Islamic Arab societies, which over time have become a traditional expression, have a unique, but culturally common system of beliefs, attitudes, and values. These traditions are expressed through art, architecture, community planning, social institutions, and traditional practices. They all form spatial patterns. Knowledge of Islamic and Arabic architecture is found in many publications. It is well reflected in the Museum of Islamic Art. Recently, the preservation of the local identity of the Arab Gulf countries has come under scrutiny. Their efforts are particularly evident in the conversion of important historical buildings into museums or to the construction of new indigenous architectural styles into newly constructed museums. One can question its specific use as a museum. Museums symbolize cultural values, wealth, global status, and a center of attraction. The building was designed by renowned architect I.M. Pei. He deviated from the principles of Islamic design and local Qatari architecture. Even by Pei, it is one of the city’s most prominent monuments and a symbol of the new local Qatar. It shows the architecture that catalyzes urban revitalization. Dedicated to reflecting the vitality, complexity, and diversity of the arts in the Islamic world, the Museum of Islamic Art collects artifacts from three continents from the seventh to the nineteenth century. They also do conservation and study. The cut of the exterior of the museum varies with the use of the decorative patterns and shapes used by Pei in the building. The building is inevitably flat, except for the more elaborate metal canopy at the entrance.
The Museum of Islamic Art is located on an artificial island 60 meters off the coast of the city of Karniche in the Arabian Gulf.
Pei refused to build the museum at any of the proposed locations in Konish and wanted to create an independent artificial island a short distance from the promenade, thereby ensuring that future buildings would never invade the museum. Approximately 64 acres of mountain tops and sanctuaries create a new peninsula behind the museum, protecting the Persian Gulf in the north and industrial buildings in the east.
The width and layout of its exterior and interior speak volumes about modern architecture. It also speaks to the essence of Islam. Culture has been promoting innovation in the Gulf region since the last century, building a bridge centuries later with the fusion of the work of architect I.M Pei and French designer Jean-Michel Wilmotte.
The Museum of Islamic Art is the result of an exploration tour by IM Pay. Trying to understand the diversity of Islamic architecture took him on a world tour. Visiting the Great Mosque of Cordoba, Spain, to the Mughal capital of Fatehpur Sikri, India, the Great Mosque of the Umayyads of Damascus, and the Monastery of Tunisia and the Ribbottar Fortress of Soos Did not raise the true essence. The final design was inspired by the 13th-century mosque of Ahmad ibn Ibn Taymiyyah in Cairo, Egypt (9th century). Sable presented an approximate expression of geometric progress, quoting an abstract view of the major design elements of Islamic architecture.
The connection between the final appearance of the Museum of Islamic Art in Doha and the overflowing fountain (Sabeel) built by Sultan Lajin Mamluk in the central courtyard of the 13th century Ibn Tulun mosque is clear.
As one approaches the building, the total weight of the structure begins to decrease, and the forms become more powerful. The bridge is surrounded by rows of tall palm trees and is placed across the entrance. The geometric shapes that are piled up by it look more angular, and the difference between light and extreme shadow soon begins to show some more traditional details. There are also two small arched windows above the entrance or a gallery that connects the museum to an educational center. These touches seem minor. But they give a sense of scale so that the size of the building can be understood in terms of the size of the human body.
The museum consists of two buildings, the main one being 5 stories and the exhibition 4,225 m² and two two-story bridges and a vehicle connected to the beach. On the west side of the museum are two lanterns 30.50 m high, marking the boat, creating a large entrance for visitors arriving by boat. As a result of the collaboration of French designer Wilmotte and American Chinese architect Pei, visitors enter one of the most modern and advanced museums in the world.
