Mosques of the UAE: Simplicity reigns supreme at architectural symbol of Sharjah

With clean lines and no decorative elements, the minimalistic King Faisal Mosque greatly influenced the country's design landscape

In the centre of Sharjah is one of the UAE’s most important and unique mosques designed by a pioneering Khaleeji architect.

King Faisal Mosque, led by Abdul Rahman Al Junaidi, is on Al Arouba Street. It is a stunning architectural work, not only due to its innovative design but also as a powerful symbol of Sharjah.

“I think it symbolises the regional architectural school in the Gulf that people may not be too aware of,” says Sultan Sooud Al Qassemi, founder of Barjeel Art Foundation.

Al Qassemi, who has researched the history of the mosque and also interviewed Al Junaidi before he died in 2021, says the King Faisal Mosque is significant work on many levels, perhaps most obviously for its distinct and unique design.

“Even 40 years on, it is still a unique architecture that we don't see replicated, and it is instantly recognised," he tells The National. "When you see it, you know that this is an architectural piece by Abdul Rahman Al Junaidi.”

First opened to the public in January 1987, two years after construction began, Al Junaidi spent a significant time in Sharjah overseeing the project. It was also the biggest mosque in the UAE until 2007, when Shaikh Zayed Grand Mosque in Abu Dhabi opened.

Built in honour of King Faisal of Saudi Arabia, the structure is 70 metres high with its interiors measuring 12,000 square metres. It can accommodate more than 16,000 worshipers, including 12,000 seated.

Drawing inspiration from both traditional Islamic architecture, modern engineering and functionality, the mosque is characterised by clean lines, simplicity in form and minimalism. It has three levels, ascending in an overhanging order. Two simple minarets stand on the roof, framing a small-sized dome.

This overall design gives the mosque an austere presence, one that focuses solely on the shape and lines of the structure rather than any ornamentation or detail. Al Qassemi says that this was an important focus in Al Junaidi's design for the mosque.

“When I interviewed him he told me he didn't want to distract people from prayer – he wanted it to be very simple,” Al Qassemi says. “This is really what is very special about this mosque, it's both grand and modest at the same time.”

Al Qassemi also points out the unique element of the cantilevers in the structure, an uncommon feature in mosques. A cantilever is part of the structure that is suspended forward without any framing below – a structural term to say "overhanging". This is seen in how each level of the mosque was designed with these over-extended cantilevers, which create a unique silhouette.

Another design element that Al Qassemi cites as unique is the inner courtyard on the ground floor of the mosque. He says: “This is one of the first mosques that has an inner courtyard. When you enter, it's a huge courtyard that gives you shade ... it's a place of gathering inside."

The second level of the mosque is used by the Sharjah Department of Islamic Affairs, or Awqaf, and includes offices and a general library, which has almost 7,000 books on Islamic history, thought and culture.

The third level is the prayer area. Thanks to high ceilings and the massive arched windows, whose shape is echoed throughout the space by tall standing pillars, the prayer area is bright and welcoming. Like the exterior of the structure, the inside of the mosque has no major decorative elements, only clean lines and plenty of light to create an atmosphere of focused prayer.

Al Qassemi says that Al Junaidi was probably the first licenced native Saudi architect, studying in Syria where the cities of Damascus and Aleppo left a lasting influence on his style. He drew inspiration not only from the cities but also from Islamic architecture such as the Grand Umayyad Mosque, one of the oldest in the country.

King Faisal mosque's design greatly influenced the architectural landscape of Sharjah and the broader UAE, especially the archers, cantilevers and stairs seen in many mosques, Al Qassemi adds. And his perspective was an important one because he wasn't trained by western architects, but by Arab architects in Syria.

“He lets the architecture speak for itself," says Al Qassimi. "And notice his buildings don't have this flashiness, these mosaics from the outside. It's architecture for architecture, say, rather than public art. The King Faisal Mosque gave Sharjah its first Islamic iconic symbol. It’s a statement.”