© Sadao Hotta

(萨达奥·霍塔)

架构师提供的文本描述。为了抓住清真寺作为礼拜的公共空间的历史前提，Al Warqa‘a清真寺是一种结构，也是社区的聚集地。随着标志性的土耳其中央穹顶清真寺类型在阿联酋的扩散，建筑师们试图回到一种更简单的设计，不再把清真寺作为一个图标，而更多地作为一个社会空间。al-Warqa‘a清真寺与先知穆罕默德在麦地那的7世纪住宅的空间简洁相呼应，它被认为是历史上第一座清真寺。在阿拉伯的本质类型学中，最初的清真寺结构是由一个由柱子支撑的房间包围的开放庭院来区分的。这种布局背后的设计方法受到一种认识的影响，即清真寺是一个多功能空间，供社区在祈祷后聚集和社交；这样，清真寺被视为其直接环境的延伸。

Text description provided by the architects. Designed with the intention of capturing the historical premise of a mosque as a communal space for worship, Al Warqa’a Mosque is a structure that also functions as a gathering place for the community. With the proliferation of the iconic Turkish Central Dome mosque typology in the UAE, the architects sought to return to a simpler design that is less focused on the mosque as an icon, and more as a social space. Al Warqa’a Mosque echoes the spatial simplicity of Prophet Muhammad’s 7th-century house in Medina, which is considered the first mosque in history. In what came to be known as the Arab Hypostyle typology, the original mosque structure was distinguished by an open courtyard surrounded by rooms supported by columns. The design approach behind this layout was influenced by an understanding of the mosque as a multifunctional space for the community to congregate and socialize in after prayer; in this way it is seen as an extension of its immediate environment.

IBDA将这一概念纳入了Al Warqa‘a清真寺，可以从外部无缝过渡到空间；由于没有界定清真寺房地的边界墙，朝拜者可以从礼堂周围的Riwaq(走廊)的三个不同侧面进入清真寺。这种增加的可达性创造了一种绿洲般的效果，强调清真寺是一个公共空间的概念。定义进入哈拉姆(神圣的空间)通过SAN(庭院)是为了创造一个空间的转变，逐渐从繁忙的街道环境，通过一系列有趣和邀请的拱门崇拜的宁静空间。SAN还起到了功能作用，允许人们在星期五祈祷或其他交通繁忙的季节(如斋月和两个孩子)有更多的空间祈祷。

Ibda’s integration of this concept in Al Warqa’a Mosque can be seen in the seamless transition into the space from the outside; with no boundary wall defining the premises of the mosque, worshippers can enter the mosque from three different sides of the riwaq (hallway) surrounding the prayer hall. This increased accessibility creates an oasis-like effect that emphasizes the notion of the mosque as a communal space. Defining access into the haram (holy space)through the sahn (courtyard) is designed to create a spatial shift that gradually takes worshippers from the busy street environment to the serene space of worship through a series of playful and inviting arches. The sahn also serves the functional purpose of allowing more space for people to pray during Friday prayers or other high traffic seasons such as the holy month of Ramadan and the two Eids.

 © Sadao Hotta

(萨达奥·霍塔)

进入桑恩后，朝拜者会在院子的拐角处有一个醒目的尖塔结构。设计成白色的独立站立元素，装饰着图案，尖塔成为极简主义和传统影响的独特融合。除了山，清真寺的内部是一个亲密而明亮的空间，不受柱子的干扰-通常是该地区普遍存在的大型清真寺的一个侧面。妇女祈祷大厅由一座与空间相交的浮桥划定，既属于私人，又包含在哈拉姆教堂的统一范围内。对妇女区域的敏感对待与其他清真寺中的许多此类空间形成了鲜明对比，在这些清真寺中，妇女祈祷厅在很大程度上被隔离开来，通常被置于后阁楼层或完全封闭的房间中。桥梁结构还确保在会众祈祷时间或布道(布道)期间不存在声音障碍或延迟。

Upon entering the sahn, worshippers are met with a striking minaret structure located at the corner of the courtyard. Designed as a white free standing element that is adorned with patterns, the minaret becomes a unique amalgamation of minimalist and traditional influences. Beyond the sahn, the interior of the mosque is an intimate, yet brightly lit space that is uninterrupted by columns - usually a facet of the larger mosques prevalent in the region. Demarcated by a floating bridge that intersects the space, the women’s prayer hall is at once private and contained within the uniformity of the haram. The sensitive treatment of the women’s area is in contrast with many such spaces in other mosques in which the women’s prayer hall is segregated to a large degree, typically relegated to the rear mezzanine level or in closed rooms altogether. The bridge structure also insures that there is no sound obstruction or delay during congregational prayer times or khutbas (sermons).

 Floor Plan

在概念上和空间上，建筑师在清真寺的设计中都把光的主题作为一种物质成分和一种精神元素结合在一起。对自然光的强调是通过环绕整个空间的天窗产生的，产生了一种扩散的效果，给内部带来了一种虚幻的光明感。光也扮演着另一个角色。它的作用是唤起人们对太阳运动的关注，它作为不断变化的祈祷时间的催化剂，不断的运动成为他们日常循环的视觉反映。这一运动概念还被纳入清真寺的图案设计。在抽象的浮雕的基础上，浮动桥一侧的交替开口模式创造了一种复杂的光与影的作用，进一步强调了祈祷时间的移动和变化的概念。

Conceptually and spatially, the architects incorporated the theme of light both as a physical component and a spiritual element in the design of the mosque. An emphasis on natural light is created through a skylight that wraps around the entire space, producing a diffused effect that gives the interior an ethereal sense of brightness. Light also plays another role. It serves to call attention to the movement of the sun as a catalyst in the changing prayer times, the constant motion becoming a visual reflection of their daily cycle. This concept of motion is additionally integrated into the pattern design in the mosque. Based on an abstracted flower relief, an alternating pattern of openings on one side of the floating bridge creates an intricate play of light and shadow that further underlines the notion of movement and change in prayer times.

 © Sadao Hotta

(萨达奥·霍塔)

Al Warqa‘a清真寺的物质性和设计反映了对建筑所在地的一种正念。使用沙特砂岩作为外部外观，清真寺成为其所在沙漠环境的延伸。沙质外墙与清真寺的白色内部形成鲜明对比，强化了清真寺作为社区避难所的概念-一种从物质世界严酷元素中撤退的方式。

The materiality and design of the Al Warqa’a Mosque reflects a mindfulness to the locality of the structure. Using Saudi Sandstone for the external façade, the mosque becomes an extension of the desert environment it is located in. The sandy outer façade contrasted with the stark white interior of the mosque reinforces the notion of the mosque as a sanctuary in the neighborhood – a type of retreat from the harsh elements of the material world.

 © Sadao Hotta

(萨达奥·霍塔)

 © Sadao Hotta

(萨达奥·霍塔)

Architects ibda design

Location Dubai - Dubai - United Arab Emirates

Category Mosque

Architect in Charge Wael Al Awar, Kenichi Teramoto

Area 1400.0 sqm

Project Year 2016

Photographs Sadao Hotta