Architect Sinan: An Intellectual Design in 16 th century Ottoman Capital (original) (raw)
Related papers
The Age of Sinan: Architectural Culture in the Ottoman Empire
Reaktion Books, with Princeton University Press, 2005. Revised second edition (London: Reaktion Books, with the University of Chicago Press, 2011), 2005
and hospitals. His distinctive architectural idiom also left its imprint over the terrains of a vast empire extending from the Danube to the Tigris, and he became the most celebrated of all Ottoman architects, particularly renowned for his influence on the cityscape of Istanbul.
Innovations in the Art of Architect Sinan
This study aims to reveal and explain the principal innovations in Sinanís art. Although several previous studies have concentrated on Ottoman architecture and especially on Sinanís art, a distinctive research on the innovative contributions of Sinan had not been offered yet. By making use of the definitions of innovation given in the Oslo Manual, and searching the relevant literature, in which developments achieved by Sinan are claimed, an evaluation of innovative steps taken in 16th century Ottoman architecture by Sinan was articulated. The solutions introduced for the first time to structure, function and plan by Sinan were classified and given with the evidences of innovation. This classification was mainly based on the structural developments, together with their functional and aesthetic reflections, where other innovations of Sinan were also listed.
Mimar Sinan Era Kulliyes in the Ottoman Urban Landscape
The Master Ottoman Architect Sinan, known as Mimar Sinan, produced numerous works of different character, among these, mosques, madrasahs, masjids (prayer rooms), khans (inns), caravanserais, covered bazaars, hammams (bath-houses), darüşşifa (hospitals), imarets (hospices), darülkurra (Koranic schools), sibyan mektebi (primary schools), tekke (lodges), waterways, aqueducts, fountains and palaces. Sinan is an architect that imprinted his mark upon his era by not repeating himself in any of the structures he created. Appointed the head of the Sultan's Society of Architects in 1538, Sinan created a great number of architectural works. Throughout the years of his long career in Ottoman architecture, in which time he produced an expansive typology of works, Architect Sinan also made a major contribution to urban planning. As Chief Architect, Sinan was responsible for many urban activities having to do with wastewater, fire prevention and the repair of many public buildings in Istanbul. Although documentation pertaining to Sinan's concept of the urban environment is scant, an analysis of all his structures suggests the existence of a delicate notion of city planning. Looking into the placement of the structures, their functional distribution within the city, the special roles they play in the general urban landscape, as well as their relationships to each other, it is not difficult to witness the rational conceptualization of a city. This article will attempt to examine the works of Architect Sinan in terms of his perspective on kulliye architecture, analyzing the contributions he made to these structures within the urban fabric, and to review his major kulliyes as intrinsic parts of the entirety of the city.
tasarım+kuram 140.yıl ek sayısı, 2023
As of nineteenth century, the inadequacy of the Ottoman Imperial Architects' Guild, triggered efforts to replace it with a new and modern institution. From among many proposals to the Sublime Porte, finally Osman Hamdi Bey's repeated and detailed petitions reached the conclusion and the royal order dated January 1, 1882, sealed the establishment of the Sanayi-i Nefise Mektebi or today’s Mimar Sinan Fine Arts University. Osman Hamdi Bey added Alexandre Vallaury, who had returned to Istanbul after his architectural studies at the Ecole des Beaux Arts and his architectural work in Paris, to his team. The school was inaugurated on March 3, 1883. By the turn of the century, Sanayi-i Nefise Mektebi would be institutionalized to a considerable extent. And the architecture department increased its student body in both number and diversity of origin and nationality. Its graduates were realizing significant works of architecture as state architects or as freelance professionals. The aim of this study, is to first elucidate how an institutional Fine Arts Administration with Turkish-Ottoman elements was established in the Ottoman Empire. Then the focus is on early period of the Architecture Department of the Sanayi-i Nefise Mektebi, a duration delimited by 1928 when the institution would be renamed Güzel Sanatlar Akademisi. Finally the paper attempts, owing to a heavy scrutiny of archival documents, to introduce the identities of the architect graduates of this period ,as well as their works and careers. Osmanlı Hassa Mimarlar Ocağı'nın yetersizleşmesi sonucunda, ondokuzuncu yüzyıl başından itibaren, sistemli bir eğitimle yetkin mimarlar yetiştirmek amacına yönelik, neredeyse bir yüzyıl süren çabalar, Osman Hamdi Bey'in tekrarlı ve ayrıntılı dilekçelerine cevaben Sanayi-i Nefise Mektebi'nin kuruluşuna karar verildiğini bildiren 1 Ocak 1882 tarihli irade-i seniyye ile sonuca ulaşmıştır. Osman Hamdi Bey, Ecole des Beaux Arts'taki mimarlık eğitimi ve Paris'teki mimarlık işleri sonrası İstanbul'a dönmüş Alexandre Vallaury'yi de ekibine katarak, Mekteb-î Sanayi-î Nefise-î Şâhâne, yani bugünkü Mimar Sinan Güzel Sanatlar Üniversitesi'nin resim, heykel, fenn-i mimari, hakkaklık ve tezyinat bölümleri için ilk yönetmelik ve müfredatının oluşturulması, okul binası yapımı ve donatımı ile okul idari ve akademik kadrosunun oluşturulması işlerini tamamlar. 3 Mart 1883'te törenle açılışı yapılan okula öğrenci kabul edilerek Türk mimarlık eğitimi ve meslek pratiğinde yeni bir sayfa açılır. Temelleri bu şekilde atılan Sanayi-i Nefise Mektebi fenn-i mimari şubesinin yirminci yüzyıl başı itibarı ile öğrenci sayısının büyük ölçüde arttığı, köken ve milliyet olarak öğrenci profilinin çeşitlendiği, kadronun yeni hocalarla zenginleştiği, mezunlarının serbest mimar veya devlet kurumlarında görevli olarak başarılı işlere imza attıkları, okulun kuruluşundaki motivasyon ve hedeflerin azımsanmayacak ölçüde gerçekleştiği ve Sanayi-i Nefise Mektebi'nin ve mimarlık şubesinin kurumsallaştığı bir olgudur. Bu çalışmanın amacı, kuruluş amaç ve motivasyonundan başlayarak, Osmanlı Devleti'nde Türk-Osmanlı unsurları ağırlıklı kurumsal bir Güzel Sanatlar İdaresi oluşturulmasını ve bu bağlamda Sanayi-i Nefise Mektebi mimarlık şubesinin kuruluş sürecini ve 1928'de kurumun Güzel Sanatlar Akademisi adını aldığı Namık İsmail Bey yönetimi dönemiyle sınırlandırdığımız erken dönemini, büyük ölçüde arşiv belgeleri ve birincil kaynaklara dayanarak ortaya koymak ve okulun bu dönemde yetiştirdiği, mezun ettiği mimarların kimliklerini ve yaptıkları işleri tanıtmaktır.