Prior to Yamasaki, another architect was already flourishing. Mario Rossi, the Italian-American Architect commissioned in 1949 and completed the Islamic Center of Washington DC in June of 1957. President Dwight D. Eisenhower at the grand opening praised the Islamic world stating, “traditions of learning and rich culture” which have “for centuries contributed to the building of civilization.” The eclectic design of Rossi, played on the concept of memory, was to be a precedent mosque for others in the United States, representing all the Muslim countries. The Islamic Center of Washington DC became the icon of American-Muslims, settling on the concept of cultural nostalgia, with luxurious gifts from Egypt, Iran, and Turkey.
However, three decades later, Skidmore Owing and Merrill (SOM), was commissioned in 1987 to build the Islamic Cultural Center of New York. SOM decided to redefine the American-Muslim identity, departing from “cultural nostalgia” and instead embracing the American-Muslim identity through a post-modern design. Mimicking Yamasaki’s “weaving” of Islamic Architecture through a modern approach, SOM often found itself interrogated for its architectural designs to the 46 Muslim countries sponsors particularly to its key donor Kuwait, who expressed that the “iconic mosque” design should be implemented. For example, SOM perceived the minaret as juxtaposition between architecture and identity. SOM design of the minaret was just a simple cylindrical form with a balcony on top. However, the Amir of Kuwait did not find this acceptable in a mosque design under the notion that the design was not “Islamic.” Nevertheless, the minaret was built after the completion of the Islamic Cultural Center to appeal to the demands of Kuwait’s Amir.
Conversely, SOM and Kuwait often find themselves designing mosques with a whole new Islamic architecture vocabulary. Most recently, Kuwait commissioned star-architect Zaha Hadid to design a contemporary mosque at the Avenues Mall in Kuwait City. At Arcapita Bank Headquarters in Bahrain, SOM designed a prayer space emulating the Ka’aba in Mecca, a simple cube form with light being punctured at an angle. Furthermore, even Mecca is at the height of architecture design. The Kingdom of Saudi Arabia is on the forefront of cutting edge architecture design, particularly at the Ka’aba. Recently, during the lunar month of Ramadan, the clock tower in Mecca was inaugurated. These bold architectural designs, often question the identity of Muslim-American’s when designing a mosque, or an Islamic Cultural Center. For example, the Islamic Center of Murfreesboro, a 52,000 sq. ft. facility that serves the whole community with its pool, gym and school, has been under heated debate over its architectural identity.
Granted an Islamic Center in Manhattan, such as Park 51 or the Islamic Cultural Center design by SOM, will differ in design and form in comparison to another: as apparent in Abiquiu, New Mexico, or Dar Al Islam’s design by Egyptian architect Hassan Fathy in the early 1980’s, of which is one of the most sustainable Islamic Centers in America. Nevertheless the 100-plus Muslim prayer spaces in New York City are unique on their own, and each center across the United States is challenged with design problems to meet the needs and demands of the users andto accommodate the American-Muslim community; but each building should have the ability to serve the community, practice sustainability, celebrate the American culture that surrounds it, and be a design solution that can be easily fabricated in American urban context.
