Islamic Architecture and Design

THE mosque is the most immediately recognisable and purely Islamic building.  Some form of mosque has been present since the time of the Prophet (peace be upon him). Given this long history, it is not surprising that different styles have developed in different parts of the Islamic world.
We can divide mosques using many sets of categories. All of these classifications have significant problems. Robert Hillenbrand uses a simple scheme. He divides most mosques into three stylistic categories: the Arab, the Iranian, and the Turkish or Ottoman.
The Arab mosque
is referred to as a hypostyle mosque. It typically features a large courtyard and a low covered sanctuary. The sanctuary roof may be flat or pitched. In either case, it will be supported by many columns or arcades that are regularly spaced. This type of mosque was common in the western part of the Islamic world, an example is the Great mosque at Qairawan in Tunisia.
The Iranian mosque
typically features a four iwan courtyard. One of the most distinctive features of the Iranian style is the extensive use of colour and intricate geometric or organic designs. Walls and domes may be covered with such designs. Inscriptions may also be added. The Iranian style was common in some parts of the eastern Islamic world.  The Friday Mosque in Isfahan is a good example.
The Turkish or Ottoman mosque
typically features a large dome and supporting piers. It is not a hypostyle mosque. Ceilings may be quite high and many smaller domes and half domes may be added. The exterior is somber and massive, and the exterior use of colour is often quite limited. The Ottoman style was common in Anatolia and some parts of the Ottoman empire. The Mirimah mosque in Istanbul, Turkey is an example.
The mosque pictured on the left side is designed by IDC. But it is a mix of different categories.
Islamic Ornament
One of the most striking features of Islamic architecture is the ornamentation  of its surfaces. This ornamentation may be used on walls, domes (both inside and outside), and ceilings. Similar designs are often used in other art forms such as ceramics and rugs.
Islamic ornamentation seldom uses the human form, although the exact reason for this is a matter of scholarly debate. Instead, it emphasizes three basic groups of forms:
• Geometric forms
• Vegetable/organic forms
• Stylised Arabic script

Islamic gardens are designed to offer the visitor a cool place for rest and contemplate and to be a reminder of paradise. The Quran has numerous references to the garden in addition to the importance of certain plants and trees important for  good health and well-being.
Allah has promised to the believing men and the believing women gardens, beneath which rivers flow, to abide in them, and goodly dwellings in gardens of perpetual abode; and best of all is Allah’s goodly pleasure; that is the grand achievement (Qur’an 9.72)
Islamic garden design originates from Persian influences, and after the Arab invasions of the 7th Century, the ideas and themes continued with some modification. The Persian gardens were traditionally surrounded and enclosed by walls and designed to be a reflection of paradise. Four water canals typically would carry water into a central pool or fountain, representing the four rivers of paradise. Planting is generally minimal and restricted to shade providing and drought tolerant plants, or plants that provide food, medicines or other  uses such as the date palm, olive tree and citrus.

Islamic Tiles
Tiles are a widely used form of ornament both inside and outside Islamic buildings. Some of the best known structures, such as the Blue Mosque in Istanbul or the Shah Mosque in Isfahan, use thousands of tiles. The use of tile has a long history and the materials, techniques, colours, and styles vary greatly. The information here is summarised from Islamic Tiles by Venetia Porter.
Early tiles were often made from clay, which was also used for everyday objects such as dishes and jars. Later tiles were often made from a compound called ‘stone-paste’ — a mixture of ground quartz, glaze frit, and white clay. Paint and glazes were normally used on top of the clay or stone-paste. The glazes have several functions. They seal the surface and they often provide a layer of colour. Paint can be applied either under or over the glaze.
Several techniques have been popular in the Islamic world. ‘Lustre’ indicates “a metallic sheen giving off multi-coloured reflections.” This effect is produced “by applying a mixture of silver and copper oxides to the cold surface of a glazed vessel or tile. Tile mosaic indicates that sheets of tile have been cut into interlocking shapes, something like a puzzle, that are laid out over plaster to produce the final design.