Low En Huey 0317889 Mohamad Ridzwan bin Rosman 0313350 Ng Hong Bin 0319735 Nicole Ann Choong Yin 0323148 Nurin binti Abdullah 0318596

Sultan Salahuddin Abdul Aziz Shah Mosque

Culture and History II

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Index

Page Content

03 Introduction

04 Location

06 History

07 The architect

08 Site Context

15 Architectural layout

24 Architectural style

37 Building Construction

48 Architectural Element

58 Conclusion

59 References

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Introduction

The Sultan Salahuddin Abdul Aziz Mosque, also known as Blue Mosque is the state mosque

of Selangor Darul Ehsan. The mosque was named after the late Sultan of Selangor. The

most distinct feature of the mosque is the blue and silver dome. Soars up to 350 feet above

the ground and 170 feet in diameter, the dome of Blue Mosque is the biggest religious

dome of Malaysia and the second largest largest in South East Asia, after Istiqlal Mosque in

Jakarta, Indonesia. The mosque has four minarets at each corner of the mosque. It can fit

up to 24,000 worshippers at a time.

Figure 1.0 Exterior of mosque

Source : Ng Hong Bin

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Location

Address : Pesiaran Masjid, Seksyen 14, Shah Alam.

The Blue mosque is situated in the heart of Shah Alam, the state capital of Selangor

Darul Ehsan. It overlooks the Garden of Islamic Arts, a beautifully landscaped park inspired

by the Quranic Garden of Paradise. Visitors could get there by commuter train from Kuala

Lumpur to Shah Alam Station and take a short taxi ride to the Mosque.

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Once known as Sungai Renggam and was noted for its rubber and oil palm estates, Shah

Alam is the state capital of Selangor, Malaysia. It is situated within the Petaling District and a

small portion of the neighbouring Klang District. Shah Alam replaced Kuala Lumpur as the

capital city of the state of Selangor in 1978 due to Kuala Lumpur’s incorporation into a Federal

Territory in 1974. It was the first planned city in Malaysia after independence from Britain in

1957 that consists of commercial premises, administrative building, cultural sites and residential

areas. Its current name was chosen by the former Sultan of Selangor, Sultan Salahuddin Abdul

Aziz Shah, after his late father Sultan Alam Shah.

Figure 1.1 Shah Alam map

Source : mbsa website

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History of Building

14 February 1974

Shah Alam was declared as the new capital for Selangor state.

1 October 1983

Commencement of construction work.

15 August 1987

Construction completed.

11 March 1988

Launching ceremony of Blue Mosque was held by His Royal Highness Sultan Salahuddin

Abdul Aziz Shah.

August 1993

The mosque was listed in the Guinness Records as having the tallest minaret in the world

before being surpassed by the Hassan II Mosque.

Source : Sultan Salahuddin Abdul Aziz Shah Mosque in Shah Alam - Malaysia. (n.d.). Retrieved from http://www.beautifulmosque.com/Sultan-Salahuddin-Abdul-Aziz-Shah-Mosque-in-Shah-Alam-Malaysia

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Architect

Figure 1.2 Portrait of Datuk Baharuddin

The design of Blue Mosque was by Architect Datuk Baharuddin Abu Kassim of Jurubena

Bertiga International. The mosque was commissioned by the late Sultan Salahuddin

Abdul Aziz.The civil and structural engineer for this building was done by Tahir Wong Sdn.

Bhd. in conjunction with Brain Moorehead & Partners. As for mechanical and electrical, it

was done by Ranhill Bersekutu Sdn.Bhd. The quantity surveyor for Blue Mosque were

Pakatan International Md. Isahak dan Rakan-Rakan Sdn and the acoustic consultant was

Bolt Beranek & Newman Inc. The construction work for Blue Mosque was done by Bina

Goodyear Sdn. Bhd./ Bina Samic (M) Sdn. Bhd.

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2.0 Site Context By: Nicole Ann Choong Yin

Building accessibility

The mosque has two floors, both with prayer halls, the ground has non religious spaces like a

reception, an administrative office, library, conference room and several lecture rooms. The

first floor has galleries mainly reserved for women.

Figure 2.0 Entrance of the mosque Figure 2.1 Entrance into the prayer hall

There are two main entrances into the mosque, both the east and west entrances are in the

center of the open space. Distinct areas segregate space for men and women.

Figure 2.2 The ground floor prayer hall

The prayer halls on both floors are accessible through the staircases on the side of the

building. The corridors of the mosque ensure there is no congestion as the congregation

circulate around the prayer hall instead of inside.

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Figure 2.3 Corridor of the 1st floor

The spaces within the mosque are allocated specifically for the users needs. The prayer hall,

the most used is easily accessed as it is in the middle and the areas for washing is also in close

proximity to the entrances.

Figure 2.4 Rows of taps Figure 2.5 "bilik wudhuk"

This mosque can accommodate up to 24,00 people so even the sizes and design of the

washing room is accounted. The area for cleansing, "bilik wudhuk" is placed in rows to

accommodate more people in an orderly manner.

Through corridors, visitors move easily throughout the mosque even at capacity. Other non

religious spaces are placed further away to ensure fluidity in the circulation.

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Site context analysis

Figure 2.6 Aerial view from the mosque

The SSAAS Mosque is located in Shah Alam. The site was specifically chosen by Sultan

Salahuddin Abdul Aziz Shah himself. It is situated in a mix of neighbourhoods, high rises and

parks.

The mosque stands out from its context because of its distinguishable blue dome and four

minarets.The design stands out from the lush greenery and houses because of its blue and

silver geometric architecture.

Figure 2.7 Distinct features

The surrounding houses are different because of the homogenous design. The semi-d's have

the similar pitched roofs, a contrast to the striking dome .

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Figure 2.8 Concorde hotel Figure 2.9 Surrounding building

There are a few high rises buildings like the Concorde Hotel. These buildings have elements

of Modernist architecture, emphasis on vertical and horizontal lines for a simple look as

compared to the grand design of the mosque.

The mosque stands out due to its blend of Malay and Middle Eastern architectural style.

Engraved quotations from the Qur'an in and the dome.

Figure 2.10 quotations in the dome

The dome,15.2 m in diameter and the tip is 106.7m in height. Each of the minarets are

142.3m in height, a considerable difference to the double story semi-d's

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Figure 2.11 The infamous dome and minarets

The mosque also overlooks the Garden of Islamic Arts, Raja Lumu and Indah recreational park

which greenery and lake complement the mosques serene ambience.

Response to Climate

To combat the heat, the prayer hall is not only fully carpeted and air conditioned, it has a

natural ventilation system.

Figure 2.12 Diagram of ventilation system

The fans in the prayer hall agitate hot air that gets sucked out by the lined extractors at the

base of the dome. This is successful because of the trees and lakes nearby. The blowers inside

the system suck out the air from outside, filters and cools it then channels it into 24 pole

ducts.

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Figure 2.13 The lattice screen walls

The external areas are cool kept through the lattice screen walls

Figure 2.14 Blue stained glass

The intricate aluminium grill windows have blue stained glass to mellow the light in the

mosque.

Figure 2.14 Diagram of raked piles

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Due to the size of the mosque, there would be considerable horizontal wind load. Raked pile

foundation were constructed to counter these wind loads.

Figure 2.15 Reinforced concrete funnel

Other design elements like the reinforced concrete funnel not only acts as a rainwater

collector but also supports the floor internally.

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3.0 Architecture Layout of Building By : Mohamad Ridzwan Rosman

Plan to Elevation Analysis

This building consist of two noticeable connection, although there are other relationship but

the most noticeable ones are common origins and inverse.

This elevation has a very similar shape that was used in the plan. Both particularly used the

rectangular as the main shape. Although, the same origin but the outcome is quite different.

The repetitive use rectangular and the arrangements of shapes in both horizontally and

vertically have shown drastic difference in the outcome of design.

For example, the minaret towers are made out of 4 rectangles that shares a common center,

where as the plan and elevation shows a series of rectangles being used adjacent to other

rectangles.

Figure 3.1(a): Elevation Analysis Figure 3.1(b): Plan Analysis

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The elevation and plan of this part of mosque, generally have an inverse relationship with

each other. The dome itself have a very curved and pointy feature, where as the plan shows a

circle as a base shape. When compared the dome to the entirety of the mosque, it shows

obvious inverse relationship between the two. As in the curve of the dome is an opposite to

the structural plan or elevation, which consist of mainly rectangular and grid like spaces.

Circulation To Use Space

This floor plan consist of rooms (blue rectangles), a small multipurpose hall right at the center

(red rectangles) and hallways around every room.

The mosque contains three main entrance, built for three different types of users. The

entrance that is marked green circle is an entrance and exit for tourist and followers of a

different religion. It is also where the tour office is located.

The entrance that is marked blue circle is for the public followers of the Islamic faith.

While, the entrance that is marked yellow circle is for the users of high profile, such as Kings

and ministers. Although it is so, the public can also use the entrance.

Figure 3.1(c): Dome; Plan And Elevation

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The lower floor circulation is dependent on the hallways as a means to connect the rooms.

The circulation is shown by the order of hierarchy in social status, which are high profile

devotees, public devotees, and tourist. High-profile devotees begins at the south side of the

mosque and either they head up to the upper part of the mosque or they go into the

multipurpose hall and then the upper part of the mosque, depending on the occasion.

Public devotees are more free in terms of circulation. They are allowed to pass through

practically any entrance. If the main prayer hall is full, they use the main purpose hall for

prayers instead.

Figure 3.2(a): Shows the lower floor plan

Figure 3.2(b): shows the circulation of high-profile devotees.

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For the tourist however, there is only one entrance and exit when visiting the mosque, this is

because the tourist is usually guided by the tour guide at the tour entrance and only can visit

non-worshiping area such as the rooms and the hallway.

Upper Floor Layout

The plan consist of a hall, ablution fountain and hallways that are the main distributor of

circulation within the mosque.

Figure 3.2(c): shows the circulation of public devotees.

Figure 3.2(d): shows the circulation of tourist.

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The red indicator is the main hall in the mosque, that is used for daily prayers, however there

are no exact route on how people circulate the hall because of the open space, it is mostly

random. The mosque also contains a built structural support that holds the dome, which in

turn direct the circulation in a radial form. The user can go to their destination directly except

for when people are praying or sitting down.

The green indicators is the stairways going onto the ground floor.

The blue indicators are the wide hallway that provide circulation outside of the praying hall.

However, during the collective prayers, the prayer hall tend to be overflowed with devotees,

so much so that they pray on hallway.

Upper Floor Circulation

The circulation is shown via order of hierarchy , which are high profile devotees, public

devotees, and tourist.

High-profile devotee usually head straight for prayers and will be placed the front row of the

mosque from either side of the stairs.

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Public devotee's circulation is quite free and random from the stairs all the way to the ablution

fountain on the east of the mosque or on the lower part of the plan. They can go anywhere

except for the minarets.

Figure 3.2(g): shows the circulation of the public access

Tourist area of circulation is also limited on this floor. They can visit any place except for the

minarets and through main hall.

Figure 3.2(f): shows the circulation of high-profile devotee's

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Vertical Circulation

The position of the stairs is located in the interior part of the mosque. There are about 2

monumental staircase on each side of the mosque and there are two principal stairs that are

placed on south of the building near the ablution chamber.

The stairs uses low steps for easy access by kinds of users, except for the disabled ones

because this mosque provides stairs only as a vertical circulation.

The stairs they provided are 3 parallel flights and landing and 4 spiral stairs and a lift within

one of the minaret towers

Figure 3.2(h) shows the restriction of circulation

1 1

2 2

Figure 3.2(i): This figure shows the

location of the stairs

Figure 3.2(j) shows flight of stairs

Figure 3.2(k) shows the main stairs

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Spatial Relationship

Space Within A Space(blue)

The mosque's praying hall and the multipurpose hall is two of the examples of a space

within a space.

Adjacent Space(red)

Examples of adjacent spaces can be seen with the placements of rooms in a grid like manner.

Linked By A Common Space

All of the space are linked together by one compound which is the hallway.

Figure 3.3(a): Spacial Relationships Within The Layout

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Spatial Organization

The spaces in the layout shows a clear sign of centralize and linear organization. It is one of

the most noticeable feature of the building that allows a maximum use of space and set a

focus within the center of the mosque.

Figure 3.3(b):Shows the Type of Organization Within Layout

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4.0 Architecture Styles Analysis By : Low En Huey

The Sultan Salahuddin Abdul Aziz Shah mosque has adapted a few architectural styles as the

architect, Datuk Baharuddin has travelled to few countries to get the inspiration of the design

of the mosque. The few dominant styles that could be seen from the mosque are the Islamic

architecture, Gothic style and Modernism.

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Islamic Style

Islamic architecture is commonly expressed in religious buildings such as mosque and

madrasah. It can be defined as building traditions of Muslim populations of the Middle East

and any countries where Islam has been dominant from the seventh century on. The

articulation of elements like arches, domes and columns, calligraphic illustrations and

geometrical decorating patterns are the key features of Islamic style.

Figure 4.0 shows the common decorative patterns for Islamic features.

The design of Sultan Salahuddin Abdul Aziz Shah Mosque is heavily influenced by one

of the Islamic architectural style, which is the Ottoman style. The major characteristic of

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Figure 4.2 the main prayer hall

Source : Low En Huey

Ottoman mosques from early period is the dominance of a central domes that covers a

significant part of the main prayer hall. The Sultan Salahuddin Abdul Aziz Shah Mosque has

a main prayer hall top by the second biggest dome of the world.

From figure 4.1, geometric pattern can be seen as the main decorative elements of the

dome. Geometric patterns portrays the Islamic interest in repetition, balance and symmetry

and continuous generation of pattern. Domes and cupolas are common elements of Islamic

style adapted by Malaysia’s mosque. Besides that, the use of bright blue colour that is

relatively similar to the bright green (symbolic colour of Islam) at the dome gives the mosque

another name, which is the Blue Mosque.

Figure 4.1 exterior of dome

Source : Low En Huey

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Figure 4.4 Minaret Sultan Ahmed

Mosque

Source : www.panoramio.com

Figure 4.5 Minaret Sultan Salahuddin

Mosque

Source : Low En Huey

Figure 4.3 The Sultan Ahmed Mosque, Istanbul

Source : thearabdailynews.com

Distinctive example of Ottoman mosque, the Sultan Ahmed Mosque in Istanbul, also known

as the Blue Mosque for the blue tiles adorning the walls of its interior. The central dome

covers the main congregation hall.

Another characteristic of Ottoman mosque is well known for its simple and elegant

minarets that ends with a conical cap.

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Figure 4.6 Mihrab of Sultan Ahmed

Mosque

Source : islamicartsmargazine.com

Figure 4.7 Mihrab of Sultan

Salahuddin Mosque

Source : Ng Hong Bin

The surface of the both the minarets are fluted and have 2 -3 balconies installed at the

minarets. The minarets for the Sultan Ahmed Mosque has more ornamentation compared to

the Sultan Salahuddin Mosque.

Next, mihrab is one of the features of Islamic styles. The mihrab of Sultan Salahuddin

mosque has lesser ornamentation and less grand compared to the Sultan Ahmed mosque’s

mihrab. However, both mihrab are decorated with tradition ally formed Quranic verses.

(figure 4.6, 4.7)

Figure 4.8 Minbar of Sultan Ahmed

Mosque

Source : www.w3toplisting.com

Figure 4.9 Minbar of Sultan Salahuddin

Mosque

Source : Ng Hong Bin

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Figure 4.10 Mihrab

Source : Ng Hong Bin

Figure 4.11 Hallway

Source : Low En Huey

The mimbar of Sultan Salahuddin Mosque is entirely carved timber, a masterpiece of

local craftsman from Kelantan. (figure 4.8) This mimbar reflects the local culture of

Malaysia. On the other hand, the mimbar of Sultan Ahmed Mosque is heavily decorated

capped with an ornamental turret. (figure 4.9)

Gothic Style

The origin of Gothic art is Romanesque art. Gothic architecture emphasises light,

bright windows and airy interiors. Key features include the pointed arch, rib vaults,

buttresses and window tracery.

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Figure 5.12 Door Design

Source : Low En Huey

Figure 4.13 Openings

Source : Low En Huey

Figure 4.12 Door Design

Source : Low En Huey

Figure 4.15 Windows

Source : Low En Huey Figure 4.14 Entrance Door Design

Source : Low En Huey

The Sultan Salahuddin Abdul Aziz Shah Mosque has incorporated the pointed arch

design into most of the elements of the mosque as shown from figure 4.10 – 4.15. Pointed

arches can be seen in most of the part of the mosque. The architect of the mosque values

the beauty and aesthetical value of pointed arches from the Gothic.

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Figure 5.15 Windows

Source : Low En Huey

Figure 4.16 Vaulted Hallways with Pointed Arches

Source : Low En Huey

The pointed arch window design shown in Figure 4.15 has local Islamic art influence in

which geometric pattern is incorporated into the window design so as the openings of the

mosque shown in figure 4.13.

Another key features of Gothic style is the vaulted ceiling, an innovation that lead on

from the achievements of the pointed arch.

In Figure 4.16, the vaulted ceiling of the hallway allows a lighter and more elevated interior.

It gives an effect of opening up the interior and enhances user’s experience as people walk

through the space.

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Figure 4.16 Vaulted ceilings of the Palace of the Popes in France

Source : Flickr.com

Figure 4.17 Fan vaulted ceiling in King’s College Chapel,

Cambridge, UK.

Source : Maddie Cantrell’s Blog

Figure 4.16 and 4.17 are examples of vaulted ceilings of Gothic Style.

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Figure 5.18 Example of Stained glass in Duke University Chapel.

Source : www.mccullagh.org

One of the most artistic feature of Gothic architecture is the use of stained glass. The original

function of stained glass is to teach as well as delight and move. In most of the cathedrals,

small illustrations of lives can be seen at chapel windows.

However in the Sultan Salahuddin Abdul Aziz Shah Mosque, the purpose of the stained glass

is to limit the amount of light into the main prayer hall to create a peaceful and serene

ambience to the interior space. As the natural light shines onto the stained glass, it enhances

the prayers’ experience in the hall.

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Figure 4.20 Islamic motifs on the stained glass

Source : Low En Huey

Figure 4.19 The stained glass in the main prayer hall

Source : Ng Hong Bin

As you can see from figure 4.19, the use of two different colour of stained glass at two

levels give different effect to the space

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Figure 4.21 The hallway to the entrance of main prayer hall

Source : Low En Huey

Modernism

Modernism is a style of rejecting ornament while embracing minimalism. It is the dominant

global movement in 20th century of architecture and design. This style is characterised by use

of general cubic or cylindrical shapes, asymmetrical compositions, use of reinforced concrete

and a tendency for white or cream render.

From figure 4.21, the exterior finishing of the mosque are of white rendering and does not

have ornamentation. It is simple and has clarity of form.

The use of computer to design the mainframe of the dome is adapted in order to cut short

the time of construction. A quicker construction approach is used by using computer design,

pre-cut and factory made component. Thus, components can be easily assembled on site.

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Figure 4.22 The dome view from inside

Source : Low En Huey

From figure 4.22, the triangular panels of natural local timber, Red Balau and ramin are used

for the inner dome. The concept of “Truth to materials” of modernism is expressed to reflect

the local craftsmanship.

Inside the Sultan Salahuddin Abdul Aziz Shah Mosque, air conditioning systems,

escalators and lighting control system are used to convenient the people. New technological

developments have influence the architect’s design. The use of new building materials and

the adaption of new construction methods make it a modern mosque.

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5.0 Building Construction, Structure &

Material Analysis

By : Nurin Abdullah

Building Construction

The construction of the mosque was began in 1982 and completed on 11 March 1988. Latest

techniques of construction were used to build the SSAAS mosque.

The pileups foundation interconnected with ground beams were decided upon its rigidity.

These were supported by reinforced concrete bored piles with sized varying from 15-30

inches in diameter and lengths varying from 20-55ft. Since there was considerably wind-

induced horizontal load acting on the 450ft high minarets and 300ft high dome, it was

necessary to provide raked piles under these.

Figure 5.0: Example of the pile ups interconnected with the ground beams

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The design structure that was finally agreed with, is both unfamiliar yet modern. The dome

of the mosque’s shoulder whose inclined roof connects the circle of ring beams to the

square of the prayer hall perimeter. This has resulted a double-curved surface but the main

structural members were resolved as straight aluminium lattice girders 55ft to 90ft long.

The normal piles

intersecting at two separate

points

Pile intersecting at

common points. This type

is used for the SSAAS

mosque

Pile cap

Raked pile: a pile which is driven in at an angle to the

vertical. The edge piles take up higher load of the dome

Figure 5.1: Differences of normal piles and raked piles

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the shape of the dome

the incline roof the square of the

prayer hall perimeter Figure 5.2:The dome

construction structure

Image 5.0: The entrance of Sultan Salahuddin Abdul Aziz Shah mosque

The prayer hall has a twin beams spanning

63ft in length in situ reinforced concrete

with 4 supporting columns in the space

below.

There are unstructured from in prayer hall

level, precast reinforced concrete funnels

which act as rainwater collectors externally

and floor supports internally.

Image 5.1: The gallery floor

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Building Materials

The architect has visited several countries just to seek information and inspiration for the

suitable building materials.

The materials used were decided earlier as it is one of the way to cut the costs and

construction tim, and to fulfil the Sultan wish which is to complete on time.

However, the mosque took roughly 4 years to build as to ensure that the materials for the

building arrived on time, in which most of them were emanated from overseas.

CONCRETE GRANITE

MARBLE GRANITE

ALUMINIUM GLASS

Image(s) 5.3: The compilation of materials of choice

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Image 5.4: The exterior of the dome

Figure 5.3:Triangular steel panels

The dome is constructed with aluminium tubes coated with ‘Retvous Enamelled Steel

Panel’.

By using enamelled steel panel for the dome is probably the best material that was

suitable with Malaysian’s climate. These panels can engender the striking structure to

last longer. It has been 27 years past since the first construction, but the steel substrate

still does not show any sign of corrosion and the enamelled surface remained as it was

on day one.

Figure 5.4: The components of the enamelled

panels

Image 5.6: The close up of

enamelled panels

Source: Google Image

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Image 5.5: The close up of the exterior dome

The windows are fitted with blue stained-glass panels. A serene bluish light upon its

interior spaces when sunlight shines through them has evoking a sense of tranquility

and serenity.

Image(s) 5.10: Exterior (up) and interior (below) images of blue stained glass panels

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The wall and floor of the mosque were mostly covered by the glazed ceramic and

marble tiles. These materials are naturally resistance to high humidity condition

which hence make them as an ideal material in this dry environment. The tiles were

used outside of the building as it provides evaporation and a cooling effect to happen.

The high ceiling has triangular panels of red balau and ramin timber wood that are set

in crisscrossing pattern. This allows ventilation to work smoothly.

Image 5.11: The ceiling of the building

Image(s) 5.12: The floor tiles (left) and wall tiles (right) of the mosque

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Clear glass around the building has resulting the mosque to seem more Paradise-like due to

its brightness and spacious space. The glass plays a role in portraying modern way of Islamic

inscription and pattern through shadows, by transmitting the natural lighting into the

interior of the building.

Image(s) 5.13: The used of transparent glass in the mosque

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Aluminium grills of intricate design can be found on the

doorways, windows and walls of the mosque.

Image 5.13: Carved wooden pulpit was

created by Kelantanese craftsmen,

modelled after the country’s old mosques,

while its mihrab is covered in antique

marble imported from Turkey.

Image(s) 5.14: Aluminium grills

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The main prayer hall is fully carpeted and air conditioned. All floors coated with a carpet made

of wool geometric patterned blue background. Four crystal chandeliers and an antique clock

are the furniture that were donated by the Sultan himself for the mosque.

Image 5.15: The antique clock

Image 5.16: The carpet in the mosque

Image 5.17: One of the chandeliers that was

donated by the Sultan

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The modern architecture Syeikh Zayed mosque in Abu Dhabi has implemented some of

feature that are slightly similar to SSAAS mosque.

Natural materials that were used are due to their condition of hot climate are stone, gold,

crystals and ceramics. The materials are not parallel of what SSAAS’s mosque were genuinely

utilized, however the effort for the designers to seek information of opportune materials are

equipollent.

The mosque has a similar technique of using stained glass for its entrance. The stained glass

is elegant yet exotic. This type of material were used as to give impression of capturing and

filtering light to bring an individual soul to a loftier place. Practically, it was the same concept

of what SSAAS’s mosque did with the blue stained glass.

It also have few significant turniture that were added into the mosque that result to the

richness of the building, and those are the chandelier and the carpet. The world’s chandelier

under the main dome, 7 gold-coloured chandeliers imported from Germany and world’s

largest hand-knotted carpet designed by the Iranian artist, Ali Khaliqi were featured.

Image 5.18: Syeikh Zayed mosque

Image(s) 5.19: The furniture in Syeikh

Zayed’s mosque. Stained glass (left) and

carpet (right)

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6.0 Architectural Element Analysis By : Ng Hong Bin

Facade

The mosque expresses the sense of balance and unity through the perfect symmetry

and harmonious proportional relationships. Four minarets outline a spatial field from which

the dome of the mosque rises in splendour. The symmetrical and balanced facade fosters

equality and unity in diversity, and establishes a universal bond of brotherhood.

Figure 6.1. Facade of Sultan Salahuddin Abdul Aziz Mosque.

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Dome

The blue dome bears traditional design capped with a special rosette of Quranic verses.

The double layered space frame dome is constructed of aluminum and the outer surface is

clad with vitreous enamel-baked triangular steel panels decorated with a rosette of verses

from the Quran. Besides, the ceiling of the dome is made of triangular panels of natural local

timber, red balau and ramin in crisscross pattern make up the ceiling. A ring of windows

pierced around the dome making it appeared to mysteriously float on the pillars and arches

that support it.

Figure 6.2. Exterior of Dome. Figure 6.3. Interior of Dome.

Minaret

To match the majestic size of the dome, four minarets were built and positioned at the

four corners. The minarets provides a visual cue to the Muslim community and a vantage point

from which the call to prayer. The minarets also function as air-conditioning mechanisms. As

the sun heats the dome, air is drawn in through open windows then up and out of the minaret,

thereby providing air ventilation to the interior.

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Figures 6.4. Minarets of Sultan Salahuddin Abdul Aziz Mosque.

Staircase

During Friday congregational prayer, there will be maximum of 24,000 worshippers

comes for prayers and gather in mosque. To allow efficient human circulation and prevent

collision between people, the staircase are built into very large and wide. Furthermore, the

staircase also links various floors which allows easy movement between the different levels of

the mosque.

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Figures 6.5. Staircases of Sultan Salahuddin Abdul Aziz Mosque.

Door

Stained Glass Door

It provides access into the main prayer hall from the

courtyard. The door is made of stained glass to filter

illumination into the interior spaces and evokes a

sense of peace and serenity. It is used as a decorative

element and increase the aesthetic appearance of

the door.

Figures 6.6. Stained Glass Door.

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Swinging Glass Door

It creates a sense of welcoming to

invite the worshippers for prayers. It

enables efficient human circulation

and allow adequate light penetration

and ventilation around the mosque.

Window

Large Fixed Light Window

It creates a sense of welcoming to

invite the worshippers for prayers. It

allows adequate illumination and

ventilation and provides a calm

atmosphere in the mosque.

Figures 6.8. Large Fixed Light Window.

Figures 6.7. Swinging Glass Door.

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Minaret Window

Positioned in the tower are several long, narrow

windows at different heights and facing different

directions that provides light and ventilation into the

enclosed minaret.

Figures 6.9. Minaret Window.

Stained Glass Window

It is fitted with stained glass to reduce the

amount of light that enter the hall. The

resulting filtered lighting renders a bluish

ambiance to the interior spaces evoking a

sense of peace and serenity.

Figures 6.10. Stained Glass Window.

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Fenestration

Trelliswork screen filters the air

ventilation and light entering the

ablution room making the interior dim

and peaceful, allowing the worshipper

to focus on their ablution process

without any disturbance.

Figures 6.11. Fenestration of Ablution Area.

Trelliswork screen filters the light

penetrating on the aisles. The shadow

of the great symmetrical eight –

pointed star patterns appears on the

floor giving mesmeric and dazzling

effect for the worshippers.

Figures 6.12. Fenestration of Aisle.

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Arch

The pointed arches of the mosque are made by forming each side of the arch from a

different center point. They are used constructively and systematically creating a sense of

balance and harmony. They are also used to direct weight onto load-bearing columns at a

sharp angle, thus allowing for much taller vaulted ceilings, giving the mosque a sense of

grandeur.

Figures 6.13. Arch of Aisle.

Figure 6.14. Arch of Main Prayer Hall.

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Mihrab

The domed chamber contains the mihrab which indicates the direction of the Kaabah

shrine in Makkah which is called qibla. The mihrab has the shape of a doorway to indicate that

the worshipper can make a journey in spirit through the qibla wall to the Kaabah at Makkah.

The mihrab is made of imported marble and antique Turkish tiles. The designed is finished

with simple white marble decorated with tradition only ally formed Quranic verses. When the

imam leads prayers, the opening of the mihrab amplifies his voice so that all present can hear

him.

Figures 6.15. Mihrab in Main Prayer Hall.

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Minbar

A minbar, from which sermons, proclamations and readings are delivered as part of

Friday service. It stands to the right of the mihrab and is a free-standing structure. It is the

place where the imam stands to deliver sermons. The decoration of which some believe to

be part of the sunnah, is shaped like a small tower with a pointed roof and stairs leading up

to it. The minbar entirely executed in carved timber, is a masterpiece of local craftsman from

Kelantan and the design originates from an old mosque.

Figures 6.16. Minbar in Main Prayer Hall.

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Conclusion To conclude, the SSAAS mosque was built with the intention to provide facileness to the

users. The mosque is not only complemented by the landscape, but the site itself is an

advantage to the design in response to the climate. The layout of the mosque focuses more

on the function while prioritising the sultan's demand to provide a magnificent mosque for

the state. Apart from being a religious building, many elements were magnified and

diversified to consolidate the grand design. The styles that were adapted by the mosque has

evolved and blends seamlessly with the cultural context of Malaysia to correspond with the

advancing technology. The structural aspect and materials used has not only consummated

the sultans desires but has proved the advert of modernism in Malaysia. This stunning

mosque is set as a benchmark for the future development in Malaysia.

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Reference

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