Despite the visual and structural integration that characterizes Islamic architecture, reflecting religious and cultural values, the expressive relationship between form and structure has not yet been systematically studied in a comprehensive manner that reveals its symbolic, functional, and aesthetic dimensions. Hence, a research problem arose in the absence of a theoretical framework that interprets this relationship as a single unit that conveys meaning and embodies identity. Therefore, this is research aiming to analyze the expressive relationship between form and structure in Islamic architecture, using the Al-Mustansiriya School as a model to uncover the mechanisms that enable form and structure to work in tandem to produce an authentic aesthetic-symbolic discourse. The research hypothesis is based on the premise that architectural expressiveness in Islamic architecture arises from an inseparable integration between form and structure, such that aesthetic performance is linked to the effectiveness of the structural system. The research relied on the dual analytical approach between descriptive-theoretical and structural analysis using the ETABS program to evaluate the efficiency of the structural elements and their consistency with the architectural expression. The results concluded that Al-Mustansiriya School embodies an organic integration between beauty and structure, where structural elements, such as arches and walls, show both a functional and aesthetic role. Some elements were emptied of their structural function and transformed into symbolic.

In Islamic thought, the concept of hijab extends beyond its conventional association with modest attire, encompassing deeper philosophical, metaphysical, and spatial dimensions. As a term signifying a barrier, partition, or screen, hijab functions as both a literal and symbolic boundary that governs visibility, interaction, and accessibility, in line with Islamic ethics. Within the context of Malay architecture, hijab plays a pivotal role in shaping-built environments that seek to harmonize privacy, modesty, and social cohesion. This paper explores how the concept of hijab is manifested in traditional Malay houses and religious structures, focusing on how it reflects a culturally specific spatial ethics grounded in Islamic cosmology. The residence of Tok Abu Bakar Alang Ketak, a prime example of Rumah Limas Bumbung Perak architecture, serves as the central case study to examine the relationship between spatial organization and cultural values. Using a mixed-methods approach that includes site observation, spatial and cultural analysis, and interviews, the study explores how the principles of hijab in Islamic architecture are reflected in Malay architectural traditions. Five key scenarios were identified to demonstrate the parallelism between the concept of hijab, Malay culture, and the spatial organization of traditional Malay architecture, illustrating how these elements coalesce to create an aesthetic and ethical framework for privacy and interaction.

This study takes the Phoenix Mosque (fenghuangsi 凤凰寺) in Hangzhou as a representative case to explore the localization patterns and profound cultural connotations of colour application in Chinese Islamic architecture. The findings reveal that the architectural colour scheme of the Phoenix Mosque not only skillfully integrates traditional Islamic symbolism with Chinese cultural aesthetics but also emphasises simplicity and purity in its overall design, vividly reflecting the unique Jiangnan (Lower Yangtze) regional aesthetic distinct from other styles of Chinese Islamic architecture. This distinctive chromatic system carries significant implications for cultural heritage preservation, artistic aesthetics, and tourism development. However, it also faces multiple challenges, including insufficient preservation techniques, risks of cultural misinterpretation, and a shortage of specialised professionals. In response, this study systematically proposes a set of comprehensive strategies that combine scientific conservation and technological innovation, deepen cultural education and communication, and strengthen talent cultivation and academic research. The aim is to provide robust theoretical foundations and practical pathways for the preservation, inheritance, and innovative development of colour traditions in Chinese Islamic architecture.

Orientalism is deeply rooted in Hungarian culture. Important components of this are the one-and-half century Turkish rule, the eastern cultural and anthropological threads of the Hungarian nation, peaking in various elements of the Hungarian language and folk music, the appearance of the Turanian idea, and the specific interpretation of the Russo-Turkish War in Hungary. Artistic tendencies permeating from Western and Central European countries fostered interests for things deemed oriental. Orientalism first appears in the architecture of historic Hungary in the framework of 19th century romantic historicism. Ödön Lechner aimed at creating Hungarian national architecture, of which orientalism was an important constituent vis-à-vis traditional Western historicism. One of the means of showing the Eastern origin of the Hungarians was accentuated by using oriental forms in a quite Western manner. As witnessed by the villa designed for Hermann Babocsay, architect Aladár Árkay (1868 – 1932) was a follower of this endevour. However, in Árkay's later work, Orientalism became veiled. For the competition of the Buda Synagogue in 1912, the connection of the dome crowning the building with the body supporting it refers to the courtyard building of the Ahmed Ibn Tulun Mosque in Cairo. But in the Calvinist Church in Városligeti (Park) Avenue in Budapest, the main mass of the edifice hides the dome recalling early Islamic architecture. Here the connection between the central space and the dome is less organic, as it lacks pendentives. This peculiarity of the early domed Islamic buildings, and the squinches in particular, correspond with the worldview of Islam. Unlike Christianity, there is no such representative hierarchy neither in Islam, nor in the organization of mosques.

This article examines the impact of 19th-century Jewish emancipation on architecture through the example of the Yüksek Kaldırım Ashkenazi Synagogue in Istanbul. The emancipation process enhanced the public visibility of Jews, and synagogue architecture emerged as a medium reflecting this new search for identity. The adoption of Orientalist architectural trends—which became widespread in 19th-century Europe—as an expression of Jewish identity led to the incorporation of Eastern styles, particularly those influenced by Islamic and Andalusian esthetics, in synagogue design. Within this framework, the article analyzes the architectural design of the Yüksek Kaldırım Ashkenazi Synagogue, commissioned by an Ashkenazi congregation that had migrated from the Austro-Hungarian Empire, and explores the intellectual and historical context behind its Orientalist style. Identity representation is assessed through architectural elements such as arch forms, ornamentation, and structural arrangements inspired by Islamic architecture. The architect, construction process, and the social position of the Ashkenazi community within the Ottoman Empire are also examined through historical documentation. In conclusion, the synagogue constructed in Istanbul is interpreted as a reflection of the Orientalist architectural approach embraced by Jewish communities in Europe, as manifested within the Ottoman context, drawing attention to the relationship between identity, belonging, and architectural representation.

Abstract My previous work examined how pop artists in the Arab region are using self‐orientalism in their visual artworks to articulate a decolonial critique that aims to subvert the orientalist discourse through an inversion and a re‐appropriation of the colonial gaze (Tazi, forthcoming). In other words, to borrow from a famous saying by Black feminist Audre Lorde (1984), these artists are “the master's tools to dismantle the master's house.” The objective of this comment is to further expand my previous analysis on the use of self‐orientalism and neo‐orientalism in Arab pop art by looking at a different artistic genre—pop music—through the work of Moroccan pop singer Manal. I focus on both the lyrics and video clip of her song Niya (Manal l 2020 منال) which gained significant popularity and acclaim from audiences and critics alike at the time of its release in 2020 (Loubaba B 2020). I look at a selection of 15 screenshot images from the video clip where the artist uses famous Orientalist symbols such as the veil, the colonial Harem, Islamic architecture, and traditional Moroccan attire and jewelry. The analysis of the images reveals that, through a subtle contrast and a systematic interplay between lyrics and video, the artist subtly inverts and subverts both the patriarchal and Orientalist meanings behind these symbols in Niya , which translates to “naive” from Arabic, thereby articulating a decolonial feminist critique in her song.

Every building develops defects and deteriorations over time no matter its old or new. Defects like cracks, wear and tear, or some other damages are normal part of a building’s life. This is especially true for historic buildings that have served communities for generations. However, protection and maintenance of these historic buildings that have cultural and spiritual value is important for cultural heritage. For Muslims mosques are more than just places for prayer. They are the central part of the community where people worship, meet, and help each other. As mosques are so important, keeping them in good condition is also important not just for religion, but for daily life too. The Sawi Mosque located in Mohallah Kotla Tolay Khan; Multan, is an impressive ancient Islamic Architecture of Multan which was built in 16th century A.D still standing, built by Nawab Saeed Khan Qureshi a noble of Great Mughal Emperor Akbar. Its design reflects the traditions of mosque architecture developed during the Mughal period. This article investigates the way innovative space planning, balanced proportions, and appealing designs help mosques to enhance their creative design elements that increases its usefulness and beauty. This mosque has a unique dome-less structure and it serves as one of the best examples of contemporary Islamic architecture. The paper highlights its innovative architectural elements and how they enhance the mosque's layout, visual appeal, and practical use.

By adopting Western historiographical methods, Orientalists applied a linear system of periodization to the study of Islamic architecture and urbanism. This approach segmented Islamic history according to ruling dynasties (Rashidun Caliphate, Umayyad, Abbasid, and so forth) rendering it fragmented and disjointed, despite its coherence within the broader unifying framework of Islam. Emphasizing the physical architectural end products over the underlying mechanisms that shaped them, each dynastic period was associated with a distinct architectural style. Yet, does this mode of periodization align with the actual history of Islamic architecture? This paper seeks to move beyond the Orientalist approach of dynastic-based periodization by proposing an alternative framework grounded in the actual mechanisms of built environment production across Islamic history. It examines how transformations in political power, jurisprudence, and knowledge intersected to shape built environments across Islamic history. The paper adopts Ibn Khaldun’s perspective on political modes and the cyclical rise and fall of states as its theoretical framework. It argues that the transition toward political royal modes and the emergence of rational political practices progressively shifted the mechanisms of built environment production from ones rooted in Sharīʿa rights-based mechanisms to those driven by political power and rationalized statecraft. This shift gave rise to authoritarian built environments. As the dominant discourse remains centered on these politicized built environments, the paper reveals the misconceptions embedded in the prevailing periodization framework, ultimately challenging the validity of its orientalist bases.

Purpose Awqāf have historically played a central role in supporting public welfare across Islamic societies, particularly in sectors such as education, health and social services. Their decline during the colonial era due to mismanagement, legal suppression and weakened accountability significantly reduced their socio-economic impact. In recent years, there has been renewed interest in reviving awqāf as dynamic institutions within the broader Islamic social finance architecture. However, persistent challenges in both management and governance, such as legal ambiguities, lack of operational transparency and insufficient regulatory oversight, continue to limit their effectiveness. While international benchmarks such as the AAOIFIWāqf Standard and the Wāqf Core Principles (WCPs) offer foundational guidance, practical, context-sensitive frameworks for operationalizing awqāf as modern social finance institutions remain underdeveloped. This paper aims to address this gap. Design/methodology/approach This is a conceptual paper based on interpretative and qualitative methods to arrive at the organizational and operational framework that could facilitate the realization of the historical institution of wāqf to play a role for the socioeconomic development of Islamic societies. Findings As voluntary instruments of Islamic social finance, awqāf should be structured as autonomous welfare institutions, professionally managed and governed in alignment with both Sharīʿah principles and stakeholder expectations. Effective management must ensure efficiency, resource mobilization and impact measurement, while governance must uphold accountability, both to beneficiaries and to divine authority. The study highlights the potential of the WCPs and AAOIFI standards as guiding tools, but emphasizes the need for localized models that reflect socio-cultural and institutional diversity across Muslim jurisdictions. Research limitations/implications The management and governance of the wāqf institutions in Islamic countries could take charity giving to the micro level enabling all well-of to take part in the formalized system of philanthropy for the welfare of the society. The accountability to the stakeholders and divine authority, efficiency, effectiveness, quality, governance and transparency play role in the effective governance of wāqfs to maximize the welfare activities. Practical implications The paper offers valuable insights for regulators, policymakers, Islamic social finance practitioners and philanthropic institutions. It positions awqāf as strategic instruments for delivering social welfare and inclusive development and calls for institutional reforms that strengthen both managerial capabilities and governance oversight. Enhanced integration of awqāf into national development strategies can unlock their full potential as sustainable, community-driven social finance institutions. Originality/value There are hardly any studies that explore the principles of management and governance from the above comprehensive perspective. This study fills the gap.

ABSTRACT The Ottoman period, in the history of Cyprus, has left its mark on the historical texture of the island with many religious, civil, and military architectural works. Among these works, grave monuments constitute an important place. The grave monuments from the Ottoman Period in Cyprus were chosen as the subject of our research with the aim to identify their architectural features, reveal their common characteristics, and emphasize the significance of their continued existence. Upon conducting this study through a qualitative research method based on literature review and field study, it elaborates the concept on mausoleum in the Conceptual Foundations section, information tombs in Turkish Islamic Architecture and Ottoman period tombs in Cyprus. Afterward, the architectural characteristics of 23 Ottoman mausoleums in Cyprus were comparatively analyzed under the headings of location, construction date, plan and mass form, material, covering system, facade, and ornamentation. The Evaluation and Conclusion section reflects and emphasizes the common architectural characteristics of the Ottoman period mausoleums, mostly built as part of a complex, built with stone material, square plan, cubic body, few baldachins, dome covered, and plain facades and the importance of their preservation and transfer to the future for the sustainability of the cultural heritage in Cyprus.

This study analyzes That architecture characteristics of the Tanjung Mulia Jami' Mosque in Medan, with a focus on design element he realize. Mosque feature different architecture element like an octagonal tower, multi -storey pyramidal roofs, and Malay -Islamic ornaments That reflect That local cultural acculturation culture based on Islamic values. This research uses a descriptive approach. qualitative method through interviews, field observations, and literature reviews. Research findings reveal That That mosque combine Islamic, Malay and colonial elements architecture. Features such as domes, minarets, mihrabs, and Arabic calligraphy strengthen its Islamic identity. The building design Also adapt to That tropical climate through That utilization of ventilation and natural lighting. Spatial planning not only supports religious function But Also functions as a social space For That community. Jami' Mosque functions not only as a place of worship But also as a cultural heritage site That reflect That a blend of local and Islamic values. Its preservation is important to guard architecture identity and history Medan heritage.

With the rise in the occurrence of mental health issues among youths, especially students, an urgent need might have arisen for intervention strategies that respect cultural intricacies. Digital Therapeutic (DTx) quite interestingly serves as a frontier wherein technology is used to give evidence-based support for mental health. In an unfortunate case of neglect, however, there has been a lack of adaptation of these platforms for the considered needs of Muslim users in terms of accommodating Islamic principles and understanding. This paper took a huge jump forward in filling this gap by offering an innovative and thorough User Experience (UX) evaluation framework that holistically integrates Islamic design architecture featuring geometric patterns, calligraphy, and content imbued with spiritual significance. It also offers places for gateways into Islamic teachings, reminders to pray, and guided meditation. The framework looks very closely at and gives guidelines on important elements for Turkish developer to create DTx solutions within an Islamic framework such as usability, accessibility, engagement, and user satisfaction. Having developed through an exhaustive literature review and established frameworks, this model acts as a basic tool for appraising and thereby improving systematically the user experience of digital therapeutics within Islamic contexts. This research contribution attempts to improve the mental health outcomes for Muslim youth through digital health technologies alongside cultural inclusivity to suggest the importance of culturally attuned mental health interventions in today's digital realm.

This historiographical article commemorates the life and legacy of Oliver Watson (1949–2023), whose pioneering contributions profoundly shaped the study of Islamic ceramics. More than an obituary, it serves as a collective tribute that honours Watson as a distinguished curator, a generous mentor and a leading scholar in the field of Islamic art history. The article is structured in two parts. The first offers a chronological account of his career, highlighting his curatorial leadership at institutions such as the Victoria and Albert Museum, the Ashmolean Museum and the Museum of Islamic Art in Doha, as well as his mentorship of a new generation of scholars and his final academic post as Professor of Islamic Art and Architecture at the University of Oxford. Enriched by first-hand reflections from colleagues, students, friends and family, this section explores how Watson’s family background, professional networks, fieldwork in the Middle East and dual curatorial focus on Islamic art and studio pottery shaped the unique trajectory of his interests – not only in archaeology and art history (including collecting history), but also in archaeometric approaches to material culture. The second part presents a comprehensive bibliography of Watson’s published work, which reflects the exceptional breadth of his intellectual and curatorial legacy. While the article focuses primarily on his contributions to the study of Islamic ceramics – particularly his groundbreaking research on lustre-painted ceramics and Yellow Glazed Family Wares – it also briefly acknowledges his important role in advancing the field of international studio pottery. In honouring his memory, we have chosen the title “Archaeology” to reflect our journey through the many layers of his remarkable career.

This study examines the interplay between heritage value, cultural identity, and behavioral intentions in promoting sustainable roots tourism associated with Egypt’s Mamluk cultural heritage. While scholarly attention has predominantly focused on Egypt’s Pharaonic legacy, Mamluk-era sites (13th–16th centuries)—noted for their synthesis of Islamic architecture and geopolitical significance—remain understudied despite their potential for diaspora engagement. Employing the Theory of Planned Behavior (TPB), this research adopts a quantitative approach to analyze survey responses from 215 international visitors with ancestral ties to Mamluk-linked regions (Central Asia, the Caucasus, and Turkey). Regression analysis explained 62.3% of the variance in sustainable tourism intentions (R² = 0.623). Results revealed strong positive relationships among cultural heritage value (*r* = 0.730), cultural identity (*r* = 0.697), and sustainable behavioral intentions. Architectural aesthetics (M = 4.43/5) and emotional identity (M = 4.28/5) emerged as significant predictors, though perceived behavioral control (M = 3.98/5) suggested logistical barriers. The findings underscore the need for immersive storytelling, community-centered strategies, and policy reforms to enhance visitor experiences and preservation outcomes. This study promotes theoretical and practical approaches to sustainable tourism by integrating TPB with frameworks of historical values, so that Mamluk sites can be established as agents of socio-economic flexibility and cultural diplomacy. Limitations include the cross-sectional design and sampling focus, warranting longitudinal studies with broader demographic inclusion.

Artificial intelligence has transformed various disciplines, including architecture. This study examines the potential of three generative artificial intelligence tools — Midjourney, Leonardo AI, and Prome AI — in representing modern Islamic architectural designs that draw inspiration from traditional principles. The contribution of this study is based on both quantitative and qualitative approaches. The quantitative methodology was conducted through two surveys that assessed public awareness and perceptions of Islamic architecture and evaluated AI-generated designs in terms of architectural authenticity, cultural relevance, and spiritual identity. The study also adopts an experimental and comparative approach as a qualitative methodology to analyse how each AI-driven tool interprets Islamic principles within a contemporary context, focusing on visual aesthetics and cultural appropriateness. The results demonstrate how artificial intelligence tools can support designers and architects in blending innovation with heritage, offering new possibilities for enhancing design solutions and creativity in Islamic architecture. However, the study indicates some limitations, including a lack of deep understanding of the cultural and authentic aspects of Islamic architectural principles. This research adds value to the integration of artificial intelligence in Architectural and interior design schools. It concludes with futuristic possibilities for integrating AI-driven design into the architecture and interior design industry.

Multan has a tremendous heritage which is blend of its unique culture and tradition. It is notably rich in its architecture and the history. This city stretches deep into its antiquities. For almost a century, Pakistan has remained under the rule of British Empire. So, British Culture influenced the life and living of the people of Pakistan. During this period, a new form of architecture was developed which emerged the Islamic and Western Architecture in beautiful manners. This British Colonial Architecture in the form of residential bungalows, educational institutes, railway stations, civic buildings, churches, and clock towers is still the part of our tangible heritage. This paper focuses on the Indo-Saracenic style of British architecture in clock tower buildings, more specifically clock tower Multan. This architectural style is a blend of elements from Indo-Islamic, Mughal, and Indian architecture combined with the Gothic revival and Neo-Classical style. The richness and diversity of this heritage of Pakistan depicts its glorious past, Islamic, Post Islamic, or pre-Islamic period as far back as pre-historic times.

This study explores Islamic architecture as a holistic civilizational product shaped by the intricate interplay of religious, social, political, economic, and environmental factors. Rather than being a mere stylistic or aesthetic tradition, Islamic architecture is positioned as a dynamic expression of the Muslim Ummah’s identity and its contextual interactions. The research aims to analyze how these diverse factors have contributed to the development of a distinct architectural language and to evaluate the extent of influence from earlier civilizations, such as the Roman and Byzantine without compromising core Islamic values. The central research question investigates whether Islamic architecture can authentically represent Muslim identity and serve as a viable foundation for contemporary architectural practice. Employing an analytical and critical methodology, the study examines various architectural models within their historical and cultural contexts. The findings reveal that Islamic architecture reflects a balanced civilizational consciousness, integrating functionality with aesthetic and spiritual values. Moreover, it presents environmentally responsive and ethically grounded alternatives that can inform and enrich modern architectural development.

This study explores the cultural and semiotic meanings embedded in the ornamental designs of the An-Nur Grand Mosque in Riau, Indonesia. Ornamentation in Islamic architecture serves not only as aesthetic enhancement but also as a medium for conveying symbolic and cultural values. Grounded in Marcel Danesi's semiotic theory, this research aims to analyze and interpret the types, forms, and meanings of ornaments present in the mosque's architectural elements. Employing a descriptive qualitative method, the data were collected through field observations, photographic documentation, and literature review. The study focuses on identifying both the visual characteristics and symbolic interpretations of the mosque’s ornaments. The findings reveal that the An-Nur Grand Mosque features two dominant types of ornaments: Arabic and Malay. These types are further expressed through two primary forms, geometric and floral designs. Arabic ornaments often reflect spiritual values and religious symbolism, while Malay ornaments incorporate local cultural identity and aesthetic sensibilities. Geometric patterns convey concepts of infinity and divine unity, while floral motifs symbolize growth, beauty, and the connection between nature and spirituality. This research contributes to the broader field of cultural and semiotic studies by demonstrating how architectural ornamentation in sacred spaces serves as a rich semiotic system that bridges religious ideology and local cultural expressions. The study underscores the importance of reading architectural elements as meaningful texts that reflect both universal and localized identities in Islamic art and architecture.

The transmission of Islamic architectural and artistic influences to the United States intertwines with the histories of Spain, Europe, and the Americas. This study examines the intricate web of connections that facilitated this migration, tracing its roots from early Spanish presence in the Americas to its enduring impact on American art and architecture. Spanish expeditions to the Americas in the 15th and 16th centuries initiated the infusion of Islamic influences into the region's architecture. Influenced by their Islamic heritage from Spain, the explorers played crucial roles in disseminating architectural styles and decorative elements to colonized lands. Additionally, the migration of Spanish settlers, including Moriscos and Jewish settlers further diversified the architectural landscape of the New World, blending Islamic elements with local traditions. This fusion gave rise to unique architectural styles evident in churches, missions, residential buildings, and civic landmarks across the Americas.Indirect channels from Al-Andalus through European cities like Prague, Vienna, and London also contributed to the global spread of Islamic architectural motifs. The enduring presence of Islamic architecture in the Americas underscores the dynamic interplay of cultures, religions, and historical forces. From the ornate facades of Spanish missions to the diverse designs of Jewish synagogues, Islamic art resonates in the architectural heritage of the United States and beyond, exemplifying the enduring legacy of cultural exchange and synthesis. Keywords: Islamic architecture, Islamic art, United States, Spanish influence, Mudejar style, cultural exchange.

In an era of rapid urbanization, smart cities leverage technologies like AI and IoT to enhance sustainability and optimize resource usage. However, integrating these innovations raises concerns about preserving cultural identities, especially within Islamic architecture. Rooted in religious, cultural, and social principles, Islamic architecture emphasizes sustainability, privacy, harmony with nature, and community cohesion. This research explores how smart city technologies can align with Islamic architectural principles. Using literature reviews, case studies, and community surveys, the study examines the potential for harmonizing technological innovation with Islamic values. Examples like Masdar City in the UAE show how advanced technologies can coexist with traditional Islamic design elements. Community surveys highlight opportunities and challenges, including privacy, social interaction, and economic accessibility. The findings stress the importance of integrating Islamic architectural values into smart city frameworks to preserve cultural heritage and promote sustainable, inclusive, and human-centered urban living. Recommendations are provided for designing future cities that balance technological progress with cultural authenticity.