架构师提供的文本描述。在一开始，这座清真寺是一个简单的愿望，从周围的住宅庆祝Ramadhan 2011。他们根据自己的能力为2011年将在Ramadhan使用的清真寺捐款，可以说，这个建筑作品中的社会方面是如此大胆。

Text description provided by the architects. In the beginning, this mosque was a simple aspiration from the surrounding residence to celebrate Ramadhan 2011. They work together according to their own ability to donate for the mosque that will be used in Ramadhan 2011, it can be said that the social aspect in this architecture piece is so bold.

 © Ardha Dian Rizki

c Ardha Dian Rizki

Small并不意味着它没有吸引力，Small并不意味着它没有“体系结构声明”-低预算并不限制所显示的体系结构干预，即使有可能减少整个体系结构语句。

Small doesn’t mean it unattractive, small doesn’t mean it doesn’t have “architectural statement” the low budget doesn’t limit the architectural intervention to be shown, even though there is a probability to reduce the entire architectural statement.

有很多建筑师被启发去玩灯光，所以当我们想到热带简单的避风塘建筑时，建筑师们被展示了几种工具来玩，我们有阴影和光线。根据这一点，我们决定以阴影和光线为基础，用当代的说法，通过它创造一种新的建筑语言。因此，这种设计中使用的几个断裂和折叠往往看起来像给对方空间，以释放阴影作为建筑语言的沟通和创造自己的故事。

There are many architects were inspired to play with lights, so when we thought about tropical simplicity shelter architecture architects are presented with several tools to play, we have shade and ray. According to this, we decide to move based on with shadow and ray, with contemporary statement, and creating a new language of architecture through it. Therefore, several fracture and folding used in this design often looks like giving space to each other, in order for liberating the shadow to communicate as the architectural language and creating his own story.

 © Julian Palapa

c朱利安·帕拉帕

即使这座清真寺看起来很现代，它也采用了基准清真寺的基本轮廓、大众水平主义(有时加上穹顶)和尖塔，它们有时被用作最容易被认为是类型语言的视觉语言。例如，这里插入的一些当代建筑语言就是在墙上做缝。这座建筑的墙壁和天花板上有一些随机点，为光线和阴影的说话提供了一条通道，通过在反射的表面上创建图案来赋予室内的质感。在晚上的祈祷中，这个空间变成了一种语言来传递室内到室外的干预，这样聚集的人就能够从“穿孔/洞”屋顶的多孔空间观看星星。

Even if this mosque has a modern look, it took the basic silhouette from Datum mosque, mass horizontalism (plus dome sometimes) and minaret, which sometimes used as the easiest visual language to be recognized as the typological language. Some contemporary architectural language inserted here for instance are to make slits in the wall. The building was made slightly porous with random dots on the walls and ceilings, presenting an avenue for the light and shadow to speak, giving texture to the room interiors by creating patterns on the reflected surfaces.. In the evening prayers, that space becomes a language to deliver the intervention of indoor to outdoor so that the congregations are able to watch the stars from the porous space of the “perforated/holed” roof.

 © Ardha Dian Rizki

c Ardha Dian Rizki

在结束的时候，这个清真寺使用了两种纹理语言，干净的白色和木质的纹理，这个清真寺用这个颜色来表达净化的感觉，所以只有少量的纹理语言，为了解放阴影的表达空间，光线给他们的干预，从多孔给这个小小的清真寺纹理故事，光线和阴影的语言只是给出一个动态的空间体验，当太阳落下，星星可以从多孔的空间中看到。

In finishing, this mosque are using two texture language, clean white color and wood texture, this mosque is finished with this color to express purification sense, so that there is only small amount of texture language, in order to liberate the expression space for the shadows and ray give their intervention from the porous to frame this tiny little mosque texture story, where ray and shadows language simply giving a dynamic space experience as the sun falls and the stars that can be seen from the porous space.

Baitul A‘laa的意思是一个高的地方，这个项目是位于独特和困难的地点，这是一个三角形的场所，因为清真寺需要一个方形或矩形的形状。根据这一点，简陋景观的整理是作为一个“高架式”的建筑效果。最后，这座清真寺已经建成并能够在2011年拉马德汉使用，目前仍在计划在几个领域进一步发展，例如厕所、停车场、多功能和管理员室。这座清真寺的设计基本上是为了记录人类在当下精神中记忆上帝时的朴素和美丽。

Baitul A’laa means a high place, this project is located in unique and difficult site which is a triangle site, because a mosque need a shape of square or rectangle. According to this, the finishing of the humble landscape is made as giving an “elevated” building effect. Finally this mosque were done and able to be used in Ramadhan 2011, further developments are still being planned,in several areas, for instance the toilet, parking, multifunction and administrator room. This mosque’s design is basically expected to record the simplicity and beautifulness of human being in remembering God captured in texture, ray and shadow language within the present spirit.

 © Ardha Dian Rizki

c Ardha Dian Rizki