Natura July - August 2013 | Page 44

Projeler/Projects: İstanbul AHŞAP KIRIŞLERLE GEÇILEN, ÜZERI AÇILIR-KAPANIR CAM PANELLERLE ÖRTÜLÜ HARIM, DOĞAL IŞIK VE HAVALANDIRMA SAĞLIYOR. THE PRAYER HALL COVERED WITH WOODEN BEAMS AND FLEXIBLE WINDOW FRAMES FACILITATES NATURAL LIGHTING AND VENTILATION FEATURES. Kesit / Section 1- İbadet alanı / Prayer hall 2- Yarı açık ibadet alanı / Semi-open prayer hall 3- Kadınlar mahvili / Women’s section 4- Courtyard 5- Sığınak / Shelter 6- Otopark / Underground parking 7- Tesisat odası / Technical space 8- Minare / Minaret MİMAR / ARCHITECT: So Mimarlık ve Fikriyat YER / LOCATION: Şişli, İstanbul, Türkiye / Turkey YIL / YEAR: Tasarım / Design, 2012 PROGRAM / PROGRAMME: Cami, dernek-lojmanlar, eğitim birimleri, sosyal mekanlar, kapalı otopark / Mosque, association-residential units, education units, social spaces and underground parking MALZEMELER / MATERIALS: Taş, beton, cam ve ahşap / Stone, concrete, glass and wood ALAN / AREA: 3500 m2 TASARIM EKİBİ / DESIGN TEAM: Sevince Bayrak, Oral Göktaş, Kenan Sabırlı, Elif Karaköse, E. Derya Ertan 44 NATURA • TEMMUZ - AĞUSTOS 2013 / JULY - AUGUST 2013 and open spaces in a unified whole integrated into its surroundings with the Mosque building placed roughly in the center and aligned towards Mecca. It was in this integration of the Külliye with its urban setting that contrasted this modern design with the Ottoman typology. Instead of the planning geometry of the complex being dictated by the mosque building it was determined by the urban pattern and the need for open public space. To achieve this the design also preserves the existing natural landscape elements merging the small Halide Edip Adıvar Park in a buffer zone toward Piyalepaşa Boulevard. The location of the freestanding minaret was also decided by following this strategy of defining meaningful public space in the courtyard as a distinctive landmark in contrast to traditional mosque typology where the minaret is subsumed within the mosque building. The extensive use of stone cladding and pavement was also importantly part of the desire by the architects to create meaningful and valuable public space in the city. As a construction material stone has in the latter half of the 20th century not been used widely in mosque architecture. SO? architects stated that they aimed to design a contemporary pattern in stone created by using recent technological production methods. The design proposes stone clad surfaces cut in 30 x 120 cm in a variety of thicknesses and colors to be used for both the interior and the exteriors. The courty ards with masonry in diverse forms and stone clad surfaces with different textures will let visitors experience variations in light and shade. Complementing this stone, timber was used for the main façades with the mosque’s prayer hall roof structure being a combination of wood and glass. The prayer hall has wood beams covering the glass panels that will be closed in the winter and will stay open during the hot summer days so that fresh air can be circulated through the interior. The design studies of the topographic differences that exist on the Halide Edip Adıvar Avenue was the rationale for the design of ramps for disabled-elderly people and children that also provides a human scale to SO?’s Külliye. Overall the architecture is smoothly aligned to natural elements and the street fabric generating this scale. The design proposal is logical and rationale generating a viable urban square from a basis in religious architecture for the benefit of all residents during prayer time and beyond. This logic extends from the architectonic design strategies in stone and timber to produce space, light and texture out to the urban level master plan that provides the same benefits to the district.