There is no truer symbol of Mostar, Bosnia-Herzegovina, than its Old Bridge. The magnificent icon of Balkan Islamic architecture was destroyed during the 1992–’95 war—but not for long. Like the multicultural workforce that produced the original hundreds of years earlier, a broad team of architects, engineers and others came together immediately to plan its reconstruction. This summer marked the 20th anniversary of the bridge’s reopening.

Since its beginnings 75 years ago, AramcoWorld’s editors have viewed architecture as an essential lens on history and a crucible for cultural connections. Early stories, in particular, added human context to a discipline that often focused on the form of buildings with little regard for the people who used them. In Part 4 of our series marking our 75th anniversary in 2024, we look at the ways these stories encapsulate architecture in the evolution of world history.

Dozens of volunteers joined together in Houston, Texas, to construct a mudhif, a reed structure dating back 5,000 years to the Mesopotamian marshes of southern Iraq. To this day the hut serves as a town hall for Marsh Arabs to meet with their sheikh. In Houston, it also served as a meeting place--for some of the city's 4,000 Iraqis and their fellow Houstonians to share insights into an ancient society and gain a sense of community.

In the Yoyogi district of Tokyo, Japan, stands the ornate Camii Mosque, in a location where there is a blend of cultures—educating locals and creating a harmony among traditions. Islam’s history in Japan is almost entirely recent, with estimates putting the number of Muslims in Japan close to 200,000 amid a national population of 125 million. “The point is to help people acquire the power of interpretation, the intellectual muscles of critical thinking and critical understanding of this world,” says Qayyim Naoki Yamamoto, professor of Islamic studies at Marmara University.

Visits to Spain in 1922 and 1936 led Dutch artist M.C. Escher to discover the world of designs in Granada’s 13th-century Alhambra palace, where interlocking patterns in tiles and stucco on its walls and ceilings became springboards to ideas that shaped his art for the rest of his life.

Walk into any mosque and at its front you are likely to see a stepped pulpit: the minbar. In Egypt, under the patronage of the Mamluk sultans of the 13th to 15th century, minbars became masterpieces of woodworking—most without nails or glue. Today nearly four dozen Mamluk minbars stand as a priceless but vulnerable heritage: A recent rash of thefts led to the Rescuing the Mamluk Minbars of Cairo Project, which offers protection, promotion and new opportunities for young artisans.

Dazzling, prismatic and intricately symmetrical, muqarnas is a stunning three-dimensional decoration unique to Islamic architecture.

Along the northern edge of the Sahara, in the part of Tunisia called Bled el-Djerid—Land of the Palms—the regular pruning of vast date-palm orchards literally fuels a centuries-old brickmaking industry, and local bricklayers have taken the kiln-fired masonry to heights of artistry. Throughout the city of Tozeur and the nearby town of Nefta, bricks set in patterns decorate facades, windows, doors and arches with motifs from desert life, textiles and other traditions. The results not only dance with the changing angles of the sun, but also create just enough shade to help cool the buildings behind them.