Architecture of inclusion
By Hirbod Norouzianpour, Assoc. AIA
How the built environment can facilitate inclusion: a case study of the Rijeka mosque
Art and architecture are powerful media for creating a welcome space for those who might be considered “others.” Architecture particularly has this potential to provide context for interaction, engagement, dialogue, exchange of values, and mutual understanding. This interaction between diverse people can lead to the discovery of solutions to problems shared by the majority and minorities in a society. In addition, architecture and art can contribute significantly to creating a sense of belonging among minorities.
The International Federation of Arts Councils and Culture Agencies, based in Australia, published an extensive report in 2019 called Artists, Displacement, and Belonging. It recommends that governments or social organizations invest in public cultural projects such as museums, religious sites, or monuments to foster bonds between minority groups (typically defined by ethnicity or religious affiliation) and their contexts, encourage their assimilation, and/or help them overcome identity challenges. Croatia, like many other countries in the European Union, is moving toward inclusivity, especially after experiencing periods of communism and fascism. A successful example of this can be found in the city of Rijeka. The mosque that was built there shows how architecture and public spaces can be used as practical tools to fight segregation and othering. The Rijeka mosque is celebrating the identity of Muslims while helping them to integrate better with the community.
The mosque, completed in 2013, was built to facilitate harmonious interaction with the larger community. Bosnian and Croatian Muslims acknowledged the power of design and art in their integration process, which could enhance the image of this minority group in the larger society. To do that, they built a monument, with a strong visual aspect, that represents both Mediterranean and Islamic architecture. The Croatian government supported this project by donating the land, and an Arab country donated a significant portion of the money necessary for its construction. Dušan Džamonja, the famous Croatian and Serbian sculptor, designed this building as a sculpture. I believe he is influenced by Ottoman architecture, which is rooted in Byzantine designs. The traditional Ottoman mosques consist of a central dome surrounded by smaller half-domes; Džamonja deconstructed those domes and half-domes to create a dynamic form. Moreover, instead of using multiple slender Ottoman minarets, he used a stand-alone minaret that evokes the lighthouses on Mediterranean coasts. In addition to the architectural metaphors, the project represents vernacular architecture and landscape traditions such as dry-stone walls and local vegetation.
The design emphasizes its public aspect by providing a large plaza that creates a dynamic urban space accessible to everyone. This space successfully brings together Muslims and non-Muslims for public events. Also, the project features a library, a conference hall, and a halal restaurant that attracts the general public, creating a learning opportunity while promoting social interaction and inclusion. The tall minaret reshaped the skyline of Rijeka and celebrates the marginalized group of citizens. Moreover, the presence of such a monument helps minorities by enforcing their sense of belonging to the place.
Author Bio:
Hirbod Norouzianpour, Assoc. AIAHirbod graduated from the University of New Mexico with concurrent degrees in public health and architecture. He focuses on the systemic wellbeing and cultural landscapes of communities.