The Museum of Islamic Art_Form-Perception- and Environment

The International Journal of the

Inclusive Museum

InclusIveMuseuM.coM

VOLUME 6 2013

__________________________________________________________________________

The Museum of Islamic ArtForm, Perception, and EnvironmentM. Salim Ferwati

THE INTERNATIONAL JOURNAL OF THE INCLUSIVE MUSEUM

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The Museum of Islamic Art: Form, Perception, and Environment

M. Salim Ferwati, Qatar University, Qatar

Abstract: Islamic Arab societies have a distinctive but culturally common system of beliefs, attitudes and values that over time have formed traditional expression. These traditions have been articulated through art, architecture, community designs, social institutions and conventional behavior; all of which form spatial patterns. Knowledge regarding Islamic and Arab architecture is in hand through numerous publications. Recently, in Arab Gulf countries, the conservation of local identity has become the center of attention. Their attempts have been specifically demonstrated through the conversion of significant historical buildings into museums or applying neo-vernacular architectural styles in newly built museums. One might question their utilization of specifically museums. Museums symbolize cultural values, wealth, global status, and a center attraction. Contemporary architecture of the Museum of Islamic Art in Doha, Qatar is a conspicuous example that is going to be the focus of this research. Even though the building was designed by I.M. Pei, a well-known architect who is foreign to Islamic design principles and to Qatari local architecture, it is one of the most protuberant landmarks in the city and one of the emblematical icons of neo-vernacular Qatari architecture that catalyzes urban rejuvenation. It is anticipated that the key of success of the architecture of the Museum of Islamic Art studied in this research suggests an approach for analysis of museum study.

Keywords: Physical Appraisal, Environmental Appraisal, Perceptional Appraisal, Pragmatic Analysis

Introduction

useums carry quality exhibitions that pertain to nations. It is collectively agreed "a museum is an institution that cares for a collection of artifacts and other objects of scientific, artistic, cultural or historical importance and makes them available for

public viewing through exhibits that may be permanent or temporary." (Alexander and Alexander 2008) Not only is it an abstract space that carries products of high achievement of the human mind (Lilla 1985), but also a carrier of significant intangible aspects that people feel, read, and interact with. In his book, “Museum Ideals”, Benjamin Gilman introduces the term aesthetic cultural as one of the museum embodied characteristics that requires further devotion. In his words, “culture is an affair of the feelings, and what are called the ‘sensitivities’” (Gilman 1981, p. xii); his definition surpasses liking the museum merely as an educational institute. “Along with the rise in social consciousness of the last few decades has come awareness of the subtle, and sometime not so subtle, messages museums convey to the public in their physical and social contexts” (Falk and Dierking 2002, p. 85). Consequently, it is now clear that museums are always built with a paramount form for the public. Again, a museum goes beyond its function, in this case, a space-identity maker. It is an attractive point that leaves a good impression especially when its aspects leave a good image and later evokes nice memories (Lynch 1960). When a building is unique and successfully designed, it becomes irreplaceable. Such qualitative building aspects help explain the success of an architectural design and determine its failure. In the last few decades, literatures in the field of architecture and environmental psychology have often indulged into three aspects of prime interest to architects: space perception, essence of places, and urban semiotics. Museologists are rarely considering these aspects when searching for factors influencing the visitors’ attraction to museums. The study of semiotics refers to urban elements and architectural features as signs that carry meanings to observers. Meaning of signs are called by Uexkull “the essence of the object” that is neither materials nor energy (Uexkull 1957 cited in Ferwati 2010). Whether these signs are expectable or not and leave a nice impression or not, they are constantly encountered.

M

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The Museum of Islamic Art (MIA) in Doha, Qatar is newly built as a neo-vernacular structure with sleek exterior finishing. The stretching out from the land into the sea makes it stand as a pearl floating on water. People visit the place, not only to watch the excellent exhibit collections, but also to enjoy other supplemental facilities, the atmosphere, architectural details, the landscape, and the pulse of the crowed of different nationalities moving individually and in groups. The pertaining landscape setting plays a major role in the enrichment of the imageability of the building, as the research will demonstrate a number of physical, perceptional, and environmental analyses.

The research aims to find the essence of the MIA, one of I.M. Pei’s masterpieces and how the rich and complex heritage of Islamic building is contextually and architecturally summarized in a simple and new form. In other words, the research seeks the revelation of the key to success in the architecture of the MIA. The achievement of this goal is possible through three objectives: physical, environmental, and perceptional appraisals. In order to achieve these objectives, a set of questions is raised:

1. What are the fundamental design elements and their originality? 2. What are the environmental aspects presented in both urban and architectural

designs? 3. What is the visitor’s perceptional experience of the exterior and interior settings?

Figure 1: From an urban and architectural point of view, the proposed study model shows that to ensure a successful museum design, physical, environmental, and perceptional aspects should be integrated. Source: This model is developed from two other models one presented by John Punter (1991) and the other by John Montgomery (1988), both cited in Carmona, et.al 2003, 99.

Question 1 addresses design elements that derive from the past and their effective

applications. Going through the physical analysis of the building is a way of considering the presentation of urban context that governs the secret behind the suitability of the physical form and cultural sustainability. Question 2 highlights the importance of an indispensable aspect that is often referred to as Genius loci (Norberg-Schulz 1984), the spirit or essence of the place (Day 2006), the language of the place (Lawson 2005), the social logic of the space (Hillier and Hanson 1984), or the sense of the place (Relph 1976). In this research the focusing on this aspect is demonstrated by the exploration of the social logic of the space, the space layout and spatial environment. Question 3 focuses on visual experience of the space that governs the secret behind

FERWATI: THE MUSEUM OF ISLAMIC ART: FORM, PERCEPTION, AND ENVIRONMENT

the visual effectiveness of the built form and location. It seeks the perception-cognition process that has a direct response of visitors to the architectural form. The findings from these questions are substantial. They are perceived and evaluated by visitors as a result of three salient factors: excitement, pleasantness, and calmness. The study model in Figure 1 shows that three spatial aspects (physical design, environmental characteristic, and perceptional quality) that their aptness are responsible for archiving a successful museum setting.

Three approaches are followed to develop the research: first, literature review helped direct the research a step forward by finding related international studies; second, data collection, site visiting, photographic survey, and site observation were of prime importance to get acquainted with the site and the place; third, a questionnaire helped register visitors’ perception-cognitive view and their feedback. These approaches are anticipated to examine three aspects: to determine elements with different intensity, size, and combination and their degrees of visual domination; to find out the effect of a building layout and building accessibility on the pedestrian’s observations; finally, to pinpoint the variation of functional areas and their relative locations, and how that results in catching the attention of the visitors. In order to support these methods and discuss the findings, analysis of the collected data, tabulation and illustration of traditional and neo-vernacular elements of the museum are applied throughout the research.

A survey was conducted with 83 visitors to the MIA. Questions mainly focused on the spatial quality to discover how different people perceive the museum and its environment. The visitors ranged between 20 to 50 years old, all with various levels of education. It was observed that only 30% of the visitors were identified as Qataris.

Overview of the Museum

The museum was constructed in 2008 and had opened its gates to the public on the first of December of the same year. Designed by the pritzker prizewinner architect I. M. Pei, the building was constructed on an artificial island with an area of 64 acres (260,000 m2) approximately 195 feet (59 m) off the Doha Corniche (Figure 2) 1. This island was built by request of the architect to prevent the overriding of the building by future construction “I worried a lot about what will come after,” Mr. Pei said (Ouroussoff, 2008).

Figure 2: Arial view of the MIA Source: Spread Architecture, accessed on 18 October 2013. http://www.spreadartculture.com/2010/12/28/qatars-building/attachment/26111909/

1 http://www.spreadartculture.com/2010/12/28/qatars-building/attachment/26111909/


Physical Appraisal, an Inside towards the Historical Aesthetics

Arab and Islamic architecture pertains to several eras and regions. Some noticeable features of this architecture are embodied in the MIA in new coherent forms and functions. Building materials and construction methods mostly enhances the application of contemporary architecture. The designer’s success is attributed to three considerations: borrowing elements from the past, integrating these elements in harmonious patterns and abstract forms that link past and present, and creating various social logic of space that ranges from pleasurable public space to intimate spatial setting. 67% of the visitors to the museum were attracted mostly to the geometrical shape, while 97% were fascinated with the exterior of the building. Some of them were attracted by the entrance fountain (28%) and very few with the palm tree rows (17%).

I.M. Pie was first convinced that his own architecture would be modern; however, his designs would follow something more than being totally international and modern. The exterior architecture of the Museum of Islamic Art follows a simplistic architectural trend, yet it was inspired by the Mosque of Ibn Tulun (Figure 3) 2. Athough it was inspired by the Mosque of Iban Tulun, 64% of the visitors have stated that their first impression of the building was that it was a museum.

Figure 3: Fountain of Ibn Tulun Mosque Source: Accessed on 10 November 2013: Trekearthhttp://www.trekearth.com/gallery/Africa/Egypt/Delta/Cairo/Cairo/photo1158183.htm

I.M. Pei mentioned how he applied the idea behind Ibn Tulun mosque in Cairo (876-879)

(Jodidio 2006, p 34). Accordingly, it can be said that he was mainly inspired by the fountain located in the middle of the mosque. He believes that this element surrounded by double arches, moving from an octagon to a square and from a square to a circle, creates the cubist expression that he has considered as an essence of Islamic architecture. Although the design of the MIA has been inspired from Ibn Tulun mosque, there are other similarities between the architectural design of the museum and other architectural forms as will be explained below through different elements and principles of design. The traditional Islamic architectural elements, their origins,

2 http://www.trekearth.com/gallery/Africa/Egypt/Delta/Cairo/Cairo/photo1158183.htm


and how these elements were altered to fit the contemporary architecture will be illustrated and explained in the following historical aesthetical appraisal through three sections: the floor plans, design elements, and design principles.

The Floor Plans

As Jodidio described it (2006 P.181):

“The upper and lower basements plans of the museum have irregular shapes formed mostly by rectangles and squares with a strong inclined line indicating the link between the bridge and the entrance of the museum. However from the second to the fifth floor, the plans take the shape of an octagon where four of the ribs are distinctly larger than the other four and it gives the impression of a square plan.”

A similar use of the octagonal plan in Islamic architecture was witnessed during the Umayyad dynasty (ruled in 661 to 750), specifically in the Dome of the Rock. The octagon shape sides are equal in length unlike the museum. The number of pilasters inside the inner ring of the Dome of the Rock is four as the ones inside the museum’s atrium under the dome. (Figure 4 and 5)

Elements of Design

There are several significant design elements that originate from various periods of Islamic history:

Water Canals

Water canals were mainly applied in the Persian Chahar-Bagh garden. The quadrilateral garden is divided by walkways and flowing narrow water canals. (Ettinghausen and Grabar 1987) (Figure 6)3 However, in the museum such a concept is limited to one water canal aligned with the building axil. This canal is set in steps with two attached climbing ramps that lead up to the main entrance.

3 http://reep.org.uk/resources/islamic-gardens/design-chaharbagh-layout.php

Figure 4: Entrance level plan Source: Source: Accessed on 15 Oct: 2013, http://www.arcspace.com/features/im-pei-architect/the-museum-of-islamic-art/

Figure 5: Second & third floor plan Source: Accessed on 15 Oct: 2013, http://www.arcspace.com/features/im-pei-architect/the-museum-of-islamic-art/


Figure 4: Chahar-Bagh Persian Garden Source: Gardens of the Islamic world , accessed on 15 November 2013, http://reep.org.uk/resources/islamic-gardens/design-chaharbagh-layout.php

Water Fountain

In ancient times, fountains were used mainly in the sacred architecture of different periods, like churches and mosques. It has been, later, considered as one of the salient Islamic architectural elements of all Islamic dynasties. In the MIA, this element has been added in front of the main entrance, creating a beautiful scene and a holistic expression particularly to those who are familiar with Islamic architecture. (Figures 7 and 8)

Domes

One may argue that the dome has become the symbol of religious structures. The Dome of the Rock is a good example (Papadopoulo 1976). The main dome of the Museum of Islamic Art is a doubled-shell dome taking a cubic shape from the outside, whereas from the inside the architect went for a used coffered metal work to create the stainless steel dome that covers the atrium of the museum. The concept of coffered domes or muqarnas domes was initiated in the Abbasid era using stone. In the mausoleum of Saiydah Zainab in Iraq, the technique of a muqarnas dome was used with small openings between the units to allow light to the space under the dome. The dome of the museum has only one opening in its center, yet the same effect of lighting by the small openings is obtained through the material -stainless steel- that reflects the light on different

Figure 6: MIA Water Canal Source: Author

Figure 5: The MIA Fountain Source: Author


Figure 8: Dome of great mosque in Cordoba Source: Accessed on 15 November 2013 http://en.wikipedia.org/wiki/File:Cordoba_moschee_innen5_dome.jpg

Figure 7: Load transition in The MIA dome Source: Author

angles along the repeated geometrical shapes. By combining the two elements from two different Islamic eras, the architect reached an excellent decorative aspect in this modern Islamic building.

Another approach for the dome element in the interior of the Museum of Islamic art was the coffered domes that cover the ceilings of each floor (Jodidio 2006). In Islamic architecture the concept of using small domes covering the ceiling of the mosque interior and exterior was initiated during the Seljuk time which can be seen in the mosque of Ala’a Udin in Turkey. The use of smaller domes on the whole roof surface is one of the important features of late Islamic architecture. (Figures 9 – 14)

Figure 1211: Al-Kamil Argony Bemaristan, Syria Source: Author

Figure 9: The MIA Dome – Exterior Source: Author

Figure 10: The MIA Dome – Interior Source: Author

Figure 11: Coffered domes Source: Author


It is noticed that metal is mainly used as a decorative material since it gives a shiny effect that replaces the intensive decorative methods used in Islamic historical buildings. Other than lamps, the metallic elements were also used in the capitals of the columns and the triangular flags – squinches.4

Mihrab

A mihrab is a niche in the wall, which marks the direction of Mecca where the imam stands to perform prayer among the crowd (Figure 16) 5. Similarly, but with monumental scale and a transparent wall, the huge mihrab of the MIA coveys the spirit of Islamic architecture even though it is not functioning as mihrab and it is not oriented towards Mecca. (Figure 16)

Semicircular Arches

The origin of semicircular arches goes back to Roman architecture; used as load distributers and decorative elements in different times and regions, especially in the Umayyad era. The semicircular arches of the MIA are not decorated as they would be in traditional Islamic architecture due to the modernity that is injected to its design.

The Atrium

I.M. Pei had carefully chosen the design elements of the building to convey the touch of Islamic art and architecture. He had selected his elements from the most powerful Islamic periods, a large-scale geometrical pattern that combines an Islamic and modern theme of ornamentation to decorate the flooring of the atrium. Aside from the design, the used materials, the decorative concept, and the inner atrium-flooring pattern were all inspired by the Mamluk era (Figures 17 and 18).

4 http://naim-almadani.com/cc/showthread.php?p=3924 5 http://www.culture-reflection.net/forum/showthread.php?t=1494

Figure 12: The MIA mihrab Source: Author

Figure 13: Mosque mihrab. Source: Accessed on 15 November 2013 http://www.culture-reflection.net/forum/showthread.php?t=1494.


Ablaq The ablaq is applied on the exterior elevation as well as to the stairs located at the sides of the galleries. The use of the ablaq method in decorating the walls was once used by Muslims in the Mamluk era in their elevations and for decorating the arches with the use of contrasting colored stones such as black and white, brown and white, or yellow instead of white stones (Alaam, N., 1977, P.191).

Design Principles

The principles of design are what can be felt by observing any design or composition and what makes them more beautiful and memorable. Standing next to the sea and observing the MIA, the beholder enjoys its beauty. In the MIA, several principles can be recognized by its architectural and decorative design.

Figure 18: Ablaq on the MIA exterior Source: Author

Figure 16: Mamluki Jaqmaqiya School -Damascus, Syria. Source: Author

Figure 171: Ablaq on the MIA interior walls. Source: Author

Figure 157: Mamluk Courtyard Source: Author

Figure 148: MIA Atrium Source: Author


Movement

Movement can be seen through the different exterior cubes getting smaller and smaller towards the top and while they rotate upwards. This is another principal that appears on the exterior of the building as well as the interior. One can feel the storm and water waves and that the building is a continuation of a sea wave while observing the exterior. The contrast between the exterior cover of the dome and its metallic interior structure also creates harmony between traditional design and the modern dimension of the building (Figure 22).

Symmetry

The section in Figure 22 shows that symmetry has also been applied to the building.

Rhythm

Rhythm is a principle that has been traced to Islamic architecture for many eras. In the MIA, this principle is used to create harmonic design. For example, the coffered domes on the interior ceiling were repeated and organized in a way that adds a decorative theme to the modern design of the building.

Centralization

One of the main principals demonstrated by the central atrium with its legible setting that maximizes its function. It is furnished with a geometrical pattern on its floor and a large circular lantern above it that states its position stronger than other elements around it.

Transformation

Another major element of design is the transformation of geometrical shapes in order to form the dome; including squares, columns, triangular flags, octagons and finally circles. Such transformation of forms gives a complex and interesting design look for the interior.

Figure 192: Section through the MIA


Pragmatic Experience: Perceptual & Environmental Appraisal

The intention of the architect was to create a spatial in-out environmental experience that is rich, varied, and memorable. This experience starts as one approaches the building from the street, cruising through the surrounding landscape, and ending up at the galleries. To ensure an objective appraisal of the overall pragmatic experience, the study elongates into both the environmental and perceptional level.

Environmental Appraisal

Russell and Snodgrass (1987) introduced a model that relies on human evaluation and feelings in environments that have three salient factors: pleasantness, excitement, and calmness. It is anticipated that the designer successfully achieved these three factors that essentially contribute to the spirit of the museum.

The Museum as a Pleasant Place

Since its construction, the MIA has become inseparable from its surroundings. It contextually counterparts the surrounding and at the same time, provides a rich scenery and a colorful spatial qualification. According to the survey, 47% of the visitors stated that their main purpose of visiting the museum was its location, while 56% varied between their historical interests and the museums’ collection. Consequently the museum is conceived as a product of a successful composition of the architectural elements and an appropriate design style. It attunes with the contemporary lifestyle of the visitors, who expect both global coherence and local individuality.

The central atrium visually connects these amenities and encourages visitors not only to spend time strolling through the gallery halls of temporary and permanent exhibitions, but also to enjoy the rest of the amenities, which for some, might be the reason for their visit. Such an indoor atmosphere deepens the notion of public space, which encourages people to relax, enjoy watching the conspicuous view of the city high-rise business district through the glass-wall, and to interact with the ongoing action inside the building.

Overloaded Places vs. Calm Places

Besides the pleasant setting, people experience calmness or excitement within the physical setting, which requires further investigation of the components of the museum site plan. The museum ties up three different spatial bubbled areas each of which stands up with its pertaining constituent elements and environmental essences. A serenely traditional dhow port that embodies the past of the Qatari harbor, stands on the left side is one of these areas. It depicts their tradition. Just next to this bubble area stretches out a second area on the left side of the museum; its spacious grass-covered park characterizes it. There, people spend time for relaxation, socialization, and enjoyment of the tension-free atmosphere.

The third area is the most important to the urban setting because it links the museum with land and bears a highly active public street that props directly the periphery of the museum. The street is awfully noisy and prominently crowded. On the opposite side of the museum, just across the street, a wall-like office proudly stands with various modern architectural dresses. These buildings form a clear buffer solid line between the museum area and the urban neighborhood with few side routes penetrating the area. With its modern low-raised buildings the main cornice street forms the background to the museum from the northern side. Once passing the outer magic-like gate of the museum, people experience the transition in time and space. People have new spatial involvement that can only be described as a quiet, peaceful, and luxurious. Even people’s pace becomes slower and shorter, standing mostly in groups beholding the space, or planning their next space interaction.


Once entering the museum, people are engaged in another type of experience that is occupied with formality and movement through hierarchically connected spaces. The exhibition galleries are distributed in a categorized manner as the importance of historical pieces are ascending from the ground floor to the second floor. The highest floor, on the other hand, is reserved for VIP visitors; it has a meeting room and a valuable library. The location of circulation systems within the museum is studied well to urge people moving around in all directions, though keeping them intact with its core. Two staircases start on the first and end up on the fifth floor, for instance, and are located a fair distance from the ground floor freestanding stairs that only lead up to the first floor. As one climbs up any of these symmetrically located staircases, he or she will be able to enjoy the scenery of the atrium.

The exhibitions are set deep from the entrance and other shallow depth areas to ensure a quiet, peaceful and calm atmosphere. (Figure 23) Furthermore, the dark lightened exhibition halls do not facilitate the social interaction between people as it encourages the concentration on the exhibited precious objects. It is indispensable to provide splendor and importance to the exhibitions. The atrium, pertaining shallow depth, besides the café and gift shop and the outdoor attached park, provides social space which creates a balance with higher depth areas.

Figure 203: Degree of Depth the MIA Spaces. Source: Author


Perceptional Appraisal

Physical, environmental and perceptional spatial aspects bond with the space functional requirements of the museum and its outdoor setting; the outdoor setting possesses various components including a pleasure garden, a relaxation landscape, and socialization areas; all of which enrich the legibility and imageability of the museum. In this regard, this section demonstrates perceptional and contextual spatial readings of the Museum of Islamic Art.

Due to the nature of the land on which the building was built, there is only one side to reach the main entrance and the library entrance. The park stretches out from the museum bay and partially surrounds the building satisfying the desire of visitors to view the right side of the building. The perception of special events, often held in the park, keeps the open area active, adding a colorful stimulus to the park. The public bazaar and exhibition of regional handcraft products are two typical examples of outdoor activities.

The beholder experiences one, two, or even three front-landscape levels which enrich the beholder’s experience of the variation of circulation systems such as, ramp, stairs and glass elevators that make wandering around the building smooth while providing different perspective points that add to the feeling of amusement and attraction to the place (Ferwati 2007). However, the transparent elevator ensures that the presence of technology is less dominant and visually incompatible with the two identical rows of palm trees on the sides of the ramp that connect the main gate entrance with the building main door. In doing so, the designer ensures that visitors will not miss the beauty of the main elevation of the stony-cladded museum. (Figure 24)

As a manipulated view, while the beholders climbs up the ramp, they can observe the skyscrapers gradually hide behind the museum as they approach the building entrance and its fountain. Those skyscrapers will later be framed through the mihrab of the inner atrium, delivering a message that the museum is not solely concerned with its main function but also highlights the important areas surrounding it.

While coming closer to the building, visitors will love the details of it. The contrast of material colors, such as the black stone of the flooring, fountain, and columns with the beige stone of the building creates emphasis and direct vision to the building itself. Viewing the building from different points, modes, and situations enriches perceptional features. The following illustrates all possibilities of spatial beholding situations.

Mosaic View

The view of the building from a main road where the beholder is in linear motion at every point shows changes in the visual view of the museum.

Imageable View

The view that the beholder admires and remembers most about a building depends on distance, visual angle, and time of day or season. It is subjective or inter-subjective, which is the beauty behind it. The building’s reflection on the surrounding water surface is a good example of this. Cases of the imageable view selection are uncountable since subjective or inter-subjectivity stands behind the admiration of one snapshot over another.

Manipulated Views

This is different from the mosaic view as the beholder’s movement is limited to the site’s topographical surface, geographical direction, and pedestrian layout. As a result the view sometimes appears full, partial, or disappeared depending on the pedestrian standpoint. This motion can be exemplified by the park surrounding the building from the right side. Another example is the view of the high rise West Bay downtown, which is seen as one approaches the


building, but the landscape of the palm trees creates a staggered view, or an in-out kind of perceived view. Once the beholder gets closer to the building, the view of the West Bay disappears and again appears inside the building and through the mihrab.

Outreached View or Extended View

This perceptional system can be defined as the view of a space or an object through another space or object. It is common to see photographs being captured through a doorway, open window, arch, or screen fence. In the Museum of Islamic Art, the designer ensures the possibility to see the Western Bay downtown throughout the glazed mihrab.

Centrifugal View

A centrifugal view is an automatically drawn view of the beholder from the central standpoint outwards. The atrium of the museum is surrounded by three story walking rings that lead to different exhibition halls.

Centripetal View

The centripetal view is perceptional system opposite to the centrifugal view as the central hall hooks the beholder’s eye. This is the result of the visitors’ curiosity to see activities on the ground level and to observe how the view zoom changes at each floor level.

Figure 24 illustrates all possibilities of spatial beholding situations. Source: Author


Conclusion

Like other countries in the region, Qatar has is recently been experiencing extensive urban developments on various scales. As stated in the Qatar National Vision 2030, the aim of the future developments is the creation of unique, attractive environments that generates modern images in response to international standards. One of several new prominent projects in Doha is the Museum of Islamic Art. As a product of neo-vernacular architecture, it is a figurative building. It stretches out from the land to float on water as a salient eye-catching landmark. Visitors enjoy both watching the excellent exhibit collections and engage in various activities. The research explored the essence of the MIA, the masterpiece of I.M. Pei. It demonstrates richness with elements borrowed from the heritage of Islamic architecture that are integrated in simple and new architectural forms. The study shows how the museum, as a cultural institute product, serves manifold objectives. Going through the physical, perceptional, and environmental appraisals of the building, lessons can be learned from the museum’s architecture:

• The production of an elegant museum requires a strong presence of quality townscape. • The contextual suitability of nearby activities contributes to the creation of a strong

sense of place. • The museum is a social and educational meeting place. • A good selection for museum location enriches the visual experience for the viewer. • A unique architectural solution enhances the sense of the central urban area. • The museum design can be articulated to create a unique urban space that supports

various activities. • The museum can appear as a monumental sculpture in a simple layout landscape

surrounded by a body of water from three sides. The Museum of Islamic Art demonstrates how the architect was capable of designing a

modern building that reaches the essence of contemporary Islamic architecture by implementing particular elements inspired from both historical Islamic and modern architectural themes. The geometrical forms of the building display both cubism and Islamic architecture or art along with other features, including water canals, the water fountain, a mihrab, and arches. All of which strengthen the design principles that the architect produced with basic strong harmony between the building and its site. The study presents an advantageous approach to museum design that people in the field, including architects, can refer to in order to express shared responses among users, and guide designs which incorporate public meanings and their evaluative image of museums.

Acknowledgement

This article was made possible by a Startup Grand awarded from the Qatar National Research Fund (a member of The Qatar Foundation). The statements made herein are solely the responsibility of the author[s]. I would like to express my gratitude to Architect Mirna Ammar for her enormous assistance and useful suggestion.


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Papadopoulo, Alexandre. 1976. Islam and Muslem Art. New York: Harry N. Abrams, Inc., Publishers.

Relph, E. 1976. Place and placelessness. London: Pion.

ABOUT THE AUTHOR

Dr. M. Salim Ferwati: Dr. Ferwati obtained in 1982 a Bachelor’s degree in Architectural Engineering from the Architectural Faculty at the University of Damascus, Syria; in 1988, a Master’s Degree in Urban Design from the University of Kansas, USA; in 1993 a Ph.D. degree in Cultural /Behavioral Geography at the University of Western Ontario, Canada. Between 1996 and 1999 he was active in three areas: teaching, architectural documentation of 80 historical buildings, and running his own architectural firm. In 1999, he moved to Saudi Arabia, to work at the College of Architecture and Planning at King Faisal University as a lecturer. In August 2005, he joined the Department of Civil and Architectural Engineering at Sultan Qaboos University as an assistant professor to teach and help in establishing the new architectural engineering

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program. From September 2011 and up to present, he, as an assistant professor, joined the Department of Architecture and Urban Planning at Qatar University to participate in teaching both graduate and under graduate students. His research interests are related to spatial behavior as generator of spatial pattern, space perception, and urban semiotics. Ferwati’s contact address: Department of Architecture and urban Planning, Qatar University, Doha-Qatar, Postal Code: 2713. Mob.: 974-70358160, Email: [email protected].

The International Journal of the Inclusive Museum addresses a key issue: In this time of fundamental social change, what is the role of the museum, both as a creature of that change, and perhaps also as an agent of change? The journal brings together academics, curators, museum and public administrators, cultural policy makers, and research students to engage in discussions about the historic character and future shape of the museum. The fundamental question of the journal is: How can the institution of the museum become more inclusive?

In addition to traditional scholarly papers, this journal invites case studies that take the form of presentations of museum practice—including documentation of organizational curatorial and community outreach practices and exegeses analyzing the effects of those practices.

The International Journal of the Inclusive Museum is a peer-reviewed scholarly journal.

ISSN 1835-2014

The Museum of Islamic Art_Form-Perception- and Environment

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