pushed me to find out more. Aziz, my brother, thank you for your questions and criticism, they only pushed me to be better at something I love to do. Zeina, we will explore this world of architecture together some day, thank you for listening and asking questions that only pushed me forward I love you. Alya’a and the Friday morning tours, best mornings of my adult life. Iman, thank you for listening to me ranting and complaining when I thought I’d never finish, thank you for pushing me. Salma, with me every step of the way, thank you for encouraging me always. Adham abu-elenin, thank you for your time and photography.
  • Bab Al-Nasr • Is the Massive Fortified Gate with Rectangular Stone Towers Flanking the Semicircular Arch of the Eastern Portal

    Bab Al-Nasr • Is the Massive Fortified Gate with Rectangular Stone Towers Flanking the Semicircular Arch of the Eastern Portal

    كلية السياحة والفنادق)قسم اﻻرشاد السياحي( مادة اثار مصر اﻻسﻻمية 1كود المقرر ر.س 326 الفصل الدراسي الثاني الفرقة الثالثة إرشاد سياحي أ.د سماح عبد الرحمن اﻻستاذ بالقسم القائمه علي تدريس المقرر [email protected] 01010119940 Bab Zuwayla (Bab al-Mitwalli) المحاضرة اﻻولي .(1092A.D/485A.H) • One of the three Fatimid gates that remain standing, this one at the south end of al- Qahira is perhaps the least interesting structurally. An attack from Syria was expected from the north, not the south. Visually, however, with its crowning fifteenth-century minarets, it is the most dramatic and it gives into abazaar quarter that is as full of life today as it was in the middle Ages المحاضرة اﻻولي • Bab Zuwayla, also called Bab al-Mitwalli, dates from 1092. It was part of the city fortifications put up by the Armenian wazir Badr al-Gamali and his Anatolian or Mesopotamian Christian architects. The gate was named after Fatimid soldiers from the Berber tribe al-Zawila who were quartered in the vicinity after the building of the original gate in 969, when alQahira was founded. The name Bab al-Mitwalli dates from Ottoman times, when the wali, or Ottoman officer, charged with maintaining public order, had his residence and headquarters near here. المحاضرة اﻻولي • The gate's projecting, rounded towers connected by a covered passageway over the large, arched opening are northern Syrian or Byzantine, not Arab, in inspiration and spirit. The two minarets that spring from the towers belong to the Mosque of al-Mu'ayyad Shaykh, just inside the gate, which forms the wall to the west.
  • The Transformation of Calligraphy from Spirituality to Materialism in Contemporary Saudi Arabian Mosques

    The Transformation of Calligraphy from Spirituality to Materialism in Contemporary Saudi Arabian Mosques

    The Transformation of Calligraphy from Spirituality to Materialism in Contemporary Saudi Arabian Mosques A dissertation submitted to Birmingham City University in fulfilment of the requirement for the degree of Doctor of Philosophy in Art and Design By: Ahmad Saleh A. Almontasheri Director of the study: Professor Mohsen Aboutorabi 2017 1 Dedication My great mother, your constant wishes and prayers were accepted. Sadly, you will not hear of this success. Happily, you are always in the scene; in the depth of my heart. May Allah have mercy on your soul. Your faithful son: Ahmad 2 Acknowledgments I especially would like to express my appreciation of my supervisors, the director of this study, Professor Mohsen Aboutorabi, and the second supervisor Dr. Mohsen Keiany. As mentors, you have been invaluable to me. I would like to extend my gratitude to you all for encouraging me to conduct this research and give your valuable time, recommendations and support. The advice you have given me, both in my research and personal life, has been priceless. I am also thankful to the external and internal examiners for their acceptance and for their feedback, which made my defence a truly enjoyable moment, and also for their comments and suggestions. Prayers and wishes would go to the soul of my great mother, Fatimah Almontasheri, and my brother, Abdul Rahman, who were the first supporters from the outset of my study. May Allah have mercy on them. I would like to extend my thanks to my teachers Saad Saleh Almontasheri and Sulaiman Yahya Alhifdhi who supported me financially and emotionally during the research.
  • 14 Early Islamic

    14 Early Islamic

    Chapter XIV Fatimid Art, Precursor or Culmination* There were several occasions over the past decade for scholars with different specialities to interpret rather than describe the historical and cultural phenomenon of the Fatimids. At the time of the great colloquium celebrating Cairo’s first millennium, the late Gustav von Grünebaum, Professor Bernard Lewis, and I in a more limited sense, sought to identify the reasons for Fatimid successes, failures, or simply cultural or historical peculiarities.1 The late Marshall Hodgson’s controversial synthesis of Islamic history also provides novel interpretations of the Fatimids within what he called the Middle Islamic Period.2 And for several decades now Professor Goitein’s studies on the Geniza fragments have led him to a particularly wide range of conclusions and ideas about the Fatimid period.3 One of the reasons for this unusual interpretative concern is that few periods in Islamic history are as well and accessibly documented as the Fatimid; preserved chronicles are for the most part published, even if not to everyone’s satisfaction; the monuments of Cairo and of Egypt are known; works of art and artisanal creations can be found in books and articles, even if at times in arcane reviews; and a considerable amount of ancillary documents – coins, official letters, sales contracts, dowries, legal texts – is available, if not always incorporated into general history books. But a more important reason may be that there is something unusual, puzzling about the Fatimids, as though they were an anomaly in the development of Islamic culture. At a time of localized, ethnocentric dynastic movements from Spain to Transoxiana, it was a pan-Islamic, Arab-centered but universal caliphate.
  • Denis Micheal Rohan Ushering in the Apocalypse Contents

    Denis Micheal Rohan Ushering in the Apocalypse Contents

    Denis Micheal Rohan Ushering in the Apocalypse Contents 1 Denis Michael Rohan 1 1.1 Motives .................................................. 1 1.2 Response ................................................. 2 1.2.1 Israeli Chief Rabbinate response ................................. 2 1.2.2 Arab/Muslim reactions ...................................... 2 1.3 See also .................................................. 3 1.4 References ................................................. 3 1.5 External links ............................................... 3 2 Mosque 4 2.1 Etymology ................................................. 5 2.2 History .................................................. 5 2.2.1 Diffusion and evolution ...................................... 6 2.2.2 Conversion of places of worship ................................. 9 2.3 Religious functions ............................................ 10 2.3.1 Prayers .............................................. 11 2.3.2 Ramadan events .......................................... 11 2.3.3 Charity .............................................. 12 2.4 Contemporary political roles ....................................... 12 2.4.1 Advocacy ............................................. 13 2.4.2 Social conflict ........................................... 14 2.4.3 Saudi influence .......................................... 14 2.5 Architecture ................................................ 15 2.5.1 Styles ............................................... 15 2.5.2 Minarets .............................................
  • 427 BIBLIOTHECA ORIENTALIS LXVIII N° 3-4, Mei-Augustus 2011 428 Approach Focused on How Cultures of Vision Impact Their Respect

    427 BIBLIOTHECA ORIENTALIS LXVIII N° 3-4, Mei-Augustus 2011 428 Approach Focused on How Cultures of Vision Impact Their Respect

    427 BIBLIOTHECA ORIENTALIS LXVIII N° 3-4, mei-augustus 2011 428 approach focused on how cultures of vision impact their respective arts and vice versa. One of Belting’s premises is that perspective is a so-called symbolic form, a position first argued by Erwin Panofsky in an essay published in 1927. The concept of symbolic form hails from the neo-Kantian philosopher Ernst Cassirer, who believed that man makes sense of the world he perceives by means of symbolic forms. The human being, incapable of knowing reality other than through its subjective mind, has various categories of symbols that mediate between his per- ception and his understanding, and these categories vary according to time and place. Panofsky proposed to see per- spective as a symbolic form that defined Western modernity. Belting agrees and explains further the importance of per- spective for Western modernity. He explains how a painting with linear perspective draws the onlooker into the repre- sented scene. Only through a frontal confrontation with the vanishing point of the painting does the artwork make proper sense. The perspective needs the presence of the onlooker and conforms to the onlooker’s subjectivity and vice versa. In Belting’s words: “Perspective has been a cultural tech- nique and not merely a matter of the arts. For it symbolized the right to a perception (Wahrnehmung) that anyone could engage in with one’s own vision.” (p. 25). Having established the crucial importance of linear per- spective in the first chapter, the second chapter informs on the classical Arab understanding of vision, and the issue of Islamic aniconism.
  • Evolution of Islamic Geometric Patterns

    Evolution of Islamic Geometric Patterns

    Frontiers of Architectural Research (2013) 2, 243–251 Available online at www.sciencedirect.com www.elsevier.com/locate/foar RESEARCH ARTICLE Evolution of Islamic geometric patterns Yahya Abdullahin, Mohamed Rashid Bin Embi1 Faculty of Built Environment, Universiti Teknologi Malaysia, Johor 81310, Malaysia Received 18 December 2012; received in revised form 27 March 2013; accepted 28 March 2013 KEYWORDS Abstract Islamic geometrical This research demonstrates the suitability of applying Islamic geometrical patterns (IGPs) to patterns; architectural elements in terms of time scale accuracy and style matching. To this end, a Islamic art; detailed survey is conducted on the decorative patterns of 100 surviving buildings in the Muslim Islamic architecture; architectural world. The patterns are analyzed and chronologically organized to determine the History of Islamic earliest surviving examples of these adorable ornaments. The origins and radical artistic architecture; movements throughout the history of IGPs are identified. With consideration for regional History of architecture impact, this study depicts the evolution of IGPs, from the early stages to the late 18th century. & 2013. Higher Education Press Limited Company. Production and hosting by Elsevier B.V. All rights reserved. 1. Introduction three questions that guide this work are as follows. (1) When were IGPs introduced to Islamic architecture? (2) When was For centuries, Islamic geometrical patterns (IGPs) have been each type of IGP introduced to Muslim architects and artisans? used as decorative elements on walls, ceilings, doors, (3) Where were the patterns developed and by whom? A domes, and minarets. However, the absence of guidelines sketch that demonstrates the evolution of IGPs throughout and codes on the application of these ornaments often leads the history of Islamic architecture is also presented.
  • Curriculum Vitae

    Curriculum Vitae

    CURRICULUM VITAE JONATHAN M. BLOOM Norma Jean Calderwood University Professor of Islamic and Asian Art Boston College Hamad Bin Khalifa Endowed Chair in Islamic Art Virginia Commonwealth University CONTACT INFORMATION Fine Arts Department Department of Art History, Buford House Devlin Hall Virginia Commonwealth University Boston College 922 West Franklin Street Chestnut Hill, MA 02467 PO Box 843046 Tel (617) 552-8595 Richmond, VA 23284-3046 Fax (617) 552-0134 Tel (804) 628-7041 Email:[email protected] Fax (804) 828-7468 Email [email protected] PROFESSIONAL EXPERIENCE Teaching January 2006-present Hamad Bin Khalifa Endowed Chair in Islamic Art, Virginia Commonwealth University (Richmond, VA) July 2000-present Norma Jean Calderwood University Professor of Islamic and Asian Art, Boston College (Chestnut Hill, MA), January-March 2005 Frederick Lindley Morgan Visiting Professor of Architectural History, Hite Art Institute, University of Louisville (Louisville, KY) July 2000-June 2001 Visiting Professor of Art History, Smith College (Northampton, MA) Winter 1995-6 Otto-Friedrich-Universität Bamberg (Germany), Visiting Professor of Islamic Art and Architecture Spring 1995 Trinity College (Hartford, CT), Department of Fine Arts, Visiting Associate Professor. Spring 1989 Yale University, Department of the History of Art, Visiting Lecturer 1987-88 Research Associate, Department of Fine Arts, Harvard University 1981-87 Assistant Professor, Department of Fine Arts, Harvard University Spring 1985 Visiting Professor, Centre d’étude du proche-orient
  • The Aesthetics of Islamic Architecture & the Exuberance of Mamluk Design

    The Aesthetics of Islamic Architecture & the Exuberance of Mamluk Design

    The Aesthetics of Islamic Architecture & The Exuberance of Mamluk Design Tarek A. El-Akkad Dipòsit Legal: B. 17657-2013 ADVERTIMENT. La consulta d’aquesta tesi queda condicionada a l’acceptació de les següents condicions d'ús: La difusió d’aquesta tesi per mitjà del servei TDX (www.tesisenxarxa.net) ha estat autoritzada pels titulars dels drets de propietat intel·lectual únicament per a usos privats emmarcats en activitats d’investigació i docència. No s’autoritza la seva reproducció amb finalitats de lucre ni la seva difusió i posada a disposició des d’un lloc aliè al servei TDX. No s’autoritza la presentació del s eu contingut en una finestra o marc aliè a TDX (framing). Aquesta reserva de drets afecta tant al resum de presentació de la tesi com als seus continguts. En la utilització o cita de parts de la tesi és obligat indicar el nom de la persona autora. ADVERTENCIA. La consulta de esta tesis queda condicionada a la aceptación de las siguientes condiciones de uso: La difusión de esta tesis por medio del servicio TDR (www.tesisenred.net) ha sido autorizada por los titulares de los derechos de propiedad intelectual únicamente para usos privados enmarcados en actividades de investigación y docencia. No se autoriza su reproducción con finalidades de lucro ni su difusión y puesta a disposición desde un sitio ajeno al servicio TDR. No se autoriza la presentación de su contenido en una ventana o marco ajeno a TDR (framing). Esta reserva de derechos afecta tanto al resumen de presentación de la tesis como a sus contenidos.
  • Resources for the Study of Islamic Architecture Historical Section

    Resources for the Study of Islamic Architecture Historical Section

    RESOURCES FOR THE STUDY OF ISLAMIC ARCHITECTURE HISTORICAL SECTION Prepared by: Sabri Jarrar András Riedlmayer Jeffrey B. Spurr © 1994 AGA KHAN PROGRAM FOR ISLAMIC ARCHITECTURE RESOURCES FOR THE STUDY OF ISLAMIC ARCHITECTURE HISTORICAL SECTION BIBLIOGRAPHIC COMPONENT Historical Section, Bibliographic Component Reference Books BASIC REFERENCE TOOLS FOR THE HISTORY OF ISLAMIC ART AND ARCHITECTURE This list covers bibliographies, periodical indexes and other basic research tools; also included is a selection of monographs and surveys of architecture, with an emphasis on recent and well-illustrated works published after 1980. For an annotated guide to the most important such works published prior to that date, see Terry Allen, Islamic Architecture: An Introductory Bibliography. Cambridge, Mass., 1979 (available in photocopy from the Aga Khan Program at Harvard). For more comprehensive listings, see Creswell's Bibliography and its supplements, as well as the following subject bibliographies. GENERAL BIBLIOGRAPHIES AND PERIODICAL INDEXES Creswell, K. A. C. A Bibliography of the Architecture, Arts, and Crafts of Islam to 1st Jan. 1960 Cairo, 1961; reprt. 1978. /the largest and most comprehensive compilation of books and articles on all aspects of Islamic art and architecture (except numismatics- for titles on Islamic coins and medals see: L.A. Mayer, Bibliography of Moslem Numismatics and the periodical Numismatic Literature). Intelligently organized; incl. detailed annotations, e.g. listing buildings and objects illustrated in each of the works cited. Supplements: [1st]: 1961-1972 (Cairo, 1973); [2nd]: 1972-1980, with omissions from previous years (Cairo, 1984)./ Islamic Architecture: An Introductory Bibliography, ed. Terry Allen. Cambridge, Mass., 1979. /a selective and intelligently organized general overview of the literature to that date, with detailed and often critical annotations./ Index Islamicus 1665-1905, ed.
  • Reflection of Technology on the Inherited Conceptual Design of Mosques

    Reflection of Technology on the Inherited Conceptual Design of Mosques

    Ain Shams University Faculty of Engineering Department of Architecture REFLECTION OF TECHNOLOGY ON THE INHERITED CONCEPTUAL DESIGN OF MOSQUES A thesis submitted to the Faculty of Engineering - Ain Shams University in partial fulfillment of the requirements for Master of Science Degree in Architecture By Radwa Ahmed Omar Abuel Seoud B.Sc. Architecture-Ain Shams University, 2006 Under the supervision of Prof. Dr. Khaled Dewidar Professor - Department of Architecture Faculty of Engineering - Ain Shams University Prof. Dr. Shaimaa Kamel Professor - Department of Architecture Faculty of Engineering - Ain Shams University Dr. Somaya Bahy Eldin Lecturer - Department of Architecture Faculty of Engineering - Ain Shams University 2013 Statement I hereby declare that all information in this document has been obtained and presented in accordance with academic rules and ethical conduct. I also declare that, as required by these rules and conduct, I have fully cited and referenced all material and results that are not original to this work. Name: Radwa Ahmed Omar Abuel Seoud Signature: Date: Ain Shams University Faculty of Engineering Department of Architecture Submitted by: Radwa Ahmed Omar Abuel Seoud Thesis Title: Reflection of Technology on the Inherited Conceptual Design of Mosques Supervising Committee: Signature Prof. Dr. Khaled Dewidar Professor - Department of Architecture Faculty of Engineering - Ain Shams University Prof. Dr. Shaimaa Kamel Professor - Department of Architecture Faculty of Engineering - Ain Shams University Dr. Somaya Bahy
  • Proceedings of the 2Nd International Ismaili Studies Conference “Mapping a Pluralist Space in Ismaili Studies”

    Proceedings of the 2Nd International Ismaili Studies Conference “Mapping a Pluralist Space in Ismaili Studies”

    PROCEEDINGS OF THE 2ND INTERNATIONAL ISMAILI STUDIES CONFERENCE “MAPPING A PLURALIST SPACE IN ISMAILI STUDIES” March 9 – 10, 2017 Carleton Centre for the Study of Islam Carleton University Ottawa, Canada Edited by Karim H. Karim September 9, 2017 ISC2017 TABLE OF CONTENTS Critical Inquiry, Courage, and the Pursuit of Truth: Notes on the Second International Ismaili Studies Conference by Karim H. Karim 2 Message from Saiyedna Haatim Zakiyuddin Saheb 10 Statement by Wissam Tai Boudargham, Sami Makarem Foundation 11 Conference Program Overview 14 Detailed Conference Program 16 Excerpts from Professor Homi Bhabha’s Keynote Address 21 Music Workshop 25 Exhibits 27 The Ugandan Asian Archive Exhibit 27 Ismaili Manuscripts 27 Conference Papers 28 Historical Presences 29 . The Fatimids: Texts and Contexts 29 . The Ismaili State in Iran 33 . Ikhwan al-Safa 40 . Nasir-i Khusraw 45 . 19th & 20th Century Ismaili History in Africa 58 Rethinking Heritage 64 . Sacred and Secular Spaces 64 . Digitizing Resources 72 . Reimagining Ismaili Ta’wil 83 . Ginans 91 . Art and Music 100 . Religious Education 106 Communities, Borders, Identities 114 . Khoja and Other Shia Studies 114 . Ugandan Asian Expulsion 117 . Ismailis and Others 121 . Migration, Borders, Politics 135 . Identity, Practice and Participation in Canada 136 . Ismailis of Badakhshan 146 . The Aga Khan: Ideas and Institutions 149 Announcement: The Karim and Rosemin Karim Prize 152 Sources of Voluntary and Financial Support for the Conference 153 Conference Staff 155 Links to Other Conference Materials 156 1 ISC2017 CRITICAL INQUIRY, COURAGE, AND THE PURSUIT OF TRUTH: NOTES ON THE 2ND INTERNATIONAL ISMAILI STUDIES CONFERENCE Karim H. Karim Director, Carleton Centre for the Study of Islam Organizer, The 2nd International Ismaili Studies Conference His Highness the Aga Khan embedded, in all our conversations, the importance of questioning our assumptions and pushing them towards a greater, more generous, more shared, and more diverse view of what he often called the good society.