Jay Schuck

Stony Brook University

Department of Art
ARH 317 Islamic Art
Spring Semester 2011

The Architectural Innovations and Studies of Sinan

During the 16th century, Europe was experiencing a renewal of Greco-Roman

design in art and architecture. The High Renaissance, as it has come to be known, has
forever changed the Western ideals of art, architecture, and the humanist way of thinking.
Just as da Vinci and Michelangelo and dominate figures in Italy at this time, the East is
going under a metamorphosis of its own in the realm of architecture. Chief Architect of
the Ottoman Empire Mimar Sinan today is known widely known for his central domed
mosques situated in modern day Turkey. His extremely long life has allowed Sinan study
and experiment with the central dome style plan, allowing him to perfect his style and
match any pre-existing structures. His influence is far reaching, allowing his style to be
brought to all the corners of the Ottoman Empire and attracting individuals all over
Europe and the Middle East. Using the Hagia Sophia as a springboard for his own ideas,
Sinan experimented with the development of the dome, the bearing system that supported
the dome, and the luminosity of his structures, created by the vast void of space of the
interior. By studying the innovations of the Sinan individually and then comparing the
Shehzade Mosque, the Suleymaniye Mosque, and the Selimiye Mosque against the Hagia
Sophia, one would be able to distinguish the charges Sinan brought to architecture and
watch him as he development his idealized style of architecture.
Science and Technology Policy Studies at Middle East Technical University,
Professor Muzaffer Ozgules wrote a beautiful article on the innovations of the architect.
Ozgules states that the most important innovation Sinan brought to architecture was the
double boundary system.1 The first part of the system is the central baldachin dome in all
its glory. The secondary boundary is formed from the arches and buttresses that are used

Ozgules, 2008: 8
2

to support the dome. Sinan used the arches and buttresses of the structure to carry the
mass of the dome, allowing the walls to appear transparent, taking away their
responsibility to carry weight, allowing the walls to contain extra windows to create
illumination.2 The inclusion of more windows allowed Sinan to add more interior lighting
to his structures, adding to the emphasis of the empty void of his structures. Sinan
distributed the covering system onto columns and piers, which not only supplied the
unification of space but increased lighting.3 Although Sinans innovations in lighting
were not meant to give his mosques a mystical experience, he does create one with his
windows. The inclusion of additional windows along the drum of the base gave the
domes a floating illusion, creating a spectacle to be experienced by Muslims when they
looked upon the superstructure (fig. 1).
The second innovation discussed in Ozgules article is the unification of the
central space. Sinan achieved this through the use of his bearing system for support of the
dome. This innovation allowed Sinan to create a transparent dome that pushes the
boundaries of the interior to that of the exterior. The field of vision was expanded from
66 degrees to 90 degrees due to the eight piers of the octagonal plan as opposed to the
traditional four of the square plan.4 It should be noted that the primary function of the
mosque was to gather the believers under a single space. The vast void created by Sinan
pulls the believers into a space as they are overcome with awe by the impressive design
of Sinans dome. Similar to the aim of the Roman Catholic Church, the mosques of Sinan
transports the faithful to another worldly experience as one enters directly into the main

Ozgules, 2008: 9
ibid, 11
4
ibid, 10
3

Prayer Hall of the structure and are overcome by the diameter of the huge dome. The
space is unified by the use of the double boundary system, used by Sinan to evenly
distribute the weight of the superstructure and create a weightless flow through out. His
method of support opened up the interior space of the mosque.
A third innovation of Sinan is the perfection of the dome structure. Sinan was the
Chief Architect of the Ottoman Empire for fifty years and left his stamp on the face of
Turkey. Many of his structures are seen through the city and he had a lot of practice in
creating the perfect domed structure. The central space of the structure could be enlarged
by half-domes and semi-domes supported by squinches or pendentives. The piers and
columns of the structure could be independent of the bearing system or could be part of
the flow of the weighted dome.5 Sinan achieved a strong singularity of expression by
highlighting the curved form of the pendentives on the exterior of his structures. By
pushing in the walls and by opening many large windows, he created a large space to be
marveled at that is filled with light. The dome is the most important aspect of all of
Sinans mosques. The use of the dome has no significance in the islamic religion but it
has been argued that the role of the dome is perhaps symbolic, of heaven and the political
power of the sultan.6 It would not take much to convience the masses of this notion.
Seeing as how the mosque was a place of worship, one would expect the architects would
aim to make the faithful believe they have been transported to a divine location once they
pass through the portal into the mosque. On the politcal power of the sultan, it would be
the tradtion of those in power to assert their rule over the subjects and build testaments to

5
6

Kuban, 1987: 76
ibid, 74
4

their power in the form of public and private buildings, following the traditions of their
islamic ancestors.
The Hagia Sophia was converted from a Christian Church to an Islamic Mosque
shortly after the sacking of Constantinople in 1453. Built by Emperor Justinian in the 537
the Hagia Sophia is the first structure that includes the placement a large circular dome
onto of a square-shaped base.7 This architectural marvel is done with the use of
pendentives, an architectural first. Pendentives allow for the natural flow of the dome to
the square base below, creating an aesthetic delight. The weight of the dome is also
supported by the inclusion of the two half domes on either side of the central dome.8
Although many historians argue on how much influence the Hagia Sophia had on Sinans
structures, it has been documented that Sinan set out to equal the size of the dome of
Hagia Sophia, and in fact he achieved that goal in the dome of the Selimiye.9 Sinan
mainly operated out of Istanbul, and was thus able to study the Hagia Sophia in great
detail. He was able to study the inner workings of the structure as the Chief Architect of
the Ottoman Empire and was able to recongize the flaws of the system and figure out a
way to improve it.
The Sehzade Mosque was constructed between 1543 and 1548 and is considered
to be the first masterpiece of the Ottoman Architect. The centerpiece of the mosque, the
dome, is situated some 38 meters above the prayer hall and 19 meters in diameter.10 The
dome is supported by 4 half-domes, this is the first and only time Sinan attempts such a
method of support as the method isolated the 4 piers used to support the dome (fig. 2).
7

Stratton, 1972: 121

Kuran, 1968: 211
9
Kuban, 1987: 77
10
Kuran, 1968: 198
8

Unlike the Hagia Sophia, the Sehzade Mosque is of a central plan design and exercises
complete symmetry. The Sehzade Mosque is also the first structure to introduce aracades
or side galleries on the side facades.11 The side galleries replaced the massive walls seen
in the Hagia Sophia and altered the duality of the wall mass and the weight of the dome.
The added use of aracades in the structure, allowed for additional space in the structure.
Even though many scholars do not compare the Sehzade Mosque against the Hagia
Sophia, it is the first of Sinan mosques that shows him experimenting with forms and
innovations previously discussed.
One mosque that draws much comparison with the Hagia Sophia is Sinans
Suleymaniye Mosque, completed in 1558. Both the dome of Suleymaniye and the Hagia
Sophia are supported by two half domes.12

Although the structural scheme of the

Suleymaniye is reminiscent of the Hagia Sophia, the structures differ in their overall
aesthetics. Due to the lack of arcades, the walls of the Hagia Sophia are thicker in order
to support the weight of the dome. The overall structure appears bulky, weighted down
by the superstructure. The weight of the dome of the Suleymaniye flows more naturally.
The baldachins weight is transferred through the pendentives that connect the
superstructure to the two half-domes. The weight in then transferred through the
squinches that support the two half domes to the piers and buttresses. Here, one sees
another innovation of Sinan as he incorporates the buttresses into the walls of the
structure, half hiding them with the colonnade side galleries (fig. 3), previously
introduced in the Sehzade Mosque. As previously mentioned, Sinans innovations in
weight distribution throughout his mosques allowed for the inclusion of more windows.
11
12

Kuban, 1987: 79
ibid, 90
6

Where there is darkness in the Hagia Sophia, there is light in Suleymaniye due to the
innovations of Sinan. The innovations of the Suleymaniye can further be seen in Sinans
crowning achievement, the Selimiye.
The final mosque to be compared against the Hagia Sophia is the Selimiye
Mosque, which is considered to be Sinans greatest achievement. Completed in 1574, the
structures summarize and culminate the architects experiments. The dome is the symbol
of perfect and infinite symmetry.13 The architect uses an octagonal baldachin that
allowed for a thinner support system and smaller connecting arches (fig 4). What really
separates the Selimiye from all previously discussed structures is the use of square
squinches that rises from the cornice to the piers.14 The vast void created by the dome is
felt throughout the grand prayer hall. Like the Suleymaniye Mosque, the structures
weight flows naturally through the double boundary system and allows for extra light to
enter, adding to the splendor of the negative space between the dome and the ground.
Another innovation brought to the Selimiye Mosque by Sinan was the inclusion of the
muezzin mahfel, which improved the acoustics of the entire structure.15 This innovation
would be essential to the primary purpose of the structure, that of calling the prayer of the
faithful and conducting all religious activities. The Selimiye brought visibility and sound
to the far corners of masses who gathered within the structure where the words of the
holy would fall upon deaf ears in the Hagia Sophia.
Chief Architect Sinan changed the course of architecture with the structures he
produced in the 16th century. His double boundary system fused the baldachin dome with

13

Kuban, 1987: 86
Stratton, 1972: 220
15
Kuban, 1987: 90
14

its supporting structures to create unity and a natural flow of weight. The luminosity
brought into his structures by his ability to include more windows, transformed the
general experience of the mosque, creating light for the activities that took place within.
And the perfection of the baldachin dome serves as a model for not only his successors,
but for architects the world over. The dome has been argued to be symbolic of both the
realm of heaven, and the political power of the sultanate. By comparing the Sehzade
Mosque, the Suleymaniye Mosque, and the Selimiye Mosque against the Hagia Sophia,
one is able to not only see just how much the ancient structure imfluenced Sinan, but also
see the experiments Sinan conducted, and the innovations he created. The Sehzade
Mosque sees Sinan experiment with four semi-domes as the main support for structures
central dome. In addition, this is the first of Sinans structures to include side galleries to
help relieve the weight of the dome. The Suleymaniye Mosque sees Sinan use the two
half-dome method of supporting the central dome, which directly quotes the design of the
Hagia Sophias dome. Finally, the Selimiye Mosque sees Sinan match the vast void of the
Hagia Sophia by using squinches to support the central dome as opposed to pendentives.
Mimar Sinan forever changed the world of architecture with his innovations and his
stuctures serve as the model for the idealized dome structure the world over.

FIG. 1: INTERIOR VIEW OF SULEYMANIYE DOME

FIG 2: INTERIOR OF SEHZADE MOSQUE SHOWING CENTRAL

DOME AND 3 OF THE 4 SUPPORTING DOMES

FIG 3: EXTERIOR OF SULEYMANIYE MOSQUE SHOWING ONE ARACADE

FIG 4: PLAN OF SELIMIYE (NOTE THE 8 PIERS THAT SUPPORT THE

DOME

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Bibliography
Kuban, Dogan, 1987 The Style of Sinans Domed Structures, Muqarnas, Vol. 4: 72-97.
Kuran, Aptullah, 1968 The Mosque in Early Ottoman Architecture, Chicago.
Ozgules, Nuzaffer, 2008 Fundamental Developments of 16th Century Ottoman
Architecture: Innovations in the Art of Architect Sinan, Ankara, Turkey.
Stratton, Arthur 1972 Sinan, New York.

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