Introduction (160 words)
Organisation revolves around the spatial consideration of areas dedicated to improve the experience of the end user, whilst also catering towards the function of the building. Furthermore, it includes design elements of ergonomics, internal circulation and the structural considerations of a building. However, it is important to note that the organisation of a building is significantly influenced by its designer (author) who has a purpose and motive when designing.
The Hagia Sophia underwent several changes during its lifetime, most of which heavily influenced the building’s organisation. These changes include the building being a Roman Catholic Cathedral, a Greek Orthodox Cathedral and an Imperial Mosque. However, the most drastic change that this report aims to reveal through a comparative study, is the beginning and end of Hagia Sophia’s narrative. The beginning being the building’s depiction as a Christian Cathedral and its ending being a museum.
Therefore, this report will showcase the organisation of Hagia Sophia in 537CE – 1054CE and 1453CE – 1931CE.
537CE – 1054CE Organisation (745 words)
This time period marked the age of the Christian and Byzantine Empire, which caused an influential impact on Hagia Sophia’s organisation and layout. It is evident through the building’s initial function as a Christian Cathedral under the rule of Emperor Justinian I, who actually ordered that the building be reconstructed after its previous breakdowns. It was actually his intention that this building would become a representation of both his empirical power and Christian piety. In aiming to do so, designed by Anthemius of Tralles and Isidorus of Miletus, who were recruited by Emperor Justinian I, the building showcases a combination of two trends founded in early Christian and empirical architecture: the basilica and the dome. However, in focusing on Hagia Sophia’s spatial organisation, the floor plan reveals that “the insertion of a certralising element into a longitudinally-planned basilica” was the main feature that impacted this.
The Basilica
It was within the fourth century that the innovative building type of a ‘basilica’ emerged and was introduced into the architectural world. It was defined as a building that consisted of a large central rectangle (nave) that was flanked by two thinner rectangular aisles that would all together culminate towards an apse. During this time period, basilicas initially served as a secular Roman building that hosted courts of law and any form of legal matters that concerned the general public. However, as the role and importance of religion in society intensified, it meant that the spatial organisation of a basilica had to serve a new purpose: to become a place of worship for Christian adherents.
The Nave
The nave was repurposed to become an unobstructed processional path and space for the clergy. This new function was based on doctor of philosophy degree student, William Caraher’s, interpretation of art professor, Thomas Mathews’, published work entitled “The Early Churches of Constantinople: Architecture and Liturgy.” In referencing this source, Caraher explains that the “liturgy required that members of the clergy had some freedom of movement in the eastern part of the main nave both during the initial procession and at various times during the service.” (William R. Caraher, M.A)
The Asiles
The two flanking aisles were remodeled to be the areas where the laity would experience and participate in the liturgy. This was the result of showcasing the hierarchical differences between the priest and the remaining congregation. In saying that, the congregation would only be able to access the aisles through entering two smaller doors that are located on either side of the larger central doors which were connected to the nave. This is alongside how the space and organisation was also segregated through a series of parallel columns and arches that contributed to the central structural support of Hagia Sophia.
The Apse
The apse was re-functioned as an alter that would provide the priest a space to deliver the sermon. This is because it was intended to replicate the priest’s authoritative position as an individual that mediates the realms of both Heaven and earth in same way Jesus Christ did (William R. Caraher, M.A). The alter’s position in the apse also meant that the congregation, who were seated in the aisles, would focus their attention towards the priest. However, despite the hierarchical differences shown in this organisation of Hagia Sophia, the apse’s refurbishment as the altar was additionally the consequence of a symbolic meaning linked to Christian religion. For Christianity, the easterly orientation of the apse is representative of the several references in the Bible that showcase the sacred connections between the easterly direction and God.
It was also during the fourth century, when Hagia Sophia was still in its early stages of development, that the simplistic basilica inspired spatial organisation began to change and expand. The architects decided to extended the building in a longitudinal manner through the incorporation of an inner and outer narthex.
Inner and Outer Narthex
The narthex is located on the opposite end to the apse and its length is the same width as the body of the building. Both the outer and inner narthex were included in order to cater towards the introductory processions that would occur before entering the nave and beginning the liturgy inside. With “five doorways spaced across the eastern wall separating the outer narthex from the [inner] narthex”, the organisation of this area spiritually prepares adherents for a liturgical experience. This is especially in consideration that the space is quite narrow due to its length, and so the mosaics that are decorated along the walls of the narthex, become more dynamically expressed to the adherents as they enter Hagia Sophia.
1453CE – 1931CE Organisation (810 words)
It was on the 29th of May in 1453 that saw the beginning of Hagia Sophia’s radical transformation into an Islamic mosque. This decision was made by Mehmet II who was the Sultan of the Ottoman Empire and led the final siege that enabled the Ottomans to conquer Constantinople in 1453. It was his intention, according to university professor, Robert Ousterhout, that Hagia Sophia’s conversion into a mosque would become “the ultimate conquest of his empire” (Robert Ousterhout, University of Pennsylvania). However, despite that, Hagia Sophia retained its existing floor plan with the only organisation changes linked to the inclusion of Islamic features. The most significant being the mihrab and the minbar, the four minarets located on the outside of Hagia Sophia, the Sultan’s Lodge and the Library of Mahmut I.
The Mihrab and Minbar
The purpose of the Mihrab was to provide Muslim adherents with the sacred direction and orientation towards Mecca when praying, and the Minbar was considered as a religious object since it was the pulpit from which the sermon was delivered. Both of these Islamic features are located within the apse towards the southern eastern end of the building, which was previously the space where priests of Christian Greek Orthodox would use to deliver their sermon. However, the most interesting aspect about these Islamic features was that it was off centre due its purpose. It is from this perspective that the layout and organisation of Hagia Sophia, as quoted by Dr Elizabeth Macaulay from Khan Academy, had been “re-orientated in a very powerful way” (Dr Elizabeth Macaulay, Khan Academy) as the function of the building had now changed as well.
The Four Minarets
The function of a minaret is to call Muslim adherents to participate in prayer. Hagia Sophia has four minarets that are intentionally and strategically located around the corners of the building’s core rectangular shape in its organisation and layout. This is because in addition to the minarets being a key feature in mosques, it was also intended to contribute towards Hagia Sophia’s buttressing structural component. Noticeably there are three different kinds and styles of minarets: (1) located on the west corner that was built by Sultan Mehmet II, (2) located on the south corner that was built by Mimar Sinan, and (3) located on the north and east corners that were built by Sultan Murad III.
The Sultan’s Lodge
This lodge was designed with the intention that it would allow the Sultan to worship Allah and participate in prayer privately and also be protected from potential assassinations. The original location was assumed to be within the apse of the mosque. However, this changed in 1847 when Swiss architect brothers, Gaspare and Giuseppe Fossati, were asked to renovate Hagia Sophia for its restoration. A part of this renovation included the lodge’s new location against the pier to the north of the apse. This change impacted the organisation and layout of the Hagia Sophia as it introduced a new geometric element and level to the existing floor plan. This is because the lodge is elevated on a higher level with the Hagia Sophia Museum director, Hayrullah Cengiz, additionally recording that the lodge is a “hexagonal section on a number of five columns and a corridor on columns” (Hayrullah Cengiz, Director of the Hagia Sophia Museum). It was through this that Dr Steven Zucker from Khan Academy explains how the layout meant that the Sultan “had his own entrance, he had is own elaborate procession wing and there’s a whole balcony that he would be able to walk into” (Dr Steven Zucker, Khan Academy).
The Library of Mahmut I
The library was integrated during Mahmut I’s reign in 1739 and is located on the first floor along the southern end of the building between two buttresses. It is through this that the library contributed towards the existing organisation and layout of Hagia Sophia by utilising the space to further support the building’s structural capacity. The area is made up with a reading room, a room that stored and protected all the books and a corridor that separated the two rooms. The library’s section within the organisation and layout of Hagia Sophia was indicated through a “glass partition born by six columns with diamond shaped capitals and covered with a bronze mesh.” It was accessed through the existing ramp on the northern side of the building that led to the first floor in Hagia Sophia.
It was by 1934 that the Turkish president, Kemal Atatürk, had repurposed Hagia Sophia to become the Ayasofya Museum. This decision was made with the motive of secularising the building as a way of celebrating its historical significance expressed through the architecture. More specifically, Hagia Sophia’s capability to cohesively and symbolically showcase two different religious practices in a single building. It is due to this museum purpose that the organisation and layout of Hagia Sophia did not change. However, there is now a definitive way of navigating through the building with some areas such the apse being restricted to visitors in order to protect Hagia Sophia’s sacred elements and features.
Conclusion (100 words)
In conclusion, whilst Hagia Sophia experienced many changes in its functional, symbolic and structural components, its organisation remained the same with the original floor plan. With the foundations of the building inspired by a basilica layout, it was the result of time that caused additional spaces to be included such as the inner and outer narthex. This is alongside the introduction of Islamic features when Hagia Sophia became a mosque, which additionally changed the spatial organisation of the building. Now, with its purpose as a museum, Hagia Sophia’s organisation remains as an example of early inspired Christian and empirical architecture.