Mamluki Lancet Mosque: An architectural epitome of balancing ‘deen’ and 'duniya'

When pondering upon the prominent relics of urban commons from the past, one cannot but weigh in the importance of religious architecture in serving as an unrestricted space for congregation and prayers, as centres of education and learning, as spots for political uprisings and much more. While the previous (administrative, educational, military and judicial) functions of such spaces may have diminished in present times, the existence of religious structures in both urban and rural setups still serves as a demarcator of the demography of a certain region. Mosques, temples, churches and synagogues serve as a sanctuary for people of faith and as primary centres of religious learning in secular societies. These spaces congruously host certain spatial sections and courteous etiquettes across the globe, while also incorporating vernacular and temporal design influences. In the midst of changing spatialities and the corresponding access granted or denied to newly ‘developed’ sections in urban conglomerates, religious structures and compounds still manage to retain their accreditation under public commons—a necessity at all times, to facilitate the exchange of divergent thoughts and opinions, and to maintain a sense of community.

While newer designs in the realm of religious architecture are often in sync with minimalist contemporaneous styles, these edifices strain to reserve space for icons, motifs and structural entities associated with holy spaces of distinct faiths and sects. These are features that serve as visual markers of mosques, temples and churches—a sight that continually inspires and pacifies the local populace, and invigorates a sense of familiarity amongst visitors and travellers. In a similar vein, Kuwait-based Babnimnim Design Studio recently completed building Mamluki Lancet Mosque, a structure that draws inspiration from the traditional Mamluk architecture of Islamic Cairo, albeit in a minimalist mien. Its unique form is oriented in a manner such that the topmost square section of the mosque is aligned with the plot, while the bottom square is oriented such that it faces the qibla—the direction of the Kaaba in Mecca, towards which Muslims face while praying. While the former represents the mosque’s connection to its context, the latter symbolises alignment towards the Islamic faith, a symbolic reference, perhaps, to the prescribed practice of balancing duniya (demands of the world) and deen (mandatory religious obligations), respectively, in Islam.

Located in Kuwait’s Al Masayel, which is a residential enclave typified by private family housing and is emblematic of the quintessential Kuwaiti suburbia, the Mamluki Lancet Mosque sits on a plot measuring 2495 square metres. Al Masayel is a recently developed residential area that features buildings of different minimalist styles. While the area is not characterised by strict stylistic features, most buildings are modestly structured and sized and are imbued with subtly coloured hues and pared-down ornamentation. Their generous heights, ranging from 15 to 17 metres, pave the way for the mosque—with its elevated minaret extending to the height of 39 metres—to stand out in the locale prominently. “Designed as a neighbourhood mosque rather than a grand mosque (Jami' in Arabic), the mosque underscores its integral role within the local community, fostering a sense of belonging and shared purpose,” the studio shares.

The mosque features a main entrance facade which is 30 metres long and aligns with the qibla wall. The site can be entered from this face, as well as from two other side entrances, which are aligned with the main street and the back side street, respectively. The main entrance to the mosque can be made through a grand wooden door that echoes the half dome that defines the mosque's core by an elongated form to envelop and house the primary lobby gateway towards the main interior. Elaborating upon the accompanying features near the main entrance, the studio shares, “Adjacent to the main entrance, a set of smaller half domes grace the interior space, not only serving as luminous wells that infuse natural light into the interior but also marking an inviting prelude to the women's quarters. As these delicate forms align with the mosque's rhythmic rotations, they embody the fundamental unity intrinsic to the mosque's overarching design narrative.”

A built-up space of 1,315 metres bears the capacity of accommodating approximately 600 individuals. While the main structure accommodates segregated prayer halls for men and women, and an entrance lobby, toilets and an ablution area for women; two smaller structures host toilets and an ablution area for men, the guard’s residence, room for the mosque’s caretaker and the imam’s room. The prayer area for women is offset from the men’s area through an adaptable sliding partition, which is opened up during Ramadan to expand the indoor space for women worshippers, hence supporting larger congregations. Sharing details about their plan for designating parking space in the mosque compound, the studio shares, “In line with our community-oriented approach, we are actively engaged in finalising a dedicated car park for mosque visitors, particularly during prayer times. However, it's important to highlight that construction approval from the Ministry of Public Works for this car park is still pending.”

The Babnimnim Design Studio was asked by their client to design a mosque that is timeless and derives inspiration from Egyptian architecture, particularly the Mamluk style. They sought a design that reinterprets classical Islamic architecture in a modern mould. “This preference prompted an in-depth exploration of traditional elements, where features such as the lancet arch, repeated domes, muqarnas, and the iconic triple circular windows adorned with the upward crescent were carefully studied and incorporated,” the studio shares. A meld of classical features with contemporary ones resulted in a design that is original and unique, bears semblance to extant aesthetics while still evocative of older Islamic architecture that has managed to carve a presence with its minarets, arches, calligraphy, vegetal and floral patterns, arabesque motifs and the star and moon symbols. “This approach aimed to transcend contemporary trends, ensuring the design's enduring relevance while upholding the sacred and historical significance associated with mosque architecture,” share Jassim AlSaddah and Tareq Hashim, founder and co-partner of Babnimnim Design Studio, respectively.

The main inspiration for the design of the Mamluki Lancet Mosque is derived from muqarnas, which is a distinct element utilised in Islamic architecture. These three-dimensional geometric features can be described as a series of carved and ornamented niches superimposed against each other. It is a commonly found feature in domes, vaults and arches. Beyond its decorative aspect, muqarnas are architectural features that gradually transition between two levels or shapes—from the curve of a dome or a vault to its rectilinear base.

For Mamluki Lancet Mosque, the architects simplified this feature by integrating the main dome with the symbol of the crescent moon. Another symbolism apparent in the structure of the mosque is the representation of the five daily prayers through the five staggered masses that are stacked on top of each other, and progressively rotate by comparable angles, seamlessly bridging the gap between the qibla-oriented lower mass and the site-aligned upper mass. The gaps formed by the rotating masses are fitted with jaalis that allow light to penetrate its interiors. “The three intervening masses dynamically coalesce to form a funnel-like configuration, creating an unobstructed interior devoid of columns, facilitating unhindered alignment for prayers,” the architects share.

The staggered mass coalesces with three lancet arch cutouts, placed on the bottom-most three horizontal masses. The lancet arch cutouts are punctured with three circular skylights each, hence welcoming a series of light beams into the interior space. The repetition of three elements, both in the number of successive lancet arches intercepting the larger masses of the mosques and in the number of skylights on each of these entities, can, perhaps, be interpreted as an allusion to the sunnah act of conducting certain acts in threes. While not confirmed by the designers, one may also infer the usage of threes to the practice of combining the five mandatory prayers into three prayer sessions throughout the day—as done during hajj (pilgrimage to Mecca) as well as during various other circumstances by particular sects in Islam—hinting, hence, at a syncretic vision for the mosque design.

The various masses of the mosque are positioned in a manner such that its top view references the geometric Islamic Star. “This strategic placement not only enhances the mosque's distinct identity and visibility from an aerial vantage point but also demarcates alternative side entrances to the sacred space,” the architectural studio shares. The arched minaret, the most prominently visible element of the structure, sits in alignment with the central axis of the mosque, and towards the farther end opposite to the main entrance. It descends to mark the indoor mihrab area.

Drawing inspiration from the visual appearance of the Mamluk era materials, while still infusing a contemporary touch, the designers chose grey stone cladding and white clay plastering for most surfaces. While grey Moleanos stone from Portugal was used for exterior cladding, the floors in the exterior area feature granite in two tones, both of which were imported from China. The two tones are aligned and arranged to repeat the square motif recurrent throughout the structure. Within the mosque, the lower masses are clad in stone and the upper masses are plastered in white, to evoke a sense of lightness and movement. The interior walls and partitions are adorned with thuluth-style Quranic phrases, elongated and extruded for a modern relief effect. Both the interior and exterior spaces are complemented by subtle age-brushed brass accents, which feature ornate detailing and bear engravings of Quranic calligraphy.

The main entrance door is made from teak wood, imported from Africa, and the decorative lighting fixtures were designed in-house and produced in Egypt in collaboration with Kandil Lighting. The studio also collaborated with Samovar Carpets from India to source carpets with a higher-than-usual pile height that is specifically designed for high traffic and has antibacterial qualities, ensuring longevity with low maintenance.

The Mamluki Lancet Mosque, with its subtle inclusion of reinterpreted features from classical Islamic architecture, manages to retain and revive a significant connection from the past, whilst also designating a modest space for prayer and community within a residential neighbourhood. Babnimnim Design Studio is currently working on another mosque-cum-community space in Bahrain, a hair transplant clinic, and various projects in Saudi Arabia.

Project Details

Name: Mamluki Lancet Mosque
Location: Al Masayel, Kuwait
Area: 1160 square metres
Year of completion: 2023
Architect: Babnimnim Design Studio
Design team: Jassim Alsaddah, Tareq Hashim, Mishari Alnajjar, Yolla Ali, Hesham Younis, Ahmed Alkhateeb, Manaf Alnafouri, Mustafa Reda, Tasneem Baxa, Baraa AlToubaji
Calligraphy: Jassim Alnasrallah
Contractor: Bneider International