该项目是一座名为Al-Tasamoh清真寺的清真寺，位于曼努巴省的Shanhadja地区的一块地皮上。该项目主要是为了实现参与突尼斯清真寺设计中采用新方法的愿望，改变人们对这些建筑的传统外部形式的态度，并超越丰富的装饰空间，这种清真寺的形象在集体记忆中是混乱的。有鉴于此，清真寺的设计将具有高度象征意义的空间和元素，如明堂、米哈拉、尖塔和祈祷室……与冷静的现代建筑相结合。

The project is a mosque that bears the name of Al-Tasamoh mosque, located on a plot in the area of Sanhadja, a village located in the governorate of Mannouba. The project was primarily an opportunity to fulfill the desire to participate in adopting a new approach in the design of mosques in Tunisia and in changing the attitude of the population towards the traditional external forms of these buildings and to go beyond the richly ornamented spaces, this facet of the mosques the image of which clutters up the collective memory. With this in view, the mosque has been designed to combine the fundamental bases in terms of spaces and elements with a high symbolic value such as the Minbar, the Mihrab, the Minaret, and the Prayer Room … with a sober and contemporary architecture.

更具体地说，清真寺的特点是简单的几何形状，来自于一种极简主义的建筑态度，创造了一种净化的整体氛围，没有任何累赘的物质或形式，这种避免装饰性元素和克服复杂性的选择源于对本质和功能之间关系的思考。事实上，清真寺被设想为一个有助于反思、冥想、与真主直接交往的空间，在情感和精神上去芜存菁，逃离物质存在，放下无用的物质烦恼，排除所有琐碎的东西，准确地集中于本质。

More specifically, the mosque is characterized by a simple geometry derived from a minimalist architectural attitude creating a purified overall atmosphere, free of any burdensome substance or form, and this choice to avoid ornamental elements and to step over complexity stems from a reflection on the relationship between the essential and the functional. In fact, the mosque was conceived as a space that helps to reflect, to meditate, to be in a direct relationship with God, to declutter emotionally and spiritually, to escape from the material being and to let go of useless material worries, to exclude all that is trivial and to focus precisely on the essential.

事实上，体积学被定义为一个整体，由简单而精致的平行线组成，创造出两个相互融合的整体体积，被设计成箱中箱，或者说是 “双体积”。第一个体量包含了祈祷室，被第二个体量所包围，形成第二层皮肤。这第二个体量一方面形成了气候调节工具，因为它在热浪中保护房间不受阳光直射和温度上升的影响，调节热增益，促进自然冷却过程，并提供冷却效果，这有望产生一个内部氛围，以经济、节能和更可持续的方式保证人类舒适。另一方面，在空间层面上，这个体量形成了一个长廊，连接了为清真寺设计的三个入口，以便在各个区域之间实现有效和简单的流动。

In fact, volumetry is defined as a whole by the simple and refined composition of parallel lines creating two monolithic volumes integrated into each other, designed as a box within the box or rather “a double volume”. The first one, which contains the prayer room, is enveloped by a second one that forms a second skin. This second volume forms, on the one hand, a climate adjustment tool, since it protects the room from direct sunlight and rising temperatures during heat waves, regulates heat gain, facilitates the natural cooling process, and provides a cooling effect, which promises to generate an internal atmosphere that guarantees human comfort in a cost-effective, energy-saving, and more sustainable way. On the other hand, on the spatial level, this volume forms a gallery that connects the three entrances designed for the mosque in order to allow an efficient and simple flow between the various areas.

因此，这个长廊围绕着祈祷室，而祈祷室的特点是极简主义美学和沐浴在光线和白色中的裸露的内部。进入祈祷室后，眼睛立刻被从上方发出的光裂缝所吸引。事实上，我们的想法是对称地创造两个天窗，在房间的两边划线，就像一个向天空开放的通风口，使日光辐射并充斥房间，两个天顶的开口创造了无边的墙壁，一个无限的突破口，看起来像天空的延伸，也允许通过这个闪亮的线条仔细观察地平线，一个走向上帝的灵魂之旅，允许接受并达到无限的光。在祈祷室的中心，一条轴线过道通向后面的米哈拉布，上面装饰着一个特殊的功能。这个杰作创造了贯穿整个房间的清醒的事件，作为一个焦点被阿拉伯文的古兰经书法诗句所装饰，拥抱即将到来的天空之光，流动并形成一个神圣的光环，丰富了细节，产生了一个扩散的效果，提供了一个神秘和重要的光质量。

Thus, this gallery surrounds the prayer room, which in turn is characterized by minimalist aesthetics and a bare interior bathing in light and whiteness. Upon entering the prayer room, the eye is instantly captured by a light crack emanating from above. In fact, the idea was to symmetrically create two skylights that delineate the room on both sides, like a vent open to the sky so that daylight radiates and floods the room, two zenithal openings that create boundless walls, an infinite breach that looks like an extension of the sky and also allows to scrutinize the horizon through this glittering line, a journey of the soul towards God that allows to receive and reach the light of the infinite. In the center of the prayer room, an axial aisle leads to the Mihrab at the back, adorned with a particular feature. This masterpiece creates the event within the sobriety that permeates the room, celebrated as a focal point ornamented by a calligraphic Quran verse in Arabic, embracing the imminent light of the sky that flows and forms a sacred halo enriching the details and producing a diffused effect that delivers a mystical and significant light quality.

因此，总的来说，我们的想法是让外部的物理光成为清真寺的灵魂，到处闪耀，并作为内在的精神之光反映在精神上。也就是说，从概念和空间的角度来看，太阳被研究的方式是在所有的区域内慷慨而丰富地介入。此外，所有这些光源也形成了新鲜空气的来源，其形状和位置在设计要求、方向和空气流动方面都经过了仔细的考虑，以便让空气在建筑中自然循环和通风，创造出具有凉爽气候的室内区域，并证明今天即使没有空调的清真寺也能让人感到舒适和愉快。这个项目的另一个基本组成部分是天井。事实上，这座清真寺围绕着4个空隙，一方面作为统一和分离元素的区域，另一方面作为允许自然空气和光线进入的工具。

Thus, overall, the idea was to have the external physical light be the soul of the mosque shining everywhere and reflected in the spirits as an inner spiritual light. That is, from the conceptual and spatial standpoint, the sun has been studied in such a way as to intervene generously and abundantly in all areas. Besides, all these sources of light also form sources of fresh air with shapes and locations that have been carefully thought out in terms of design requirements, orientation and air flow so as to allow the air to circulate and ventilate the building naturally and create indoor areas with a cool climate and prove that today even mosques without air conditioning can be comfortable and pleasant to live in. Another fundamental component of this project is the patio. In fact, the mosque revolves around 4 voids that serve on the one hand as areas unifying and separating elements, and on the other hand as tools that allow the admission of natural air and light.

中央的大天井，既是祈祷室的延伸形式的露台，人们可以在祈祷时间后聚集和社交，是一个分离和过渡的开放通道，作为祈祷室和沐浴区之间的中间区域，也可以俯瞰两个小型植被天井，作为天窗和空气来源。此外，这个露天庭院的一侧被一个穿孔墙划定，小的方形开口将光线过滤到沐浴区，提供了视觉上的连接，并由红砖包覆。事实上，这是选择用来覆盖整个清真寺下部的材料，以创造一种土色纹理的皮肤，让人联想到人体的原始和真实的性质，并与上部的光滑和全白的本质和灵魂的形象形成对比，所以，土色的触摸使白色更纯净，白色使颜色更鲜艳。此外，覆盖在这面墙上的各种类型的植物的排列和组合，创造了一个小型的 “室内 “森林，适当地丰富了天井，并允许创造一个和平的天堂和一个坚决的平静和放松的气氛。

The large central patio, both a terrace in the form of an extension of the prayer room where people can gather and socialize after prayer times, is a separating and transitional open passageway that serves as an intermediate area between the prayer room and the ablution area which also overlooks two small vegetated patios that act as skylights and air sources. Besides, this open-air courtyard is delineated on one side by a pierced wall with small square openings filtering light to the ablution area, offering visual connectivity, and is clad in red bricks. In fact, this is the material that was chosen to clad the entire lower part of the mosque in order to create a kind of earthy color textured skin reminiscent of the original and authentic nature of the human body, and contrasting with the upper part which is smooth and all white in the image of the essence and the soul, so, the touch of earthy color makes the white purer and the white makes the color more vibrant. In addition, an array and combination of various types of plants that cover this wall creating a small “indoor” forest has duly enriched the patio and allows creating a peaceful haven and a resolutely calming and relaxing atmosphere.

Architects: Tasegda
Area: 1000 m²
Year: 2020
Photographs: Bsila Arkam
Manufacturers: EKOLED, TPR, Yajoura
Architecture And Interior:Bsila Akram
Calligraphy:KOOM, Mohamed koumenji
Landscape:Bsila Akram
City:Sanhaja
Country:Tunisia