18 ottoman architecture_web
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Ottoman architecture evolved over time as the empire's capitals changed location. Bursa, Edirne, and Istanbul each marked a stage in development and allowed influences from Byzantine and other cultures. A key architectural form was the kulliye, a religious complex centered around a mosque that included other buildings like madrasas, hospitals, and baths. Over time, Ottoman architects like Mimar Sinan developed distinctive styles like dominating mosques situated atop hills that gave cities their silhouette. Kulliyes were separated from residential areas and emphasized the vertical rather than public spaces.
18 ottoman architecture_web
- 1. Ottoman Architecture History and Public Spaces Evolution of the Religious and Civic Spaces HISTORY OF OTTOMAN ARCHITECTURE THE KÜLLIYES OF THE OTTOMAN EMPIRE BURSA CAPITALS OF THE EMPIRE YILDIRIM BEYAZIT KÜLLIYE, 1391-1403 After the conquest of the Christian cities Bursa, Edirne and Con- stantinople the Turkish sultans transformed each of them to make The first complete külliye is the one of Bursa, the first their capital. Each one marked a stage in the development of the capital of the Ottoman Empire. It included the mosque, young Ottoman Empire. This gave the possibility to discover and the madrasa, the sultan’s turbé, a nursery, a refecto- learn from other cultures, like the Byzantines, but always in a way ry of the natives, public baths and a caravanserai. The of reinterpretation, according to the characteristic of the Ottoman’s buildings are situated on terraced land, on the outskirt own architecture and culture. of the city. There are no axes nor parallels that connect the different buildings, there is no hierarchy as to the Although they are not too distant from each other, the three cities are spaces that connect the whole complex, there is no very different. Bursa is situated at the foot of the Olymp of Mysie, pre-arranged system for the layout of the constructions, Edirne on a flat land irrigated by three rivers, Istanbul on the sea. the disposition is only due to the conformation of the Water used to be a determining factor for the planning of their cities, land. Being higher and larger than all the other build- for it was celebrated by the Koran. ings the mosque dominates the whole complex. This is rather due to its silhouette than to its effective mass. EDIRNE AN ARCHITECTURE OF PROFILE BEYAZIT II KÜLLIYE, 1484-1488 According to the Byzantine conception following the Roman tradi- tions, the cities were designed according to a plan in horizontal and It is probable that at the time of building the complex the arranged with arterial roads and squares. In contrast, that of Turkish city extended all about it and that the layout of the com- architecture design begins with the profile of landscape to empha- plex was influenced by the lanes and adjacent houses. size the vertical aspect, with the development of the most important The asymmetrical urban form, with the buildings form- and representative buildings such as the mosques. It is with Sinan ing an irregular U-shape around the central axis of the that this concept will be further developed to the point that due to its mosque, is determined by the conformation of the land. dominant position the mosque determines the profile of the whole The buildings are situated on a flat landscape, this way city. the silhouette of the mosque appears clearly visible. It is like a “campus” including, in a side, a big madrasa, an , The Turkish city’s structure was determined by two factors: the no- infirmary and a psychiatric hospital, the whole forming madic origin of this people, and then by their conversion to Islam. the school medicine. Since its beginning Islam has always refused to give an exaggerated This result from the hierarchy and distinction between importance to the real world and to accumulating of wealth favored the sacred building and the utilitarian buildings. by the city. The splendour and the monumentals dimensions were reserved for only the sacred buildings, especially the mosques. PUBLIC SPACES ISTANBUL SÜLEYMANIYE KÜLLIYE, The Turks’ way of life and especially their concept of life in society 1550-1556 has also an influence on urbanism. Square are quite rare and are big open spaces where markets take place. The bazaar, in covered roads The complex was built by the architect Sinan (1491- with barrel vault is the Turkish city’s shopping centre. Therefore one 1588), the most important architect of the ottoman em- cannot find big public spaces for the community as they existed in pire. The layout is on a hill, which complicated Sinan’s the Greek, Roman or Byzantine empire. Cafés in the open air, gen- task but this enabled him to draw an advantage and to erally near the mosque, or in green areas, are preferred as social confer this characteristic silhouette of the city. The sym- spaces but always in a informal way. metric disposition of the other buildings in comparison with the main axle of the mosque confers a strong hi- The külliye is the most important part of the Ottoman cities, but erarchy to the complex. A beginning of hierarchization it’s function doesn’t correspond to this idea of public space. It is the between the sacred building and the ones surrounding religious and social place, where in most cases there is a mosque, a it already existed in Edirne in the külliye Beyazit II, but madrasa, a hosptital, a refectory, a tomb, a library, and more. Sinan accentuated it more: the more he excelled him- self with the construction of mosques the less he cared The mosque and the külliye formes a well ordered complex apart about façades of other buildings. In spite of this the from the urban structure of the residential areas. complex is characterized by a very high precision regard- ing the general layout of the buildings. DRAFT 86 © ETH Studio Basel OTTOMAN ARCHITECTURE_Alain Vimercati 87
- 2. Ottoman Architecture Building Typologies THE MOSQUE THE MADRASA THE HAMAM Süleymaniye Cami, 1550-1556, Istanbul The Madrasa of Soliman Mosque, Istanbul Yeni-Kaplica, 16th century, Bursa THE MOSQUE IN THE OTTOMAN TRADITION Seen from the outside, the first mosques (cami) of Brousse, Ed- irne and Istanbul are compact cube shaped constructions. This volume changes progressively into a body of “crystal-clear” appearance. This is characterised by the minarets and the su- perimposed and jointed domes and semi domes that give the silhouette that most clearly expresses the sacred Turkish archi- tecture. The external appearance always reflects the internal structure. With few formal variations this one is composed with four piers included in a central plan with square basement, con- nected with four big arches, serving as lateral bracing crowned with a monumental buttress. Another characteristic preserved is the big entrance gate and the orientation of the mosque from Süleymaniye Cami, 1550-1556, Istanbul the rear wall (kibla) in direction South/West, i.e. towards Mecca. FROM AN EARLY OTTOMAN MOSQUE TO THE SOLIMAN SACRED TURKISH ARCHITECTURE AND THE RELATION TO A Yildirim Beyazit külliye, madrasa, 1398-1403, Edirne, Plan Yeni-Kaplica, 16th century, Bursa, Elevation and plan MOSQUE CHRISTIAN TRADITION The first Ottoman mosques were composed of a succession of The madrasa is a school of theology, the plan of which had been The custom of public bathing is a very old ottoman tradition, Yechil Cami spaces, formed by massive walls supporting the dome (domed inherited from the Persian-seljukid madrasas, and evolves by strictly linked to the prescriptions concerning body hygiene as A Mosque in Bursa prayer hall). The big change of conception occurs with the con- reducing proportions and simplifying the forms. One can find presented in the Koran with regard to the cult. It also served as (1421 AD) quest of Constantinople (1453) and the discovery of the church of a subordination to the dimensions and treatment of materials an alternating meeting place for both males and females. The Hagia Sophia as a reference. In time however Ottoman architects comparable to those of a mosque. general disposition of the hamam includes an anteroom, a first would free themselves of this reference, as exemplified by the The typical plan of an Ottoman madrasa includes a porticoed bath room with moderate temperature and then a steam bath, Soliman Mosque important Ottoman architect Sinan and his successors. The direc- B in Istanbul by courtyard, flanked by vault- or dome-covered cells that were in- . Even at the climax of the Ottoman Empire the public baths Sinan (1556 AD) tional space inherited by Saint-Sophia of the early Ottoman era tended for use by students. A vaulted hall opens onto the court- maintained chiefly a practical and modest aspect, especially in will evolve in plan to become sets of perfectly balanced spaces yard, walled on three sides, with the fourth entirely open, situ- the external façade. A B based on rotating symmetries. ated on the main axis. FROM THE HAGIA SOPHIA TO A LATE OTTOMAN CHURCH A Hagia Sophia (537 AD) B Selim Mosque in Edirne by Sinan (1571 AD) C Sultan Ahmed Mosque in Istan- A B C bul (1609 AD) Selimiye-Cami Mosque, 1575, Edirne Selimiye-Cami Mosque, 1575, Edirne Ahmet Pasha Cami Madrasa, Istanbul Yildirim Beyazit külliye, Edirne Ali Pasha Hamam, 1573, Tokat Yeni-Kaplica, 16th century, Bursa DRAFT 88 © ETH Studio Basel OTTOMAN ARCHITECTURE Alain Vimercati 89
- 3. Ottoman Architecture Building Typologies Architectural Elements THE HAN (CARAVANSERAI) HOUSES STALACTITES REVETEMENT DOORS Rüstem Pasha Han, Istanbul Hataunye Cami, To Faience Rüstem Pacha Han, Istanbul House, Ankara, 18th. century, Elevation and plan Yechil Cami, Bursa Yeni Cami, Adana Soliman Mosque, Istanbul The han (also called caravanserai) represents the only type of Compared to the mosques the Turkish residential houses and The stalactites or muquarnas are deco- Faience tiles were used by the Ot- Set within the simple elevations of the hostel in the Ottoman Empire. Usually the han would be situated the palace have a simple and modest aspect. Two factors deter- rative elements in stucco, inherited from tomans to cover the internal spaces majority of traditional houses the only in the center of the city, so their form had to adapt to the irregular mine the living plan: firstly the climate and the landscape, and primitive Turkish art. They were used to in order to visually dissolve the wall’s facade element to present its owner ‘s constructions in the urban urroundings. This kind of building had secondly the Islamic religion which imposes a strict separation connect the piers directly to the archs materiality and to eliminate any sign of appropriate social status to the outside no more than two storeys. between the spaces of the men and those of women. For this above, to mask the geometric transition weight. The surface as a result appears world is the door. All symbolic attributes reason the rooms do not communicate but are articulated in L or between the walls and the domes to the hard, impenetrable and compact, but at can therefore be found miniaturized in Their function was simple and purely utilitarian: individual rooms U-shape around a hall-courtyard. This courtyard sapce for access capitols of the columns. This motive is the same time radiant without glittering. this facade element, whether in iron, for the travellers arranged around a hall with galleries for the dis- and living is a very important element of the house, because also found around the piers to empha- In contrast to mosaics they reveal with wooden sculpture or in stone. tribution. Another function was as trading place and market, due it is the commonly shared space and the place for access to size the junction with the external walls precision and clarity the outline of the At the monumental scale there are the to the high numbers of persons who were passing through for the fresh air. The number of floors rarely exceeds two, and the where the lateral archs are inserted. tiled forms. In this way the walls look iwan, the mosque’s monumental gates, short laps of time. building material generally used is wood. Their function is emphasize the internal like a glassy, clear continuous surface. that are also richly ornate with the classi- space’s unity and structural rigor, in order cal elements of Ottoman decoration. to conceal the tectonic transition. Rüstem Pasha Han, Istanbul Koza Han, Bursa Interior of a house, Konya Soliman Mosque, Istanbul Faience DRAFT 90 © ETH Studio Basel OTTOMAN ARCHITECTURE Alain Vimercati 91