Architecture and Special Structures
As it stands today, the mosque has a rectangular plan on two floors with the Ottoman prayer hall projecting to the south. The main prayer hall occupies the entire first floor. The mosque enclosure is 100 times bigger than the first mosque built by Muhammad and can accommodate more than half a million worshippers.
The mosque has a flat paved roof topped with 27 domes on square bases. Holes pierced into the base of each dome illuminate the interior. The roof is also used for prayer during peak times, when the domes slide out on metal tracks to shade areas of the roof, creating light wells for the prayer hall. At these times, the courtyard of the Ottoman mosque is also shaded with umbrellas affixed to freestanding columns. The roof is accessed by stairs and escalators. The paved area around the mosque is also used for prayer, equipped with umbrella tents.
The north facade has three evenly spaced porticos, while the east, west and south facades have two. The walls are composed of a series of windows topped by pointed arches with black and white voussoirs. There are six peripheral minarets attached to the new extension, and four others frame the Ottoman structure. The mosque is lavishly decorated with polychrome marble and stones. The columns are of white marble with brass capitals supporting slightly pointed arches, built of black and white stones. The column pedestals have ventilation grills that regulate the temperature inside the prayer hall.
This new mosque contains the older mosque within it. The two sections can be easily distinguished: the older section has many colorful decorations and numerous small pillars, and fans have been installed in the ceiling; the new section is in gleaming white marble and is completely air-conditioned.
The open courtyard of the mosque can be shaded by folded, umbrella-like canopies, designed by Bodo Rasch and Buro Happold.
Read more about this topic: Al-Masjid An-Nabawi
Famous quotes containing the words architecture and, architecture, special and/or structures:
“The two elements the traveler first captures in the big city are extrahuman architecture and furious rhythm. Geometry and anguish. At first glance, the rhythm may be confused with gaiety, but when you look more closely at the mechanism of social life and the painful slavery of both men and machines, you see that it is nothing but a kind of typical, empty anguish that makes even crime and gangs forgivable means of escape.”
—Federico García Lorca (1898–1936)
“All architecture is great architecture after sunset; perhaps architecture is really a nocturnal art, like the art of fireworks.”
—Gilbert Keith Chesterton (1874–1936)
“Personal prudence, even when dictated by quite other than selfish considerations, surely is no special virtue in a military man; while an excessive love of glory, impassioning a less burning impulse, the honest sense of duty, is the first.”
—Herman Melville (1819–1891)
“It is clear that all verbal structures with meaning are verbal imitations of that elusive psychological and physiological process known as thought, a process stumbling through emotional entanglements, sudden irrational convictions, involuntary gleams of insight, rationalized prejudices, and blocks of panic and inertia, finally to reach a completely incommunicable intuition.”
—Northrop Frye (b. 1912)