清真寺，通常是伊斯兰教的典型建筑，是一个 “跪拜的地方”，也就是 “跪拜”。伊斯兰建筑是没有地域性的。多年来，大多数前伊斯兰教的乡土形式和特征已逐渐成为伊斯兰教传播地区的元素和特征的折衷组合。与历史上的纪念性清真寺不同，当代清真寺的设计展示了这些转变的形式，建立了自己独特的身份；’Masjid-e-Zubaida’就是这样一个例子。

A Masjid, usually a quintessential Islamic building, is a “place of prostration”, which means ‘kneeling’. Islamic architecture is not regional. Over the years, most of the pre-Islamic vernacular forms and characteristics have gradually become an eclectic mix of the elements and characteristics of areas where Islam had spread. Unlike historical monumental mosques, contemporary mosques are designed to exhibit these transformed forms establishing a unique identity of their own; ‘Masjid-e-Zubaida’ being one such example.

设计的主要理念是，宗教空间应有助于冥想，在情感和精神上净化，与真主直接联系。在分析了清真寺的功能和象征意义后，确定了清真寺的基本要素，并准确地将重点放在基本要素上，而不是单纯的美学和宏伟。

The design was conceived with a primary notion that a religious space should be such that it helps meditate; cleanses emotionally and spiritually to be in a direct connection with God. The building was articulated by identifying essential elements of a mosque after analyzing the function and symbolic values of each and focusing precisely on the essentials rather than mere aesthetics and grandeur.

有鉴于此，该清真寺的设计结合了基本的空间和具有高功能价值的元素，如Ibadat khana、Minbar、Mehrab和尖塔，并采用了简洁的现代建筑。尖塔是清真寺的一个视觉标志。它不仅仅是功能性的，也是对安拉存在的一种强有力的视觉提醒。清真寺的美学是基于这样的概念：材料必须是可持续的，并且是来自于当地的；CSEB块是由挖掘出来的土壤制成的，计划用于这一目的。

With this in view, the mosque has been designed to combine the fundamental basics in terms of spaces and elements with a high functional value such as Ibadat khana, Minbar, Mihrab, and the Minaret with a sober and contemporary architecture. The minaret acts as a visual mark for the mosque. Not merely functional in nature, it also serves as a powerful visual reminder of the presence of Allah. The aesthetic of the mosque is based on the notion that materiality has to be sustainable and locally sourced; CSEB blocks made out of the excavated soil were planned to be used for that purpose.

遗憾的是，这些砖块在压缩过程中失效，后来我们不得不改用客户工厂生产的锅炉砖。清真寺地下室的马德雷萨的存在，有助于实现多重性。虽然不是像米哈拉布那样的仪式要求，但穹顶更多的时候是一种结构要求，以承载更大的跨度，这也变成了天穹的象征性代表。但是，随着技术和建筑技术的进步，为了实现更大的跨度，对穹顶的需求已经随着时间的推移而消失了。因此，我们选择了一个干净的形式作为主要部分，在平坦的屋顶下放置Ibadat khana；以坚持简单和个人主义。

Regrettably, the blocks failed in compression and we, later, had to switch to boiler bricks that were made in our client’s factory. The presence of Madresa in the basement of the mosque aids multiplicity. While not a ritual requirement like the Mihrab, a dome more often used to be a structural requirement to carry larger spans, which also turned into a symbolic representation of the vault of heaven. But, with advancing technologies and construction techniques, the need for domes for achieving larger spans has faded with time. Hence, a clean form was chosen as the main mass with a flat roof under which the Ibadat khana would rest; to adhere to simplicity and individualism.

裸露的砖块构成了大部分的外墙，使阳光能够穿透内部，使整个空间变得神圣，并创造出一种 “敬畏感”。融入门和外墙的百叶窗玻璃，有助于采光和通风。Ibadat Khana上侧的开口进一步增强了环境，另外还照亮了空间。

Exposed brick jali makes up most of the facade allowing sunlight to penetrate inside that making the whole space divine and creating a ‘sense of awe’. The louvered glass, incorporated into the doors and facades, aids light and ventilation. The openings on the upper side of the Ibadat Khana further enhance the environment and additionally light up the space.

朝拜墙（清真寺最神圣的部分）保持了朴素和宁静，使人的注意力不受外界环境的影响。来自上方天窗的阳光逐渐照亮墙壁，提醒人们 “真主 “是上方天堂的光芒。地板也保持无缝，以减少崇拜者的分心，促进崇拜所需的 “khusyuk”（集中）。该设计开发了一种新的清真寺语言，它更多地被改造，简单而独特，并与现代的需求相融合。

The Qibla wall (the holiest section of the mosque) has been kept plain and serene to turn off one’s attention from the outside environment. Sunlight from the skylight above gradually washes the wall as a reminder that ‘Allah’ is the light of the heaven above. The flooring, too, has been kept seamless to reduce the worshipper’s distraction and facilitate the required ‘khusyuk’ (concentration) for worship. The design develops a new language of the mosque, that is much more transformed, simple but unique, and merges with modern-day needs.

Architects: Neogenesis+Studi0261
Area : 750 m²
Year : 2022
Photographs :The Fishy Project
Lead Architects : Chinmay Laiwala , Jigar Asarawala, Tarika Asarawala
Carpentry : Arjunbhai
Design And Execution : Devanshi Parekh, Priyanka, Juby Thomas, Manthan Yadav
Structure Engineer : Ritesh Chauhan
Text Credits : Nilufer Contractor
City : Raichur
Country : India