感受神圣的光影空间

Dabbagh Architects由首席建筑师兼创始人Sumaya Dabbagh领导，在迪拜完成了为已故的Mohamed Abdulkhaliq Gargash设计和建造的清真寺，这是一座当代的礼拜场所，设计师熟练地在使用形式、材料和对自然光的控制方面对项目进行掌握，创造一种平静的精神联系，并将朝拜者从外部物质世界引入内在的精神存在。该项目是阿联酋最早由女性建筑师设计的清真寺之一。Sumaya是她这一代仅有的几位沙特女性建筑师之一，也是少数几位在海湾地区成立自己的事务所的女性建筑师之一。她以与周围环境对话创作与文化相关的建筑设计而闻名，她的设计强调建筑中的无形事物。寻求创造意义和诗意感，在每栋建筑与使用者之间建立联系。她以往的项目包括Mleiha考古中心（2016年），一座曲线型砂岩建筑，从联合国教科文组织世界遗产Mleiha小镇的沙漠中升起。该项目被授予建筑大师奖（2020年），并获得2018年Aga Khan奖的提名。

Dabbagh Architects, led by Principal Architect and Founder, Sumaya Dabbagh, completes the Mosque of the Late Mohamed Abdulkhaliq Gargash (Dubai, UAE), a contemporary place of worship that is quietly masterful in its use of form, materiality, and controlled natural light to evoke a sense of calm, spiritual connection, and to transition the worshiper from the outer material world to an inner sense of being. The mosque is one of the first in the UAE to be designed by a female architect. Sumaya is one of only a few Saudi female architects of her generation, and among a handful of women architects leading their own practice in the Gulf region. With a reputation for crafting culturally relevant buildings in dialogue with their surroundings, she places an emphasis on the intangible in architecture; seeking to create meaning and a sense of the poetic in order to form a connection with each building’s user. Previous projects include Mleiha Archaeological Centre (2016), a curved sandstone structure that rises from the desert in the small town of Mleiha, a UNESCO World Heritage Site. The project was awarded an Architecture MasterPrize (2020), amongst other award wins, as well as being nominated for the Aga Khan Awards (2018).

创造从外部物质世界到内部精神存在感的过渡 Creating a transition from the outer material world to an inner sense of being

项目作为献给社区的礼物，为了纪念已故的家族族长Mohamed Abdulkhaliq Gargash而建造，家族希望为Al Quoz社区创造一个极简的当代清真寺，一个位于迪拜的工业中心的宁静祈祷空间。Dabbagh Architects致力于支持当地工业，并遵循实践的可持续设计方法，于是从当地采购材料：包含来自Oman的石材，来自阿联酋的混凝土，铝，覆层，细木工制品和陶瓷制品等。

As a gift to the community, and in honour of the late patriarch of the family, Mohamed Abdulkhaliq Gargash, the Gargash family’s brief was to create a minimal contemporary mosque, a calm and spiritual space for prayer, for the community of the Al Quoz, the industrial heart of Dubai. Committed to supporting local industries, and in keeping with the practice’s sustainable approach to design, Dabbagh Architects sourced materials from the mosque’s locality: stone from Oman; concrete, aluminium, cladding, joinery, and ceramics from the UAE.

设计的核心是加强礼拜行为，以及建筑从物质到精神的过渡之旅，让礼拜者准备好祈祷，感受与神圣事物的亲近和连接。

At the heart of the design approach is the enhancement of the act of worship, and a transitional journey throughout the building so that the worshiper is ready for prayer and feels a sense of intimacy with the sacred.

光作为工具与神灵建立联系 Light as a tool to create a connection with the divine

自然光被用作增强灵性感受的工具，强化尘世与神灵之间的联系，并标记了崇拜者在建筑物中的旅程。尺度同样也在创造这种神圣感方面发挥了作用。从清真寺的室外入口开始，穿孔板投射的阳光会形成一道门，将朝拜者引入沐浴区，洗净身体的同时也出去心中的杂念，做好祈祷的准备。这条路线一直延伸到大厅空间，随着朝拜者脱下鞋子，物质世界的纷扰进一步脱落。

Natural light is used as a tool to enhance a feeling of spirituality, the connection between the earthly and the divine, and to mark the worshiper’s journey through the building. Scale also plays a role in creating this sense of sacredness. Starting at the mosque’s outdoor entrance, perforated shading creates a threshold of perforated light that leads the worshiper to the ablution area, where physical cleansing invites the clearing of the mind and preparation for prayer. The route continues through to a lobby space, where further shedding of the material world takes place through the act of removing one’s shoes.

▽入口空间

进入祷告厅后，访客将过渡到一个封闭空间，在祈祷之前可以阅读《古兰经》。从一个空间到另一个空间的光线也在发生变化，以增强准备的过程，当朝拜者最终进入主厅时，他们将完全做好了祈祷的准备。

Once inside the prayer hall, the visitor further transitions to a contained space where reading from the Quran may take place before prayer. All the while, the quality of light from one space to another changes to enhance the preparation process so that when the worshiper finally enters the main hall, they are ready for prayer.

“穆斯林祈祷在一天中的规定时间进行：黎明，中午，下午，日落和夜晚。这种规定在人与自然的昼夜变化之间建立起联系。清真寺设计创造的体验旨在通过引入可控制的自然光来增强这种联系，”Sumaya解释道。设计以三种方式完成：垂直方向通过穿孔的穹顶来实现，增强与天堂的精神联系，来自侧面狭窄开口的光轴进一步创造了来自神圣的照明感，紧接着，在米哈拉布拱门后，面向祈祷的方向，突出祷告厅的重点。立面设置了一系列与室内设计相同图案的小开口，带来了光影变化。

“Muslim prayer is performed throughout the day at prescribed timings: at dawn, midday, afternoon, sunset, and at night. This discipline creates a human connection with the natural day and night rhythm. The experience created through the design of the mosque seeks to enhance this connection through a controlled introduction of natural lighting,” explains Sumaya. This is done in three ways:  vertically, via the perforated dome, enhancing the spiritual connection to the heavens, the shafts of light from the narrow openings on the sides further create a sense of illumination from the divine; indirectly, behind the Mihrab, to highlight the point of focus in the prayer hall facing the direction of prayer; and, through a play of light from a series of small openings in the fa?ade that follow the same decorative patterns of the interior.

以精简的形式与传统的建筑类型进行区分 Pared down form eschews traditional architectural typology

通过简化伊斯兰形式的传统建筑，将其剥离到其本质，Dabbagh Architects试图避免使用多个体量。在设计开发过程中，主楼体量被一分为二：首先是包含分别面向男性和女性使用的祈祷区，其次是服务区，包含Imam（祈祷的领导者）和Moazen（祈祷的召唤者）的洗礼设施和住所。通过这种划分，建筑中形成了一个庭院，伸出的雕塑顶篷将两个体积重新连接在一起。由于两臂几乎接触，顶篷带来功能性的分隔和精神上的分离感：将洗礼仪式的实用性和祈祷的灵性分开。建筑的尖塔被设计为一个单独的体量，与传统清真寺建筑形成鲜明对比。

By simplifying the traditional typology of the Islamic form, and stripping it away to its essence, Dabbagh Architects sought to avoid multiple blocks. In the process of design development, the main building volume was separated into two: firstly, the prayer block containing the male and female prayer areas, and secondly, the service block where the ablution facilities and residence for the Imam (the leader of prayer) and Moazen (caller of prayer) are found. As a result of this division, a courtyard is formed, with has a sculptural canopy reaching out to reconnect the two volumes together. With its two arms almost touching, the canopy gives a sense of separation of the functional and the more scared: the practicality of the ablution ritual and the spirituality of prayer. In further contrast to traditional mosque architecture, the minaret is designed as a separate volume.

▽建筑的尖塔被设计为一个单独的体量

▽建筑中形成的庭院空间

对伊斯兰几何学和隐喻性书法的重新诠释 A reinterpretation of Islamic geometry and metaphorically protective calligraphy

项目中图案和材料的使用增强了加强了使用者从外部进入庭院、再进入建筑这一过程的体验。三角形图案参考了传统的伊斯兰几何学，贯穿整栋建筑，但以解构的当代语言进行了重新诠释。外部镶板在凹陷和穿孔元素中使用这种三角形图案，使建筑物的肌理具有动感的外观。内部的穿孔将自然光散射到礼拜区域，经过谨慎地控制仅照亮关键空间，营造出平静的氛围和与神灵的联系感，并有助于冷却清真寺的室内温度。双层圆顶还允许自然光进入，通过内侧采用同样三角形图案的装饰表皮的过滤，该装饰性表皮融合了与建筑物其余部分相同的三角形图案，创造了一个柔和，自然的祈祷空间，专为内省的心灵量身定制。重新诠释的伊斯兰图案和三角形几何形状在室内和谐相处，它们穿过墙壁，地毯和灯具。

The use of pattern and materiality in this project enhances the user’s experience as they journey from the outside into the courtyard and enter the building. Throughout the building, a triangular pattern gives reference to traditional Islamic geometry, but reinterpreted in a deconstructed contemporary language. The exterior paneling uses this triangulated pattern in recessed and perforated elements, which gives the building’s skin a dynamic appearance. Internally, these perforations scatter natural light into the areas of worship with great control and care to illuminate the key spaces, and to create a calm atmosphere and sense of connection to the divine, as well as helping to cool the mosque’s interior. The double skin dome also allows natural light to enter, filtering it through the internal decorative skin, which incorporates the same triangulated pattern as the rest of the building. This filtered light creates a soft, naturally-lit prayer space tailored to the introspective mind during prayer. The reinterpreted Islamic patterns and triangulated geometry harmonize throughout the interior as lines intersecting across walls, carpets, and light fittings.

▽建筑的肌理布满三角形图案

书法艺术在整体设计中起着重要作用。《古兰经》中的Surah诗篇环绕在祷告厅外部，形成一个如同隐喻的保护带，向到访者表明空间的精神本质，并为整座建筑中灌输神圣的能量。这首名为《The Most Merciful》的诗篇完全用saj39;——一种早期阿拉伯诗歌中的押韵形式组成，并引用了太阳，月亮，星星和天堂以及许多其他创作。

Calligraphy plays an important part in the overall design. A Surah (verse from the Quran) wraps around the prayer hall externally to create a metaphoric protective band, signaling the spiritual nature of the space upon arrival and instilling a sacred energy throughout the building. The verse, “The Most Merciful”, is composed entirely in saj’, the rhyming, accent-based prose characteristic of early Arabic poetry, and references the sun, the moon, the stars and heavens and many other creations.

▽祷告厅外部镌刻着《古兰经》中的Surah诗篇