Modern Architecture & Renaissance Architecture

RENAISSANCE IDEAL CITY PLAN | PALMANOVA, ITALY

In Italy, there is a town called Palmanova, a typical example of star fortifications. It was founded by the Republic of Venice in 1593 to celebrate the twenty-second anniversary of Venice’s victory over the Ottoman Empire and to protect the Italian peninsula from other Ottoman attacks. The unique nine-sided star shape was designed by Vincenzo Scamozzi. These star shapes are designed to confuse the enemy soldiers when they are attacked and cannot find the entrance to the city. The city has excellent symmetry due to the location of the buildings it contains. The gathering area in the center is the intersection point of all the streets of the city.

Turkey’s first modern residential area, Aydın Atça is positioned symmetrically with a similar structure of the city of Palmanova in Italy. The only difference between them is in Palmanova city, while the central area is the gathering area of ​​people, while Atça has a park in the center. In addition, there are green spaces instead of streets separating the buildings from each other.

Aydın, Atça

REFERENCES: 

https://www.thevintagenews.com/2016/12/26/fortress-town-of-palmanova-is-the-most-perfect-shaped-town-in-the-world/

http://www.aydinatca.com/imar-plni.html

WORLD ARCHITECTURE |1500-1600

Constantinople Becomes Istanbul 

The Fatih Mosque possessed the center of a tremendous, square plaza. The barrel vaults of earlier Byzantine cisterns served as the establishment for the terraced complex. To sets of eight madrasas that have reciprocal symmetry served for the consider of canonical law or sharia. Fatih expecting the imaret as a welfare institution so the kitchens arranged dinners for over 1,000 people daily. Mehmet II moved from his palace within the center of the city to the extraordinary tip of the promontory, where the acropolis of the ancient Greek city of Byzantium.

Topkapı Sarayı was organized on a progression of three courts that were included too. The Imperial Gate into the primary located to a couple of steps from the apse of Hagia Sophia. The imperial progression assembled for formal ceremonies within the Court of Processions which was a trapezoidal scope secured with tall plane trees. Fatih’s architect wrapped the edges of the court with an arcade of pointed arches. He utilized ancient columns.

Topkapı Palace

The Diwan or Council Hall was the foremost vital political space in Topkapı. It comprised of a progression of three domed halls, secured by an L-shaped colonnade. The Diwan served for official assembly and everyday regulatory gathering of the viziers. Too, behind the Diwan lay the collection of mistresses which was a collection of little courts and thickly pressed chambers on the domain.

The period of Architect Sinan

Sinan was the greatest architect of the Ottoman renaissance. In Istanbul, he built twenty-two major mosques and imarets. He amassed wide information of structure, composition, and enhancement whereas serving forerunner, Acem Alisi who architect of most of Süleyman I’s additions to Topkapı. Sinan built an imaret in honor of Hürrem, the Haseki Hürrem complex. He secured the mosque with a single hemispherical dome and outlined the hospital, an institution particularly ladies, with a bizarre octagonal court. The Mihrimah Cami at the Edirne Gate carried one of Sinan’s impressive domes.

Sinan’s, to begin with, work for Süleyman I was the Şehzade Cami. Sinan combined the central dome with four semidomes, motivated by Hagia Sophia, such as Fatih Mosque. The pyramidal massing of the central dome, semidomes and four smaller domes at the corners cascaded to a square forecourt. It was indistinguishable for the mosque.

Şehzade Mosque

For the Süleymaniye Mosque, Sinan returned to the composition of Hagia Sophia. He made a central dome as huge as the Byzantine model, encompassed by two semidomes. The bound together space of the mosque exuded a hopeful sense of light and openness. Moreover, Süleymaniye’s arrangement of courts rehashes the Hagia Sophia conspire. Comparable to Fatih Mosque, Süleyman’s mosque ruled an endless terraced space. Seven madrasas held the edges, each with a square courtyard.

Süleymaniye Mosque’s inside

Papal Rome

The architecture of ancient Rome recommended prescribed to Renaissance architects a framework of symmetry, agreeable extents, and embellishing columns. The popes supported a talented group of specialists and architects which included Donato Bramante, Raphael, Antonio da Sangallo the Younger and Michelangelo. They worked with the dialect of classicism. The Roman forum returned to a grass-covered cattle market, Campo Vaccino. The popes cleared out Rome to dwell in Avignon, France. Their return to Rome opened the way for the Papal Restoration, committed to modifying both the urban texture and the hierarchy of the Catholic Church.

Alessandrina served as the location for the foremost progressed classical palaces in Rome. When the prior cardinals’ royal residences like Palazzo Venezia (Rome) and Palazzo Castellesi compared, Palazzo Castellesi showed up urbane, near to the Florentine perfect of civic excellence. The modern cardinal’s block-like palace recommended the demonstrate of urban scale and class for the rest of the modern road. Too, the pilasters, round-headed windows, and cornices imitated points of interest found on the Colosseum. The veneer of Palazzo Castellesi taken after the Cancelleria. In expansion, within the Cancellerina’s yard, two levels of arcades rose on ancient stone columns taken from a nearby destroyed theater.

Palazzo Castellesi

In Milan, Donato Bramante planned the tribune and dome of Santa Maria Delle Grazie and the along plaza of Vigevano, encompassing it with normal arcades. Bramante designed Palazzo Caprini which was opposite to Palazzo Castellesi. The two-story palace carried overwhelming rustication at the base of its five-bay facade. It permitted for two little shops to either side of the central entrance.

Tempietto took after an ancient circular holes-type temple. It’s central arrange suited its reason as a martyrium. The arrange of the Tempietto uncovered a modern translation for versatility. Bramante was charged with the foremost noteworthy extend of the century, the devastation and revamping of the Constantinian basilica of St. Peter’s. Architect and patron aiming Unused St. Peter’s to represent the Papal Restoration. Just like the Tempietto, Modern St. Peter’s was to take after a concentrically requested central arrange. The five-dome plot was closer to Byzantine quincunx plans, such as St. Mark’s in Venice. Too, there were a few likenesses to the central-plan plans of Ottoman mosques.

Tempietto

REVIS-ING

In my first pre-jury, my instructors liked my strategy and the tactics I applied for this strategy, but both my scale and the railroad had a poor relationship with people and my festival area, so I tried to cover up my shortcomings in my other drawings, which I used in my first and second pre juries. I wanted to get people and my festival area into more relationships. I tried to show this idea in these drawings.

FESTIVAL ON A LINE! |Second Pre-Jury

My strategy in the previous pre-jury projects was also valid for my projects in this jury. But in addition, I made some minor changes.

The first point is that I explained in our previous post that we have built a festival area on Başkentray stations. In addition to this, I decided to use the railroad which is crucial for our project more. For this, I researched the High Line project in New York, which our teachers gave us as this example. What I noticed while studying this project was that people could walk on unused train tracks.

Examples of the unused train tracks

(For those who are curious about the project, here is the link: https://www.archdaily.com/550810/take-a-walk-on-the-high-line-with-iwan-baan)

I wanted to apply this reference to my first fragment. In my first fragment model, there was a block separating the train track and the unused train track, and the train kept coming up to that block. This block was not allowed passage to the old railway. So the old railroad was a walkway for people, and people could physically experience the railroad from this walkway.

Shown in yellow, block separating the old train rail with the new train track.

I’ve built an art gallery with different levels of activity in both of my fragments, with workshop areas, exhibition areas and performance areas for small groups and masses. I have a meeting area that connects these areas. This meeting area also provides the transition between the transition space which is meeting area and these activity areas at different levels. This means that people can experience different levels of different activity areas.

Fragment 1 model:

Shown in yellow is the meeting area which is transition spaces.

 

Fragment 1 sections and plans:

 

The same is true for my second fragment model, but the difference between the first fragment and the second fragment is the relationship between human experiences and the railroad. In my first fragment, both the people around and the passengers on the train can experience this art gallery physically; in the second fragment, only the people around can physically experience it. The train does not stop in this area and the passengers inside the train can only experience this place visually.

Fragment 2 model:

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Fragment2 sections and plan:

 

There is my pre-jury poster:

 

 

 

 

Modern Architecture & Ottoman Architecture

OTTOMAN’S CLOSE BAZAAR

In the Ottoman Empire, the people were very intertwined. Especially the closed markets of the state increased the communication of the people with each other and its architecture set an example to modern architecture. The Ottoman markets were generally established in several long street junctions, and each vendor had its own space. In general, if I will make an architectural interpretation, we can classify each place of vendors as a unit. And when we look at the Ottoman market, we can interpret that different modular system come together.

THE FREE UNIVERSITY OF BERLIN | Candilis, Josic, Woods, and Schiedhelm

The project aimed to replace the campus in an interconnected city with in-depth streets, squares, courtyards and numerous hiking paths in the Arab Medina model. With the development of the program, the articulation of a variety of spatial and constructive elements that have always been created in a different way has provided an incredible diversity of environments within a controlled modular system. This modular system enables spatial diversity while simultaneously bringing together different spaces.

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REFERENCES:

The Free University of Berlin (Candilis, Josic, Woods and Schiedhelm – 1963)

https://pazarlardanhaberler.com/2014/07/09/ah-o-eski-pazarlar/