Conclusion
At the start of his career as an architect, Sinan had to deal with an established, traditional domed architecture. His training as an army engineer led him to approach architecture from an empirical point of view, rather than from a theoretical one. He started to experiment with the design and engineering of single-domed and multiple-domed structures. He tried to obtain a new geometrical purity, a rationality and a spatial integrity in his structures and designs of mosques. Through all this, he demonstrated his creativity and his wish to create a clear, unified space. He started to develop a series of variations on the domes, surrounding them in different ways with semi-domes, piers, screen walls and different sets of galleries. His domes and arches are curved, but he avoided curvilinear elements in the rest of his design, transforming the circle of the dome into a rectangular, hexagonal or octagonal system. He tried to obtain a rational harmony between the exterior pyramidal composition of semi-domes, culminating in a single drumless dome, and the interior space where this central dome vertically integrates the space into a unified whole. His genius lies in the organization of this space and in the resolution of the tensions created by the design. He was an innovator in the use of decoration and motifs, merging them into the architectural forms as a whole. He accentuated the centre underneath the central dome by flooding it with light from the many windows. He incorporated his mosques in an efficient way into a complex (külliye), serving the needs of the community as an intellectual centre, a community centre and serving the social needs and the health problems of the faithful
When Sinan died, classical Ottoman architecture had reached its climax. No successor was gifted enough to better the design of the Selimiye mosque and to develop it further. His students retreated to earlier models, such as the Şehzade mosque[citation needed]. Invention faded away, and a decline set in
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