The interior of the mosque comprises a rich and colourfully decorated round central hall. Various general maxims are inscribed in Arabic and translated into German.

A fascinating structure that elegantly celebrates elements of Arab and Ottoman art and architecture. Situated on a bay of the Havel River it adds a picturesque architectural accent to the Potsdam cultural landscape. Behind the façade, which is designed to look like a mosque, steam technology at the highest level for the era produces 81.4 horsepower to drive the fountains at the Sanssouci Palace.

An Arab urban design reference to the 1840s in Istanbul.

At the heart of the Citadel complex, a manifestation of Ottoman power in an ancient Arab city, there is an Ottoman-style mosque, which – together with the nearby palace – also incorporates modern architectural structures.

The complex, which having its roots in the traditional külliye system comprises a mosque, mausoleum, sabil (water dispensary), fountain, clock-room and school, was built in the eclectic style, bringing together elements from European Gothic, Ottoman, Islamic and Indian arts and architecture. Note the bronze chandelier in the 19th-century European style.

Elaborate tile panels feature large in Arab and Ottoman art and architecture. Techniques and motifs from this tradition inspired the work of William Morris, as seen in this bathroom tile.

While working in Istanbul, D’Aronco increased his knowledge of local architectural traditions and building techniques. This influenced his work, signalling more of a cultural exchange than a one-way impact. Among his works in Istanbul are the Yıldız Palace Theatre, the Yıldız Palace Island Kiosk, the Yıldız Palace Small State Kiosk and the Italian Embassy in Tarabya.

During reconstruction of the “Moorish Kiosk” the colour scheme was redesigned entirely. An abundant use of gold was considered not only as a symbol of royalty but also thought to be a “Moorish” element. Coloured glazing, “in the Moorish style”, and a tessellated floor were introduced to underline the Ottoman character of the house.

This small building in the Ottoman capital is a compilation of European revivalist features, mostly elements from Mannerism and the Baroque. The interior decoration shows evidence of European craftsmanship and has elements designed specifically to suit the Western lifestyle.

Commissioned by an Italian company and designed by the Italian architect G. di Vittorio, the building has features of traditional Ottoman architecture. As an important site of local city life, the Bazaar betrays European design influences and represents Western political power in the Tunisian capital.

A furniture shop with impressive Islamic and Western design influences, it illustrates the cultural dialogue between Europe and the Arab and Ottoman world. The shop further enhanced its national identity through the types, forms and styles of the household furniture it sold.

In the tradition of Italian villa architecture, Villa Crespi was designed in the “Moorish” style as a countryside residence for an Italian businessman. It expresses the patron’s admiration for Baghdad and Arab and Ottoman art and architecture in general.

The Politeama Rossini Theatre was built under the patronage of an Italian construction company and designed by a European architect. It represents the introduction of European modernism in Tunis.

The glazed tile or azulejo is a particularly expressive component of Portuguese art and architecture. Relating to the period of the Moors in Portugal, it also links with the Arab and Ottoman tradition of tile design and production.