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.