Zeynep Fadillioglu: The woman who reimagined the modern mosque design

The Sakirin Mosque in Istanbul city captured the world’s attention when it opened. For Zeynep, this moment was the culmination of decades of study and rediscovery, an achievement that fused her design vision with the heritage of her homeland.

Her journey, however, began in London, at the Inchbald Institute of London, where she studied History of Art and Design—and where an unexpected insight would change everything.

“Why are you looking to the West?” asked her professor. “They are all looking to your heritage for inspiration. Why don’t you look into your own roots?”

Struck to her core, Zeynep was driven to explore her own roots more deeply. Her fascination grew during visits to museums, where she encountered some of the most exquisite carpets and tiles.

When she realised they were from her homeland, something profound within her was awakened.

“This rediscovery was transformative. It allowed me to see the art, craft, and history of my own land with new eyes, and it became the anchor of my design philosophy.”

Needless to say, it was a turning point, shaping the trajectory of her life and career.

Years later, shortly after receiving the Andrew Martin International Designer of the Year Award, she was offered the project of a lifetime and made history by becoming the first woman to design a mosque, named the Sakirin Mosque in Istanbul, at the heart of its largest cemetery, Karacaahmet.

Since then, she has designed eighteen others, including in Qatar, the Kingdom of Saudi Arabia, Kingdom of Bahrain, Germany, Kazakhstan and the UAE.

Throughout her nearly four-decade career, she has completed over 500 projects. Like herself, her team is unconventional, comprising architects, painters, interior designers, industrial designers, artists, artisans, researchers, and craftsmen, all bringing diverse perspectives.

TRT World sat down with her to discuss the influences that have shaped her vision as a designer, including her latest mosque project, The Pearl Mosque (Sheikh Hamad Bin Jassim Bin Jaber Al Thani Mosque), inspired by the late Ottoman period architecture and its finest example, Ortakoy Mosque and constructed in Qatar’s capital, Doha. 

A meeting overlooking the Bosphorus

I hop on the ferry from the Asian side, swapping traffic for a peaceful ride across the Istanbul Strait. The water flickers, the wind blows, and the breeze carries the scent of a departing summer.

A few minutes uphill from the Asiyan port, nestled among lush greenery, stands a timber-clad mansion in warm red ochre tones – the headquarters of Zeynep Fadillioglu Design. 

I walk through the quiet garden and enter the mansion, where I am greeted warmly by the entire team. As I am guided upstairs, the fresh breeze of the Bosphorus runs through the open windows. 

Before me stands a tall, confident figure in bold colours, greeting me with a soft smile and a firm handshake. Her expression is marked by determination and warmth, much like her work. 

Where I am seated, a desk is covered with design books. She has received many global accolades. 

She shows me her own name listed among the greats, including Frank Lloyd Wright, in the Interior Corner. “I am the only person to be mentioned in this list from our country.” she proudly proclaims.

Zeynep has stood on the cusp of a number of borders, where the traditional meets the modern, where the trained meets the experimentalist. 

She has moved courageously along these fault lines, guided by curiosity and a focus to produce in ways that bridge through creativity and imagination.

She credits Istanbul, home to a mosaic of influences, for laying the foundation for her aesthetic eye.   

“I grew up in Yenikoy, on the European shore of the Bosphorus, in a waterfront house designed by Garabet Amira Balyan, the architect of the Ottoman palaces, including Dolmabahce,” she says.

“From an early age, I was surrounded not only by the architectural elegance and craftsmanship of this remarkable home, but also by the richness of Istanbul itself—a city shaped by civilizations, layered with cultures, and constantly inspiring with its diversity.”

The defining challenge of her career came when she was commissioned to design a mosque in a contemporary architectural language.

The Sakirin Example: Can mosque design be modern? 

The Ottomans had displayed their greatest artistic achievements in mosques, fueled by the power of patronage. 

“I wanted for the public to have an experience for the highest arts and materials that was in the spirit of this time.”

And so, she took on the task of building a modern designed mosque for the Sakir family with equal excitement and determination.

But what did a modern designed mosque look like? There were no examples she could find, apart from the 1957 drawing by Vedat Dalokay for the mosque in the capital, Ankara, which she liked very much.   

She immersed herself in the project, meeting with theologians to discuss the religious principles to be respected in the construction of a mosque, as well as with historians of Islamic art.

Of course, it also involved her travelling throughout Türkiye and other parts of the Muslim world to see firsthand different kinds of mosques, her favourites being some of the earliest ones, demonstrating a simple yet peaceful aesthetic.

She was inspired by Frank Gehry’s use of metal cladding in the mosque's exterior. In application, she reimagined it and chose a grey stone, locally sourced in Kayseri, a material that had long been used in the making of homes across Türkiye.   

She opened the walls entirely, welcoming the cemetery's beautiful greenery. 

“It didn’t need to be closed. Were it on Istiklal Caddesi, certainly this wouldn’t be possible. The worshippers would be bothered by the noise coming from the outside.”

She used the traditional Turkish glass-blowing technique to make the chandelier.

Her colour palette was once again sensitive to the local eye: the turquoise mihrab hinting at Ottoman tiles, the orange of the dome hinting at Tophane pottery.

The prayer area was encircled by the Verse of Light, not in writing, however, once again, a conceptual take, but rather in the form of the gold-colored backdrop of the calligraphy. 

“I envisioned the glass encircling the space to serve much like a cloak, embracing the worshipper,” Fadillioglu says.

“The meaning of the Divine Word changes if the stops change. And so, despite not using the text, I made sure the breaks remained as is to avoid any misinterpretation.”

The dome and the belt surrounding the walls carried calligraphy in traditional script. 

“The calligraphy had to be part of the design, not only because people had a deep affinity for it but also because it is simply exquisite as is.”

The result was an intimate conversation between the past and the present, a combination of old and new. 

Despite the years of effort it took to build the mosque, Fadillioglu humbly confesses, “I was less concerned with coming to the fore as the designer. My chief aim was to embrace all and to make people feel welcome. The response was deeply rewarding for that reason.”

Her latest masterpiece, the Pearl Mosque, has similarly garnered much attention. Drawing inspiration from the Ortakoy Mosque in Istanbul, though nearly four times larger, it allowed for a richer display of the period's finest craftsmanship, offering a fuller curatorial expression of the era's artistry.

Within the Pearl Mosque, extensive hand-painted quartz and Iznik tiles, large-scale carved timber doors and panelling, and meticulously wrought-iron gates exemplify exceptional artisanal skill. 

Its majestic domes, differing in scale, are adorned with intricate calligraphic compositions, while wide windows flood the interiors with natural light.

Carrying craftsmanship into the future

In today’s world, where digital production dominates, traditional arts and crafts are at risk of disappearing, and this is precisely why Fadillioglu thinks they should be valued more than ever. 

“Craftsmanship carries centuries of cultural heritage, techniques refined through generations, and a poetry of handwork that machines cannot replicate,” she says.

“By collaborating with artisans of different backgrounds, I aim to not only preserve these skills but also reinterpret them through bespoke design for contemporary life. This dialogue between tradition and modernity gives craftsmanship a new relevance, ensuring it is not nostalgic but forward-looking.”

The Kubbe tray, one of her product designs, a particular favorite of mine, echoes this ethos. Garnering its inspiration from the domes of the mosques as well as the metal trays of the tea-sellers pacing through the grand bazaar, delivering freshly brewed tea to visitors, it marries cultural heritage with modern sensibility.

“I have always believed in bringing together artisan craftsmanship and modern comfort, creating pieces that are both functional and poetic. My designs come from a deep respect for the rituals that shape our daily lives. Tea is a central part of it.” she shares.

“For me, every piece is not just furniture but a way of introducing our arts and crafts to the world, a continuation of the cultural heritage I feel responsible to carry forward.”

Creativity and design in the information age

The world is changing quickly, especially with respect to the input of artificial intelligence.  All sectors are being impacted, and architecture and interior design are no exception.

Being fully engaged with the times is central to Fadillioglu’s forward-thinking ethos. 

“You cannot survive unless you are fully aware of the times and the technical capabilities it offers. If one doesn’t utilize them, one runs the threat of being simply nostalgic.”

Despite her commitment to innovation, however, Fadillioglu remains cautious.

“We must not forget that design is not only technical but also shaped by cultural heritage, life experience, and aesthetic intuition. The human role in design remains essential and irreplaceable. AI should be seen as an instrument that contributes, not defines, creativity,” she says.

“I worry for the youth.” she continues.  “They have become accustomed to taking things automatically; this kills creativity. And, if we are not creative for the future, I’m afraid we cannot have a standing.”

“Afterall, AI is the conglomeration of human resources. Yet, we do not want to be somebody else’s reflection. We want to be our own reflection. If you are the reflection of somebody else, everybody can do that at all times and AI would be better at that anyhow.” 

According to Fadillioglu, travelling and immersing oneself in firsthand experience are among the best ways to nurture creativity and develop a personal eye. 

“I read the world through what I see. Rather than what I hear.”  she says. And so, she urges the next generation to travel. 

Despite having travelled far and wide, she proudly confesses, “We have so much that remains intact in Türkiye. So much beauty to discover in each city. I would encourage everyone to start their journeys of discovery first here,” Fadillioglu tells TRT World. 

“There is no other city as beautiful, as friendly or as accepting as Istanbul. I also hope the next generation can create greater understanding amidst complex dynamics from a place of optimism, vision and hard work.”