Religious architecture is defined largely by the reductive force of functionalism and by diminished economic will. Most contemporary churches, synagogues, and mosques (there are notable exceptions) are distinguished only by vestigial symbolic elements that denote their use, but with little of the tectonic power, or the material gravity, of those precedent structures that comprise most surveys of the history of architecture.
The program for a mosque is relatively simple, but the challenge is not. The motivating forces for space, for form, for experience should privilege qualities over quantities, and spirit over function. Possibility, a deep sense of possibility, should transcend an imposition of the limits of reality on the perception of users, and the blindness caused by the perception of realities in the models the we usually find around us. To embrace the simplicity of the program, andthe tradition of primary material, which is brick, hand drafting as main tool to explore design idea is employed. From the large scale of the unique city plan of Savannah to the smallest scale of the brick unit, all scales are addressed to make the architecture significant.