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The Sancaklar Mosque () is a mosque in Büyükçekmece, Istanbul, Turkey. It was designed by architect Emre Arolat. It was conceived in response to the Sancaklar family's desire to construct a mosque in a location with views of Buyukcekmece Lake, within a neighborhood of gated communities. The mosque covers 700m2 on a 1300m2 site.
Finished in 2012, it received the 2015 Religious Building of the Year Award from ArchDaily. It also won the RIBA Award for International Excellence in 2018. In the BBC series Civilisations, classicist Mary Beard described it as "one of the most striking religious creations of modern times" and "one of the most startling mosques in the world".
This architectural illusion generates ambiguity in how one perceives and conceptualizes the qibla wall by disrupting the equilibrium between the mihrab and the minbar through a subtle change in direction. Consequently, the customary symbolic and standardized attributes associated with the qibla wall are effaced, shattering its rigidity and absolute nature as a directional object. While the wall still serves to indicate the qibla, its primary function becomes that of a pivotal spatial element, framing the liturgical components (minbar, mihrab, and minaret) and forging connections among them. By unifying these elements into a singular entity—the wall itself—it negates the predominance of any individual liturgical element over another.
The prayer hall itself embodies a captivating yet meditative atmosphere, with abundant natural light streaming down from the Qiblah—a curved wall of boardmarked concrete positioned to capture the falling light. Its striking contrast against the rugged stone walls and surrounding landscape serves as a clear indication of its unique significance. Within this wall, the Mihrab stands as a simple niche, accompanied by a minbar featuring semi-circular stone steps.
The layout questions conventions by placing the women and men next each other facing the qibla; however, they are separated physically and visually. Despite the absence of a dome, the rising contours in the ceiling subtly hint to one. The references to the past actually emphasize the mosque’s distance from that past, which is all too evident, for example, in the removal of the minaret and the transformation of the idea of a central dome.
The only indication of the building's existence from a distance is a modern interpretation of the minaret, while the prayer area is seamlessly integrated into the hill's slope. By adopting this approach, the architect avoids cultural limitations and debates surrounding architectural form. As visitors make their way towards the entrance, they descend through a rugged landscape adorned with irregular stone steps and untamed flowers. They pass by flowing water and navigate around a curved drystone wall, ultimately facing Mecca.
As the sole prominently vertical element within the site, the minaret serves as a visible landmark from a distance, indicating a location without specifically signaling the presence of a mosque. Upon entering the site, the minaret, adorned with epigraphy on its wall, becomes the initial indication of the mosque's existence. Yet, its significance extends beyond its role as a mere sign; it actively contributes to various spatial experiences within the site.
Complementing a series of exterior walls, the minaret assumes a public role by welcoming and guiding individuals toward the prayer area. Despite the modest structure of Sancaklar Mosque, seemingly concealed within the natural landscape, the towering minaret asserts its individuality above the ground. This contradicts the perception of the mosque as being hidden and, instead, highlights the mosque's integration with the surrounding topography, emphasizing its extended field.
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