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MİMAR (ARCHİTECT) SİNAN
He is an architect who grew up in one of the most splendid periods of the Ottoman State, and who contributed to this era with his works.
Various sources state that Sinan was the architect of around 360 structures which included 84 mosques, 51 small mosques (“mescit”), 57 schools of theology (“medrese”) 7 schools for Koran reciters (“darülkurra”), 22 mausoleums (“türbe”), 17 Alm Houses (“imaret”), 3 hospitals (“darüşşifa”), 7 aquaducts and arches, 48 inns (“Caravansary”), 35 palaces and mansions, 8 vaults and 46 baths. Sinan, who held the position of chief architect of the palace, which meant being the top manager of construction works of the Ottoman Empire, for nearly 50 years, worked with a large team of assistants consisting of architects and master builders.
The development and maturing stages of Sinan can be marked with three major works. The first two of these are in İstanbul – Şehzade Mosque which he calls his apprenticeship period work, Süleymaniye Mosque which is the work of his qualification stage, and Selimiye Mosque in Edirne the product of his master stage. Şehzade Mosque is the first of the grand mosques Sinan has created. Mihriman Sultan Mosque which is also known as the Üsküdar Quay Mosque was completed in the same year and has an original design with its main dome supported by three half domes. When Sinan reached the age of 70, he had completed the Süleymaniye Mosque and the Complex. This building, situated on one of the hills of Istanbul facing the Golden horn, and built in the name of Süleyman the Magnificent, is one of the symbolic monuments of the period. The diameter of the dome which exceeds 31 meters at Selimiye Mosque which Sinan completed when he was 80, is the most significant example of the level of achievement Sinan reached in architecture. Mimar Sinan has reached his artistic summit with the design, architecture, tile decorations, land stone workmanship displayed at Selimiye.
SELİMİYE MOSQUE
SÜLEYMANİYE MOSQUE
Another area of architecture where Sinan delivered unique projects are the mausoleums. Mausoleum of Şehzade Mehmed gets attention with its exterior decorations and sliced dome. Rüstem Paşa mausoleum is a very attractive structure in classical style. The mausoleum of Süleyman the Magnificent which is one of his interesting experimentations has an octagonal body and flat dome. Selim II Mausoleum with has a square plan and is one of the best examples of Turkish mausoleum architecture. Sinan’s own mausoleum which is located at the north – east part of the Süleymaniye complex on the other hand, is a very plain structure.
TOPKAPI THE PALACE
KANUNİ SULTAN SÜLEYMAN BRIDGE
ŞEHZADE MOSQUE
ZAHA HADİD
Zaha Hadid’s pioneering vision redefined architecture for the 21st
century and captured imaginations across the globe. Each of her
projects transformed notions of what can be achieved in concrete,
steel, and glass; combining her unwavering optimism for the future and
belief in the power of invention with advanced design, material and
construction innovations.
Many architects are called on to create new projects that stand as
symbols of social progress—but none delivered as regularly, as
unexpectedly and as spectacularly as Zaha Hadid. Her successes were
so consistent, she received the highest honours from civic, academic
and professional institutions across the globe. Her practice remains
one of the world’s most inventive architectural studios—and has been
for almost 40 years.
Born in Baghdad, Iraq in 1950, Zaha Hadid studied mathematics at the
American University of Beirut before moving to London in 1972 to
attend the Architectural Association (AA) School where she received
the Diploma Prize in 1977.
Hadid taught at the AA School until 1987 and held numerous chairs
and guest professorships at universities around the world including
Columbia, Harvard, Yale and the University of Applied Arts in Vienna.
She founded Zaha Hadid Architects in 1979 and was awarded the
Pritzker Architecture Prize (considered the Nobel Prize of architecture)
in 2004.
Experiencing Hadid’s architecture yields an understanding that the
quest for beauty alone was not her modus operandi. Her buildings are
beautiful—and beauty may account for their seductive urban presence,
for their hold on the eye—but the beauty and virtuosity within her work
is married to meaning. Her architecture is inventive, original and civic,
offering generous public spaces that are clearly organized and intuitive
to navigate
PORT AUTHORİTY
HAYDAR ALİYEV