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Sakirin Mosque


History


Şakirin Mosque is a mosque in Istanbul, Turkey. The building is located at one of the entrances of Karacaahmet Cemetery in Üsküdar. It was built by the Semiha Şakir Foundation in memory of İbrahim Şakir and Semiha Şakir and opened on 7 May 2009. According to newspaper reports, it is the most carbon-neutral mosque in Turkey.

The mosque's architect was Hüsrev Tayla, known for his work on Kocatepe Mosque in Ankara and for his architectural conservation work. Its interior designer was Zeynep Fadıllıoğlu, a great-niece of Semiha Şakir, and also according to newspaper reports, the first female interior designer of a mosque, as well as the first woman to design a mosque in modern Turkey.

Growing up in Istanbul, Zeynep Fadilioglu has always been largely influenced by the rich mixture of modern and traditional atmospheres in the booming city. During the construction, she consulted art historians and theologians, as to make sure it would be a place worth of worship.

“It might be color, it might be texture, it might be form. But each and every piece I have designed in the mosque, has some kind of connection with tradition,” she said.

Description


The Şakirin Mosque, located on the Asian side of Istanbul in the district of Üsküdar, is some distance from many of the more famous buildings in Istanbul. Construction of the mosque took four years. It is 10,000 square meters in area. It has two minarets, each 35 meters high, and a dome of aluminum composite. From the outside the design is sleek, metallic, and grey, which gives of a modern vibe of contemporary architecture.

The dome is clad in fish-scale aluminum panels and facades are finished in stone and aluminum mesh. The lighting strategy and courtyard water feature, the bronze and glass doors and the chandelier were all conceived by Fadillioglu to enrich the space with artistry. Equally, the symbolic mihrab, which is abstracted into a sculptural work of art that immediately draws the eye, the mimber and the calligraphy are new interpretations of ancient Seljuk Turkish traditions. The overall effect is far removed from the interior design of a typical mosque.

The calligraphy on the interior of the dome was written by Semih İrteş. The large windows on three sides of the prayer hall were designed by Orhan Koçan. The minbar is acrylic and was designed by Tayfun Erdoğmuş. The large, asymmetrical chandelier has waterdrop-shaped glass globes made by Nahide Büyükkaymakçı, "reflecting a prayer that Allah's light should fall on worshipers like rain," the rings of the chandelier are decorated with the 99 names of Allah, and the name of the mosque (beside from reflecting the family name) is a literal meaning of “those who are thankful (to God)” in Arabic, and the women's section is designed specially to allow a clear view of the chandelier. The fountain in the courtyard was designed by William Pye.

The layout of the mosque sits largely within the tradition of mosque architecture. A sahn (courtyard) surrounded by a riwaq (cloister) precedes the main entrance in to the mosque building. This entrance court is a common feature of Islamic religious architecture and on Fridays worshippers will often occupy the sahn to pray if the main prayer hall is full. At the center of the sahn is a pool with domed fountain, the globe shape perhaps referencing the striking dome of the mosque building. The mosque is built over a parking garage and also includes an exhibition area.

Fadillioglu has worked to ensure that the experience of praying for both genders in the mosque is very much equal. When in the lower level of the prayer hall where the men pray, the full volume of the space is apparent; while on the balcony of the prayer hall where the woman pray, the full beauty of the chandelier, dripping with glass globules, is apparent. Both have architectural merit in their own, equal, way.

Unlike ancient mosques where the sole focus of the light is from above, the Şakirin Mosque is glazed on three sides. The glazing sits between the giant arches that support the dome and is screened with Arabic calligraphy drawn in gold. 


References


https://archnet.org/sites/6884/media_contents/77057

http://www.architecturetravels.com/istanbul/sakirin-mosque/

https://en.wikipedia.org/wiki/%C5%9Eakirin_Mosque

https://mvslim.com/the-sakirin-mosque-the-first-mosque-designed-by-a-woman/

https://istanbul.imtilak.net/en/articles/sakirin-mosque-istanbul

Details

Location

34662 Üsküdar/İstanbul, Turkey

Worshippers

500

Owners

Sakir Foundation (Sakir family)

Year of Build

2009

Area

10,000 sqm

Drawings

Map

History

Şakirin Mosque is a mosque in Istanbul, Turkey. The building is located at one of the entrances of Karacaahmet Cemetery in Üsküdar. It was built by the Semiha Şakir Foundation in memory of İbrahim Şakir and Semiha Şakir and opened on 7 May 2009. According to newspaper reports, it is the most carbon-neutral mosque in Turkey.

The mosque's architect was Hüsrev Tayla, known for his work on Kocatepe Mosque in Ankara and for his architectural conservation work. Its interior designer was Zeynep Fadıllıoğlu, a great-niece of Semiha Şakir, and also according to newspaper reports, the first female interior designer of a mosque, as well as the first woman to design a mosque in modern Turkey.

Growing up in Istanbul, Zeynep Fadilioglu has always been largely influenced by the rich mixture of modern and traditional atmospheres in the booming city. During the construction, she consulted art historians and theologians, as to make sure it would be a place worth of worship.

“It might be color, it might be texture, it might be form. But each and every piece I have designed in the mosque, has some kind of connection with tradition,” she said.

Description

The Şakirin Mosque, located on the Asian side of Istanbul in the district of Üsküdar, is some distance from many of the more famous buildings in Istanbul. Construction of the mosque took four years. It is 10,000 square meters in area. It has two minarets, each 35 meters high, and a dome of aluminum composite. From the outside the design is sleek, metallic, and grey, which gives of a modern vibe of contemporary architecture.

The dome is clad in fish-scale aluminum panels and facades are finished in stone and aluminum mesh. The lighting strategy and courtyard water feature, the bronze and glass doors and the chandelier were all conceived by Fadillioglu to enrich the space with artistry. Equally, the symbolic mihrab, which is abstracted into a sculptural work of art that immediately draws the eye, the mimber and the calligraphy are new interpretations of ancient Seljuk Turkish traditions. The overall effect is far removed from the interior design of a typical mosque.

The calligraphy on the interior of the dome was written by Semih İrteş. The large windows on three sides of the prayer hall were designed by Orhan Koçan. The minbar is acrylic and was designed by Tayfun Erdoğmuş. The large, asymmetrical chandelier has waterdrop-shaped glass globes made by Nahide Büyükkaymakçı, "reflecting a prayer that Allah's light should fall on worshipers like rain," the rings of the chandelier are decorated with the 99 names of Allah, and the name of the mosque (beside from reflecting the family name) is a literal meaning of “those who are thankful (to God)” in Arabic, and the women's section is designed specially to allow a clear view of the chandelier. The fountain in the courtyard was designed by William Pye.

The layout of the mosque sits largely within the tradition of mosque architecture. A sahn (courtyard) surrounded by a riwaq (cloister) precedes the main entrance in to the mosque building. This entrance court is a common feature of Islamic religious architecture and on Fridays worshippers will often occupy the sahn to pray if the main prayer hall is full. At the center of the sahn is a pool with domed fountain, the globe shape perhaps referencing the striking dome of the mosque building. The mosque is built over a parking garage and also includes an exhibition area.

Fadillioglu has worked to ensure that the experience of praying for both genders in the mosque is very much equal. When in the lower level of the prayer hall where the men pray, the full volume of the space is apparent; while on the balcony of the prayer hall where the woman pray, the full beauty of the chandelier, dripping with glass globules, is apparent. Both have architectural merit in their own, equal, way.

Unlike ancient mosques where the sole focus of the light is from above, the Şakirin Mosque is glazed on three sides. The glazing sits between the giant arches that support the dome and is screened with Arabic calligraphy drawn in gold.