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Dabbagh Architects创始人兼主创设计师Sumuya Dabbagh带领团队，在迪拜完成了已故Mohamed Abdulkhaliq Gargash清真寺的设计建造。这是一个当代的礼拜场所，设计师娴熟地运用形式、材料和对自然光的控制，创造了一种平静的精神连接，将朝拜者们从外部的日常世界带入内在的精神体验。该项目是阿联酋第一座由女性建筑师设计的清真寺。

Dabbagh Architects lead 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 and spiritual connection and transition the worshipper from outer material world to inner sense of being. The mosque is one of the first in the UAE to be designed by a female architect.

▼建筑外观，external view of the building ©Gerry O’Leary Photography

在沙特，Sumaya是她那一代人中少有的女性建筑师之一，并在湾区成立了自己的事务所，这在女性建筑师中更是少之又少。她的设计以在文化建筑和周边环境之间建立对话见长，强调建筑中的不可见之物，试图创造意义和诗意的感觉，与每位使用者之间形成连接。她过去的作品包括2016年的Mleiha考古中心，这是一座从沙漠中升起的曲线状砂石建筑，位于被列为UNESCO世界遗产的小城Mleiha。这个项目在2020年获得了建筑大师奖，并于2018年获得了Aga Khan奖的提名。

Sumaya is one of only a few Saudi female architects of her generation and amongst 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 emphasis on the intangible in architecture; seeking to create meaning and a sense of the poetic 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).

▼祷告厅，prayer hall ©Gerry O’Leary Photography

从外部世界到对于存在的内在感受
Creating a transition from outer material world to inner sense of being

项目是献给当地社区的礼物，为了纪念已故家族元老Mohamed Abdulkhaliq Gargash，业主希望创造一座简洁的当代清真寺，为位于迪拜工业中心的AL Quoz社区的礼拜者们带来一个宁静的精神空间。为了支持当地产业，以及保持公司的可持续设计理念，Dabbagh Architects从当地获取材料，包括采自Oman的石材，以及阿联酋产的混凝土、铝盖板、细木工和陶瓷制品等。设计的核心目标是通过建筑加强礼拜这一行为以及从物质到精神的过渡之旅，让礼拜者做好祈祷的准备，感受到与神圣之物的亲密连接。

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. 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 worshipper is ready for prayer and feels a sense of intimacy with the sacred.

▼从外部街道看向建筑，view to the building from the outside street ©Gerry O’Leary Photography

“创造礼拜空间是一个十分独特的设计挑战。祈祷是一种虔诚的行为，它要求礼拜者全身心投入。现代繁忙的生活中有大量干扰，如何让礼拜者们的头脑安静下来，找到内在的宁静以沉浸于祈祷之中，对我们来说是一个挑战。”Sumaya表示，“通过设计，我们创造了一系列空间，作为繁忙的外部世界的过渡，让礼拜者为接下来的内在体验做好准备。”

“Creating a space of worship was a very particular design challenge. Prayer is a devotional act. It requires the worshipper to be totally present. With all the distractions in our modern busy lives it can be challenging to quieten the mind and find an inner calm to allow for full immersion into prayer,” says Sumaya. “Through the design, a series of spaces are created that allow the worshipper to transition from the busy outer world and prepare for an inner experience.”

▼建筑外观，external view of the building ©Gerry O’Leary Photography

▼从内部广场看向建筑
view to the building from the inside plaza ©Gerry O’Leary Photography

▼尖塔自成体量，minaret as a separated volume ©Gerry O’Leary Photography

通过减法形成脱离传统的建筑类型
Pared down form eschews traditional architectural typology

Dabbagh Architects尝试避免使用多重体块，简化传统的伊斯兰建筑形式，剥去繁复的外衣以展露出其精髓。在设计深化的过程中，主建筑体量被一分为二。首先是祈祷体块，包含分别面向男性和女性的区域；其次是服务体块，带有沐浴设施以及供领导祷告的Imam和召集祷告的Moazen居住的空间。

Dabbagh Architects sought to avoid multiple blocks, simplifying the traditional typology of the Islamic form and stripping it away to its essence. 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.

▼建筑被分为两个体量，the building is divided into two volumes ©Gerry O’Leary Photography

通过这样的划分，建筑中形成了一个庭院，伸出的雕塑性雨棚重新将两个体量连接在了一起。雨棚的两臂堪堪分离，除了带来功能上的区隔，更有将洗礼仪式和精神性的祈祷分开的神圣意味。与传统清真寺建筑更为不同的是，项目的尖塔被设计成了一个单独的体量。

As a result of this division, a courtyard is formed which 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 sacred: 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.

▼雨棚下的庭院空间，courtyard under the canopy ©Gerry O’Leary Photography

光作为工具创造与神圣的连接
Light as a tool to create a connection with the divine

项目里，自然光被用作了一种工具，加强精神感，强化世俗和神圣之间的连接，并且标记出了礼拜者在建筑中旅途的不同节点。尺度同样在神圣感的塑造中发挥了作用。

从清真寺的室外入口开始，以透过穿孔板的阳光为界，礼拜者被引入沐浴区，通过洗净身体来去除心中的杂念，为祈祷做好准备。路径一直延续到大厅空间，随着人们脱下鞋子，物质世界的痕迹被进一步剥落。

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 worshipper’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 leading the worshipper 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，entrance space ©Gerry O’Leary Photography

进入祷告厅后，访客来到了一个更加平静的空间，可以在祈祷前诵读一段《古兰经》。同时，从一个空间到另一个空间的光线也在不断变化，加强这个准备的过程，直到礼拜者最终进入主厅，完全做好了祈祷的准备。

为了控制阳光，设计采用了三种方式。垂直方向上，穿孔穹顶加强了与天堂的精神连接；从侧面狭窄开口上照射进来的光束进一步创造了一种来自神圣之光的感受。在祈祷厅面向礼拜者的方向上，光线间接地在米哈拉布拱门后方制造了一个聚焦点。立面上按照室内的装饰图案设置了一系列小开口，形成了丰富的光影。

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 worshipper finally enters the main hall, they are ready for prayer.

This is done in three ways: vertically, via the perforated dome to enhance 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 façade that follows the same decorative patterns of the interior.

▼祷告厅，阳光透过穿孔穹顶射入室内
prayer hall, sunlight entering the space through perforated dome ©Gerry O’Leary Photography

▼米哈拉布拱门后的光线形成空间焦点，light behind the Mihrab highlights the focus of the space ©Gerry O’Leary Photography

“穆斯林的祈祷需要在一天中的规定时间进行：黎明，正午，下午，黄昏和夜晚。这一规定在人与自然的日夜变化之间建立起了联系。该清真寺的设计希望创造一种体验，通过控制自然光的引入来加强这样的联系。”Sumaya解释道。

“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.

▼光线创造神圣的感觉，light creating a feeling of divine ©Gerry O’Leary Photography

对伊斯兰几何形式的再诠释和以隐喻保护的书法艺术
A reinterpretation of Islamic geometry and metaphorically protective calligraphy

项目对材料和图案的使用加强了使用者从外部进入庭院、再从庭院进入建筑这一过程中的体验。三角形图案贯穿整栋建筑，参考了伊斯兰传统的几何形式，但以当代语言对其进行了结构和再诠释。

The use of pattern and materiality in this project enhances the user’s experience as they journey from the outside into to the courtyard and enter the building. Throughout the building is a triangular pattern, a reference to traditional Islamic geometry but reinterpreted in a deconstructed contemporary language.

▼立面上采用大量三角形凹陷和镂空，triangular recesses and perforations on the facade ©Gerry O’Leary Photography

外立面在凹进处和穿孔中使用三角图案元素，赋予建筑富有变化的表皮。内部，这些穿孔让自然光散射入祈祷区，在强大的控制下照亮关键空间，创造出安静的氛围，建立起与神圣之物相连的感觉，同时也可以降低寺内的气温。双层穹顶也可以让阳光照入，通过内侧采用同样三角形图案的装饰表皮的过滤，自然柔和地照亮祈祷空间，专门呼应祈祷过程中的内省精神。对伊斯兰图案的再诠释和三角形的几何形式和谐地遍布在室内空间之中，在墙面的交界线、地毯和灯具上均可找见。

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 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 tailoring 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.

▼立面近景，closer view to the facade ©Gerry O’Leary Photography

书法艺术在整个设计中发挥了重要的作用。《古兰经》中的Surah诗篇包裹在祈祷厅外部，创造出了一条比喻性的保护带，告知来者空间的精神特征，并为整栋建筑注入了一种神圣的能量。《The Most Merciful》诗篇完全由saj’——一种早期阿拉伯诗歌中以重音为基础的雅韵——组成，涉及了太阳、月亮、星星、天堂、以及众多其他造物。

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.

▼祷告厅体量外装饰以《古兰经》中的诗篇
volume of the prayer hall decorated by a verse from the Quran ©Gerry O’Leary Photography

“在每个项目结束后，我希望建筑会唤起我们在项目开始时预想的感受或情感。当建筑出生并昭示自己的生命的时候，会有一个决定性的神奇时刻。对于我的第一座清真寺来说，这一时刻特别令我感动。我真心感谢能有机会创造这样一个神圣的空间，将人们聚集在一起祈祷。”Sumaya说道。

“At the end of each project my hope is that the building will evoke the feelings and emotions that were envisioned at the outset. There is a defining, magical moment when the building is born and claims a life of its own. For this, my first mosque, that moment was particularly moving. I feel truly blessed to have had the opportunity to create a sacred space that brings people together for worship,” says Sumaya.

▼夜景外观，external view of the building in the night ©Gerry O’Leary Photography

▼入口空间夜景，night view of the entrance space ©Gerry O’Leary Photography

▼平面图，plan ©Dabbagh Architects

▼立面图，elevations ©Dabbagh Architects

▼剖面图，section ©Dabbagh Architects

Location: Um Suqeim Road , Al Quoz
Completion date: 30.06.2021
Site Area: 3731.27 m2
Total BUA: 1680 m2
Classification: Juma’a (Friday) Mosque*
Lead architects: Dabbagh Architects – Sumaya Dabbagh, Sandrine Quoilin, Aleks Zigalovs, Hana Younes, William Java
Structure engineers: Orient Crown Architectural
MEP Engineers: Clemson Engineering
Landscape Architects: WAHO Landscape Architecture
Client: Family of the late Mohamed Abdulkhaliq Gargash
Height Ground + 1
Structure: RC Concrete
Cladding: GRC Cladding
Canopy: Aluminium Canopy on Steel Support Structure
Joinery: Wood Veneer/HPL/Solid Wood/Solid Surface

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