Offers a survey of Islamic architecture through essays that discuss how different structures reflect the culture, and profiles with maps, photographs, details, and descriptions of noteworthy buildings.

Europeans are in denial. Against a backdrop of Islamophobia, they are increasingly distancing themselves from their cultural debt to the Muslim world. But while the legacy of Islam and the Middle East is in danger of being airbrushed out of Western history, its traces can still be detected in some of Europe's most recognisable monuments, from Notre-Dame to St Paul's Cathedral. In this comprehensively illustrated book, Diana Darke sets out to redress the balance, revealing the Arab and Islamic roots of Europe's architectural heritage. She tracks the transmission of key innovations from the great capitals of Islam's early empires, Damascus and Baghdad, via Muslim Spain and Sicily into Europe. Medieval crusaders, pilgrims and merchants from Europe later encountered Arab Muslim culture in journeys to the Holy Land. In more recent centuries, that same route through modern-day Turkey connected Ottoman culture with the West, leading Sir Christopher Wren himself to believe that Gothic architecture should more rightly be called 'the Saracen style', because of its Islamic origins. Recovering this overlooked story within the West's long history of borrowing from the Islamic world, Darke sheds new light on Europe's buildings and offers rich insights into the possibilities of cultural exchange.

An authoritative survey situating some of the Western world’s most renowned buildings within a millennium of Islamic history Some of the most outstanding examples of world architecture, such as the Mosque of Córdoba, the ceiling of the Cappella Palatina in Palermo, the Giralda tower in Seville, and the Alhambra Palace in Granada, belong to the Western Islamic tradition. This architectural style flourished for over a thousand years along the southern and western shores of the Mediterranean—between Tunisia and Spain—from the 8th century through the 19th, blending new ideas with local building practices from across the region. Jonathan M. Bloom’s Architecture of the Islamic West introduces readers to the full scope of this vibrant tradition, presenting both famous and little-known buildings in six countries in North Africa and southern Europe. It is richly illustrated with photographs, specially commissioned architectural plans, and historical documents. The result is a personally guided tour of Islamic architecture led by one of the finest scholars in the field and a powerful testament to Muslim cultural achievement.

This major reference work covers all aspects of architectural inscriptions in the Muslim world: the artists and their patrons, what inscriptions add to architectural design, what materials were used, what their purpose was and how they infuse buildings with meaning. From Spain to China, and from the Middle Ages to our own lifetime, Islamic architecture and calligraphy are inexorably intertwined. Mosques, dervish lodges, mausolea, libraries, even baths and market places bear masterpieces of calligraphy that rival the most refined of books and scrolls.

The reign of the Mamluks marked a breathtaking flowering of Islamic art. Mamluk control of trade across much of the Middle East supported the artistic output that made Cairo, in the words of Ibn Khaldun, "the center of the universe and the garden of the world". This book shows off the majestic domes, courtyards, and soaring minarets that won Cairo its high praise. 170 color photos.

This in-depth book offers critical essays and profiles of work by architects and designers in Muslim nations, as recognized by the Aga Khan Award for Architecture. 270 illustrations, 100 in color.

They discuss, for example, how the universal caliphs of the first six centuries gave way to regional rulers and how, in this new world order, Iranian forms, techniques, and motifs played a dominant role in the artistic life of most of the Muslim world; the one exception was the Maghrib, an area protected from the full brunt of the Mongol invasions, where traditional models continued to inspire artists and patrons. By the sixteenth century, say the authors, the eastern Mediterranean under the Ottomans and the area of northern India under the Mughals had become more powerful, and the Iranian models of early Ottoman and Mughal art gradually gave way to distinct regional and imperial styles.

Architecture in Continuity celebrates recent projects throughout the Islamic world that most successfully preserve indigenous forms while providing for the future. It honors the insight, imagination, and skill that brought these projects into physical reality. The Aga Khan Awards Foundation's attention to the extraordinary effort required to develop an architecture both practical and spiritual is dramatically reflected in this volume ... The eleven projects-- found in nine countries from Mali to Pakistan, from Yugoslavia to Malaysia-- range from hotels to mosques, from housing to an impressive air terminal for pilgrims to Mecca ... The introduction and three essays, by distinguished architects and architectural historians, explore the projects in terms of the pressures confronting emerging Muslim countries, the influence of the Western postindustrial world and traditional Muslim forms and values.

As European cities such as Venice looked further afield, not only for material goods, but also for artistic inspiration and information on new technologies and ideas, they inevitably came into contact with a great many new cultures. In this book Deborah Howard explores the experiences of Venetian merchants and travellers in the East and the influences that were brought to the city from the Islamic cultures encountered. The study is based on the literature of travellers, objects, buildings and architecture, documents and manuscripts, and takes a thematic look at the city: San Marco, the Merchant City, palaces, Palazzo Ducale, the Pilgrim City.