Mosque Redefined
Fatih Sejfulla. Skopje, North Macedonia
-
Name of work in English
Mosque Redefined
-
Name of work in original language
A New Paradigm in Mosque Design
Prize year
Young Talent 2025
-
Work Location
Skopje, North Macedonia
-
Author/s
Fatih Sejfulla
-
School
Faculty of Engineering , Department of Architecture - International Balkan University.
Skopje, North Macedonia
Young Talent 2025 YT Nominees
Mosque Redefined
A New Paradigm in Mosque Design
Program
Religion
-
Labels
Mosque
Mosques have historically been multifunctional community spaces, yet many contemporary designs fail to address the evolving social, urban, and environmental challenges. Whereas the traditional designs persisting on the Ottoman style, directly or by replicating some of its elements, do not befit the current multi-backgrounded Muslim communities. The traditional elements which mosques are associated with are usually exaggerated, as many of them including the dome and minarets, are not dictated by any Islamic principles, which provides us with great design flexibility.
In essence, the mosque project embodies the spatial simplicity of the earliest mosques in history, free from any political influences. The research involved analyzing both traditional and contemporary mosque designs, aiming to find a balance between functionality and sustainability. Located in a dense urban neighbourhood of primarily residential houses, the project faces the challenge of integrating a socio-cultural building for the Muslim community seamlessly within its urban context. The irregular shape of the plot automatically sets the building back from the busy street, creating a narrow leading pathway surrounded by greenery which ends with a water feature that further isolates the user from the outside world as they approach the entrance to the spiritual spaces. The glulam timber canopy extending between the two buildings unifies the program, reminiscent of the courtyard from the first mosque in Medina by offering areas for reflection, interaction and activities during different events. In addition, the minaret is interpreted as a slender timber sculpture at a modest height, adequately indicating the presence of a "place." The timber structure extends to become the roof of the prayer hall, adding visual interest to the minimalistic interior. Since the prayer hall doesn't include openings on the perimetral walls, natural light enters through the triangular openings on the timber roof structure which helps to create a serene spiritual atmosphere. Moreover, the artificial lighting is provided by the repeated small blue glass domes resembling the skies of a sunny day. Throughout the design, we repeatedly find the elements to be based on three fundamental geometric shapes: the circle, the square, and the triangle.