CENTRAL MOSQUE OF PRISTINA
TRADITIONAL MOSQUE RE-INTERPRETED TO A CONTEMPORARY DESIGN
Location: Pristina, Kosovo
Collaboration: Taller 301
Scale: 8,100 sqm
Client: city of Kosovo
A Mosque is a common space for prayer, where the individual communicates amongst the crowd. Also, it is the focal point of the community, organizing everyday life around it. The design focuses on these two axes: the praying of the individual and it as a community center. The integration of traditional elements with a modern language is an essential part of the design.
The base of the prayer hall program relates the adjacent uses, binding them all together. Continuing this line of thought, a Hamam is incorporated to our design, the shops are solved in an Arasta typology, tying the mosque further to its community and its history.
The traditional dome, revak, and a courtyard forms are kept, but modified to the site context with a contemporary formal quality. The Ottoman master builder Sinan used domes for two reasons: to create the largest uninterrupted, unified volume and to maximize interior light. The design achieves these intentions but emphasizes the praying of the individual by integrating tubes in the design.
CENTRAL MOSQUE OF PRISTINA
TRADITIONAL MOSQUE RE-INTERPRETED TO A CONTEMPORARY DESIGN
Location: Pristina, Kosovo
Collaboration: Taller 301
Scale: 8,100 sqm
Client: city of Kosovo
A Mosque is a common space for prayer, where the individual communicates amongst the crowd. Also, it is the focal point of the community, organizing everyday life around it. The design focuses on these two axes: the praying of the individual and it as a community center. The integration of traditional elements with a modern language is an essential part of the design.
The base of the prayer hall program relates the adjacent uses, binding them all together. Continuing this line of thought, a Hamam is incorporated to our design, the shops are solved in an Arasta typology, tying the mosque further to its community and its history.
The traditional dome, revak, and a courtyard forms are kept, but modified to the site context with a contemporary formal quality. The Ottoman master builder Sinan used domes for two reasons: to create the largest uninterrupted, unified volume and to maximize interior light. The design achieves these intentions but emphasizes the praying of the individual by integrating tubes in the design.