ARCHITECTURE OF THE ARCHITECTURE OF THE From Tradition To Future From Tradition To Future PUBLICATIONS OF THE PRESIDENCY’S DIRECTORATE OF COMMUNICATIONS Contact Ankara/TÜRKİYE T 1st Edition, İstanbul, April 2025 From Tradition to Future: Architecture of the Century of Türkiye Publisher Certificate No: 45482 ISBN: 978-625-6281-57-8 © 2025 PUBLICATIONS BY THE PRESIDENCY'S DIRECTORATE OF COMMUNICATIONS All rights to this book are reserved and belong to Publications by the Presidency's Directorate of Communications. No part of this book may be reproduced or published. It cannot be photocopied or reproduced on computer without the permission of the publisher. 01 05 02 06 07 03 04 Presidential Complex / 11 Ahlat Presidential Complex / 33 New York Turkish House / 61 President Recep Tayyip Erdoğan / 7 HOUSES OF THE NATION FOREWORD Grand Çamlıca Mosque / 85 Taksim Mosque / 105 Barbaros Hayreddin Pasha Mosque / 125 St. Ephrem Syriac Orthodox Church / 141 PLACES OF WORSHIP Atatürk Cultural Centre / 155 The Nation's Library of the Presidency / 167 Rami Library / 179 Presidential Symphony Orchestra Concert Hall and Choir Building / 199 İstanbul Museum of Painting and Sculpture / 209 CerModern Arts Centre / 223 July 15 Democracy Museum / 229 Democracy and Liberties Island / 239 CULTURE AND ARTS VENUES İstanbul Airport / 253 Rize-Artvin Airport / 263 Yavuz Sultan Selim Bridge / 269 1915 Çanakkale Bridge / 283 Osmangazi Bridge / 295 Marmaray / 307 Çamlıca Tower / 327 TRANSPORTATION AND COMMUNICATION STRUCTURES Diyarbakır Suriçi Residential Area / 349 Hasankeyf Project / New Residential Area / Archaeopark / 399 New City of Yusufeli / 445 Yusufeli Dam / 453 Nation's Gardens / 467 RESIDENTIAL AND RECREATIONAL AREAS Stadium and Sports Complexes / 513 City Hospitals / 553 HEALTH AND SPORTS FACILITIES Constitutional Court Service Building / 609 Court of Cassation Premises / 617 HOUSES OF JUSTICE CONTENTS 6 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE TÜRKİYE CUMHURİYETİ CUMHURBAŞKANI RECEP TAYYİP ERDOĞAN Arts and architecture are among the most important cultural riches that characterise a nation. These are invaluable assets of societies' cumulative experiences over time. Over the course of our extensive 2000-year tradition, various states, notably the Seljuk and Ottoman empires, have produced architectural masterpieces that were remarkably advanced for their time, thereby making significant contributions to our historical narrative. We aspire to establish a unique architectural vision within the Century of Türkiye, which is thriving on the civilisational heritage that has been accumulated since the ancient ages, following in the footsteps of the world-renowned architect Mimar Sinan, as the descendants of a generation that established such states with deep roots and global influence. This architectural approach of ours, which thrives by drawing inspiration from its roots, merges innovative techniques and traditional forms on the basis of our national identity and character. In the century of development, our intention regarding the domestic and national architecture initiative is unequivocal: To revive our time- honoured architecture and cultural heritage as well as to restore its well-deserved prestige... With this purpose, we have engraved Mimar Sinan's architectural mastery and engineering ingenuity into our modern architectural style. We built our architectural works not only with stone and mortar, but also with the character and spirit of a nation that has etched its name in golden letters in history. Indeed, we know that "words fly, but work remains." Being the descendants of the generations that have drawn their strength from a blend of tradition and the future, we endeavour to improve the service provided to our cherished nation. It is our responsibility regarding architecture to honour our collective ancestral heritage while striving to create structures that are superior, more beautiful, aesthetically pleasing, and truly magnificent. We are progressively implementing our architectural vision by developing our nation's homes, places of worship, cultural and artistic venues, bridges, airports, contemporary residential neighbourhoods, national gardens, urban hospitals, and stadiums, thereby enhancing our country's value. Over time, the architectural works we create will propel our nation towards a more robust future. We take pride in having successfully completed every project we have undertaken and implemented them in the service of our nation. Our history, culture, and civilization heritage have been the primary focus of our service to our nation. From this day forward, we will continue to decorate our country with peaceful and safe structures featuring aesthetic architecture along with conserved historical and cultural assets. Architectural works are the most significant symbols of a civilisation that have withstood the test of time. In the process of construction, we have always acted with the awareness that the true wealth of societies is measured by their contributions to civilisations. Prepared by the Presidency's Directorate of Communications, the book "From Tradition to Future: Architecture of the Century of Türkiye" manifests our architectural vision in the Century of Türkiye and has the characteristics of a special work embodying in detail our state's architectural approach that merges our time-honoured cultural heritage with a modern perspective mobilising all resources. This work is a concrete example of our goal to form a robust bridge between the past and the future as well as our endeavours to build a more livable, stronger, and more prosperous country in the Century of Türkiye. I would like to express my appreciation to everyone who has contributed to the preparation of this book, which I believe will constitute a precious source in carrying our architectural approach and civilisation to the future. PRESIDENT OF THE REPUBLIC OF TÜRKİYE RECEP TAYYİP ERD O ĞAN 8 9 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE P R E S I D E N T I A L C O M P L E X HOUSES OF THE NATION 01 Presidential Complex Ahlat Presidential Complex New York Turkevi Centre (Turkish House) 10 11 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE P R E S I D E N T I A L C O M P L E X 2 October 29, 2014 12 13 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE P R E S I D E N T I A L C O M P L E X The Presidential Complex is a large living complex located in the Beştepe neighbourhood of the Yenimahalle district of Ankara, the capital of Türkiye, and is home to the Presidential Office. The project commenced in 2009, while the construction site became operational in 2012, and the main structure and administrative buildings were put into service in 2014. It was officially inaugurated on October 29, 2014, on the 91st anniversary of the founding of the Republic of Türkiye. The opening ceremony of the Presidential Complex was a comprehensive and remarkable event. The opening ceremony commenced with a vibrant atmosphere, enhanced by the presence of a Mehter Band (Janissary Band). 14 15 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE P R E S I D E N T I A L C O M P L E X President Recep Tayyip Erdoğan gave a speech on the meaning and importance of the Presidential Complex, its architectural details, its contribution to Türkiye's vision, and the opportunities it offers to the general public. Subsequently, the opening ceremony of the Presidential Complex continued with the recitation of the Holy Qur'an and prayers. During the opening ceremony, guests were introduced to the departments, workspaces, conference halls, and social venues of the Presidential Complex. As part of the opening ceremony, concerts, folk dance performances and exhibitions were organised, as well as dishes and refreshments from traditional Turkish cuisine were served. The opening ceremony, which was followed with interest by national and international media members, was evaluated as an important event reflecting all of Türkiye's traditional values in unison. 16 17 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE P R E S I D E N T I A L C O M P L E X At the opening ceremony of the Presidential Complex, a "Presidential Complex Guidebook" in Turkish, English, and Arabic was prepared to be distributed to President Recep Tayyip Erdoğan along with local and foreign guests visiting the Presidency. The 61-page guidebook, which contains information about the Presidential Complex, includes photographs of the main view of the building, cocktail area, official visits, receptions, iftar programmes, and award ceremonies, as well as the guest hall and venues open to the public. The guidebook also includes the oil painting portraits of the Presidents of the Republic of Türkiye displayed in the Presidential Complex. The building, which symbolises the union of the state and the general public at the pinnacle, is referred to as a "complex" due to its inclusion of a variety of components, including mosques, libraries, congress and culture centres, and administrative buildings. President Recep Tayyip Erdoğan's statement, "Welcome to the Presidential Complex, the house of the nation. We are endeavouring to cultivate the spirit of this location, where we convene with our fellow citizens from a variety of backgrounds on a variety of occasions," is included in the introduction section of the guidebook. In addition to representing a nation and a state, the Presidential Complex was intended to serve as a reflection of a civilisation that has endured and will continue to endure. During the construction of this work, the aim was to build a modest, strong, and timeless structure. The design of the Presidential Complex was conceptualised with the understanding that architecture is "the art of construction," and the objective was to optimise the organisation of functions by utilising the most advanced technologies and high-quality, durable materials. Furthermore, the Presidential Complex was constructed with the intention of establishing an artistic relationship between the structure and human emotions. The Presidential Complex was designed as a contemporary approach that can create the future of the past, with the understanding that architecture tells its own narrative in every work and aims to transfer this narrative to new buildings and the future. The architect of this work, which is at the service of the public, is Şefik Birkiye. The Presidential Complex is a compound that houses many functions associated with the Presidency while bearing symbolic and monumental features. Beginning in 2015, the Presidential Complex became home to the People's Mosque and Congress Centre, the Exhibition Hall in 2019, and finally, the Nation's Library in 2020. 18 19 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE P R E S I D E N T I A L C O M P L E X The Presidential Complex is situated on a 70-hectare plot of land and encompasses a total of 400,000 square metres of ground, which includes all functions, with a total area of 775,500 square metres. In the construction of the Presidential Complex, lasting, durable and local materials were used. Natural stones were selected for the floors and facades, while recyclable aluminium was chosen for the joinery, and zinc was utilised for the roofs. The buildings, excluding the basement, were typically designed to have a maximum of 4-5 storeys and were arranged in hierarchical gabarite and heights in accordance with the functions they serve. The materials used in the construction of the Presidential Complex and the green area design create a natural integrity with its surroundings. The Presidential Complex's construction was inspired by contemporary architecture as well as historical and local architecture. This inspiration was mostly through the adaptation of architectural details such as form, material, colour, and proportions to respond to the new programme. The seven edifices in the Presidential Complex possess unique architectural features. These are the main reception building, administrative offices, congress and cultural centre. Although the facades of the People's Mosque are associated with elements used in other buildings, the structure itself resembles those of historical mosques. The exhibition hall and the library were made with two different architectural styles but were connected by a continuous gallery around the square. Certain portions of the lower ground floors in the northern and southern buildings, which are comprised of a basement, sub-ground, ground, and three floors, are designated for administrative offices, as well as storerooms, a kitchen, a masjid, and a dining hall that can accommodate up to five hundred individuals. The basement floor functions as both a parking garage for 250 vehicles and a shelter. The garden layout of the Presidential Complex has been designed using three distinct approaches. In the garden layout, the general design has been arranged with large and dense trees along all main roads and plot perimetres, while the areas in front of and around the buildings have been designed proportionally and in relation to the buildings. The garden layout, which includes landscaping in an area of 65 thousand square metres, features terrace gardens on lower and upper floors designed to blend with the architecture. Planned to be in harmony with nature, the Presidential Complex collects rainwater and groundwater through temporary reservoirs to meet the irrigation needs of the gardens. With the principle of "The best energy is the energy we don't use," the building has been made possible to consume 50% less heating and cooling energy than required. In the Complex, where all structures have been heavily insulated, walls, high- insulation joinery, and glass have been used, thereby reducing the need for heating and cooling. Additionally, the sunshade systems adapted to the building’s architecture contribute to energy savings and enhance the eco-friendly features of the structure. 20 21 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE P R E S I D E N T I A L C O M P L E X The architectural approach employed in the design of the Presidential Complex draws upon precedent structures from the Ottoman and Republican periods, such as the Grand Post Office in Sirkeci, the old Parliament building in Ankara, and Haydarpaşa Train Station. The Presidential Complex functions as Türkiye's primary administrative centre, integrating diverse structures and functions. The principal structures within the complex encompass the Presidential Main Building (Presidential Residence), the Nation’s Mosque, the Congress and Cultural Centre, the Nation’s Library, the Exhibition Hall, the Botanical Garden, and the July 15 Martyrs Monument. The Presidential Main Building, alternatively termed the Presidential Residence, serves as the epicenter of executive authority, accommodating the President’s office. This structure facilitates high-level governmental decision-making, diplomatic engagements, and formal receptions. The Nation’s Mosque, positioned within the Presidential Complex, has a worship capacity of 5,000 individuals. 22 23 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE P R E S I D E N T I A L C O M P L E X Another integral element of the Presidential Complex is the Congress and Cultural Centre. It is designed to accommodate national and international meetings, conferences, concerts, and cultural events. Characterised by its state-of-the-art technological infrastructure and expansive volumetric capacity, this venue aligns with contemporary spatial demands. Among the diverse architectural components of the complex, the Nation’s Library emerges as one of Türkiye’s most expansive libraries. The library structure stands out as the final architectural element completing the Presidential Complex. As the largest planned functional space within the Presidential Complex and due to its spatial relationship with other public-oriented structures such as the Nation’s Mosque, Congress Centre, and Exhibition Hall, the library's placement underscores its architectural and civic significance within the Complex. By integrating official and public spaces, the design achieves not only architectural aesthetic harmony among the buildings but also a cohesive spatial composition through green landscapes, gardens, courtyards, and plazas, thereby reinforcing the holistic integrity of the "complex." Despite its topographical placement on lower terrain, the library’s vertical expression and monumental scale enable visual and spatial parity with the elevated structures of the complex. The library's entrance, accessed through a grand plaza shared with the Exhibition Hall, highlights the direct spatial and functional relationship between the two structures. The library, with its collection of books, articles, digital resources, and study areas, serves as a significant knowledge hub for students and researchers. Operating 24/7, it provides ample study spaces, fostering an immersive learning ecosystem for students. Additionally, the Nation’s Library hosts a variety of events, seminars, and scientific conferences. Moreover, the Nasreddin Hodja Children's Library, located within the Nation’s Library, organises various educational and interactive activities tailored for children. The Library at the Presidential Complex of the new era is a rare example of a multi-functional, communication- oriented, and 24/7 operational scientific and learning centre on a global scale. It is not merely a repository for books but a technologically integrated knowledge hub, designed to connect with major libraries and information centres worldwide, enabling access to their resources through an advanced digital infrastructure. The Exhibition Hall, housed within the Presidential Complex, serves as a dedicated platform for cultural and artistic exhibitions, hosting both national and international showcases. The Botanical Garden, an extension of the Presidential Complex, functions as an ecological and recreational landscape, enhancing biodiversity preservation while fostering public engagement with nature. Designed as an exemplar of environmental stewardship, it promotes ecological awareness. 24 25 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE P R E S I D E N T I A L C O M P L E X The July 15 Martyrs’ Monument was erected in proximity to the Presidential Complex following the treacherous coup attempt of FETO. The monument was built to honour the memory of those martyred during the treacherous coup attempt and to commemorate the significance of that night. 26 27 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE P R E S I D E N T I A L C O M P L E X The Presidential Complex, which hosts national and international diplomatic events, official receptions, and state banquets, also serves as a venue for exhibitions, concerts, theater performances, and other artistic events. These international events serve to enhance Türkiye's standing on the global stage. The Presidential Complex was constructed in accordance with the principles of austerity. Moreover, the building plays a significant role for both the administration and society, enhancing Türkiye's standing and providing valuable services to the public through features like a mosque, library, and exhibition halls. Places such as libraries and mosques that provide public services and encourage the assembly of citizens from various backgrounds highlight the significance of the Complex as the respected house of the nation. The Presidential Complex, with its functional capacity, encompasses numerous features that align with the national interests of Türkiye. The presence of such a substantial complex enhances the Türkiye brand and increases Türkiye's visibility in the global arena. Numerous organisations have recognised the Presidential Complex as one of the top five, or even the foremost, among the most aesthetically pleasing presidential compounds. Architectural Digest (AD), a globally recognised publication, has designated the Presidential Complex as one of the nine most gorgeous presidential compounds in the world. The Presidential Complex serves as both an administrative centre and a residence for the nation, fostering an environment that promotes public engagement. Events such as national holidays, cultural gatherings, and special celebrations hosted at the Complex serve to enhance the connection between the citizens and the government. These activities foster social cohesion and play a vital role in maintaining the diversity of our cultural heritage. The Presidential Complex serves as a significant architectural emblem of Türkiye, reflecting its official role and the amenities it provides to the public. The Presidential Complex is a multifaceted edifice that reflects the historical, contemporary, and prospective narrative of the Republic of Türkiye. The complex, characterised by its architectural aesthetics, functionality, and social impact, serves not merely as a state building but also as a representation of national identity and sovereignty and is regarded not just as an architectural structure but as an artefact that embodies the vision and goals of Türkiye. The complex elegantly merges traditional Turkish architecture with contemporary elements, reflecting Türkiye's dedication to its heritage while also embodying a forward- looking perspective. Consequently, alongside its role as the administrative centre of contemporary Türkiye, the building holds significant value as a symbolic edifice that harmoniously merges historical and modern architectural elements. 28 29 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE P R E S I D E N T I A L C O M P L E X 30 31 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE P R E S I D E N T I A L C O M P L E X 32 33 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE P R E S I D E N T I A L C O M P L E X Ahlat Presidential Complex Contemporary Seljuks 24,222 m2 August 25, 2020 34 35 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE A H L AT P R E S I D E N T I A L C O M P L E X The construction of the Ahlat Presidential Complex in the Ahlat district of Bitlis commenced in 2018 and was fully completed in 2020. Furthermore, the construction of the Ahlat Presidential Complex Guesthouse for Officials commenced in 2020 and concluded in 2023. Hilmi Güner is the architect responsible for the construction designed to accommodate presidential guests. Consultancy services were provided by Prof. Ali Uzay Peker, a faculty member of the Department of Architecture at the Middle East Technical University Faculty of Architecture, for the project. The idea for a Presidential Complex in Ahlat was initially put forward by Devlet Bahçeli, the Chairman of the Nationalist Movement Party, in 2012. In August 2018, President Recep Tayyip Erdoğan made the announcement regarding the decision to construct the complex. The construction of the Ahlat Presidential Complex commenced in April 2019. The project, originally intended for use by the Presidency, was subsequently reassigned to the Ministry of Youth and Sports. The inauguration of the building took place on August 25, 2020. 36 37 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE A H L AT P R E S I D E N T I A L C O M P L E X Ahlat is known as the "Gateway to Anatolia." The area, historically recognised as the gateway of the Turks into Anatolia, has served dual roles as a military stronghold and a centre of cultural exchange since the time of the Seljuks. The Ahlat Presidential Complex stands as a testament to this identity, highlighting the significance of the historical heritage while also underscoring the strategic and touristic value of the region. Alongside the primary structure, supplementary structures were thoughtfully conceived to provide support. The Ahlat Presidential Complex has been thoughtfully designed as a social complex, featuring a guesthouse, security checkpoint, lodging facilities, as well as buildings dedicated to security and heating. The guesthouse serves as the primary structure, while the additional buildings function as supportive facilities for this main establishment. The overall construction area designated for the Ahlat Presidential Complex and Guesthouse for Officials project measures 24,222 square metres. The facade of the building features a blend of Ahlat and Erciş stone, turquoise-colored tiles and metal panels with geometric motifs. Additionally, materials such as titanium, zinc, and standing seam roofing, along with light grey and dark grey basalt block stone, have been used. The Ahlat Presidential Complex and the Guesthouse for Officials, situated on the shores of Lake Van adjacent to the historic Ottoman Castle in Ahlat, feature a design that blends traditional elements with contemporary aesthetics, catering to the needs of the President and esteemed guests. The building draws inspiration from local architecture and tradition, resulting in a harmonious synthesis that reflects the design aesthetics necessitated by contemporary technology. The design is unique to the region and is intricately intertwined with the architectural culture, primarily due to the significant emphasis placed on the utilisation of Ahlat stone in both the facade and landscaping of the buildings. The buildings are interconnected through the use of natural basalt block stone as a flooring material. The oak and yellow pine around this connection complement the region's natural vegetation. The Ahlat Presidential Complex and the Guesthouse for Officials project have two separate phases. The first phase of the project was planned as the ‘Ahlat Presidential Complex Project,’ and the second phase was planned as the ‘Guesthouse for Officials Project’. The land area designated for the Ahlat Presidential Complex project comprises three contiguous parcels. The Ahlat Presidential Complex encompasses a total construction area of 7,931 square metres. The Ahlat Presidential Complex can be entered via two distinct secure passage areas. The complex is positioned along the shoreline, with a breakwater constructed 20-25 metres in front of the building, providing a safeguard against potential disasters associated with the lake. The designated land area for the Guesthouse for Officials project consists of four distinct parcels. The Guesthouse encompasses a total construction area of 16,291 square metres. The project features two helipads, an outdoor parking area accommodating 16 vehicles, and an indoor parking facility with a capacity for 118 vehicles. The settlement has been established at a distance of 100 metres from the coastal border. In the context of the project, a unique design was developed with careful consideration of the cost factor as a priority. One noteworthy benefit of the project is that the structure is illuminated by natural light. 38 39 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE A H L AT P R E S I D E N T I A L C O M P L E X The design incorporates ornamental elements and geometric compositions that reflect architectural references from the Seljuk period, harmoniously blending with contemporary architectural principles. Kubadabad, the summer complex constructed by Sultan Alaaddin Keykubad along the shores of Lake Beyşehir in Konya, serves as a notable reference from traditional sources. The design of the Ahlat Guesthouse for Officials draws inspiration from elements such as observation balconies, stone materials, and boathouses, as reflected in the estimated drawings informed by art history and archaeological studies. The guesthouse, situated within the Ahlat Presidential Complex, akin to the Kubadabad Complex, has been designed to accommodate the requirements of hosting and providing shelter for guests, featuring reception halls that overlook the lake. The roof is supported by sixteen columns, offering shade to the circulation area surrounding the courtyard. These columns, which represent sixteen Turkish states, complete the historical symbolism. The entrance of the building features a tile arch along the central axis, flanked by geometric panels, creating a tripartite triumphal arch configuration. The arrangement of the triumphal arch evokes Mimar Sinan's triumphal arches located opposite the main portal in the courtyard of the Süleymaniye Mosque and at the entrance of the Selimiye Mosque in Edirne, both of which align with the concept of a monumental entrance. The complex serves as a reflection of the significance that the state places on the region. Ahlat city occupies a strategically significant geographical position, bridging Eastern Anatolia, Central Asia, Iran, the Caucasus, Anatolia, and Mesopotamia. This location has experienced a range of social and cultural transformations that have evolved alongside the shifting political landscape over time. The Malazgirt (Manzikert) Victory of the Turks positioned Ahlat as a significant gateway for incursions into Anatolia. Throughout this era, Ahlat served as both a pivotal gateway for conquests and a significant centre for cultural development. This is exemplified by the architecture of Ahlat and the quantity and quality of the scholars who have inscribed their names in history. Following the Turkish conquests, Ahlat emerged as a prominent centre in its region, experiencing a notable ascent that persisted until the 17th century. The architectural works and tombstones present in the city today are tangible representations of this deep-rooted history. The Presidential Complex constructed in Ahlat serves as a testament to the importance that this city, which is both aesthetically pleasing and historically significant, is accorded. The construction of the complex serves as a restitution to history that risks being overlooked. The importance of the 1071 Malazgirt Victory is prominently emphasised in Ahlat, acknowledged as the location where the entry to Turkish history and Anatolia was initially established. Consequently, the development and use of the complex transcends mere architectural endeavours, embodying a significant historical and political responsibility. A Cabinet Meeting was held on August 25, 2024, at the Ahlat Presidential Complex on the occasion of the 953 rd anniversary of the Malazgirt (Manzikert) Victory. 40 41 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE A H L AT P R E S I D E N T I A L C O M P L E X The complex serves as a symbol of the historical Ahlat cemetreies and the architectural style of the Seljuks. This symbol signifies the Republic of Türkiye's commitment to preserving its foundational values and historical legacy as it moves forward into the future. It further highlights the significance of the region in terms of political and strategic considerations. Ahlat occupies a significant geographical position where Türkiye's regional influence is evident across numerous domains today, having historically acted as a connector among the diverse civilisations of Anatolia. The complex is envisioned as a focal point that will enhance the economic and social progress of this region. Furthermore, the ability of the Ahlat Presidential Complex to accommodate both national and international organisations contributes to enhancing the visibility of the region and strengthening Türkiye's standing as a prominent nation in the area. The complex was constructed through a thoughtful integration of traditional Turkish architectural elements alongside contemporary design principles. The selection of materials that harmonise with the natural environment, along with a design that complements the picturesque view of Lake Van, enhances both the aesthetic and functional value of the building. This harmony also demonstrates the commitment to safeguarding the historical and natural beauties of the region. 42 43 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE A H L AT P R E S I D E N T I A L C O M P L E X 44 45 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE A H L AT P R E S I D E N T I A L C O M P L E X 46 47 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE A H L AT P R E S I D E N T I A L C O M P L E X 48 49 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE A H L AT P R E S I D E N T I A L C O M P L E X 50 51 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE A H L AT P R E S I D E N T I A L C O M P L E X 52 53 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE A H L AT P R E S I D E N T I A L C O M P L E X 54 55 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE A H L AT P R E S I D E N T I A L C O M P L E X 56 57 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE A H L AT P R E S I D E N T I A L C O M P L E X Foyer Area 58 59 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE A H L AT P R E S I D E N T I A L C O M P L E X 60 61 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE P R E S I D E N T I A L C O M P L E X New York Manhattan, New York Eastman Modern 20,000 m2 September 20, 2021 62 63 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE N E W Y O R K T U R K I S H H O U S E The New York Turkevi Centre (Turkish House) is a skyscraper owned by the Republic of Türkiye and located in New York City, United States of America, across from the United Nations Headquarters. This building houses the Permanent Mission of Türkiye to the United Nations as well as the Consulate General of Türkiye in New York. The Republic of Türkiye purchased the 11-floor, 6,173-square-metre building in 1977 at the initiative of then Minister of Foreign Affairs İhsan Sabri Çağlayangil, which was constructed in 1958 as the administrative headquarters of the IBM company. The building was named the Turkevi Centre (Turkish House) to represent our country, to help our citizens in the United States overcome their longing for Türkiye, and to make them feel at home. 64 65 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE N E W Y O R K T U R K I S H H O U S E As the building grew insufficient to meet the needs, the construction of a new one was considered. A decision has been made to construct a new Turkevi building that will be of a quality that is commensurate with the prestige of our country, compatible with contemporary technology in terms of architecture and technical aspects, and will also incorporate elements of Turkish architecture and will meet the office space needs of our foreign missions in New York. In 2012, the "New Turkevi Centre Project" in New York was de facto initiated, with Herrick Feinstein serving as legal counsel and Cresa as project manager. In 2016, the conversion procedures for the old Turkevi building were initiated, and the building was demolished on September 12, 2017. Construction preparations were initiated during the same period, and the construction tender was conducted from March 28 to April 5, 2017. On September 18, 2017, the groundbreaking ceremony was held with the participation of President Recep Tayyip Erdoğan, and the construction was eventually completed in 2021. The new Turkevi building was inaugurated by President Recep Tayyip Erdoğan on September 20, 2021. President Erdoğan cut the ribbon to unveil the building with First Lady Emine Erdoğan and representatives of foreign countries, including UN Secretary-General Antonio Guterres, President Ersin Tatar of TRNC, President Vjosa Osmani-Sadriu of Kosovo, President Andris Berzins of Latvia, and President Gitanas Nauseda of Lithuania. 66 67 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE N E W Y O R K T U R K I S H H O U S E The, opening ceremony was attended by then Minister of Foreign Affairs Mevlüt Çavuşoğlu, Minister of National Defense Hulusi Akar, Minister of Trade Mehmet Muş, Minister of Culture and Tourism Mehmet Nuri Ersoy, AK Party Deputy Chairman Binali Yıldırım, Türkiye's Ambassador to Washington Hasan Murat Mercan, representatives of foreign countries, and numerous guests. Speaking at the opening ceremony of the Turkevi Centre (Turkish House), which was funded by Türkiye, President Recep Tayyip Erdoğan described the Turkevi Centre as a "masterpiece" that will reflect Türkiye's place on the world stage in 2023, marking the Republic of Türkiye's 100th anniversary, and stated, ''Today we have justified pride. We are proud to be contributing another permanent work to our state and nation. We are proud because this work reflects the beauty and elegance of our historic and traditional architecture on the New York skyline." (...) "Our Turkevi building also symbolises our faith in the United Nations, multilateralism, justice, and peace. Here, we have established a new symbol of the diplomatic weight and vision of a growing, developing, and strengthening Türkiye.'' 68 69 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE N E W Y O R K T U R K I S H H O U S E Turkevi Centre stands out with its design inspired by Seljuk and Ottoman architectural motifs. The building's facade is curved and resembles the crescent on the Turkish flag, while the top is shaped like a tulip. These characteristics have served to establish the Turkevi Centre (Turkish House) as a symbolic structure representing Turkish culture on the New York skyline. 70 71 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE N E W Y O R K T U R K I S H H O U S E 72 73 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE N E W Y O R K T U R K I S H H O U S E The Turkevi building houses the Permanent Mission of Türkiye to the United Nations as well as the Consulate General of Türkiye in New York, the New York Representative Office of the TRNC, and other affiliated units and organisations. The Turkevi building, which hosts many summits and meetings in the United States and has become a gathering place for Turkish-American, brotherly, cognate, related, and friendly communities in New York, contributes significantly to our country's diplomatic and cultural visibility in this regard. The Turkevi building reflects Türkiye's growing power at the UN, increasing its diplomatic and cultural visibility while also hosting political, economic, and cultural events. 74 75 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE N E W Y O R K T U R K I S H H O U S E 76 77 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE N E W Y O R K T U R K I S H H O U S E As a symbol of Türkiye's international power, cultural wealth, and diplomatic importance, the Turkevi Centre holds significance in US-Türkiye relations. Since it was inaugurated, the Turkevi Centre has garnered extensive media coverage for its architecture and the events it hosts. The New York Turkevi Centre has created an opportunity for Turks, Americans, and people of other nationalities interested in Turkish culture. This location has also evolved as a meeting spot for cross-cultural interactions, artistic activities, and idea sharing. 78 79 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE N E W Y O R K T U R K I S H H O U S E 80 81 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE N E W Y O R K T U R K I S H H O U S E New York, United States of America, September 20, 2021 ''President Recep Tayyip Erdoğan participated in the inauguration ceremony of the New Turkevi Centre (Turkish House) in the United States and signed the book of honour.'' Places of worshıp 02 Grand Çamlıca Mosque Taksim Mosque Barbaros Hayreddin Pasha Mosque St. Ephrem Syriac Orthodox Church 84 85 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE P R E S I D E N T I A L C O M P L E X Grand Çamlıca Mosque İstanbul Hacı Mehmet Güner 57,500 m2 May 3 , 2019 86 87 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE G R A N D Ç A M L I C A M O S Q U E The Grand Çamlıca Mosque, known as the most modern complex in Türkiye, is located in the Üsküdar district of İstanbul. This mosque was designed by Hayriye Gül Totu and Bahar Mızrak. Architect Hacı Mehmet Güner gave the final touches to the project, and Ergin Külünk undertook the construction of the mosque. Beginning on August 6, 2013, the construction of the Grand Çamlıca Mosque, the largest mosque in the Republic's history, commenced. The İstanbul Association of Building and Keeping Alive Mosques, Educational and Cultural Buildings undertook the project and construction of the Çamlıca Mosque, which lasted for six years. On May 3, 2019, President Recep Tayyip Erdoğan inaugurated the Grand Çamlıca Mosque in the presence of invited dignitaries from Islamic countries and Türkiye, along with Turkish citizens at the event. 88 89 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE G R A N D Ç A M L I C A M O S Q U E Grand Çamlıca Mosque, referred to as the "Seal of the Century," was constructed as a complex in accordance with the characteristics of Ottoman and Seljuk architecture, thereby blending in with the historical architectural style of the city. The mosque includes the 11,000-square-metre Museum of Islamic Civilisations, which is under the Directorate of the National Palaces, a 3,500-square-metre art gallery, a 2,750-square-metre library, a 3,500-square-metre conference hall with a capacity of 1,071 people, 8 art workshops, children's playgrounds, and an indoor parking lot for 3,500 vehicles on its premises. The Grand Çamlıca Mosque overlooks the Bosphorus from Çamlıca Hill, just as the Süleymaniye Mosque, constructed by architect Mimar Sinan, does from Süleymaniye Hill. The mosque was constructed in line with the classical Ottoman-Islamic architecture of Mimar Sinan, utilising materials sourced from Anatolia, while concrete was specifically manufactured and employed for the load-bearing elements in order to ensure its durability. The installation of the central dome of the Grand Çamlıca Mosque is elegantly represented by four elephant leg columns, each reflecting the significance of the four caliphs. The mosque features 85 domes of varying sizes, which include four semidomes and eight secondary domes. The central dome was designed with a diametre of 34 metres, representing the unique licence plate number of İstanbul, while its height of 72 metres symbolizes the 72 nations residing in the city. In this magnificent mosque, Mimar Sinan's techniques were employed to combine the Turkish-Islamic architectural style with contemporary architectural form, culminating in a neoclassical style. 90 91 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE G R A N D Ç A M L I C A M O S Q U E Another remarkable feature of the Grand Çamlıca Mosque, which is constructed on a 57,500 square metre area, is that two of its six minarets, which symbolise the six articles of faith in Islam, are 90 metres high, while the other four are 107.1 metres high to symbolise the Battle of Manzikert. Two balconies are present on the 90-metre-high minarets, while the 107.1-metre-high minarets have three balconies each, which makes a total of 16 balconies, also symbolising the 16 Turkic states. There is a 4.5-ton ornate metal finial (Alam) that is 3 metres 12 centimetres in width, 7 metres 77 centimetres in height, and affixed to the central dome of the Grand Çamlıca Mosque. This finial, consisting of three parts and recognised as the largest finial worldwide, has been uniquely painted using nanotechnology. This mosque, featuring a door that measures 5 metres in width, 6.5 metres in height, and weighs 6 tonnes, is recognised for possessing one of the largest doors found in a place of worship globally. 92 93 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE G R A N D Ç A M L I C A M O S Q U E The Grand Çamlıca Mosque in İstanbul features a shadirvan with 16 taps in the courtyard, which seamlessly incorporates with the city and its historical architectural style. There are also ablution fountains in the outer courtyard, landscaping area, and basement of the mosque. The mosque was designed so that 63,000 people in the outer courtyard and 25,000 indoors can worship simultaneously. Vehicular access tunnels and unobstructed pedestrian access to the spaces guarantee that the mosque is in perfect harmony with the surrounding landscape. The mosque is accessible to residents and visitors with its greenery, walking paths, benches, gazebos, water pools, children's playgrounds, and cafeteria, enriched with landscaping works by preserving the existing green areas. 94 95 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE G R A N D Ç A M L I C A M O S Q U E 96 97 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE G R A N D Ç A M L I C A M O S Q U E The Grand Çamlıca Mosque has a different design with its acoustics, sound systems, lighting, heating, ventilation, and security systems. Light, colour, glass, ornamentation, and calligraphy were prioritised in the construction of the mosque with minimalist ornaments to evoke spiritual sentiments rather than overwhelming individuals with its physical size. The mosque's lighting is intended to be customised to reflect the unique stories of special evenings and days. The heating system in the mosque is made with underfloor heating and fancoil air conditioning with heating and cooling functions. The carpet pattern is meticulously crafted, encompassing an impressive area of 17,000 square metres, and is composed of antibacterial material. 98 99 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE G R A N D Ç A M L I C A M O S Q U E The museum contains over 600 artefacts that illustrate the historical progression of Islamic art from the 7th to the 19th centuries, and occupies a total indoor area of 10,000 square metres. There are 15 thematic sections enriched with digital applications in the museum, which includes distinguished works reflecting Turkish-Islamic history and spiritual identity. Visitors can view digital displays and installations on the origins of Islam and the Ottoman Empire. In addition, there is a video room about the holy relics for visitors to the Grand Çamlıca Mosque. Visitors can view and learn about all the holy relics in this room. One of the most important parts of the complex is the Museum of Islamic Civilisations. 100 101 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE G R A N D Ç A M L I C A M O S Q U E 102 103 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE G R A N D Ç A M L I C A M O S Q U E Located at an elevation of 210 metres on Grand Çamlıca Hill, the structure serves as a symbol of İstanbul by virtue of its cultural, artistic, and religious functions. Approximately 100 thousand people attend prayers at the Grand Çamlıca Mosque each week, reaching around 5 million annually. The mosque attracts visitors not only from İstanbul and Türkiye but also from many countries around the world. The Altunizade-Bosna Boulevard Metro Line will facilitate access to the mosque, which reflects the deep spiritual power of Islam, and the number of people visiting the mosque will increase even more. The Grand Çamlıca Mosque, a spectacular architectural masterpiece that integrates with the city's historical fabric, is the most modern complex in Türkiye, featuring an art gallery, library, conference hall, art workshop, and the Museum of Islamic Civilisations, in addition to serving as a vast place of worship. The structure was designed not merely as a local mosque but as a grand edifice capable of accommodating Friday prayers, where an impressive assembly of 70,000 individuals convened for morning prayers in 2019. Additionally, as a community complex with its various buildings, the mosque provides significant historical, social, and cultural benefits to the country. Ottoman - Seljuk 16,220 m2 May 28, 2021 106 107 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE TA K S İ M M O S Q U E Taksim Mosque, referred to as the Living Mosque, is situated in Taksim Square within the Beyoğlu district of İstanbul. The Taksim Mosque, situated behind the Maksem Cistern overlooking Taksim Square, was designed to blend harmoniously with the historical character of this structure. The mosque is designed as an extension of the Maksem and presents an appearance that harmonises with the historical character of the square. Furthermore, the mosque's architecture is influenced by the 19th-century architectural approach that prevailed in the Beyoğlu region, and this approach complements the multicultural structure of the region by blending aesthetically with Islamic architecture. The history of Taksim Mosque dates back to the strengthening of the cosmopolitan structure of Beyoğlu after the Ottoman Imperial Reform Edict of 1856 and particularly the construction of the Hagia Triada Church after the War of '93 (Russo-Turkish War of 1877–1878). The construction of the church brought up the idea of building a mosque in Taksim. However, this idea could not be materialised due to the transformation of Hagia Sophia into a museum and the similar fate of other mosques during the one-party period in the early years of the Republic. Attempts to build a mosque, which began in the 1950s during Adnan Menderes' term, were interrupted due to political instability and the 1980 coup d'état. After 1980, the Taksim Mosque project came to the agenda again during the Turgut Özal era, but despite the establishment of a foundation in the 1990s, no progress could be made. The project was executed after being revived in 2002 under the leadership of Recep Tayyip Erdoğan. 108 109 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE TA K S İ M M O S Q U E The mosque, the construction of which was undertaken by the philanthropist Elmas family, was designed with modernised traditional Ottoman and Seljuk architecture. The permit for the Taksim Mosque, which was intended to be constructed on numerous occasions throughout history, was obtained on January 25, 2017, and the mosque was completed and opened for worship on May 28, 2021. The architect of Taksim Mosque is Şefik Birkiye, an internationally renowned architect who blends traditional and modern architecture. Architect Ziya Altan Elmas, Chairman of the Board of Directors of Sur Group, also partook in the application and design phase of the building. The mosque is designed not only as a place of worship but also as a complex with social and cultural functions such as a soup kitchen, conference hall, book café, and exhibition area. With these features, Taksim Mosque serves multifaceted needs such as worship, social solidarity, cultural activities, and education. Taksim Mosque displays a rich synthesis of Islamic architecture. The work reinterprets the classical elements of Seljuk and Ottoman architecture using modern building materials and construction techniques. It particularly focuses on the forms, spatial arrangements, and dome concepts of classical mosque architecture, which were influenced by Hagia Sophia after the conquest of İstanbul and reached their peak with Mimar Sinan. In this way, a design approach that carries the historical heritage to the present day has been adopted. The mosque also bears traces of the architectural approach that dominated Beyoğlu in the 19th century. In accordance with the facade designs and general architectural language of this period, a modern appearance was created to ensure that the mosque harmonises with its surroundings. 110 111 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE TA K S İ M M O S Q U E Taksim Mosque stands out as one of the important architectural works of İstanbul with its architectural and functional features. Integrated into the historical and natural texture of the city, the mosque was built on a plot of 2,482 square metres and has a total construction area of 16,220 square metres. Designed to be in harmony with its surroundings, the central dome of the mosque is 24.5 metres in diametre and 33 metres in height. This dome stands out as a modern interpretation of Ottoman and Seljuk architecture. The two minarets, which give the mosque an aesthetic visuality, are 64.80 metres high, and each has two balconies. The interior plan of the building offers a spacious section for worshipping in addition to social facilities. The 2,300 square metre indoor space for worshipping has a capacity of 3,200 individuals, whereas the 1,200 square metre outdoor worshipping area has a capacity of 1,660 individuals. With a total capacity of 4,860 people, the mosque provides an ideal venue for large gatherings. Moreover, approximately 10 thousand square metres of parking area provide convenience to the mosque congregation as well as citizens in the vicinity. The facade of the Taksim Mosque is made of natural stone, which is commonly found in Taksim and Beyoğlu areas. Materials prevalently used in Seljuk, Ottoman, Byzantine, and Anatolian architecture were blended with a modern perspective and applied to the building. The use of materials, especially precast stones and titanium zinc cladding, has a symbolic meaning that is in harmony with both traditional mosque aesthetics and modern engineering and technology. On the mihrab (niche in a mosque in the direction of ka'bah), Al-Asma-ul-Husna (names of Allah) were carved on completely natural stone. Natural stone cladding from the Antalya region was used in the exterior architecture of the mosque with columns and eave structures as well as eli böğründe (a buttress style) figures inspired by traditional architecture. The modernised dome and cavities of the mosque are in harmony with the traditional elements and are coated with alloyed titanium zinc, ensuring that the mosque shows integrity in terms of aesthetics and durability. 112 113 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE TA K S İ M M O S Q U E Taksim Mosque's landscape project is designed to create a functional transition area in cohesion with its environment. The passageway between the mosque and the Maksem (water distribution) building serves as a nice connection point between İstiklal Avenue and Tarlabaşı Boulevard. This passage has been elaborately planned to offer both a comfortable walkway and a visually aesthetic experience for the visitors. In addition, the book café, book house, and cultural centre entrances from Taksim Avenue contribute to the social and cultural life of this avenue. These entrances have made Taksim Avenue and the area more vibrant and interactive. In this way, the landscaping had a positive impact not only on the functionality of the mosque but also on the environment and social mobility in the area. In the interior design of the mosque, aesthetic elements such as traditional calligraphy and Islamic calligraphy were combined with modern techniques. The calligraphic writings in 24-carat gold leaf and the details applied with the naht (a type of woodcarving) technique added a deep artistic and historical texture to the interior of the mosque. Designed by calligrapher Davut Bektaş and appliquéd by embroidery artist Adem Turan, the lines are embroidered with 24-carat gold leaf and carefully applied using the naht technique. These details reflect the spirit of the mosque by combining the elegant and historical texture of the interior with a modern aesthetic. These design elements bear deep meaning both visually and spiritually. In the construction of the Taksim Mosque, a novel construction technique called top-down was preferred. Unlike traditional construction techniques, this method allows both upper and lower floors to be built simultaneously, starting from the ground floor rather than the foundation below ground level. The top-down building technique enables the construction to be carried out without conducting deep excavation or damaging surrounding buildings, roads and the square. Through this technique, the mosque's construction process continued with environmental sensitivity and was completed without damaging the city's infrastructure. 114 115 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE TA K S İ M M O S Q U E Located on a 100-square-metre area, the Taksim Soup Kitchen serves food to the public as part of its commitment to social responsibility. This section ensures that the mosque serves not only a religious but also a social function. Having the characteristic of a complex, Taksim Mosque features baths that provide free cleaning and bathing facilities for homeless, deprived, and needy citizens. Furthermore, a baby care room is available for mothers to tend to their children while at the mosque. Located within the complex, Taksim Children's Club provides a decent and culturally enriching environment for children and their families by organising activities, gatherings, training sessions, and workshops centred around the mosque and the cultural centre. Taksim Studio, currently under construction as part of the Taksim Mosque complex, aims to provide services for young people, including training and recording opportunities for professional podcasts and YouTube video productions. 116 117 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE TA K S İ M M O S Q U E Taksim Mosque, situated in Taksim Square, a significant tourism centre in İstanbul, attracts thousands of local and international visitors, including those who come to engage in worship. The Taksim Team, composed of enthusiastic volunteers from prominent universities in İstanbul, proficient in various foreign languages including English, Arabic, German, Spanish, and Russian, graciously offers their services as guides at the mosque. The team not only offers guidance in mosques but also extends valuable information and counselling on Islam to foreign visitors and tourists. The mosque features a parking area that spans approximately 10 thousand square metres. This area plays a significant role in alleviating the congestion in the city by addressing the parking requirements of visitors to the mosque and the nearby vicinity. The revenues generated from the parking lot are managed by the Taksim Mosque Islamic Education and Culture Foundation, which serves to address the needs and support the sociocultural activities associated with Taksim Mosque. Consequently, the mosque serves as a contemporary illustration of the sustainable foundation tradition. Taksim Mosque harmoniously integrates traditional mosque architecture with contemporary design elements, resulting in a distinctive structure. The distinctive attributes of traditional mosque architecture, particularly components like the dome, mihrab, and minbar, have undergone reinterpretation through the use of contemporary materials and cutting-edge construction methods. The conventional architectural features of the mosque, particularly the dome and minarets, are acknowledged as significant spiritual focal points and potent emblems of the Islamic world. The height of the dome and the extension of the minarets represent the profound spiritual significance of the mosque, as well as its robust foundations of faith. Furthermore, the contemporary reinterpretation of the mosque's traditional design underscores the synthesis of historical significance and future aspirations, merging the cultural heritage of the past with the contemporary world of the present. Thus, the mosque has evolved into a structure that embodies a rich historical identity while simultaneously reflecting a modern sense of aesthetics. 118 119 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE TA K S İ M M O S Q U E 120 121 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE TA K S İ M M O S Q U E Situated in Taksim Square, a significant cultural and historical landmark of the city, the mosque provides convenient access for all, facilitating both worship and a variety of social and cultural events due to its central positioning. Taksim Mosque, a structure seamlessly woven into the fabric of social existence, has established a venue for worship in the Beyoğlu district, which had been devoid of such a place for numerous years. 122 123 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE TA K S İ M M O S Q U E The Taksim Mosque is a landmark architectural achievement that seamlessly integrates with the surrounding landscape and resonates with the historical context of Taksim Square. The materials employed in the mosque's interior and exterior harmoniously blend aesthetic appeal with practical utility, integrating both traditional and contemporary architectural elements. The mosque achieves a commendable harmony with its environment through its strategic placement on the ground and first basement floors, effectively linking İstiklal Avenue, one of the main arteries of İstanbul, with Tarlabaşı Boulevard. An aesthetic focal point that is in harmony with the historical structure has been established by the mosque, which lends a distinctive silhouette to Taksim Square with its precast facades and domes covered with titanium zinc alloy. Pasha Mosque İstanbul Hacı Mehmet Güner 2 May 9, 2023 126 127 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE B A R B A R O S H AY R E D D İ N PA S H A M O S Q U E The Barbaros Hayreddin Pasha Mosque stands as a significant example of contemporary architectural achievement in the Beşiktaş district of İstanbul. The permit for the mosque, drawing inspiration from the Süleymaniye Mosque, a masterwork of Mimar Sinan, was secured on January 27, 2020. The mosque was opened for worship on May 12, 2023 with the participation of President Recep Tayyip Erdoğan. Features 128 129 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE B A R B A R O S H AY R E D D İ N PA S H A M O S Q U E The architect of the Barbaros Hayreddin Pasha Mosque, notable for its thematic characteristics, is Hacı Mehmet Güner. The mosque's construction was carried out by the Levent Mosque Education, Culture and Service Units Association for Construction and Sustenance. The mosque was constructed to address the region's requirement for a substantial mosque. The mosque was constructed in a neoclassical architectural style, utilising entirely local materials in its building process. The mosque features a prayer hall, a book café, a digital visual arts hall, an educational facility for children aged 4 to 6, and a four-storey parking structure. The mosque's ground level encompasses 7,000 square metres, the assembly floor spans 3,100 square metres, and the basement occupies 46,000 square metres, all constructed within a total area of 56,100 square metres. The mosque possesses a profound spiritual grandeur, providing both social and cultural venues alongside communal spaces. The Barbaros Hayreddin Pasha Mosque encompasses a variety of facilities, including workshops, multi-purpose halls, offices, a parking area, and an ablution hall. The workshops consist of an area of 300 square metres, whereas the multipurpose hall spans 1,700 square metres. The offices encompass 1,584 square metres, the ablution hall is 1,780 square metres, the parking lot, accommodating 900 vehicles, spans 32,400 square metres, and the total building area is 55,110 square metres. The mosque is constructed to accommodate 20,000 worshippers simultaneously, comprising 6,500 individuals indoors, 4,500 in semi-open areas, and 9,000 in open areas. The mosque possesses the capacity to accommodate funeral prayers for 40,000 individuals concurrently. The main dome of the Barbaros Hayreddin Pasha Mosque has a diametre of 23.60 metres and a height of 44 metres. The mosque has 4 minarets. Two of the minarets are 91.50 metres tall, and the other two are 78.75 metres. The mosque's minarets feature seagull motifs and were designed with a sea theme. There are 32 domes in the courtyard of the mosque, 32 domes in the mosque, two semidomes and four secondary domes. In the centre of the dome inscription is a 16-pointed compass star. Similarly to the main dome of the Grand Çamlıca Mosque, the mosque is furnished with massive copper plates and gold and silver-coloured materials and incorporates nanotechnology. Blue stained glass and sailboat motifs are featured in the 32 windows encircling the mosque's main dome. The patterns surrounding the main dome of the mosque are shaped as a ship's rudder, and the Surah Ibrahim Verse 32 is written on the main dome: "It is Allah Who created the heavens and the earth and sends down rain from the sky, causing fruits to grow as a provision for you. He has subjected the ships for your service, sailing through the sea by His command, and has subjected the rivers for you." Copper material was used in the dome decoration work inside the mosque, and the dome was designed to change colour over time and provide a different visual feast to the congregation during each prayer period. Surah Rahman is included in the inscription band under the dome. Written on a curved surface, it is a unique piece of calligraphy. 130 131 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE B A R B A R O S H AY R E D D İ N PA S H A M O S Q U E The architectural design of the mosque is based on the maritime themes related to Barbaros Hayreddin Pasha. All of the decorations, calligraphy, and miniature works in the mosque were inspired by this central theme. 132 133 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE B A R B A R O S H AY R E D D İ N PA S H A M O S Q U E The presence of spiral columns, courtyard-side doors, and engravings on the minaret contributes to its status as a remarkable piece of art in its own right. The mosque showcases calligraphy, illumination, and decorations by renowned artists like Ferhat Kurlu and Mustafa Çelebi. Mimar Sinan's invention was implemented in the mosque's acoustics, where 242 openings were created in the dome's acoustics, and these openings were subsequently filled with chemicals based on the recommendations of sound engineers. The marine-themed blue carpets at the Barbaros Hayreddin Pasha Mosque were custom-made in Manisa. 134 135 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE B A R B A R O S H AY R E D D İ N PA S H A M O S Q U E The mosque, which welcomes visitors with a miniature patterned giant tile work called “Hızır’s Path,” which draws attention with the Hagia Sophia Grand Mosque, Topkapı Palace and ship motifs on the wall facing the courtyard, also has 10 specially designed miniature panels inside. All of the miniature tiles are designed with original compositions. The mosque was named after Barbaros Hayreddin Pasha, and the panel named "Hızır's Path" is a reflection of his life. At the top of the work is the 13th verse of Surah As-Saf: "Help from Allah and a victory that will come soon! Give glad tidings of this to the believers." The main window on the wall features a unique fusion glass design resembling a sea wave, with colourful transitions that contribute a distinctive flair to the mosque. The main door measures 13 metres in length and 5 metres 90 centimetres in width, crafted using the Seljuk-patterned Rumi ornamented kündekâri technique. Carnation and rose patterns were used on the mosque's kündekâri main gate, natural stone decorations in the narthex, and fountains, drawing inspiration from Barbaros Hayreddin Pasha's carnation portrait and Fatih Sultan Mehmet's rose portrait. The kündekâri door, metal accessories on the shutters, and the mother-of-pearl inlays were all designed specifically for the mosque. The mihrab, which is entirely composed of mosaic pieces that have not been produced in Anatolia since the 13th century, is without a doubt one of the mosque's most significant features. The surface of the 13-metre-high mihrab bears the 149th verse of Surah al-Baqarah. The main chandelier is adorned with 99 lamp glasses that resemble waves, which are intended to symbolise the names of Allah, Al-Asma-ul-Husna. In this manner, the mosque's dome decorations became more visible. There are over 80 thousand mosaic tile pieces in the entire mihrab. The main chandelier was designed so that it did not overshadow the dome or decorations, while also including maritime motifs. 136 137 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE B A R B A R O S H AY R E D D İ N PA S H A M O S Q U E The spiral columns in the courtyard are among the rare pieces. This design is inspired by the rope used in ships. The stalactite on the courtyard's side door was designed in a manner that was consistent with contemporary standards, and the design was further complemented by fountains on either side. A permeable appearance was attained using cast separators in the courtyard porticoes. The majority of the landscape of the mosque, which has classical Ottoman architectural features, consists of hard ground. The mosque, which includes an ornamental pool, has a green space that is integrated with the surrounding environment and the building. There are shopping centres, business centres, and residences around the mosque. The mosque's garden is a square and has become a popular gathering place for people. The Barbaros Hayreddin Pasha Mosque project is quite evident in its similarity to the proportions in the works of Master Sinan, as classical mosque architecture was the preferred style. 138 139 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE B A R B A R O S H AY R E D D İ N PA S H A M O S Q U E The design of the Barbaros Hayreddin Pasha Mosque is derived from an example that was constructed in the 1300s. The project has been completed after 1.5 years of planning, design, manufacturing and application of 80 thousand pieces of tiles. The tiles in a 600 square metre area within the mosque were designed by Mehmet Gürsoy, who was given the "Living Human Treasure" award by UNESCO in 2009. The tiles were prepared exclusively for the Barbaros Hayreddin Pasha Mosque, using classical patterns and motifs. Barbaros Hayreddin Pasha Mosque emerged as a project of necessity. There are no additional mosques along the main arterial road that begins at Yıldız Hamidiye Mosque and extends through Büyükdere, Sarıyer. The mosque's location, situated across business and shopping centres, attracts numerous local and international visitors. In addition to meeting the need for a place of worship in the region, the mosque also welcomes many tourists. Approximately 500,000 individuals visit the mosque annually, and the number is steadily increasing. Orthodox Church İstanbul Dr. Lory Zakar, Gaye Ertuğ ve Modern 700 m2 October 8, 2023 142 143 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE S T . E P H R E M S Y R I A C O R T H O D O X C H U R C H St. Ephrem Syriac Ancient Orthodox Church is located in the Yeşilköy district of İstanbul. The Syriac Christians, who largely immigrated to İstanbul after the 1950s, initially performed their religious service in seven different churches. Six of these churches belong to sister congregations. However, differences in congregational rituals and the physical inadequacy of the churches have created several problems. For this reason, religious and civil leaders of Syriac Christians requested the state to allocate a plot in Yeşilköy, where the majority of the community lived. Features 144 145 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE S T . E P H R E M S Y R I A C O R T H O D O X C H U R C H In a meeting in 2010, then-Prime Minister, President Recep Tayyip Erdoğan told the spiritual leader of the Syriac Christians that he had conveyed the subject matter to the deceased Kadir Topbaş, then-Mayor of İstanbul Metropolitan Municipality, and had given the directions to determine a suitable location. The issue of building a church on the empty part of the land, the ownership of which belonged to the Metropolitan Municipality of İstanbul since 1951 and is referred to as the Abandoned Italian Cemetrey in the city plans, was then brought to the agenda. Upon the approval of the Mayor of İstanbul Metropolitan Municipality, the 1/1000 and 1/5000 plans were amended in a short while, and the area was designated as an abandoned cemetrey and place of worship. With a decision dated May 17, 2013, the Mayor of İstanbul Metropolitan Municipality allocated the land indefinitely to the Beyoğlu Syriac Ancient Virgin Mary Church Foundation as long as it is used as a place of worship. Since there was a chapel and a registered grave in the cemetrey, the project had to be registered by the Regional Council for the Conservation of Cultural and Natural Property. During the implementation of the project, registration by the council and the process with the Latin Catholic Church, immense support was received from all official institutions, especially from President Recep Tayyip Erdoğan, and the project was approved. On August 3, 2019, the groundbreaking ceremony of the church took place with the participation of President Recep Tayyip Erdoğan. St. Ephrem Syriac Ancient Orthodox Church was completed by the end of 2022 as a result of the pandemic. The church's opening was originally scheduled for February 19, 2023, but was postponed due to the disaster of the century on February 6, 2023. St. Ephrem Syriac Ancient Orthodox Church was opened for worship on October 8, 2023, with the participation of President Recep Tayyip Erdoğan, ministers, mayors, and a large protocol from Türkiye and abroad. The construction of the St. Ephrem Syriac Ancient Orthodox Church was initiated by the architect Dr. Lory Zakar and Gaye Ertuğ, and completed by architect Engin Ürün. The church is made of reinforced concrete and has an area of 700 square metres. The precast facade cladding system was applied to the 5-storey church. Above the parking area level of the building, there is a cultural hall, above the cultural hall is the church, and above the church, the metropolitanate, secretariat, and guest rooms. 146 147 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE S T . E P H R E M S Y R I A C O R T H O D O X C H U R C H The first church in the history of the Republic, St. Ephrem Syriac Ancient Orthodox Church, was built in Yeşilköy because the majority of the Syriac Christian community resides in this district. The church was named after St. Ephrem, a teacher, priest, and saint who lived in the fourth century and was considered a saint by all Christian denominations. Integrated with the city's nature and architecture, the church is used as a place of worship by the Syriac Orthodox Community. In addition to being a place of worship for the Syriac community, the church is a place for congregational gatherings, wedding ceremonies, and condolences. People of all faiths live together around the church, which is located in a residential area. Since the church is located in a residential area, the garden space is smaller. Therefore, landscaping of the church is limited to greenery at the foot of the walls. A variety of trees can be found in the cemetrey behind the church. 148 149 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE S T . E P H R E M S Y R I A C O R T H O D O X C H U R C H The church was designed based on the architectural features of the Syriac Orthodox churches and constructed using modern technology. The church's interior design took into account the Syriac Orthodox rituals. The historical atmosphere and unique traits found in all Syriac Orthodox churches were incorporated into the St. Ephrem Syriac Ancient Orthodox Church during its construction, which was modernised with the use of contemporary technology. The church, seamlessly integrated into the cityscape and historical texture of İstanbul, is open to worship at all times. The church attracts many visitors from Türkiye and abroad, particularly Syriacs visiting İstanbul from abroad. Muslim citizens also visit the church. 150 151 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE S T . E P H R E M S Y R I A C O R T H O D O X C H U R C H The İDEM (REYONO) magazine, an annual news and cultural publication of the İstanbul Metropolitanate of the Syriac Orthodox Church, chronicled the church's construction process from its inception to its inauguration. St. Ephrem Syriac Ancient Orthodox Church was widely covered in the international media as the first church to be constructed in the history of the Republic, which contributed to the enhancement of the Türkiye Brand and the prestige of the country. The construction of a brand new church in İstanbul garnered great interest worldwide. The opening of the St. Ephrem Syriac Ancient Orthodox Church, which meets the worship needs of the large Syriac population living in Yeşilköy, was warmly welcomed by all Syriacs living abroad. The Syriac community expresses gratitude to President Recep Tayyip Erdoğan for his leadership and support in the church's construction. 152 153 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE P R E S I D E N T I A L C O M P L E X Culture and Arts Venues 03 Atatürk Cultural Centre The Nation's Library of the Presidency Rami Library Presidential Symphony Orchestra Concert Hall and Choir Building İstanbul Museum of Painting and Sculpture CerModern Arts Centre July 15 Democracy Museum Democracy and Liberties Island 154 155 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE P R E S I D E N T I A L C O M P L E X Atatürk Cultural Centre İstanbul Tabanlıoğlu Modern 95,596 m2 October 29, 2021 156 157 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE ATAT Ü R K C U LT U R A L C E N T R E Groundbreaking of the opera hall, designed by architects Feridun Kip and Rükneddin Güney, took place on May 29, 1946. However, the construction was later handed over to the abolished Ministry of Public Works and Settlement in 1953 after being halted due to financial constraints. In 1956, the construction continued on with the architect Hayati Tabanoğlu's project. The building was opened on April 12, 1969, with the name "İstanbul Palace of Culture." Following the massive fire that engulfed the building on November 27, 1970, it was repaired and reopened in 1978 as the "Atatürk Cultural Centre (AKM)." The architecture, which was completed with final touches from architect Hayati Tabanlıoğlu, is considered a typical example of 1950's minimalist and functionalist architecture. The AKM became Türkiye's most advanced performance arts venue, especially due to its deep and wide Grand Hall stage, whose advanced mechanical capacity included several lifts. The building, which was operational until the 2000's, later became largely unusable, leading to the planning of the "Rehabilitation of Atatürk Cultural Centre Project" by Tabanlıoğlu Arcitects, the project owners of the original structure. The Ministry of Culture and Tourism launched efforts in 2012 to reinforce, repair, and renovate the structure while preserving its existing condition. However, technical surveys following the deconstruction revealed that the building was further deteriorated than imagined. President Recep Tayyip Erdoğan announced the project for renovating the Atatürk Cultural Centre to the public on November 6, 2017. The tender for this project was held on December 27, 2018, as part of the Ministry of Culture and Tourism's investment programme, and the building was inaugurated by President Recep Tayyip Erdoğan on October 29, 2021. The renovated structure retained a resemblance to the iconic facade of the AKM designed by Hayati Tabanlıoğlu while embracing the nuances of modern architecture. AKM Building Foyer Area 158 159 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE ATAT Ü R K C U LT U R A L C E N T R E Facade of the Old AKM Building Facade of the New AKM Building Location of the AKM Building (Facade) The building, located at the heart of İstanbul, is significant in terms of its visual and physical integration with Taksim Square and the city's image. The structure has a usable area of 95,596 square metres, including an opera hall with a capacity of 2,040 spectators equipped with the latest technology; a theater hall for 777 spectators equipped with high-quality acoustic, lighting, and display systems; AKM Multipurpose Hall with an area of 486 square metres; the Culture Street; the Gallery; the Children's Art Centre; the Music Platform; the Music Recording Studio; the Library; the Yeşilçam Cinema; and a Parking Area. Designed in relation to the square and the connected arterial roads, the "Culture Street" connects the different areas of the building. This street serves as a connecting passageway to access facilities such as cafes, workshops, libraries, museums, and exhibition areas. 160 161 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE ATAT Ü R K C U LT U R A L C E N T R E Taksim Square Gümüşsuyu AtatürkLibrary Culture Street • Escalators • Elevators • Toilets • Accessible Toilet • Box Office • Parking Area • AKM Türk Telekom Opera Hall • AKM Theatre Hall • AKM Gallery • AKM Music Platform • AKM Music Recording Studio • AKM Multipurpose Hall • AKM Design Shop • AKM Children's Art Centre • AKM Library • AKM Yeşilçam Cinema • Cafes • Restaurants • Sales Stores The Atatürk Cultural Centre's landscape is designed to minimise its impact on the existing green spaces. The landscape area of the architecture was planned to ensure the provision of the highest possible amount of green space in the city centre. The Opera Hall was designed in a horseshoe shape to achieve excellent natural acoustics based on a set of physical, technical, and architectural analyses. The ellipsoid form was used for the Opera Hall, which has a capacity of 2,040 spectators with a parter and two balconies, providing a suitable viewing angle for the audience from every angle. The orchestra pit is large enough to accommodate an orchestra of 85 people and has an area of 125 square metres. The Opera Hall, located at the main entrance of the building, is in the form of a giant sphere covered with 15 thousand ceramic pieces that were specially designed and produced. The dynamic ceiling lighting with glass pieces produced via the glassblowing technique was specially designed for the AKM. This system, which can be completely retracted in the ceiling to avoid interference with the stage during the performance, has a digital command system that allows it to serve as an accompanying element when necessary by ensuring that the lighting moves in a way that suits the determined choreography. The decor can be lowered to the rear loading area with the elevator system on the stage to be prepared for the next scene at the bottom while the performance is still ongoing. Likewise, stage set-up and decor changes can be made on the side stages next to the main stage. The presence of a front stage and the variable layout of the stage provide all the facilities for the staging of various performances. Thus, the connection issue between the audience and the stage activity was resolved. AKM Oprea Hall 162 163 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE ATAT Ü R K C U LT U R A L C E N T R E AKM Library The moving podiums can be controlled from a table under the stage or from a portable rostrum that can see the stage. All moving elements on the stage can be freely adjusted vertically at any height and any speed from zero to the limit. When required, all mechanical installations can be stopped instantly with the safety switch. The electronic computer programming system features a light control system with a capacity of 240 circuits. The computer's memory is capable of applying or changing up to two hundred light patterns with great precision and at a rapid pace. A command and control system is present on the stage to facilitate the organization of artistic and technical rehearsals, as well as performance requirements. Two control panels connected in parallel, each with buttons, provide the stage manager with all the conveniences for the management of the stages. The seats are coated in a textile fabric with a suitable flow resistance to ensure sound transmission and absorption, and the floor is covered with an absorbing surface material. Moreover, a green roof system was installed on the cultural centre with an environmentally conscious approach. Green roofs can offer solutions to climate change-related issues such as heavy rain, high urban temperatures, and atmospheric pollution with regard to the sustainability of ecological balance. The new AKM, beyond a mere building, has enhanced the aesthetic appearance and functionality of Taksim Square in harmony with its surroundings. The Atatürk Cultural Centre offers many cultural and artistic benefits to society with its large event venues, technological infrastructure, and publicly accessible areas. The new AKM has been revitalised not only as a modern centre of culture and arts but also as a monument symbolising Türkiye's commitment to cultural transformation and the universal language of art. Today, the AKM is a structure that reinforces Türkiye's pioneering role in culture and the arts and makes İstanbul an international cultural centre. The architecture carries the cultural heritage of the Republic to the modern era with its advanced technological hardware, versatility to host various art events, and architecture appealing to all segments of society. Since its opening, the AKM building has hosted 3,489 events and welcomed 2,799,000 visitors. AKM Building Foyer Area 164 165 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE ATAT Ü R K C U LT U R A L C E N T R E Culture and Art AKM CONSISTS OF 5 BLOCKS 1000 SEATS CONFERENCE HALL 285 SEATS CINEMA HALL 250 SEATS CHAMBER THEATRE 95 THOUSAND SQUARE METRES INDOOR AREA 5 The centre in Taksim, the foundation of which was laid by President Recep Tayyip Erdoğan on February 10, 2019, was designed by architect Murat Tabanlıoğlu, the son of Hayati Tabanlıoğlu, the architect of the first AKM. OPERA HALL OPERA SPHERE OPERA HALL STAGE 2040-seat capacitywith a 4,500 square metre foyer area Built using 15 thousand special handmade red ceramic pieces Large enough to accommodate a 118-piece orchestra 166 167 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE P R E S I D E N T I A L C O M P L E X Seljuk, Ottoman and Elements 125,000 m2 February 20, 2020 168 169 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE T H E N AT I O N ' S L I B R A R Y O F T H E P R E S I D E N C Y The Nation's Library of the Presidency, which is an important part of the Presidential Complex, is located in the Beştepe neighbourhood of Ankara. The establishment of the library began in 2015 under the leadership of President Recep Tayyip Erdoğan, and the library was opened to the public on February 20, 2020. The opening ceremony was hosted by President Recep Tayyip Erdoğan and attended by President Shavkat Mirziyoyev of Uzbekistan, 2,500 academics, numerous scientists, and guests from the cultural and artistic community. Şefik Birkiye is the architect of the Nation's Library, the final work that completes the Presidential Complex. The library is designed as a centre of knowledge and learning, in touch with the world in the age of information and technology, providing uninterrupted service to the public. With its reading halls, conference halls, vocational training centres, workshops, museums, meeting and seminar halls, the library meets the 24-hour study and research needs of people. The architecture of the library is a modern synthesis of the forms and compositions of Seljuk and Ottoman architecture inherited from Central Anatolia's thousands of years of history. This design is an expression of our commitment to belonging to our land. The library is designed around a circular courtyard surrounded by towering columns, with an innovative approach and in accordance with its intended use. While the central structure establishes an intimate connection with the user through openings extending from the core, the high columns display a monumental stance symbolising the greatness of knowledge and the shared sense of belonging in this land. The landscape areas of the library consist of softscape and hardscape sections. The southwestern part of the work is predominantly covered with green areas, and the reader's entrance and the inner square facing the dining and exhibition hall are designed with softscaping and hardscaping. The landscape was designed to provide easy access for users between the People's Mosque, Congress Centre, Dining and Exhibition Hall, and the Nation's Library. 170 171 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE T H E N AT I O N ' S L I B R A R Y O F T H E P R E S I D E N C Y The library has a seating capacity of approximately 5,500 individuals and occupies an area of 125 thousand square metres. It is the largest library in our country and aims to be among the world's leading libraries in terms of its collections and services. In line with this purpose, the Nation's Library was granted the status of a Compilation Library under the "Amendment to the Regulation on Compilation of Reproduced Intellectual and Artistic Works," dated June 3, 2017, and numbered 30085. Pursuant to this regulation, the library receives one copy of each publication published in Türkiye. In order to meet the resource needs of the researchers at the highest level, books and non-book materials published in our country, as well as a significant number of books published and printed abroad relevant to our country, have been purchased and added to the library's collection. The information resources in the library have been established within the framework of international standards according to modern librarianship understanding. Accordingly, while RDA-Resource Description and Access guidelines are applied in cataloguing, both the Library of Congress and the Dewey Decimal Classification System are used in classification. The library provides unlimited access to information through its integrated book transport system, the first of its kind in Türkiye, along with its technological infrastructure, computers, touch screens, and internet connection. In addition to electronic librarianship services, mobile applications provide 24/7 access to readers. The library has a total of 23 lifts, 6 of which are panoramic, to facilitate access to the floors. Library membership and membership renewal are valid for one year and can be completed through e-Government or by personal application at the library information desks. In addition to its ever-expanding collection, the library's resources are further diversified and enhanced by the inclusion of private collections of distinguished individuals from Türkiye and abroad. Cihannümâ (World Atlas) Hall, located in the centre of the library, has a seating capacity of 224 people in an area of 3469 square metres and a collection of approximately 200 thousand books. In this hall, books from over 100 countries and in 134 languages are available to readers as part of a joint project with the Directorate General for Cultural Affairs of the Ministry of Foreign Affairs. Additionally, books written on behalf of the presidents of the Republic of Türkiye and books on the 16 Turkic empires/states founded in history are also available here. The dome of Cihannümâ (World Atlas) Hall is supported by 16 columns representing the Turkic states depicted on the presidential seal. The divine order on the dome's drum, which has a 33-metre ceiling height, brings Turkish and Islamic civilisations together architecturally. The Turkish translations of Surah Al-Alaq's fourth and fifth verses are displayed on the hall's dome. ''Who taught by the pen— taught humanity what they knew not.'' ''Who taught by the pen— taught humanity what they knew not.'' people m2 visitors in 2024 173 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE T H E N AT I O N ' S L I B R A R Y O F T H E P R E S I D E N C Y The Research Library; has two floors and houses 20,000 books, with a seating capacity of 630 people and an area of 3,862 square metres. There are 20 group study rooms in the library, and this section contains scientific books with research and document content that serve as resources for academic studies. The Youth Library (ages 10 to 15); spans 1699 square metres and has 12 thousand books. The seating capacity of this section is 74 people. In addition to the individual study rooms available for reservation, there are also three group study rooms. In addition to works on traditional Turkish handicrafts at risk of being forgotten, a variety of activities and social responsibility initiatives are undertaken, including debates, book analyses, discussions, book cover design, authorship studies, meetings with the elderly, zero waste efforts, and social interactions with individuals with special needs. Nasreddin Hodja Children's Library; has a seating capacity of 197 people and covers an area of 1061 square metres. The Children's Library serves children aged 5 to 10 and has a collection of 25 thousand books. The library also hosts fairy tale listening sessions and works of traditional Turkish arts. The Children's Library also has a specially designed mini movie theatre for viewing and listening to audiovisual materials in groups or individually. The common area of the Children's and Youth libraries seats 33 people. The digital screens in the common area are used for catalog searching, and books are borrowed within the Library through the Self-Check System. The Rare Books Library; has a seating capacity of 226 people and covers an area of 1,699 square metres. This library houses a collection of approximately 50 thousand rare books and their digital versions. The two-story library has 8 group study rooms. The Turkish translations of Surah Al-Alaq's fourth and fifth verses are displayed on the library's dome: ''Who taught by the pen— taught humanity what they knew not.'' The Rare Books Library includes manuscripts, Ottoman books, books with drawings and engravings, out-of-print or limited- edition books, and Latin books dating back to 1900. The library collection includes manuscripts from the private collections of Abdülbaki Gölpınarlı, Ahmet Burak Erdoğan, Mehmet Şevket Eygi, Şefik Can and many other rare works. The collection's oldest work is "Mawlid al-Nabi" from Mehmet Şevket Eygi's private collection. The date of composition for 174 175 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE T H E N AT I O N ' S L I B R A R Y O F T H E P R E S I D E N C Y the work by Sheikhzadeh Muhyî al-Manavgadî is recorded as AH 997 (AD 1588). The Rare Books Library also provides access to the 45 million documents digitised by the Directorate of State Archives of the Presidency, as well as the contents of manuscripts digitised by the Presidency of the Manuscripts Institution of Türkiye. The Book Restoration Department at the Nation's Library of the Presidency, home to hundreds of years-old manuscripts, is responsible for the repair and restoration of rare printed books, manuscripts, and documents to a more resilient state. The Audiovisual Library contains approximately ten thousand audiovisual materials and has a seating capacity of 209 people in an area of one thousand 1,800 square metres. The Audiovisual Library has two floors, four digital rooms, and 12 individual viewing/listening booths. The Audiovisual Library employs "Turna," a local and national digital content management system developed with the assistance of Cornea, a subsidiary of Turkish Airlines. The touch screens in the rooms enable access to TRT's TV series, movies, cartoons, documentaries and live TV broadcasts. In addition, TRT's audio portal offers readers access to over one million music recordings. Other departments in the library that serve various purposes include the Education Centre and Workshops, Periodicals Hall, 176 177 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE T H E N AT I O N ' S L I B R A R Y O F T H E P R E S I D E N C Y Reading Halls, Reference Section, Special Collections, Divan Hall, Dining Hall, Bakery, Recreation Area, Reception Hall, Conference Hall, Seljuk Museum and Exhibition Hall, Anatolia Hall, Meeting Halls, and Meeting Rooms. The Nation's Library of the Presidency is an investment in Türkiye's cultural heritage, designed to carry Türkiye's cultural wealth into the future by protecting and preserving information resources, enabling access to information, and bringing books to all segments of society. Today, the Nation's Library is one of the most preferred centres for thousands of students and researchers, open 24 hours a day. The Nation's Library of the Presidency served 1 million, 900 thousand readers and visitors in 2024, of whom 5 thousand to 6 thousand people used it during the week and 12 thousand to 15 thousand on weekends. The library has received nearly seven million visitors and researchers in five years since its opening. Over the course of four years, 1,650 activities were held at the Science and Technology Workshops and the Nasreddin Hodja Children's Library. In May 2023, President Recep Tayyip Erdoğan held a meeting with the youth at the Nation's Library of the Presidential Complex and answered their questions. 178 179 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE P R E S I D E N T I A L C O M P L E X İstanbul Monuments 220,000 m2 January 13, 2025 180 181 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE R A M İ L I B R A R Y Rami Library is situated in İstanbul's Eyüp Sultan district. Since the Ottoman period until the present day, the Rami Library has assumed various functions with its deep-rooted history and has served as one of İstanbul's most significant structures. Named after the local ranch of Rami Mehmed Pasha, who served as grand vizier during the tenure of Sultan Mustafa II, the structure was utilised as a logistical centre for the Rumelia branch of the Ottoman army during the reign of Sultan Mustafa III. It also became the location of Biniş-i Hümayun, which were short trips conducted by the Ottoman sultans, especially in the last centuries, via horse or royal boat. Built by Seyyid Abdülhalim Efendi during the reign of Sultan Mahmud II as military barracks for the Asâkir-i Mansûre-i Muhammediyye (The Victorious Soldiers of Muhammad) army, which was formed in 1826 following the disbandment of the Janissary Corps, the structure was completed and put into service in 1828. The barracks, which served as the headquarters of Sultan Mahmud II during the Russo-Turkish War (1828- 1829), was one of the important strategic hubs of the period. In addition to serving as a military base, this structure, which witnessed the Ottoman State's decision-making processes, was in use for military purposes until the Republican period. The structure's military function ceased in 1971, and it was handed over to the local administration. Subsequently, it was utilised as a parking lot, sports arena and food storage. Nevertheless, the architectural texture of the structure, which was mostly ignored and remained unattended, deteriorated during this process. The structure, which abandoned its historical identity, was at risk of losing its original value during this period. 182 183 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE R A M İ L I B R A R Y Nevertheless, the barracks underwent a revitalisation in 2010 as part of the "İstanbul 2010 European Capital of Culture" projects, and the objective was to transform the barracks into a modern information and cultural hub while preserving its historical heritage. The process of re-functioning the structure as a library began with extensive survey, reconstruction and restoration initiatives carried out under the İstanbul Directorate of Surveying and Monuments. The main structure was designed by Engin Binoğlu, and the furnishing and decorations were carried out by Han Tümertekin. The landscaping was carried out by the Landscape Architects team led by Mehmet Cemil Aktaş and Pınar Aktaş. In this process, the historical character of Rami Barracks was preserved, and it was transformed into a modern information and cultural hub. The transformation of the Rami Barracks into a library was accomplished through an extensive restoration process that was carried out in three phases. The Rami Library's design centres on the objective of reviving the structure's historical character and traditional features. The structure, which is about 40% intact, was restored in accordance with the original design, and the project was divided into phases to ensure the preservation of the original materials. In order to preserve the historical characteristics, masonry structures were preferred, and modern construction materials, such as reinforced concrete, were refrained from due to their susceptibility to calcification in İstanbul's humid air. Excavations were conducted to the depth of the main ground, and the construction process was restructured on solid foundations. Rami Barracks, 2018 184 185 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE R A M İ L I B R A R Y The original spatial order is preserved by providing entrances to the building and exits to the courtyard from the central axis of the rectangular sections. The barracks' architectural style and historical significance were highlighted during the structure's design process, which integrated traditional spatial features with modern library functions. The objective of this approach is to not only maintain the traditional structure but also to revitalise it in a functional manner. The bookshelves and furniture were designed in accordance with the architectural priorities of the historical structure, thereby balancing both aesthetics and functionality. The illumination, which was characterised by spotlights with pigeon themes, underscored the harmony of the space with other living creatures and the respect for nature. A natural pond was formed in the courtyard to provide water for migratory birds, and historical continuity was achieved with permeable surfaces and 50-80-year-old trees. Innovative technologies and techniques were employed in the construction of the Rami Library while preserving the traditional architectural character. The structure was constructed on a plan that included a spacious courtyard, and the rooms along the facade and the corridors on the courtyard side, which are accessible from these rooms, provide functionality. It is comprised of four major sections, four inner courtyard blocks, and one outer block, with a total area of 309 metres by 246.50 metres. This design has enabled the building to be reorganised for contemporary purposes while maintaining its original spatial characteristics. Raised floors made of recycled plastic and disposable formwork systems were used during the construction process to ensure environmental sustainability and improve building durability. Electronically controlled cabinets, air conditioning, and fire extinguishing systems were installed in archive storage to improve their safety and efficiency. In addition, an energy- saving automation system was installed, optimising the lighting, heating, and cooling processes, reducing energy consumption and library operating costs. Rami Library After Restoration 186 187 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE R A M İ L I B R A R Y Opening of Rami Library, January 13, 2023 As a significant innovation in terms of environmental sustainability, the library now has a rainwater harvesting system installed. The harvested water is used in areas such as landscape irrigation, which helps to conserve natural resources. These technologies create a sustainable structure that meets present-day needs while preserving the historic characteristics. Rami Library stands out as a functional and environmentally friendly information hub that harmoniously blends traditional architectural plans with cutting-edge technologies. Following these extensive renovations, Rami Library opened its doors to the public on January 13, 2023, and began operating as Türkiye's largest library by seating capacity. With a total book capacity of 2.5 million books, a seating capacity of 4 thousand 200 people, 24-hour reading rooms, and digital resources, the library provides users of all ages with information access. It also serves all segments of society through special units such as the baby and children's library, the youth library, and the special libraries. Furthermore, the library contributes to the region's social and cultural life by hosting educational workshops, conferences, exhibitions, and events. The library comprises four major sections and five blocks, four located inside the courtyard and one outside the building, with a total area of 309 metres by 246.50 metres. The landscape area is 51 thousand square metres, with greenery accounting for 80% of the courtyard, or 40 thousand 800 square metres. The Rami Library, with a total area of 220 thousand square metres, is İstanbul's third largest building after the Selimiye and Davudpaşa barracks. The Rami Library's approximately 51 thousand square metre courtyard is designed as a 24/7 open urban park with sub-use areas directly connected and related to the various cultural and social sub-units of the library building. The National Archive Building, which is located in the centre of the courtyard on the main pedestrian axis, was designed to be recessed into the ground, while the research hall and cafeteria were planned under two symmetrical eaves on the courtyard's lower level. The new structure was designed to blend in with the landscape and be hidden within the courtyard so as not to obscure the silhouette of the historical barracks. The building envelope, designed as a trafficable green roof, is one of the most significant green spaces that promote public use. Aside from the main pedestrian area and four activity squares where the four main gates intersect with the courtyard, the entire courtyard is a multifunctional urban park that integrates education, culture, co-working, socialisation, and entertainment, creating an educational and cultural oasis of approximately 51 thousand square metres. The previously mentioned courtyard was originally used as a barracks courtyard but has since been converted into a culture-focused urban park. As a result, the topography and hills that preserve the existing trees have been used to create surprise subspaces that offer various vistas. This open space, which urban users can enjoy independently of the library, becomes an essential urban focal point in its own right due to its rich flora, species diversity, and microclimate, thanks to its sheltered courtyard typology. The walkways in the courtyard's natural landscape bring users together through a variety of sub-spaces such as green amphitheatres, exhibition areas, recreation areas, collaborative workspaces, stages, performance squares, biological ponds, picnic tables, children's playgrounds, thematic education plateaus and reading terraces. The fact that the socialisation and activity areas are divided by the natural landscape and perspectives produced by this landscape allows for numerous activities to take place in the area concurrently. All of these activities take place beneath a grove of 49 existing and protected ancient trees, as well as 525 new mature trees of more than 30 different species, which enable them to sustain this green cover. The green roof cover created by broad-leaved and coniferous trees allows for the formation of city-specific landscapes with different seasons and seasonal transitions in the area. Except for the tree-lined road and the entrance squares, all walkways within the courtyard are designed as dirt roads, with the pathway experience hidden among the dynamic elevation variations created within the courtyard in mind. The courtyard landscape, which brings together people of various ages, is designed with amphitheatre formations and urban furniture that facilitate sub-square uses. The biological pond is a key water element that benefits the local fauna. Wooden toys tucked away in green hills, sloping green areas, and a playground amphitheatre serve as a place for children to explore and play. The design features rooms arranged along the outer facade, complemented by a spacious courtyard and corridors that open into this area. Furthermore, the closest gate to the transportation line was designated as the start of the human life cycle, and the spaces were organised chronologically by age group. 188 189 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE R A M İ L I B R A R Y a. Landscape Area b. Library Sections • 0-3 (Story and Playgrounds) • Children's Theatre/Cinema Area • Children's Library • Primary Education Study Halls • 3-6 Age Playground • Maker Workshops • Multimedia Hall • Podcast Space • Audio Library • High School Preparation Study Halls • University Preparation Study Halls • Atatürk Special Library • Special Libraries • Restoration House • Exhibition Halls • Seminar Halls • Bookstore • Museum • 24/7 Reading Halls • Chess/Checkers Playground • Archive Building c. Departments • Rami Library Directorate • Printed Writing and Pictures Compilation Directorate • DÖSİMM (Working Capital Central Directorate) • İstanbul Operations Directorate • Presidency of the Manuscripts Institution • Beyazıt State Library Office • İstanbul Working Office of Atatürk Supreme Council for Culture, Language and History d. Social Facilities • Mosque • Cafeteria Many awards and certificates were awarded to the Rami Library's relocation and restoration project. The Biosphere Sustainable Museum Certificate is one of them. Rami Library was Türkiye's first cultural building to receive a Biosphere certificate accredited by the Global Sustainable Tourism Council (GSTC). This award highlights the successful implementation of environmental sustainability and energy efficiency standards. Rami Library is one of only 56 buildings worldwide to have received the certificate, and it has played a pioneering role in this respect. The Children's Library and Playground Award is one of the awards given to the library. The Children's Library, located within the Rami Library, received recognition for its specially designed educational and entertainment areas. The goal of this project was to introduce children to books at a young age and to make the library experience enjoyable, and it was praised for its architectural design featuring playgrounds. 190 191 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE R A M İ L I B R A R Y Rami Library's Children's Festival organised on Eid al-Fitr and National Sovereignty and Children's Day Another award given to the Rami Library was the Türkiye Architecture Yearbook 2022 Award. Rami Library was one of the projects chosen for the Türkiye Architecture Yearbook 2022. The modern positioning and architecturally harmonious transformation of the historical texture is highlighted by this award. Landscape architecture awards were given for the renewed landscaping of the Rami Library. The library was recognised on a variety of platforms for its design that is in harmony with the natural environment and its emphasis on historical texture. Especially the user-friendly and aesthetically enriched open spaces were appreciated. The library also has sustainable design and digital archive achievements. The National Archive Building, a section of the Rami Library, received awards for its digital archiving systems and advanced air conditioning technologies. This section serves as both a resource centre for researchers and an open exhibition area for visitors. Rami Library was founded as a "Symbolic Value and Gift to the 100th Anniversary of the Republic." As such, it is more than just a library; it is also a symbolic structure that reflects Türkiye's modernisation while preserving its cultural heritage. 192 193 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE R A M İ L I B R A R Y President Recep Tayyip Erdoğan's Meeting with Young People at Rami Library (May 20, 2023) 194 195 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE R A M İ L I B R A R Y The library, which welcomes thousands of visitors each day, sheds light on the future while preserving history. Rami Library, which is a window to the information society of İstanbul and Türkiye and welcomes its visitors as a new and different venue that meets cultural, educational, and artistic needs with the services it contains, continues to offer a brand new library experience to visitors of all ages with its modern librarianship approach and “living library” concept. Rami Library, located at the intersection of Eyüp, Bayrampaşa, and Gaziosmanpaşa districts, serves as a hub for learning, social interaction, and cultural exchange in the surrounding communities. Located on public transportation lines, the library is accessible via various public transportation means such as trams, buses and minibuses. The library's location makes it easily accessible to visitors from not only the surrounding districts but also from all areas of İstanbul. With its large green spaces, nation's garden, walking paths, and event areas, the library also serves as a gathering place for the community as part of a sustainable urban lifestyle. Communities in the area are able to develop a cultural bond that unites various age groups and social segments through workshops, conferences, exhibitions, and other cultural events. Furthermore, the library contributes to the transformation of the surrounding industrial zones, paving the way for these areas to become structures integrated with social and cultural life. Rami Library provides its visitors with a warm environment by offering complimentary food and drinks such as tea, soup, and cake for free, as well as a pleasant library experience. Such practices enable the library to stand out as a user-friendly venue that promotes social solidarity in addition to being a centre for knowledge. The Rami Library became a part of urban transformation and social development, exhibiting a robust interaction with its environment. The Rami Library is a project that was undertaken with the aim of preserving İstanbul's cultural heritage and facilitating access to information. The restoration of the historical Rami Barracks, which was further deteriorated due to being used as a parking lot and a wholesale market inappropriately to its historical value, as an open library, transforming it into a centre of knowledge and culture, has been among the most significant undertakings of Türkiye in the fields of education and culture. Guided by this vision, the Rami Barracks were reintegrated into the society not only as a reminder of the past but also as a repository for knowledge for the future. The statistical data since the Rami Library's inauguration on January 13, 2023, are as follows: Rami Barracks Prior to Restoration 196 197 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE R A M İ L I B R A R Y Number of Visitors 5,044,063 Number of Books Checked Out 201,025 Groups for Excursion Programmes 1091 Schools and Institutions Total Number of Books in the Collection Approximately 2,500,000 Number of Organised Events 5,060 Number of Participation at Events 1,107,928 Number of Beneficiaries of Barrier-free Information Centre Services 620 Number of Supported Projects and Institutions 100 Total Number of Registered Books 1,709,100 Number of Registered Members 33,097 Number of Excursion Programme Participants 31,897 s 198 199 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE P R E S I D E N T I A L C O M P L E X Symphony Orchestra Concert 62,000 m2 December 3, 2020 200 201 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE P R E S I D E N T I A L S Y M P H O N Y O R C H E S T R A C O N C E R T H A L L A N D C H O I R B U I L D I N G and Features The full name of the venue located in the Altındağ district of Ankara is "Presidential Symphony Orchestra Concert Hall and Choir Buildings" (CSO Ada Ankara). The Presidential Symphony Orchestra Concert Hall and Choir Buildings' architectural design belongs to Uygur Architects, which was awarded the first prize in a competition in 1992. The building's project emerged with a goal to integrate urban aspects with cultural zones. The first construction tender was carried out by the abolished Ministry of Public Works and Settlement on December 4, 1995, which was later dissolved due to the expiration of the allocated budget for the contract in 2015. The tender for the completion of the construction was held by the Ministry of Environment and Urbanisation on August 2, 2017. Semra Uygur and Özcan Uygur are the architects of the building. The construction continued throughout 1998 and 2020, until the building was inaugurated on December 3, 2020, with the participation of President Recep Tayyip Erdoğan. 202 203 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE P R E S I D E N T I A L S Y M P H O N Y O R C H E S T R A C O N C E R T H A L L A N D C H O I R B U I L D I N G CSO Ada Ankara aims to bring the leading artists, bands, and orchestras of our country and the world together with the audience by hosting numerous types of music, culture, and art activities. The venue is the largest structure ever built to function as a concert hall in our country, contributing significantly to the cultural and artistic life in Ankara and Türkiye. The venue, encompassing an area of 62,000 square metres, houses a 2,023-seat grand hall that symbolises the 100th anniversary of the Republic, a 512-seat small hall, an exhibition area, a foyer area, a shop, a restaurant, and a parking lot. It also includes offices and practice halls for the choirs of the Presidential Symphony Orchestra and the Directorate General of Fine Arts. 204 205 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE P R E S I D E N T I A L S Y M P H O N Y O R C H E S T R A C O N C E R T H A L L A N D C H O I R B U I L D I N G Great Hall 206 207 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE P R E S I D E N T I A L S Y M P H O N Y O R C H E S T R A C O N C E R T H A L L A N D C H O I R B U I L D I N G The Grand Hall's capacity of 2,023 seats refers to the 100th anniversary of the Republic. The main hall was planned and constructed in a vineyard-style design, providing a 360-degree viewing angle. The design of the building largely consists of durable materials such as exposed concrete and marble, displaying a monumental character. The egg-shaped grand concert hall and the spherical small hall band together with the foyer area that has a prism-shaped glass ceiling. The building aims to integrate urban aspects and cultural zones. The culture and arts centre, located in the sole open area offering views of Ankara Castle and Anıtkabir, harmoniously integrates with the surrounding soil, water, and greenery. The glass strip on the Presidential Symphony Orchestra Concert Hall and Choir Buildings' foyer area with a prism-shaped body symbolises the historical bonds between Anıtkabir and Ankara Castle. The two buildings housing artists' practice rooms and ensembles are embraced by an expanse of greenery, while the foyer and the halls are nearly cloaked by a shimmering artificial pond. Ankara Culture Route Festival, Carmina Burana Opening Concert, 2022 View of the Glass Strip Inside the Building, Foyer Area Since its inauguration, the building has hosted more than 1,500 concerts and events, with over 1 million visitors. 208 209 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE P R E S I D E N T I A L C O M P L E X İstanbul Museum of İstanbul Emre Arolat Modern 57,500 m2 May 3, 2019 210 211 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE İ S TA N B U L M U S E U M O F PA I N T I N G A N D S C U L P T U R E and Features The İstanbul Museum of Painting and Sculpture (IMPS), affiliated with the Mimar Sinan Fine Arts University, is an important cultural building that is notable for being Türkiye's first plastic arts museum. The IMPS was established to collect, preserve, and exhibit important works of Turkish art. The museum facilitates art research and education and inspires art enthusiasts by assuming both academic and cultural functions. Buried Tree Lighting Fixtures In The Ground (4 Pieces For Each Tree Support Will Be Received From Landscape Groups For The Tree Type... Regular And Small Sized Basalt Coating Fixed Gravel Covering Made From Basalt Or Similar Stone Light Color Stone Coating (Surface Treated Bergama Stone Or Similar High Lighting Element - Custom Made - Ground Recessed Linear Lighting Element: L: 60 Cm, Interstitial Spaces: 60 Cm Bottom Lighted Seating. See: Details WAREHOUSE MUSEUM MAIN ENTRANCE PLATFORM APRIL 2015 212 213 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE İ S TA N B U L M U S E U M O F PA I N T I N G A N D S C U L P T U R E The museum was first established on July 18, 1937, in the Crown Prince's Office at Dolmabahçe Palace and opened to the public by Mustafa Kemal Atatürk on September 20, 1937. The museum, whose collection grew over time, was closed for restoration in 2007 and moved to Entrepot 5 in Tophane. Redesigned as a project by architect Emre Arolat, one of the prominent names in contemporary Turkish architecture, the building was opened in 2021 as a modern art centre. President Recep Tayyip Erdoğan attended the inauguration held on October 9, 2022. 214 215 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE İ S TA N B U L M U S E U M O F PA I N T I N G A N D S C U L P T U R E The museum building stands out with its transparent facade design, offering a view of the Historical Peninsula, from the Bosphorus to Galata, and providing a modern spatial experience. The museum was designed in visual and spatial harmony with the historical harbour area of Tophane (Galataport). The landscape is also in harmony with the texture of the surrounding historical and modern buildings and supports the open and aesthetic structure of the building. With its transparent facade, the museum connects with its surroundings and offers an open experience to its visitors. The museum's interiors offer a user-friendly, accessible layout with innovative connections such as bridges and ramps. The museum also includes functional units such as exhibition spaces, storage units, workshops, and a library.experience to its visitors. The museum's interiors offer a user-friendly, accessible layout with innovative connections such as bridges and ramps. The museum also includes functional units such as exhibition spaces, storage units, workshops, and a library. 216 217 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE İ S TA N B U L M U S E U M O F PA I N T I N G A N D S C U L P T U R E The construction methods used in the building were supplemented by innovative technologies such as energy efficiency and modern display systems. These technologies also ensure the long-term preservation of works of art. Among the different sections of the museum are exhibition spaces, art and education workshops, conference and film halls, a library, reading rooms, artifact storage, repair workshops, and administrative areas. Each section is designed to meet the different needs of visitors and researchers. 218 219 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE İ S TA N B U L M U S E U M O F PA I N T I N G A N D S C U L P T U R E The İstanbul Museum of Painting and Sculpture is a building that has been renovated in a contemporary architectural style with a functional and minimalist design approach. The building establishes a link between Sedad Hakkı Eldem's old design and its modernised version, creating a narrative that combines the past and the future. The museum, which bears the characteristics of the modern architectural period, symbolizes the accessibility of modern art and its connection with society with its transparent facade and open space design, while the fluidity of the museum's interior structure expresses the dynamism of modern life. 220 221 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE İ S TA N B U L M U S E U M O F PA I N T I N G A N D S C U L P T U R E The museum's collection includes approximately 12,000 works of art. These works cover a period extending from the Ottoman Empire to the present day. The idea of creating an art collection at the Imperial College of Fine Arts (Sanayi-i Nefise Mektebi), Türkiye's first institution of higher education in the field of art, which today bears the name Mimar Sinan Fine Arts University, began with Osman Hamdi Bey, the founding director. The works accumulated over the years were transformed into a registered institution in 1937 as the country's first Painting and Sculpture Museum. Today, the museum stands out not only for its rich art collections but also for its award-winning building design. The museum is an important architectural work in terms of serving the country and society in the field of culture and art. 222 223 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE P R E S I D E N T I A L C O M P L E X CerModern Arts Centre Modern 11,500 m2 224 225 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE C E R M O D E R N A R T S C E N T R E The word "cer" means "to pull, to drag" in Arabic. In informal speech, the factories, in which locomotives go through technical maintenance and new locomotives are manufactured, are referred to as "cer ateliers." In the first years of the Republic (1926-1927), the railways were nationalised under the policy of "covering the country with railway networks," and "Cer Ateliers" were built in Ankara in this period. These workshops, whose architect is unknown, were utilised until 1995, with occasional renovations, but they maintained their design and function in principle. Two of these buildings were severely damaged during the track renewals carried out in the vicinity of Ankara Station.Thereupon, Semra and Özcan Uygur, architects of the Presidential Symphony Orchestra project, decided to renovate the third workshop structure that had survived and transform it into an art museum. The workshop was inaugurated in April 2010, following the renovation of the remaining railway repair shop as a "special facility for cultural purposes" in 2008. The location, presently referred to as the Atatürk Cultural Centre Zone 4, is situated in Ankara, with the majority of its structures dating from the Republican era. This site is situated on the same parcel as CSO Ada Ankara and is considered a culture- art and recreation area. With a total indoor area of 11,500 square metres, CerModern hosts the largest single exhibition hall in Türkiye, spanning 4,500 square metres. The original building's scale was not compromised as the wide spaces necessary for the museum and exhibition galleries were relocated underground beneath the courtyard. The existing building's original materials were preserved through reinforcement. CerModern established its presence through the railway and train. Therefore, this association has always been upheld. The railway and train, known as the loop line, are designed to be visible from the exhibition areas. By restoring the original load- bearing structures (steel columns and reinforced concrete beams) of the former wagon maintenance workshop, the industrial identity was preserved. On the other hand, the industrial character of the historical building gained a new and modern function through the use of large glass panels, modern lighting systems, and basic architectural elements. The wooden courtyard, featuring a landscape that harmoniously integrates the new structure with the existing hangars, serves as an important gathering space. The green areas of CSO Ada Ankara are also accessible to CerModern. 226 227 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE C E R M O D E R N A R T S C E N T R E The CerModern building hosts national and international exhibitions in its gallery of periodical art exhibitions and offers a range of services through its library and conference hall, and it provides artists with workspaces. It hosts various events in the café and statue parking lot as well as in the courtyard, which serves as an open exhibition/concert hall. Since its opening on April 1, 2010, CerModern has hosted a total of 421 exhibitions, 110 international and 311 national exhibitions, in its five exhibition halls. As part of exhibitions and special events (national day receptions, concerts, open-air cinemas, and talks), a total of 2,400 events were held, which were attended by approximately three million visitors. It was leased for 25 years as of December 17, 2019, under Law No. 5225 on the Encouragement of Cultural Investments and Initiatives. 228 229 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE P R E S I D E N T I A L C O M P L E X July 15 Democracy Museum Ankara YYK Mimarlık ve Müşavirlik Ltd. Şti. (YYK Architecture and Consultancy Co. Ltd.) Modern 65,640 m2 July 15, 2021 230 231 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE J U LY 1 5 D E M O C R A C Y M U S E U M Located across from the Presidential Complex of the Republic of Türkiye, Beştepe People's Mosque, and the General Command of Gendarmerie of the Republic of Türkiye, the museum's main pedestrian entrances are accessible via the Presidential Boulevard, while the vehicle entrance is accessible via Alparslan Türkeş Street. 232 233 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE J U LY 1 5 D E M O C R A C Y M U S E U M The construction of the structure, whose project was completed in 2018, took place between 2019 and 2021. The Museum was inaugurated by President Recep Tayyip Erdoğan on July 15, 2021. The architect of the building is YYK Mimarlık ve Müşavirlik Ltd. Şti. (YYK Architecture and Consultancy Co. Ltd.). On July 15, 2016, the heinous coup attempt was thwarted by the Turkish nation's resistance. In this coup attempt, which was a treacherous attempt targeting state institutions and the nation, 253 of our citizens were martyred, and 2,739 of our citizens were wounded and became veterans. The events and the epic heroism of the Turkish nation were narrated in various halls in accordance with the theme of the museum at the July 15 Democracy Museum, which was established to ensure that future generations would remember the bravery demonstrated by the Turkish nation on that terrible night and its dedication to freedom and democracy. With an average length of 281 metres and a width of 76 metres, the museum building was constructed underground, taking advantage of the topography of the area to avoid obstructing the Presidential Complex's silhouette. Inauguration of the museum 234 235 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE J U LY 1 5 D E M O C R A C Y M U S E U M The museum was constructed underground, with the exception of the 57x75 metre elliptical dome that occupies 4,283 square metres of the hall with the theme of "Democracy Watches," which serves as a representation of the Turkish nation's unity. Therefore, the museum building's roof, which is situated parallel to the Presidential Complex, was designated as a garden. The garden's landscaping, which integrates seamlessly with the complex and the dome of the structure above, is distinguished by its notable architectural characteristics. In the museum, visitors are presented with eight distinct halls, each supported by digital technologies, featuring themes such as "Coups in Türkiye and the World," "Threat of a Bullet," "Drawn into Darkness," "The Longest Night," "Those Who Leave a Trace," "Sela," "Respect for the Martyrs," and "Democracy Watches." In addition, the museum serves with a children's section and a spacious lobby designed for various events.In addition to the halls, the 65,640-square-metre museum houses temporary exhibition sections, a children's section, an 809-car parking lot, administrative units, and service facilities. Museology, which is centred on the conveyance of audio, visual, and written information via audio-visual applications and hosting displays, has found a home in museum settings designed with smart technologies. The museum is one of our country's outstanding examples in this regard. The museum describes the coups in Türkiye and around the world in textual and visual form, with the goal of allowing future generations to understand the July 15th events via digital means. Visitors to the museum's sonic line section, symbolised by a red line in the dark corridor, can watch events from the start of the July 15 coup attempt to its prevention by passing under a tank, accompanied by sound and light effects in the "The Longest Night" hall through a video projection application. Through a special production, visitors can see what citizens who resisted the treacherous attempt of FETO, veterans, and martyrs' families went through that night. They can pass through the Sela Corridor to reach a section where they will listen to the stories of 251 martyrs, and in the prism-shaped 236 237 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE J U LY 1 5 D E M O C R A C Y M U S E U M parts created for the martyrs, visitors can view the photos and biographies of each martyr. The "Plane Tree" in the museum's final glass-domed portion represents Türkiye's past with its roots and its bright future with its branches and leaves. This 23-metre-tall symbolic tree was created alongside 90 silicone sculpture installations depicting those who conducted a democratic vigil following July 15. Visitors can get to the July 15 Martyrs' Monument by going via Democracy Valley, an outdoor exhibition area near the museum's exit. The landscape section of the museum is divided into three sections. Accordingly, the first one is the reception square. A courtyard garden was included in the July 15 Democracy Museum's "Reception Square" design. This section is positioned at the museum's main entrance gate. The section is primarily used by visitors arriving by public transport, such as students, local and foreign tourists who visit the museum in groups, and those who park in outdoor parking lots. The Reception Square, like the rest of the landscape, is a meeting point where symmetry and a simple and tranquil order prevail, as well as a resting spot for guests with the "Courtyard Garden," featuring a pool. The second section of the museum includes the entrance facing the mosque and the museum's roof garden. Another pedestrian-prioritised entry and garden is the Roof Garden, which is a green area spanning the top of the museum building and is easily accessible from the mosque via the projection of the Beştepe Millet Mosque's main entrance. It stands out for its square courtyards with a pool and geometric plant arrangements, which emphasise the landscape's order and simplicity. It features a pedestrian spine and alley and a circulation design that is dominated by symmetry and marked by prominent, colour-effective trees. The museum dome, which blends with the roof garden, is conceived as a whole, including the landscape and installation space. A demarcated green space that offers access to the open- air museum extends up to the July 15 Democracy Monument, and it is also connected to the museum exit ramps. The third section is an outdoor museum valley. The open area around the July 15 Monument, between the square and the museum, is designated as the "Open Air Museum Valley" and will hold open-air exhibitions. The valley between the museum's exit point and the monument was settled in accordance with the topography of the land on which it is located and at a lower level so as not to disrupt the silhouette on the Complex's facade with the surrounding trees and the newly planted vegetation. The valley, which averages 210 metres long, is divided into seven main sections: "One Nation, Foreign Powers, One Flag, Veterans, Political Will, One Homeland, One State." Each section has a unique subject and circulation design, both in terms of content and artistic artefacts on show. Reliefs depict Türkiye's vital and large investments along the 235-metre path known as the valley, which begins with the Ahlat Seljuk tombstones, in the museum. The valley's surrounding walls serve as exhibition walls, and in the area where it meets the monument, double-sided pools have been incorporated to define the valley's entrance and boost its efficacy. 238 239 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE J U LY 1 5 D E M O C R A C Y M U S E U M Democracy and İstanbul -Marmara Sea YYK Mimarlık ve Müşavirlik Ltd. Şti. (YYK Architecture and Consultancy Co. Ltd.) Modern 103,750 m2 May 27, 2020 240 241 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE D E M O C R A C Y A N D L I B E R T I E S I S L A N D The islands formerly known as Yassıada and Sivriada were renamed Democracy and Liberties Island in accordance with the decision published in the Official Gazette dated December 14, 2013, and numbered 28851. The construction of the project, which was completed in 2013, was carried out between 2015 and 2020, and it was opened to visitors on May 27, 2010, on the anniversary of the 1960 coup d'état. The architect of the project is YYK Mimarlık ve Müşavirlik Ltd. Şti. (YYK Architecture and Consultancy Co. Ltd.). Yassıada is the place where, following the May 27, 1960 military coup, 592 politicians from the Democrat Party were detained pending trial and sentenced to a variety of penalties. Courts were established on the island, and at the end of the trials, Prime Minister Adnan Menderes, Foreign Minister Fatin Rüştü Zorlu and Finance Minister Hasan Polatkan were sentenced to death. Yassıada, a witness to one of the most important periods in the history of the Republic, was renamed "Democracy and Liberties Island" and was redesigned with an open-air museum and congress centre concept. The project, shaped with the motto "From Darkness to Light," aimed to convey the historical events of the island's past to future generations and international visitors. In this respect, the trials and events of the time are presented to the visitors through spatial arrangements. In order to honor the memories of the politicians tried in the past, with Adnan Menderes, Hasan Polatkan, and Fatin Rüştü Zorlu in particular, some arrangements were made on the island, and from the designing to the implementation, all the processes were carried out meticulously. 242 243 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE D E M O C R A C Y A N D L I B E R T I E S I S L A N D A unique architectural design approach was adopted for the island, which was designed considering the developments that took place in the aftermath of the 1960 military coup and the destruction of the historical buildings on the island destroyed over time. The idle multi-storey building, built after the coup and inherited from the Naval Forces, was demolished, while the registered historical castle, historical cisterns, and dungeons built by the British ambassador during the Ottoman period were restored and renovated. A holistic approach, including indoor and outdoor spaces, was adopted for the Democracy and Liberties Island, and it was designed with an understanding suited to a museum that includes visual, auditory, and interactive exhibitions and reenactments. The structures that bear witness to history have not only been converted into museums, but the Democracy Park and the island, consisting of outdoor installations, have been planned as an open-air museum that can be visited 24 hours a day. On the Democracy and Liberties Island, there are historical structures that have been restored and renovated, as well as new structures that reveal the military coup, arrests, and trials that constitute shameful chapters of Türkiye's political history. These include the Democracy Lighthouse, the Museum of Democracy and Liberties surrounding the Democracy Square, and the Adnan Menderes Congress Centre, Congress Hotel, Fatin Rüştü Zorlu Mosque, Adnan Menderes Museum, Admiral Sadık Altıcan Library, Byzantine Dungeons, Water Cistern, Henry Bulwer Castle, Hasan Polatkan Sports Hall, and May 27 Museum. Apart from these main structures, the island also has marine structures, jetties and coastal promenades where ferries and boats can dock comfortably, service buildings, including a reception structure, an administration-crisis management building, and a pier café. 244 245 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE D E M O C R A C Y A N D L I B E R T I E S I S L A N D The Democracy Lighthouse, was designed to represent the light of democracy, emphasising the new maritime perspective of the island. The lighthouse is also used as a logo in the island's corporate identity projects. The lighthouse is an important landmark in the island's land and sea silhouette. The 24-metre- high Democracy Lighthouse is paved in natural stone and, with its octagonal arched door and balcony, offers visitors a panoramic view of the island's silhouette. The lighthouse was built in order to preserve the reverence for democracy and represent its light and has a landscape design integrated with stepped stone terraces and rocks surrounding it. The Museum of Democracy and Liberties, shows the visitors the democratic struggles from past to present in a timeline. The museum is one of the most prominent buildings surrounding the Democracy Square. The museum structure, designed to bear witness to the 200-year adventure in the history of Turkish democracy, stands out with a glass roof detail combined with natural stone and specially designed vertical elements on its facade that bear the names of the politicians who were tried on the island. It is designed to reflect the past with the historical facts it houses and the future with the geometric forms in its architecture. Adnan Menderes Congress Centre, was designed as a whole with the Museum of Democracy and Liberties. The congress centre, like the museum, is one of the important structures defining the Democracy Square, which is situated at the island's focal point. The multi-purpose hall of the congress centre, with a capacity of 600 people, is capable of accommodating a variety of national and international events, organisations for daily use, meetings, seminars, and themed events. The Congress Hotel, with a capacity of 123 rooms, was built in a stepped design, paying attention to the geographical structure of the island. The hotel is designed for congress tourism. The architecture, which has a holistic approach that includes the reception square and the landscape, features the use of natural stone, and the observation balconies facing the sea are blended with an arched facade concept. The island has vast opportunities to accommodate incoming visitors in case of a possible adverse situation due to its climatic conditions. It also offers the quality and comfort required to host event organisations, with its restaurant and specially designed dining room. Fatih Rüştü Zorlu Mosque, was named after Fatin Rüştü Zorlu, the Minister of Foreign Affairs in office between the years 1957 and 1960, who was unjustly tried on the island following the May 27 Coup. The mosque is the most distinguishing feature in the island's sea silhouette. The mosque stands out with its architecture and the circular courtyard featuring a shadirvan. The mosque, inspired by late Ottoman architecture, was meticulously designed with its copper dome, minaret, travertine facade, Marmara marble frames, decorated mihrab, main gate, and spacious and tranquil prayer area with an uninterrupted view of the sea. This mosque with a single minaret has a capacity of 500 people for prayers. The interior of Fatin Rüştü Zorlu Mosque is quite spacious, featuring semicircular windows around the rim of the dome-shaped ceiling and panoramic windows in its prayer area that extend to the floor, offering a view of the sea. The women's prayer section features a harmonious design with woodwork 246 247 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE D E M O C R A C Y A N D L I B E R T I E S I S L A N D prominently displayed in the flying buttresses, the mihrab adorned with gold leaf embroidered calligraphy at all four corners, the solid walnut pulpit and minbar, along with green marble details in the interior and the green wallpaper in a similar tone. The design included the qibla verse directly above the mihrab, calligraphic inscriptions on the exterior facade and interior walls, and ornate architectural decorations. Adnan Menderes Museum, welcomes visitors with exhibits on Adnan Menderes' biography, development initiatives during his tenure, and the history of human rights and democracy. The museum showcases the life of then-Prime Minister Menderes and his experiences during his time in office, presented from the perspective of the time when he was arrested and tried by the perpetrators of the coup. Admiral Sadık Altıncan Library, the library adjacent to the Fatin Rüştü Zorlu Mosque. The library houses books donated by the Celal Bayar Foundation. Visitors can spend time reading books or conducting research in this historical structure, built at the highest point of the island by British Ambassador Henry Bulwer. Byzantine Dungeon, are a historical structure originally built in the 9th century as the crypt of a church commissioned by the Byzantine Emperor Theophilus on the island, which was later used as a dungeon. This structure has been restored and opened to visitors. Water Cistern, is estimated to date back to the Byzantine era. The cistern has been restored as part of the project. Henry Bulwer Castle, was commissioned by British Ambassador Henry Bulwer, who purchased the island in the 9th century. Bulwer's castle was the first mediaeval castle to be built with a Gothic-Arabic architectural style. The historical castle has been restored as part of the project. Hasan Polatkan Sports Hall, now the May 27 Museum, is the gymnasium where the trials related to the May 27 coup were held. This structure has been redesigned as part of the project. An exhibition of summarised decisions from the case files is showcased to the visitors at the museum entrance. The museum has been designed to demonstrate the historical process through courtroom installations to allow visitors to experience the events of the time. The landscaping emphasises the architecture with a design approach featuring integration with the content of the open-air museum and a focus on the existing landscape and nature of the island. 248 249 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE D E M O C R A C Y A N D L I B E R T I E S I S L A N D In these installations, specifically designed for the island, visitors can see suitcases denoting the political events of the period in the "What's Left Behind" installation, located next to the steps that blend seamlessly with the island's topography. Additionally, visitors can experience "The Blind Justice," "Falling Victim to Rope," and "Radio" installations showcasing the songs of the period along the paths surrounded by trees. The From Darkness to Light Open-Air Exhibition, featuring photographs from the period, is open for visiting. This open- air exhibition consists of three floors. Visitors can experience exhibitions on the general history of the island that include visuals and texts, as well as one that intertwines the concepts of democracy, justice, and freedom in Arabic, English, and Turkish. On the northernmost side of the island, one can see the glass terrace built atop the steep cliffs, and right next to it, the "Undelivered Letters" installation, a monument overlooking the Marmara Sea, comprised of letters covered in barbed wires symbolising the communication restrictions imposed on the politicians tried after the May 27 coup, made in the memory of the letters exchanged between Adnan Menderes and his wife, Berrin Menderes. The existing tree population was carefully preserved while revitalising mature trees on the brink of drying out through regular maintenance. An area three times the size of the construction area, accounting for about 60 per cent of the island, was designed as a botanic and structural landscaping field, where nearly 40,000 trees and plants suitable for the climate and soil were planted. The Democracy Square, constructed with natural stones and a horizontal elevator for accessibility, offers visitors a panoramic view of İstanbul from the focal point of the island. The massive marble pool in the centre of the square is integrated with an installation consisting of the silhouettes of Adnan Menderes, Hasan Polatkan, and Fatin Rüştü Zorlu. The Democracy and Liberties Island was created as an area that highlights the value of democracy by recalling the effects of the May 27 coup d'état. The island is not merely a place of historical memory but also a symbol to remind future generations that democracy is indispensable. The Democracy and Liberties Island serves a critical role in passing democracy down as a cultural heritage to future generations through organised events and visits. Transportatıon and Communıcatıon Structures 04 İstanbul Airport Rize-Artvin Airport Yavuz Sultan Selim Bridge 1915 Çanakkale Bridge Osmangazi Bridge Marmaray Çamlıca Tower İstanbul and TAM/ 76,500,000 m2 October 29, 2018 254 255 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE İ S TA N B U L A I R P O R T Cengiz-MAPA-Limak-Kolin-Kalyon Joint Venture Group built İGA İstanbul Airport in the Arnavutköy district of İstanbul, which opened on October 29, 2018. 256 257 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE İ S TA N B U L A I R P O R T The İstanbul Airport concept project was designed by British Grimshaw, Nordic, and Haptic companies; the application projects were designed under the leadership of Scott Browrigg with the support of Function and TAM/Kiklop. The enormous construction of İGA İstanbul Airport, which spans 76.5 million square metres, consists of the multi-level parking facility, main terminal building, passenger boarding bridges, air traffic control tower, Ali Kuşçu Mosque and Airport City. 258 259 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE İ S TA N B U L A I R P O R T The airport is influenced by classical Ottoman-style architecture and Mimar Sinan's (Architect Sinan) architectural style, while it also features signs of modern style in certain areas. The terminal is a notable piece of Ottoman architecture, with a domed roof that reflects Turkish-Islamic art and architecture. Pininfarina and AECOM designed the air traffic control tower after winning a competition with the involvement of world-renowned designers. It was inspired by the tulip figure, which has become the symbol of İstanbul for centuries and holds cultural significance in Turkish-Islamic history. This tower also won the International Architecture Award 2016. The Süleymaniye Mosque served as inspiration for the main building's vaulted ceiling and domes. İGA İstanbul Airport, one of Türkiye's largest international projects, contributes greatly to the economy with the current employment potential created with the completion of the first phase. İGA enables Türkiye to have a preeminent position in international aviation. İGA İstanbul Airport has seen 332,993,214 passengers since it opened, and 2,245,489 flights in total have been scheduled. According to the recent statement issued by the General Directorate of State Airports Authority (DHMI), the airport served 80,070,710 passengers in 2024. In 2024, 517,284 flights were operated from the airport. A record of 1,647 flights was set on June 15, 2024, and a record of 267,882 passengers was broken on June 30, 2024. İGA İstanbul Airport, which has increased the number of destinations to 321 for cargo transportation as well as air travel and had a cargo capacity of 4,000,000 tonnes at the time of its opening, stands out for its massive structure with a cargo capacity of 5,500,000 tonnes. One of İGA İstanbul Airport's top priorities is landscape projects. In this context, it was emphasised that the landscape elements chosen for the project design should be natural and appropriate for the region's climate. The fact that all of the airport's irrigation water originates from the treatment plant indicates the importance given to the environment. To avoid disrupting the plant supply, a "Climate-Controlled Professional Greenhouse" was built within the airport's boundaries. In addition to plant rehabilitation, emphasis is placed on the efficient use of resources through plant propagation using cuttings. One of the top priorities at the airport is to make the most of the available sunlight. High glass facades and volumes were designed for this purpose. A total of 461 glass domes were installed on the airport's roofs to provide light into the building. İGA İstanbul Airport also became the second airport in Europe to implement the RWSL (Runway Status Lights) System, marking yet another aviation security breakthrough in Europe. This innovative system helps to avert potential runway incursions by guiding aircraft and ground vehicles on the runway with automatic light signals. İstanbul Airport is one of Türkiye's largest projects on a global scale. The structure, which is an attraction point not only in İstanbul and our country but also in the entire region and worldwide, stands out as one of the world's greatest global transshipment hubs. İstanbul Airport has become one of the world's leading air transportation structures, thanks to its infrastructure, technology, and top-notch airline travel experience. Throughout its six-year service journey, İGA İstanbul Airport has earned numerous national and international certificates and over 100 awards thanks to its exemplary practices in the aviation sector. İGA İstanbul Airport, which was chosen as the Best Airport in Europe by the Airports Council International of Europe (ACI Europe) last year, has received the "5-Star Airport" award from Skytrax, one of the most notable international aviation organisations. As a result of the "Readers' Choice" survey conducted annually by Condé Nast Traveler, the luxury travel and lifestyle magazine of Condé Nast, which is one of the world's leading publishing groups, İGA İstanbul Airport was ranked first in the "World's Best Airports" ranking list. It also received the World's Best Airport award from Travel and Leisure magazine. İstanbul Airport, a valuable asset to Türkiye and the world, is a notable architectural work in the world due to its global benefits. It has seen 332,993,214 passengers since it opened, and 2,245,489 flights in total have been scheduled. These numbers represent a tangible expression of the airport's benefits to both the Turkish community and the world. 260 261 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE İ S TA N B U L A I R P O R T YYK and Consultancy Ltd. Company Black Sea 217,133 m2 May 20, 2022 264 265 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE R İ İ N A I R P O R T Rize-Artvin Airport is the second airport in Türkiye and the fifth in the world built on the sea with a land reclamation of 2.8 million square metres in Yeşilköy, Pazar district of Rize. Designed by YYK Architecture and Consultancy Ltd. Company, the airport is located 34 km from Rize city center, 54 km from Hopa, and 125 km from Artvin city center. The foundation of Rize-Artvin Airport was laid on April 3, 2017, and it was inaugurated by President Recep Tayyip Erdoğan on May 14, 2022. On the same day, the first scheduled flight took place with 320 passengers. Designed on a 1,000-hectare area by the Ministry of Transport and Infrastructure, the airport has an annual capacity of 3 million passengers. 266 267 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE R İ İ N A I R P O R T The airport was constructed using the preloading technique of Mimar Sinan (Architect Sinan). Since the airport was planned with a runway and superstructure facilities for thousands of aircraft landings and takeoffs annually, the "preloading" technique used by Mimar Sinan in the 1558-built Süleymaniye Mosque was applied. With this method, temporary soil fill equivalent to the building load was constructed at the airport. The soil was later removed to minimise consolidation settlements. The ground floor of the terminal, which consists of different sections, includes passenger entrances, check-in counters, and security checkpoints. Additionally, the terminal has waiting lounges, duty-free shops, cafes, restaurants, other commercial units, and an arrivals floor. The airport also features an apron, taxiways, an air traffic control tower, a parking lot, and technical areas. With a closed area of 47,133 square metres, the airport has a 3,000-metre-long and 45-metre-wide runway. The terminal building is 32,000 square metres, while other closed spaces cover 15,000 square metres. The airport includes three taxiways of 265 metres in length and 45 metres in width, two aprons measuring 300×120 metres and 120×120 metres, an authentic terminal building reflecting Black Sea architecture, and a 448-vehicle parking lot designed in the same architectural style. The Domestic and International Terminal Building was designed for functionality, flexibility, scalability, and ease of navigation. It ensures safe access and usage, considering the needs of the elderly, disabled, and children. Emergency exits, stairs, and escape routes were also incorporated. Prioritising passenger comfort, the airport was designed to ensure quick and seamless transitions between aircraft and ground transportation. Security arrangements were made to facilitate smooth pedestrian flow and prevent congestion. Environmental sustainability was prioritised in the project through the use of eco-friendly materials and methods. Built according to horizontal architectural principles, many sections of the airport feature a harmonious blend of natural stones and wood, incorporating regional architectural patterns and motifs. The entrance gate, inspired by a tea leaf, and the 36-metre-high Air Traffic Control Tower, designed with the interpretation of a tea glass and the Tea Museum inside, highlight the distinctive architectural design of the airport. In the Tea Museum, which consists of special exhibitions and displays promoting the brand value of Black Sea tea, visitors also have the opportunity to taste different teas. Traditional Eastern Black Sea architectural elements extend to the terminal façade, flooring, and green spaces. The airport includes over 137,000 square metres of landscaping, with 49,000 square metres planted with 1,453 trees native to the Black Sea's geographical features. Rize-Artvin Airport is an innovative and functional project from an architectural and engineering perspective. Following Ordu- Giresun Airport, it is the second airport built in Türkiye and the fifth in the world, following Japan, Hong Kong, and South Korea. The Rize-Artvin Airport facilitates fast, safe, and comfortable access to the unique plateaus of Rize, Artvin, and the Eastern Black Sea region, as well as travel from domestic cities like Istanbul and Ankara and Gulf countries such as Bahrain and Saudi Arabia, boosting the domestic and international tourism potential. This is expected to contribute significantly to regional development and economic growth. Rize-Artvin Airport represents a successful blend of modern architecture and traditional elements. Designed with respect for the cultural heritage of the region, the airport is a successful example both functionally and aesthetically. Used by 2,649,121 passengers between 2022 and 2024, the airport has hosted 18,699 flights. The airport makes significant contributions to the promotion of the natural and cultural richness of the region, especially Rize and Artvin, to the increase in tourism potential, economic development, and employment. İstanbul VIRLOGEUX Modern 1408 Metres August 26, 2016 270 271 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE YAV U Z S U LTA N S E L İ M B R I D G E With the participation of President Recep Tayyip Erdoğan, the Yavuz Sultan Selim Bridge was opened to traffic on August 26, 2016. It was built in the part of the Bosphorus near the Black Sea, with its eastern tower located in Poyrazköy Neighborhood of Beykoz district and its western tower situated in Garipçe Neighborhood of Sarıyer district. 272 273 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE YAV U Z S U LTA N S E L İ M B R I D G E The foundation of the "New Pearl of the Bosphorus," Yavuz Sultan Selim Bridge, was laid on May 29, 2013, with the participation of President Recep Tayyip Erdoğan. The bridge was completed in a short period of 39 months and was opened to traffic on August 26, 2016. The chief designer of the Yavuz Sultan Selim Bridge was the French architect Michel Virlogeux, who also designed notable bridges such as the Millau Viaduct in France and the Vasco da Gama Bridge in Portugal. Additionally, Swiss design firm T-Engineering and Belgian design firm Greisch contributed to the bridge's design. The geotechnical studies were conducted by Fugro and Lombardi, while the project's oversight for the contractor firm was carried out by Setec and Cowi. The project controls on behalf of the administration were conducted by Yüksel Proje Inc. from Türkiye and Chodai Co. Ltd. from Japan. The Northern Marmara Motorway connects to the Gebze-Orhangazi-İzmir Motorway, the Istanbul-Ankara Motorway, and the Istanbul-Edirne Motorway at various points. The Northern Marmara Motorway and the Yavuz Sultan Selim Bridge alleviate traffic congestion within İstanbul and on other Bosphorus bridges, providing vehicles with a seamless, safe, and comfortable passage without entering city traffic. The Yavuz Sultan Selim Bridge consists of main structural components such as two towers, two anchor blocks, a steel and reinforced concrete deck, and two approach spans. Additionally, the bridge features two main cables, each 2,421 metres long, 176 inclined suspension cables, and 68 vertical suspension cables. The bridge's deck is divided into three sections: the inclined suspension cable section (the first 308 metres from the towers towards the central span), the section with both inclined suspension cables and vertical suspension cables (240 metres from the suspension cable section towards the towers), and the section with only vertical suspension cables (312 metres in the middle span). The Yavuz Sultan Selim Bridge features a unique design for its time. Bridges accommodating both road and rail traffic are typically designed with a two-tiered steel truss system, which results in a bulky architectural appearance. However, the Yavuz Sultan Selim Bridge has a single-level, slim, and elegant deck where both road and railway lines run at the same level. Additionally, to control potential deformations that may occur due to the passage of both road and railway traffic on a single-level bridge, a hybrid design was created by combining a cable-stayed bridge with a suspension bridge. The Yavuz Sultan Selim Bridge contains 176 inclined suspension cables, with one of them measuring 597 metres, making it the world's longest inclined suspension cable. Designed as a combination of a suspension bridge and a cable-stayed bridge, the Yavuz Sultan Selim Bridge is a unique and striking example of hybrid bridge design. As one of Türkiye’s prestigious projects, this structure stands out as an important work in architecture and engineering, utilising the most advanced materials and techniques. With a deck width of 59 metres, it is the widest bridge deck in the world. Its towers, standing at 322 metres, are the tallest towers of any bridge in the world. Furthermore, with a main span of 1,408 metres, it is the longest suspension bridge in the world that carries a railway system. The Yavuz Sultan Selim Bridge is 2,164 metres in total length, with eight road lanes (four in each direction) and a railway line (one track in each direction) running through the middle. The design of the bridge considers load-bearing and weight distribution, allowing for the passage of freight trains weighing up to 3,250 tons and high-speed trains weighing up to 1,000 tons. Additionally, the orthotropic closed box section of the bridge’s deck enables the Yavuz Sultan Selim Bridge to remain stable even under strong wind conditions common to the Bosphorus. Wind barriers have also been installed along the bridge to prevent vehicles passing over the bridge from being affected by strong winds. Since the Yavuz Sultan Selim Bridge is a hybrid structure combining a suspension bridge and a cable-stayed bridge, the construction incorporated techniques from both bridge types. This hybrid structure bears similarities to the Brooklyn Bridge in the United States, while its single-level deck is comparable to the 15 July Martyrs Bridge and the Fatih Sultan Mehmet Bridge in Istanbul. 274 275 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE YAV U Z S U LTA N S E L İ M B R I D G E During its construction, 229,480 cubic metres of reinforced concrete and 74,415 tons of structural steel were used. The bridge contains 42,593 tons of reinforcing steel, and its suspension cables include 124,832 kilometres of steel wire— enough to circle the Earth three times. The total weight of the steel deck is 50,000 tons. The deck’s main span area covers 83,072 square metres, equivalent to ten football fields. The Yavuz Sultan Selim Bridge is harmoniously integrated into its surrounding environment. Its towers are positioned on land, eliminating the risk of ship collisions with the tower foundations. Additionally, the deck is located 72 metres above sea level, meeting international navigation requirements for maritime traffic. After the bridge was opened to traffic, rainwater from the bridge drainage system was treated with oil filtration before being discharged into the Bosphorus, ensuring no environmental harm. The bridge has been equipped with international-standard warning lights and accessories to ensure the safety of maritime and air traffic in the Bosphorus. The deck of the Yavuz Sultan Selim Bridge, like the 15 July Martyrs Bridge and the Fatih Sultan Mehmet Bridge, is designed as a single level. This design provides an aesthetically elegant and refined appearance, allowing the bridge to blend harmoniously with the Bosphorus and the other bridges spanning it. The structural integrity of the Yavuz Sultan Selim Bridge under operation is monitored through a system called the Structural Health Monitoring System. The Structural Health Monitoring Systems consist of various sensors to detect bridge behaviors that are desired to be monitored. The data collected from these sensors is recorded, processed, and analysed continuously. The bridge remains stable even in strong winds. Moreover, wind barriers have been installed to prevent vehicles from being affected by strong winds. The Yavuz Sultan Selim Bridge also features an extensive decorative lighting system. During the daytime, the bridge stands as a grand work of engineering and art, while at night, the decorative lighting system, capable of displaying thousands of colors and color combinations, transforms it into an even more mesmerizing sight. With the decorative lighting system installed on the bridge, a spectacular view of thousands of colors emerges at dusk. 276 277 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE YAV U Z S U LTA N S E L İ M B R I D G E 278 279 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE YAV U Z S U LTA N S E L İ M B R I D G E Throughout its construction and operation, the Yavuz Sultan Selim Bridge has attracted interest from numerous domestic and international institutions, organisations, and universities, welcoming many visitors. As of January 6, 2025, a total of 112,492,026 vehicles have passed over the bridge. With its unique design, advanced construction techniques, and the materials used, the Yavuz Sultan Selim Bridge is considered a milestone in the history of global engineering. Thanks to its striking architectural design, the bridge was awarded the "Grand Prize" in the "Design" category of the "Global Achievement Awards" presented annually by the International Road Federation (IRF) in 2019. 280 281 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE YAV U Z S U LTA N S E L İ M B R I D G E 1915 Çanakkale 284 285 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE 1 9 1 5 Ç A N A K K A L E B R I D G E The first structure that can be considered a Bosphorus bridge in history was built in 480 BC by Persian King Xerxes I to conquer Europe. For this purpose, the city of Abydos (Nara Cape) in Çanakkale and Sestos (Akbaş Fortress) directly opposite were chosen as the route. A mobile bridge was created by lining up 674 rowing ships side by side, allowing the crossing of the Çanakkale Strait. During the reign of Sultan Abdulhamid II in 1879, a railway bridge 1,500 metres long was planned to be built at the narrowest point of the Çanakkale Strait, between Çimenliktepe and Kilitbahir, to connect İzmir to İstanbul. Engineer Joseph Isella was commissioned to prepare the project, and the estimated cost of the project was calculated as 195,652 purses of gold. Between 1992 and 1993, the General Directorate of Highways conducted detailed preliminary feasibility studies for the construction of a steel suspension bridge over the Çanakkale Strait for the first time.The first bridge tender was held in 1994, but it was later cancelled. In January 2017, the General Directorate of Highways awarded the contract through a competitive international tender to a joint venture consisting of DL E&C, Limak, SK Ecoplant, and Yapı Merkezi for the design, financing, construction, and operation of the 1915 Çanakkale Bridge and its connecting roads, totaling 101 kilometres, under the Build-Operate-Transfer model. Under the administrative and technical supervision of the General Directorate of Highways, the structural design of the suspension bridge was carried out by the Danish firm COWI, while the construction work was undertaken by DLSY Adi Ortaklığı (Daelim- Limak-SK-Yapı Merkezi Partnership), a subcontractor of the responsible company ÇOK Inc. (Çanakkale Motorway and Bridge Construction Investment and Operation Inc.) The independent design audit of the suspension bridge was carried out by the ARUP & AAS-JAKOBSEN partnership. 286 287 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE 1 9 1 5 Ç A N A K K A L E B R I D G E The 1915 Çanakkale Bridge is located in the Lapseki and Gelibolu districts of Çanakkale. Its foundation was laid on March 18, 2017, in a ceremony held in Lapseki, attended by President Recep Tayyip Erdoğan via video conference, then- Prime Minister Binali Yıldırım, then-Minister of Transport, Maritime Affairs, and Communications Ahmet Arslan, and South Korean Minister of Land, Infrastructure, and Transport Ho-In Kang. Despite the pandemic, the 1915 Çanakkale Bridge was completed 18 months ahead of schedule, setting a record by being completed in 4 years and 11 months. The bridge was inaugurated with a grand ceremony on March 18, 2022, attended by President Recep Tayyip Erdoğan and the public. The bridge is the most critical passage of the Kınalı-Tekirdağ- Çanakkale-Savaştepe Motorway, completing the Marmara Motorway Ring. As the first uninterrupted land connection across the Çanakkale Strait in history, the 1915 Çanakkale Bridge aims to ensure the safety of life and property on heavily congested routes, reduce travel time, and contribute to the development of tourism and industry in the region. Before the bridge was built, crossing the Çanakkale Strait often required hours of waiting for a ferry, especially during holidays and festive periods. With the commissioning of the bridge, this travel time has been reduced to just six minutes. The 1915 Çanakkale Bridge consists of anchorages, caisson foundations of the towers, steel towers, main cables, and the bridge deck. The bridge has a central span of 2,023 metres and two side spans of 770 metres each, making a total length of 3,563 metres. With approach viaducts of 365 and 680 metres, the total crossing length reaches 4,608 metres. The suspension bridge was constructed with a 2×3 lane highway configuration. The deck width of the bridge is 45.06 metres, with a height of 3.5 metres, and it was designed as a twin-box girder. The caisson foundations of the suspension bridge were placed freely on an improved seabed at -45 metres on the Asian side and -37 metres on the European side. The steel towers of the bridge rise to 318 metres, and with the artillery shell-shaped architectural covers placed on top, the total tower height reaches 334 metres. This height makes the 1915 Çanakkale Bridge the suspension bridge with the tallest towers in the world. The navigational clearance (channel) for ships passing between the towers and under the deck was determined as 1,600 metres in width and 70 metres in height. 288 289 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE 1 9 1 5 Ç A N A K K A L E B R I D G E The caissons of the 1915 Çanakkale Bridge cover an area of 6.2 acres (74 metres × 83.3 metres), roughly the size of a football field. The bridge contains 227,000 cubic metres of concrete and 177,000 tons of steel. During the placement of the upper crossbeam of the bridge towers, the largest heavy lifting operation in the world was carried out based on the weight (155 tons) and height (318 metres) parametres. The bridge was constructed within the framework of the Vision 2023 Master Plan, which serves as a testament to Türkiye’s national development initiative, aiming to improve the nationwide road network. It was built to facilitate vehicle passage between the Lapseki and Gelibolu districts of Çanakkale. The 1915 Çanakkale Bridge was designed to withstand the region’s challenging wind and seismic conditions. Considering the high wind speeds in the Çanakkale region, it was decided to use an orthotropic twin-box girder steel deck with a total width of 45 metres, including a 9-metre median on the 1915 Çanakkale Bridge. The steel decks are the largest steel components of the 1915 Çanakkale Bridge in terms of tonnage and consist of a total of 153 segments. The orthotropic twin-box girder steel deck, selected for its high wind resistance, was manufactured in Gemlik by Turkish engineers. The main cable of the bridge consists of 144 cable strands in the main span and 148 cable strands in the side spans, with each strand comprising 127 galvanised high-strength (1960 MPa) wires with a diametre of 5.75 millimetres. The total length of the wires is 162,000 kilometres. The total length of the wires used in the main cable is equivalent to four times the circumference of the Earth. Regarding earthquake risks, the bridge was designed and constructed with a submerged caisson foundation resting freely on a steel-pile-reinforced seabed. The tower caisson foundation consists of a tie beam, plinth, composite shaft, caisson foundation, gravel bedding, and steel piles used for ground improvement. Before lowering the tower foundation caisson into the seabed, ground rehabilitation was carried out beneath the seabed. Under the Asian tower foundation, 165 steel piles with a diametre of 2.5 metres and a length of 21.25 metres were driven, while under the European tower foundation, 203 steel piles with a diametre of 2.5 metres and lengths ranging from 40 to 46 metres were installed. The stability of the bridge deck against wind effects, both during construction and operation, was tested with a 1/60 scale deck cross-section model, a 1/225 scale free-standing tower model, and a 1/190 scale full-bridge model, confirming the selected structural profiles. The bridge was analysed for three different earthquake scenarios: the Functional Evaluation Earthquake (FEE) with a return period of 145 years, the Safety Evaluation Earthquake (SEE) with a return period of 975 years, and the No Collapse Earthquake (NCE) with a return period of 2,475 years. Furthermore, for the earthquake with a 2,475-year return period, the underwater caisson foundations were designed to maintain a “Minimal Damage Level” (requiring no repairs), while the above-water structural elements were designed to sustain a “Repairable Damage Level.” The Çanakkale Strait is one of the most challenging waterways to navigate due to its physical conditions, wind patterns, and current regime. At certain points in the strait, sharp turns of up to 70 degrees, winds reaching 35-40 m/s, and currents of 4-5 knots create hazardous conditions, increasing the likelihood of maritime accidents. The construction of the 1915 Çanakkale Bridge introduced a relationship between the foundations of its towers in the sea and the ships using the strait. As a result, the risk of "ship impact" was taken into account and even regarded as a crucial design parametre for the design of the 1915 Çanakkale Bridge. The 1915 Çanakkale Bridge is continuously monitored by 1,034 sensors placed at various locations, many of which are not visible from the outside. These sensors track multiple parametres 24/7, including all oscillations and vibrations of the bridge under external factors such as vehicle traffic, wind, and seismic activity, as well as humidity levels in the steel and enclosed concrete sections, the temperature of the bridge, and structural load distribution. Additionally, the 1915 Çanakkale Bridge features the world's largest expansion joints, located at both ends, which allow the bridge deck to adapt to thermal expansion, contraction, and special loading conditions. Due to its construction between two historically significant settlements in Çanakkale and over the geologically ancient and culturally valuable Çanakkale Strait,the historical aspect of the bridge’s relationship with the environment is predominant. During the route selection process, efforts 290 291 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE 1 9 1 5 Ç A N A K K A L E B R I D G E The 1915 Çanakkale Bridge will enable vehicles coming from Europe and Thrace to reach South Marmara and the Aegean via Çanakkale without the need to circumnavigate Northern Marmara. As a result, transportation, production, industry, trade, and service sectors in the surrounding regions have also been revitalised. Thanks to the Malkara-Çanakkale Highway and the 1915 Çanakkale Bridge, the jewel of the Çanakkale Strait, the traffic load coming from Europe and Thrace passes directly through Çanakkale to reach Southern Marmara and the Aegean without having to travel all the way around Northern Marmara. With the commissioning of the highways, the transportation, production, industry, trade, and service sectors of Thrace, Western Anatolia, the Aegean, and even the Western Mediterranean region have been revitalised. The bridge not only supports the culture and tourism of Marmara, Aegean, and Çanakkale, which are important tourism destinations, but also contributes positively to Türkiye's trade and cultural relations with European countries, especially the Balkans. Furthermore, it integrates seamlessly into Türkiye’s western highway network. The 1915 Çanakkale Bridge continues to contribute significantly to the region, the local community, and the country as a whole. It has also earned the prestigious title of a “24-Award-Winning Bridge” in both national and international categories. were made to preserve natural and historical sites, prevent the impact on national parks and protected areas, ensure that the air corridor of Çanakkale Airport would not be affected, and prevent negative impacts on the social, economic, and historical fabric of Çanakkale province. The project first underwent an Environmental and Social Impact Assessment (ESIA) in compliance with IFC standards to identify potential environmental and social effects. As a result, several protective measures were implemented, including modifications to the construction methodology. From March to November 2018, while pile driving work continued on the seabed, three marine mammal observers were assigned to work 24/7 to monitor the impact on wildlife. Through the Community-Level Support Program, direct contributions were made to improve the lives of local residents. Needs analyses were conducted across 32 settlements along the project route to identify the unique requirements of each location. Based on these findings, a total of 321 environmental and social projects were carried out. These projects included pest control in agriculture, training programs for beekeeping, fodder crop cultivation, fruit farming, and lavender farming, as well as irrigation well drilling, pasture rehabilitation, student bus stop construction, equipment and machinery support, and skills development workshops. One of the most notable initiatives was the establishment of the Gelibolu Pioneer Women's Production Cooperative, which was recognized by the United Nations Economic Commission for Europe (UNECE) Public-Private Partnership and Infrastructure Award in May 2023 for its contribution to the circular economy. Although the 1915 Çanakkale Bridge follows the modern design principles of steel bridges and steel suspension bridges that have become widespread since the Industrial Revolution, its integration into the ancient landscape and cultural setting gives it an almost timeless architectural presence. The red-painted steel towers and the white suspension cables connecting them evoke the imagery of a massive Turkish flag floating above the Çanakkale skyline, transforming the bridge from a mere engineering structure into a national symbol. The architecture of the bridge, built in a modern style, also reflects Turkish-Islamic influences. The red and white towers of the 1915 Çanakkale Bridge symbolise the Turkish flag. The 2,023-metre central span represents the 100th anniversary of the founding of the Republic of Türkiye. Additionally, its steel towers, 318 metres above sea level, reference the March 18, 1915, Çanakkale Victory, a pivotal moment in the Turkish nation's fight for independence. The replica artillery shells placed atop the towers pay homage to one of the most critical moments of the Çanakkale War, symbolizing the legendary feat of Seyit Onbaşı (Corporal Seyit), who lifted and loaded a 215 kg artillery shell, and the independence of the Turkish nations. A unique “rhythmic modulation” design was incorporated into the bridge's architecture to emphasise aesthetic elements at the highest level. The white-colored crossbeams of the 1915 Çanakkale Bridge feature architectural rhythmic patterns commonly used in Classical Turkish architecture. The application of ribbed designs on the beams reflects a refined aesthetic that complements the architectural design of the 1915 Çanakkale Bridge. The rib feature is also another element that shows how the bridge builders and designers have considered aesthetics down to the finest detail. The same rhythmic motifs were also applied in the 1915 graphic composition featured on the anchorage blocks of the 1915 Çanakkale Bridge. Since its construction began, the 1915 Çanakkale Bridge has been visited by 8,882 people from 56 universities, 125 public institutions, and 26 non-governmental organizations (NGOs). 292 293 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE 1 9 1 5 Ç A N A K K A L E B R I D G E City Modern 1550 Metres July 1, 2016 296 297 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE O S M A N G A Z İ B R I D G E The construction of the Osmangazi Bridge, spanning between the Gebze district of Kocaeli and the Altınova district of Yalova, commenced on April 4, 2013, and the bridge was inaugurated on July 1, 2016. Large-scale infrastructure projects such as the Osmangazi Bridge necessitate the coordinated efforts of experts and decision-makers across multiple disciplines. In such endeavours, the architect of the structure is also among the stakeholders of the project. The architectural design of the Osmangazi Bridge was shaped through the collaboration of the General Directorate of Highways, responsible for overseeing the project, the contractor OTOYOL A.Ş., and its subcontractor, the Japanese IHI/ITOCHU consortium. Under the administrative and technical oversight of the General Directorate of Highways, the structural design of the suspension bridge was carried out by the Danish engineering firm COWI, while the architectural design was undertaken by the Danish firm Dissing+Weitling. The construction work was executed by the IHI/ITOCHU consortium, which acted as the subcontractor for the main contractor, OTOYOL A.Ş. An independent design review was conducted by Halcrow and TY-Lin International. The Osmangazi Bridge comprises key structural elements such as anchorages, caisson foundations, steel towers, main cables, and a deck system. A dedicated museum located at the Highway Service Facilities in Dilovasi provides insights into the bridge's construction process. The primary objectives of the bridge include enhancing traffic safety, safeguarding life and property, reducing travel times, and supporting regional economic growth by facilitating transportation for heavy commercial vehicles. Osmangazi Bridge was built as part of a Build-Operate- Transfer (BOT) highway project to connect Türkiye's largest city, İstanbul, with its third largest city, İzmir. Spanning 2,907 metres across the Gulf of İzmit, at the eastern end of the Sea of Marmara, the bridge establishes a highway connection between Gebze (Dilovasi) and Altınova (Hersek). While previous routes required 1 hour and 20 minutes to cross the İzmit Gulf by car or 60 minutes by ferry, the Osmangazi Bridge enables the same journey in just 6 minutes. Cost-benefit analyses, taking into account fuel expenses, depreciation, time savings, and environmental considerations, have confirmed the bridge as the most efficient solution for travel between Gebze and Altınova. 298 299 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE O S M A N G A Z İ B R I D G E The bridge has a total length of 2,907 metres, featuring a 1,550-metre main span, 566-metre side spans, and transition spans measuring 105 metres to the south and 120 metres to the north. With the inclusion of approach viaducts measuring 253 metres and 1,380 metres, the overall crossing distance extends to 4,540 metres. The suspension bridge was constructed with a 2×3 lane highway configuration. The bridge deck was designed as an orthotropic single box girder with a width of 35.93 metres and a height of 4.75 metres. The tower foundations rest on reinforced seabeds at a depth of -40 metres on both the northern and southern sides. The steel towers rise to a height of 252 metres. The navigation clearance (channel) for the passage of ships between the towers of the suspension bridge and under the deck was determined as 1,000 metres horizontally and 64.30 metres vertically. The size of suspension bridges is primarily determined by main span length. According to this criteria, the Osmangazi Bridge ranked as the world's fourth- longest suspension bridge by main span length when it opened to traffic and currently stands as the seventh-longest. Notably, it is Türkiye's first suspension bridge with its towers anchored in the sea. The steel towers rise 252 metres above sea level. The deck width of the suspension bridge is approximately 36 metres. On this deck, there are three traffic lanes in each direction, along with two 2.50-metre-wide maintenance walkways on either side. The main suspension cable comprises 110 strands, each containing 127 high-strength steel wires with a diametre of 5.91 millimetres. The total length of steel wire used in the bridge is equivalent to twice the circumference of the Earth. The reinforced concrete caissons supporting the bridge towers measure 67x54x15 metres. The caisson foundations were constructed in two separate locations over two phases, with the full process taking 12 months to complete. The steel structures of the bridge include steel pipe piles, steel shafts, tower blocks, deck segments, main cables, S-wire coatings, hanger cables, hand ropes, tendon anchor plates, cable saddles, vehicle barriers, pedestrian railings, expansion joints, bearings, hydraulic dampers, reinforcement bars, and post-tensioning tendons. The bridge consists of 87 steel deck segments, 61 of which are 25 metres long, while 26 segments measure 50 metres in length. Additionally, there are 22 steel tower blocks, each ranging between 8 and 13 metres in length, and 330 steel pipe piles with a diametre of 2,000 millimetres. Considering the presence of the Hersek Lagoon in the Altınova district of Yalova and the bird species inhabiting the lagoon, the bridge alignment was designed with a curvature to bypass the lagoon, thereby ensuring the preservation of ecological balance. With a 1/326 deck height/main span ratio and 1/43.14 deck width/main span ratio, the bridge is recognised as one of the most visually elegant suspension bridges in the world. Monumental structures such as the Osmangazi Bridge, given their vast scale, can become dominant visual elements within their surroundings. Through landscape planning, these structures can be highlighted, harmonised with their environment, or aesthetically enhanced while also contributing to the natural setting in which they are situated. Furthermore, considering the Osmangazi Bridge alongside the Gebze-Orhangazi-Izmir Highway, a total of 6,315,053 saplings have been planted as part of the project's afforestation efforts. 300 301 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE O S M A N G A Z İ B R I D G E Although the bridge is not located in a very challenging location in terms of wind conditions, it spans the Izmit Gulf, a region of significant seismic activity. Therefore, before proceeding with detailed design, extensive ground studies were conducted, particularly in the southern sections, and the placement and configuration of the southern anchorage were carefully examined before a final decision was made. The tower foundations were designed with a sliding mechanism to provide ground isolation during major earthquakes. The southern anchorage was positioned in a fault-free zone between potential secondary fault lines, and the abutment was placed on the same foundation as the southern anchorage to prevent excessive loads on the main cable due to relative displacements. The construction period for the suspension bridge was set at 37 months, and advanced construction techniques enabled its completion in a significantly shorter timeframe compared to similar suspension bridges worldwide. Since the lifetime of the suspension bridge is designed to be 100 years, the concrete was formulated to guarantee the service life. Chloride permeability limits and required cover depths were calculated, and low-permeability concrete was produced accordingly. The reinforced concrete caissons forming the suspension bridge tower foundations measure 67x54x15 metres. The caisson foundations were constructed in two separate locations over two phases, with the full process taking 12 months to complete. They were floated into position and submerged onto the seabed, which had been reinforced with piles on March 15, 2014, and March 26, 2014. The caisson base area is 3,650 square metres, equivalent to the size of a standard football field, while its 15-metre height is comparable to a five-storey building. The tower foundation construction was executed in three stages: sub- seabed ground reinforcement, caisson installation including submersion, and construction of the foundation and tie beam above the water surface. The seabed at -40 metres was reinforced using 195 steel ground improvement piles, each 2 metres in diametre and 34.25 metres long. To create a stable bed for the caissons, a 3-metre-thick gravel layer was placed atop the piles and levelled. This design ensures that the bridge’s caisson foundation can move freely on this bed during an earthquake, preventing seismic damage to the bridge. The Osmangazi Bridge was designed in accordance with European technical standards, ensuring a service life of 100 years. Engineered to meet international wind criteria, the bridge successfully passed wind tunnel tests. To ensure the structure remains in optimal condition for a long time against harsh environmental and climatic conditions, various sensors were installed at critical points to monitor temperature, stress, and movement variations. The collected data is continuously recorded and analysed at the bridge’s control center. To mitigate the oscillations of the steel towers, two active mass dampers (AMD) were used in the towers as the most appropriate solution. The Osmangazi Bridge was engineered to withstand severe wind loads, potential ship collisions, extreme traffic loads, and seismic activity. Although the bridge is not located in a very challenging location in terms of wind conditions, it spans the Izmit Gulf, a region of significant seismic activity. The North Anatolian Fault Line, responsible for the devastating 7.6 magnitude Kocaeli Earthquake in 1999, is located in close proximity to the bridge. Therefore, before proceeding with detailed design, extensive ground studies were conducted, particularly in the southern sections, and the placement and configuration of the southern anchorage were carefully examined before a final decision was made. Based on wind tunnel test results, an orthotropic single-box steel girder deck measuring 35.93 metres in width and 4.75 metres in height was selected. Regarding earthquake risks, a submerged caisson foundation resting freely on a steel-pile-reinforced seabed was selected for the tower foundations. The stability of the bridge against wind forces during both service and construction phases was verified through a series of wind tunnel tests, including a 1/65 scale deck section model, a 1/220 scale tower model, and a full bridge model at 1/220 scale. The measured vibration onset speed is 75 m/s, and the critical vibration at the deck height is higher than the project wind speed of 58 m/s. The design of the wind barriers protecting vehicles passing through the tower region was determined based on wind tunnel tests. To mitigate wind-induced oscillations in the towers, an effective anti-vibration mechanism, the active mass damper (AMD), was selected. The bridge’s southern anchorage was placed in a fault-free region between potential secondary fault lines. The bridge was analysed using probabilistic seismic hazard analysis, considering three different earthquake scenarios with return periods of 150 years (FEE), 1,000 years (SEE), and 2,475 years (NCE), under both normal and parallel fault conditions. The tower foundations were designed with a sliding mechanism to provide ground isolation during major earthquakes. 302 303 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE O S M A N G A Z İ B R I D G E Since the beginning of its construction, the Osmangazi Bridge has been visited by a total of 4,658 individuals, including representatives from 55 universities, 12 public institutions, and 49 civil society organisations. The Southern Approach Viaduct, an integral part of the project connecting the Osmangazi Bridge to the main highway, spans 1,380 metres. Of this length, 1,120 metres were constructed using the incremental launching method, making the 22,500- ton deck push operation the largest of its kind globally. Additionally, the remaining 260 metres, consisting of two sections measuring 127 metres and 133 metres, were installed using the heavy-lifting method, with lifting operations of 2,300 tons and 2,600 tons, respectively, marking the largest heavy-lifting operation ever conducted. The İstanbul-Bursa-İzmir Highway and the Osmangazi Bridge not only link key economic centres but also represent a prestigious project that strengthens Türkiye’s transportation infrastructure. This project has reshaped the socio-cultural, economic, and commercial dynamics of Western Anatolia, making new history. The Osmangazi Bridge stands as a cornerstone of Türkiye’s journey toward economic prosperity. 304 305 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE O S M A N G A Z İ B R I D G E Marmaray City Project Route 76.3 km long between Gebze and Halkalı October 29, 2013 308 309 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE M A R M A R AY During the Ottoman Empire, as the capital city of İstanbul expanded on both the Asian and European shores, the need for a connection between the two continents became increasingly significant. The first recorded proposal for a railway tunnel under the Bosphorus dates back to 1860, during the reign of Sultan Abdülmecid. French engineer and railway constructor S. Préault developed a conceptual design for a railway tunnel that would be constructed on columns 20 metres below the sea surface between Üsküdar and Sarayburnu. In 1902, during the reign of Sultan Abdulhamid II, the idea of linking the Anatolian and Rumelian railway networks was also considered, and American engineers produced a similar design. Based on the concept of an undersea tunnel, they designed a wide tunnel that was partially placed on the seabed, with the remaining section supported by 16 columns. However, the project, known as "Tünel-i Bahri" (Sea Tunnel), could not be realised with the financial and technical means of the period. The first comprehensive scientific study concerning a Bosphorus crossing was the "Bosphorus Railway Tunnel and Istanbul Metro System Feasibility Study and Preliminary Design," conducted between 1984 and 1987 by an international consortium. As a result of extensive feasibility and engineering studies, the determined tunnel route is identical to the historical 'Tünel-i Bahri' route. Later, in 1996, the "Gebze-Haydarpaşa, Sirkeci-Halkalı Commuter Line Improvement Study" was conducted to modernise the existing suburban railway lines on both sides of the Bosphorus and integrate them into the railway tunnel, thereby expanding the system’s service area. 310 311 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE M A R M A R AY Marmaray was inaugurated on October 29, 2013, with a ceremony attended by then-Prime Minister Recep Tayyip Erdoğan and numerous foreign dignitaries. During the opening ceremony, Japanese Prime Minister Shinzo Abe pinned the sign with the words “Asia” and “Europe” on the wall. Then President Abdullah Gül and then Prime Minister Recep Tayyip Erdoğan at the opening ceremony of Marmaray 312 313 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE M A R M A R AY 314 315 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE M A R M A R AY Ground investigations and environmental impact assessment studies were carried out for the "Marmaray Project," which was decided to be constructed as a result of survey and feasibility studies to provide data for design and construction works prior to construction works, and the measures to be taken during construction were determined. The design and construction works of the Marmaray Project consisted of three phases: *The construction of an immersed tube tunnel beneath the Bosphorus, approach tunnels, three underground stations, and a level station commenced in 2004. The railway tunnel under the Bosphorus was officially opened for passenger service on October 29, 2013. *Renovation of the existing Gebze-Haydarpaşa, Sirkeci-Halkalı suburban lines, construction of the new third line and stations, and provision of entirely new electrical and mechanical systems started in 2011, and the entire system between Gebze-Halkalı was opened for passenger operation on March 13, 2019. *The procurement of suburban train sets took place between 2008 and 2014. The Marmaray corridor spans 76.3 kilometres from Gebze to Halkalı, covering a significant portion of İstanbul’s east-west axis and passing through key central districts such as the Historic Peninsula. The route consists of an approximately 1.4-kilometre- long immersed tube tunnel under the Bosphorus, 12.2 kilometres of tunnels on land, and about 63 kilometres of level railway tracks. The system includes a total of 43 stations, comprising three deep underground stations and 40 level stations, providing public transportation services to densely populated areas. The integration of Marmaray with existing and future urban rail transit lines further expands its service reach. The project also includes the procurement of 440 new suburban rail cars. The project is designed to accommodate 75,000 passengers per hour per direction. The design life of the project was determined as 100 years, with all engineering designs aligned with this objective. Marmaray was inaugurated on October 29, 2013, with a ceremony attended by then-Prime Minister Recep Tayyip Erdoğan and numerous foreign dignitaries. 316 317 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE M A R M A R AY Marmaray comprises a three-track railway, stations, a system control center, maintenance and repair facilities, and depot buildings. The architectural design of the stations was based on projected passenger demand studies and was developed in accordance with national and international railway station standards. Marmaray’s immersed tube tunnel is the first of its kind in Türkiye and the deepest such structure ever built worldwide, and it is a major transportation project linking the European and Asian sides of Istanbul by rail under the sea. The tunnel was built with a special design and advanced precautions in a high-risk earthquake zone and on a heavily trafficked route in the Bosphorus Strait, with strong currents reaching up to five knots. 318 319 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE M A R M A R AY The construction of Marmaray required large-scale works such as a railway tunnel through the Bosphorus and the construction of several bridges. Given the tunnel’s proximity to the North Anatolian Fault Line, the Marmaray Project included extensive geological, geotechnical, and geophysical studies beyond existing data on previous earthquakes, and an earthquake-resistant design was made in line with all the data obtained from these investigations. The immersed tunnel was designed for a 7.5 magnitude earthquake on the Marmaray fault. Under this earthquake load, the primary focus was on ensuring 100% life safety, minimal functional disruption (allowing the system to resume operations shortly after an earthquake), limited structural damage that would require only minor repairs, and absolute watertightness at tunnel joints. The immersed tube tunnel was built with full consideration for the ecological balance of the Bosphorus. To prevent disturbance to the seabed topography, a trench was excavated along the tunnel’s alignment, and the prefabricated tunnel elements were placed within it. Upon completion of the immersion process, the trench was backfilled, and a protective cover was applied, restoring the seabed to its original profile. Additionally, hydrodynamic, hydrographic, and hydrological studies of the Bosphorus and the Sea of Marmara were carried out. Extensive reports covering water quality, turbidity levels, fish migration patterns, and biodiversity were prepared, and measures were taken to minimise environmental impact during construction. The excavations carried out during the construction of Marmaray, a major infrastructure investment, uncovered examples of Istanbul's historical texture, and some important archaeological artefacts were found. There are registered cultural heritage sites around the Marmaray project route and historical station buildings within the project area. Restoration work was carried out on the registered station buildings, and preservation measures were implemented for historical structures within the project’s impact area. Within the scope of the project, archaeological excavation works have been carried out in many locations in accordance with the decisions of the Conservation Board and under the supervision of the Istanbul Archaeological Museums Directorate, especially in the Historical Peninsula, as well as in station areas and existing conservation sites along the route due to the remains encountered during the manufacturing process, and very important findings that changed the history of Istanbul have been unearthed. Movable artefacts were transferred to the İstanbul Archaeological Museum, while conservation projects were developed for architectural finds, necessitating design modifications to incorporate their protection. Collaboration with relevant stakeholders, including the Ministry of Culture, Conservation Boards, Istanbul Archaeological Museums, universities, and local municipalities, ensured the preservation of Istanbul’s archaeological, architectural, and urban heritage. As part of archaeological studies conducted during the Marmaray and İstanbul Metro Projects, 37 shipwrecks were excavated at Yenikapı, with their relocation taking eight years to complete. This collection, known as the world’s largest collection of shipwrecks, includes a replica of "Yenikapı 12", a historic vessel. 320 321 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE M A R M A R AY Within the scope of the Marmaray Metro Project, the remains of 55 animal species dating back approximately 8,000 years, uncovered at Yenikapı, are planned to be exhibited at the Istanbul University Osteoarchaeology Museum. Marmaray is not merely a long-term investment in İstanbul’s transportation infrastructure; it is also a project with significant environmental, social, and economic dimensions. By linking Istanbul’s Asian and European sides under the Bosphorus, Marmaray has considerably reduced travel times, increasing the number of passengers crossing the Bosphorus and reducing the congestion on this line. Marmaray has provided an important alternative to İstanbul's transportation network. Traffic load and the use of private vehicles have decreased, especially on main transportation routes such as the Eurasia Tunnel and the Bosphorus Bridge, and the use of public transportation has increased. This has significantly alleviated traffic congestion. At the same time, Marmaray has shortened the transit time from Asia to Europe, providing speed and efficiency in İstanbul's transportation. As an electrically powered public transportation system, Marmaray has contributed to reducing carbon emissions in İstanbul by providing an environmentally friendly option. Marmaray's rail system has helped to reduce the amount of air pollutants (NHMC, CO, NOx, etc.) and greenhouse gases (mainly CO2) and noise pollution caused by heavy traffic in İstanbul by increasing the use of public transportation. With the commissioning of the system, it was estimated that 96,200 private vehicle trips per day would be shifted to public transportation as a result of the provision of a traffic-free, faster, more reliable, and more comfortable transportation service. A high-capacity rail public transport system was created as an alternative to road transport for journeys between the Asian and European sides, which is an important part of İstanbul's urban transportation problem, and a significant contribution was made to increase the share of public transport in urban commutes. The reduction in private vehicle journeys has been aimed at decreasing the amount of air pollutant gases (NHMC, CO, NOx, etc.) and greenhouse gases (primarily CO2) emitted by road vehicles, which have negative impacts on both global and regional environments. Ensuring direct and safe access for passengers while considering accessibility for disabled individuals has been a priority, and high-standard fire safety measures have been implemented. 322 323 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE M A R M A R AY Since the opening of the Marmaray line, a total of 1,244,465,412 passengers were transported between November 2013 and December 2024. In 2024, an average of 18,413,251 passengers traveled per month, with a daily average of 603,815 passengers using the system. One of the major benefits of Marmaray has been its role in facilitating daily life, particularly for business professionals and students, within İstanbul’s complex transportation network. The reduction in travel times has allowed people to use their time more efficiently and has contributed to an improved quality of life. This modern railway line, passing beneath the Bosphorus Strait, has marked a significant milestone in İstanbul’s transportation infrastructure. 324 325 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE M A R M A R AY Çamlıca Tower İstanbul, Üsküdar Altınışık Ottoman - Seljuk 29,350 m2 May 29, 2021 328 329 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE Ç A M L I C A T O W E R Çamlıca Tower is one of the significant works of contemporary architecture located in the Üsküdar district of İstanbul. Çamlıca Tower was designed as a telecommunication tower for television and radio broadcasting services. The official inauguration of Çamlıca Tower took place on May 29, 2021, with the participation of President Recep Tayyip Erdoğan. 330 331 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE Ç A M L I C A T O W E R Competition Project: 2011 Design Phase: 2013- 2016 Construction Phase: 2016-2020 Project Site Area: 10,000 m² Building Footprint Area: 2,425 m² Number of Basement Levels: 4 Number of Tower Floors: 49 Tower Floor Height: 4.50 m Tower Panoramic Elevators: 2 units Tower Basement Floors & Core Structure: Reinforced Concrete Upper Tower Floors and Antenna Structure: Steel 332 333 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE Ç A M L I C A T O W E R 334 335 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE Ç A M L I C A T O W E R Located within Küçük Çamlıca Grove, Çamlıca Tower rises 369 metres into the sky from its entrance level, which is positioned at an elevation of 220 metres above sea level. The tower holds the distinction of being the tallest radio and television tower in Europe. The construction of Çamlıca Tower was undertaken to ensure higher-quality, uninterrupted, and highly efficient television and radio broadcasts. Due to the presence of high-rise buildings and natural elevations across Istanbul, signal transmission was often weakened. The tower enhances broadcast quality by providing strong signal transmission across both the Asian and European sides of the city. This improvement allows local television channels and radio stations to broadcast more efficiently. In line with the distinctive character of its façade design, the structural performance of Çamlıca Tower was optimized using wind tunnel test data. The tower's exterior incorporates custom-produced GFRC (Glass Fiber Reinforced Concrete) panels, which are composed of glass fiber-reinforced cement and sand mixture shell concrete panels. Apart from the technical areas dedicated to telecommunications services, Çamlıca Tower features several public spaces, including an observation terrace, a restaurant, a café, a multi-dimensional cinema experience area, a space simulation park for children, an amphitheatre, a park, and a parking facility. The “Panoramic Elevators,” rising on both sides of the tower, serve as architectural elements that both support and visually divide the monolithic structure. Visitors can experience a 180-metre vertical journey in these elevators, offering breathtaking views extending from the Historic Peninsula to the Black Sea coastline. Additionally, they can enjoy a panoramic view of Istanbul from approximately 400 metres above sea level. Beyond its striking architectural design, Çamlıca Tower offers five distinct scenic perspectives. The upper platform of the tower has been designed entirely with human circulation in mind, while the slope between the service road and the upper platform has been designed to be utilised as a green space. The landscape design incorporates characteristic species native to the Bosphorus groves, such as stone pine (Pinus pinea), mastic tree (Pistacia lentiscus), Himalayan cedar (Cedrus deodara), Mediterranean cypress (Cupressus sempervirens), Spanish broom (Spartium junceum), and cistus (Cistus ladanifer). The Judas tree (Cercis siliquastrum) has been chosen as the dominant element of this green character. Every plant species has been carefully selected to complement the existing flora of Çamlıca Grove, ensuring ecological continuity. Çamlıca Tower is designed as an innovative space that offers a unique experience, embodying the spirit of contemporary architectural principles. Advanced engineering technologies were employed in many aspects of the construction process. One of the most distinctive methodologies used in its construction was the reverse construction technique, meaning the tower was built from top to bottom. The tower also shared its own knowledge of form and existence with the citizens who followed its construction. This transformed the process into an architectural performance on an urban scale. With its amorphous form, Çamlıca Tower serves as both a tangible representation of Istanbul’s wind patterns and a metaphorical expression of the tulip’s systematic structure. The tower's appearance from the European side differs from its silhouette on the Asian side. The Çamlıca Tower presents a distinct profile from every vantage point across Istanbul. 336 337 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE Ç A M L I C A T O W E R 338 339 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE Ç A M L I C A T O W E R The lighting system of Çamlıca Tower incorporates 62,000 individually controlled light points, capable of displaying 16.7 million color tones. This system has been made possible by the world's most comprehensive software in its field to date. Recognised as one of Istanbul’s most significant landmark structures, Çamlıca Tower (Istanbul Television and Radio Tower) was constructed with highly advanced engineering techniques in terms of both architectural design and construction methodology, and the entire construction process adhered to the legal framework, with all necessary permits obtained. Extensive environmental and cultural impact assessments were conducted at each stage. Before the tower’s construction, various precautionary measures were implemented to protect the cultural and natural heritage of the region. The old state of Çamlıca Hill full of transmitters 340 341 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE Ç A M L I C A T O W E R The construction was approved by local authorities and specialised institutions Çamlıca Tower, where numerous scattered transmission antennas creating visual pollution were consolidated into a single centralised structure, plays an important role for mobile communication and internet connection as well as television and radio broadcasts in İstanbul. The tower addresses a critical need in the telecommunications sector, strengthening İstanbul’s digital infrastructure. As one of the highest points in the city, Çamlıca Tower makes significant contributions to İstanbul both technically and aesthetically. With its restaurants, cafés, and social areas, the tower offers visitors a relaxing and entertaining experience. The observation decks on the Çamlıca Tower provide a unique panoramic view, where the city’s historical and modern structures coexist, making it a major attraction for both local and international tourists. In 2022, Çamlıca Tower received one of the most prestigious global awards in the field of tall structures—the "Best Tall Non- Building 2022" award—granted by the Council on Tall Buildings and Urban Habitat (CTBUH) at a ceremony held in Chicago. 342 343 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE Ç A M L I C A T O W E R As the tallest structure in İstanbul, Çamlıca Tower offers panoramic views of many key landmarks, including the Historic Peninsula, the 15 July Martyrs Bridge, Büyük Çamlıca Mosque, and the Princes’ Islands. Prior to Ramadan, measurements related to the “Lunar Observation Program” were conducted at Çamlıca Tower. 344 345 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE Ç A M L I C A T O W E R As part of the celebrations for April 23 National Sovereignty and Children’s Day, Çamlıca Tower and Selimiye Barracks were illuminated with projections of the Turkish flag. The landscape enhancements around Çamlıca Hill have transformed the area into one of Istanbul’s key social spaces, with newly built walking paths, seating areas, parks, and green spaces contributing to the city’s environmental enrichment. Within its first three years, the tower welcomed a total of 1.8 million visitors, reinforcing its role in boosting İstanbul’s tourism potential. resıdentıal and recreatıonal areas 05 Diyarbakır Suriçi Residential Area Hasankeyf Project New Residential Area Archeopark Yusufeli New Town Yusufeli Dam Nation's Gardens 186 hectares 350 351 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE D İ YA R B A K I R S U R İ Ç İ R E S I D E N T I A L A R E A and Features Diyarbakır City Walls, which were included in UNESCO's World Heritage Tentative List in 2002, were prioritised following a directive from President Recep Tayyip Erdoğan in 2011, leading to their official inscription on the UNESCO World Heritage List on July 4, 2015, under the designation “Diyarbakır Fortress and Hevsel Gardens Cultural Landscape.” The Diyarbakır Suriçi Project is a large-scale urban transformation project aimed at revitalising one of the city’s most historic areas, the Suriçi District. The project’s objective is to preserve Diyarbakır’s historical heritage while transforming it into a modern and sustainable living space. Key aspects of the project include the restoration of historical structures, improvements in infrastructure and transportation, strengthening the social and cultural fabric, and promoting economic development. The project is particularly noteworthy as it significantly contributes to the region's modern infrastructure, transportation facilities, and social development. The project included several action plans for the improvement of the Suriçi area between Gazi Avenue, İçkale, Yenikapı, and Mardin Gate, and the Diyarbakır Castle, Hevsel Gardens, Suriçi, and the Dicle Valley, based on the 2012 conservation-oriented zoning plan. The restoration and renewal efforts encompass the neighbourhoods of Suriçi. Among them are the the historically significant Alipaşa and Lalebey neighbourhoods, which have been redeveloped according to the needs of local residents. The project replaces informal housing with new residential units designed in line with traditional architectural principles. Once completed, the project will see the replacement of slum areas with newly constructed homes, the restoration of historical monuments, the expansion of green spaces, and the creation of new public squares. Additionally, a significant boost in tourism activities is anticipated following the completion of the urban transformation and renewal project. 352 353 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE D İ YA R B A K I R S U R İ Ç İ R E S I D E N T I A L A R E A With its revitalisation, historic Suriçi has become a major tourism hub. As an important step toward modernising the city centre, preserving its historical heritage, and ensuring economic development, the Diyarbakır Suriçi Project has undertaken the restoration of many historical structures and implemented urban revitalisation efforts. These efforts include the restoration and reconstruction of Yenikapı Street, Diyarbakır City Walls, Sur District Governorship Building, Hazreti Süleyman Mosque and Inner Castle, Mar Petyun Chaldean Church, Kurşunlu Mosque, Sur Giragos Church, and Ulu Mosque and its surroundings. The Ministry of Environment, Urbanisation, and Climate Change has financed the restoration of 23 monumental architectural structures and 32 civil architectural structures, with ongoing work on 286 more structures. Restoration Works (Before) Diyarbakır Suriçi Reconstructed (After the Project) Diyarbakır Suriçi is a historically and culturally rich area, home to the city's ancient walls, Ulu Mosque, Hasan Pasha Inn, and Cemil Pasha Mansion, among other significant architectural landmarks. The restoration efforts aimed to preserve the historical texture of these structures while reinforcing them with modern techniques and repurposing them for contemporary use. Local materials such as natural stone and basalt were preferred in the techniques used, and the buildings were harmonised with the landscaping.To prevent damage to the historical texture, innovative technologies such as 3D modeling and laser scanning were used during the restoration process. 354 355 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE D İ YA R B A K I R S U R İ Ç İ R E S I D E N T I A L A R E A The restoration process ensures that Suriçi reflects a harmonious blend of traces from the Ottoman, Seljuk, and Republican periods. Narrow streets, inns, and mansions, which are the key elements of Suriçi's identity, have been preserved both individually and as part of the region. These structures have not only been visually restored but also functionally adapted. For instance, inns and mansions have been converted into cultural event spaces, supporting tourism and social interaction. Additionally, landscape design efforts have strengthened the connection between historical buildings and their surroundings. The İçkale Museum Complex located in Diyarbakır’s central Sur district. 356 357 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE D İ YA R B A K I R S U R İ Ç İ R E S I D E N T I A L A R E A Diyarbakır’s most vibrant avenue, Gazi Street, has been renovated as part of the "Street Revitalisation Project." Street Revitalisation Within the scope of prestige street arrangement and revitalisation efforts on Gazi and Melik Ahmet streets in Sur district, the repair of 3,822 commercial units and residences was completed. Street revitalization efforts aim to preserve and imrpove the street texture that highlights the historical and cultural identity of the Suriçi region. These efforts included the renovation of deteriorated facades in alignment with their original appearance, the reorganisation of street pavements, and the modernisation of electrical and water infrastructure. The materials used were selected from natural materials such as stone and wood in accordance with the historical texture of the region and harmonised with the environmental arrangement and historical elements. In addition, widened pedestrian areas and lighting systems were added to increase the functionality of the streets. Street Revitalisation (Before) Street Revitalisation (After) 358 359 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE D İ YA R B A K I R S U R İ Ç İ R E S I D E N T I A L A R E A Diyarbakır Covered Bazaar (Before) The revitalisation efforts have enabled the integration of historic streets into social and economic life and contributed to the daily lives of local people. The streets are organised both to keep the traditional bazaar culture alive and as an environment for tourists to visit. In the landscaping arrangements of the streets, seating areas were created by integrating greenery that harmonizes with the historical texture. At the same time, commercial areas were restored to support the economic activities of local tradespeople. These implementations have brought to light the aesthetic elements inherited from the Ottoman and Seljuk periods in Suriçi, strengthening the historical value of the region. Diyarbakır Covered Bazaar (After) Before the Street Revitalisation Efforts After the Street Revitalisation Efforts 360 361 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE D İ YA R B A K I R S U R İ Ç İ R E S I D E N T I A L A R E A Sur District Yenikapı Street With the street revitalisation implementations, both the quality of life for the local population has improved, and the area has become more attractive to tourists. Existing data shows that after the revitalisation, the streets have been used more intensively, and the number of visitors has increased. These efforts have been a significant step in preserving the historical and cultural heritage of Suriçi while preparing the region for the future. YENİKAPI CADDESİ Sur District Yenikapı Street A total of 63 commercial units were created on Yenikapı Street. As part of the Yenikapı works, the infrastructure of the street was renewed, and it was redesigned to be suitable for pedestrian use. In the sidewalks and ground coverings, basalt stone, which is compatible with the historical fabric of the region, was used, and modern yet historically harmonious lighting poles were added. During the infrastructure works of the street, the electricity, water, and sewage systems were modernised. Sur District Yenikapı Street Yenikapı Street is in close connection with the architectural and cultural heritage surrounding it, as it is directly linked to the historical city walls. The shops and residences on the street were restored in accordance with their original form, turning the street into both a tourist attraction and a daily living space for the local people. In landscaping arrangements, local plant species and traditional design elements were preferred, further enhancing the historical identity of the street. Yenikapı Street embodies both the structural traces of the Ottoman and Seljuk periods and the necessities of modern life, ensuring cultural continuity in the region. 362 363 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE D İ YA R B A K I R S U R İ Ç İ R E S I D E N T I A L A R E A Among the total of 82 towers of the Diyarbakır City Walls, 11 (between 63 and 73) were restored as part of the project. Listed as a UNESCO World Heritage Site in 2015, the “Küpeli Gate” of the Diyarbakır City Walls was reopened for public passage after the restoration. 364 365 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE D İ YA R B A K I R S U R İ Ç İ R E S I D E N T I A L A R E A The Diyarbakır City Walls are among the oldest and most robust defensive structures in the world. Constructed around 3000 BC, these walls were expanded and strengthened by the Romans, Byzantines, Artuqids, Seljuks, and Ottomans. Located in the center of Diyarbakır, the walls have been inscribed on the UNESCO World Heritage List and have become a defining feature of the region. Measuring 5,700 metres in length, 10-12 metres in height, and 3-5 metres in width, the walls were built using basalt stone, renowned for its durability. The inscriptions, epitaphs, and carvings on the walls hold great architectural significance, and the city walls, consisting of 82 towers, stand out for their aesthetic and architectural features, including city gates that open in four directions. Diyarbakır inner castle (Before) Diyarbakır inner castle (After) After Before 366 367 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE D İ YA R B A K I R S U R İ Ç İ R E S I D E N T I A L A R E A Diyarbakır City Walls (Before) Diyarbakır City Walls (After) Originally built for military defense, the Diyarbakır City Walls protected the city for centuries against both natural and human threats. Additionally, the reliefs on the towers and the walls serve not only a defensive function but also carry an aesthetic significance. The walls, in organic connection with the surrounding Hevsel Gardens and other historical sites, create both a physical and cultural boundary for the city. The use of basalt stone and geometric arrangements demonstrates that this structure reflects the most advanced architectural techniques of its time, in terms of aesthetics and durability. Often compared to the Great Wall of China, this structure holds unique historical and cultural importance. Particularly with the landscaping and accessibility improvements, this unique monument has gained greater significance and stands as a cultural heritage that must be preserved. 368 369 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE D İ YA R B A K I R S U R İ Ç İ R E S I D E N T I A L A R E A Sur District Governorate Building The Sur District Governorate Building is a modern public structure built in harmony with the historical and cultural texture of Diyarbakır. The building was designed to meet functional needs while incorporating an aesthetic approach compatible with the historical architecture of Suriçi. The use of basalt stone in the structure reflects Diyarbakır’s local material tradition, while its spacious interior arrangements are designed to fulfill modern office requirements. Additionally, environmental planning around the building ensures that it integrates with the historical city walls, the narrow streets of Suriçi, and other surrounding structures. The building blends modern interpretations of the architectural features of the Ottoman and Republican periods. Establishing a strong interaction with its surroundings, the building has added value to the region both functionally and aesthetically. In the garden arrangements, local plants were used, and public spaces such as open seating areas and walking paths were created. The landscaping design of the building ensures accessibility to district governorship services without harming the historical fabric. Furthermore, in the architectural design of the building, particular attention was given to Suriçi’s historical identity, incorporating details commonly found in traditional architecture, such as arched windows and stone ornaments. Beyond being a modern public service building, the Sur District Governorate Building stands out as a project that respects the historical and cultural heritage of the region. While providing a public service area suitable for community use, it also constitutes an architectural landmark in harmony with Diyarbakır’s historical identity. With its opening, the building has addressed public space needs in Suriçi while also serving as an aesthetic and cultural focal point for local and international visitors. 370 371 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE D İ YA R B A K I R S U R İ Ç İ R E S I D E N T I A L A R E A As part of the revitalisation efforts in Sur, a 115-acre area surrounding the historical Hazreti Süleyman Mosque, previously filled with buildings and shanties that disrupted its appearance, was redeveloped and opened for public worship. Hazreti Süleyman Mosque and Surroundings (Before) Although the exact construction date of the Hazreti Süleyman Mosque is unknown, an inscription on its minaret indicates that it was built between 1155 and 1160 by Nisanoğlu Kemaleddin Ebu'l Kasım Ali, known as Cemalüddevle, during the Nisanoğulları period. The mosque was likely designed by Hibetullah el-Gürgani, an architect known for his works during the Nisanoğulları period in Diyarbakır. Also referred to by various names such as Nasiriyye, Meşhed, Murtaza Pasha, and Kale Mosque, this structure has long been an important place of worship and has undergone numerous additions and repairs over the centuries. The mosque, which was repaired in various periods, was repaired during the Ottoman period by Silahdar Murtaza Pasha in 1631. 372 373 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE D İ YA R B A K I R S U R İ Ç İ R E S I D E N T I A L A R E A Located at the edge of a tower on the southern side of the Oğrun Gate in the Inner Castle, Hazreti Süleyman Mosque was built using black basalt stone, with its architectural features shaped by the geographical conditions of the area. The mosque covers a rectangular area in a north-south direction. The mosque complex consists of multiple structures: to the west, there is a tomb, graveyard, and courtyard; near the entrance gate on the western side, there is an open prayer area on the right and on the left, there is an ablution facility with colonnades; and on the northern side of the mosque, there is a second tomb section. The mosque has two main entrances on the south and west sides and a 12-fountain ablution facility on the northern wall. The tomb where Hz. Süleyman and other companions who were martyred during the conquest of Diyarbakır are buried is adjacent to the western wall of the structure. The mosque has two mihrabs and contains a total of eight inscriptions detailing its construction and various repairs throughout history. After the Comprehensive Restoration of Hazreti Süleyman Mosque and Its Surroundings Hosting 27 companions of the Prophet, Hazreti Süleyman Mosque holds a unique status and has been reopened for worship after a meticulous restoration. Reflecting both Seljuk and Ottoman traces, Hazreti Süleyman Mosque underwent restorations in 1961, 1974-1977, and 1985. In 2012, a comprehensive restoration was carried out, during which the stone surfaces were revealed, the walls were reinforced, and the original form of the structure was uncovered. The concrete layers on the roof were removed and replaced with a lead coating. On the exterior walls, traces and stains caused by contamination on the basalt stone surfaces were cleaned using the ammonium bicarbonate pulp method. The original iron railings surrounding the tomb were stripped of paint and rust and treated with a protective coating. 374 375 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE D İ YA R B A K I R S U R İ Ç İ R E S I D E N T I A L A R E A Hazreti Süleyman Mosque is not only a place of worship but also a cultural heritage site in architectural terms. Additionally, the fact that Hazreti Süleyman and 27 companions were martyred here during the conquest of Diyarbakır holds great historical and religious significance. The mosque serves as a center of faith tourism, as well as a destination for architectural and historical enthusiasts. Dicle Valley Nation’s Garden (After) As part of the Diyarbakır Suriçi Project, green space arrangements were completed in Dicle Valley, covering 1,100 acres (including Hevsel Gardens), as well as in the vicinity of Hazreti Süleyman Mosque (Inner Castle) and Dicle Valley Nation’s Garden. The Cevatpaşa Neighborhood Inner Castle Valley Urban Design Project, completed in 2017, was opened to the public. 376 377 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE D İ YA R B A K I R S U R İ Ç İ R E S I D E N T I A L A R E A Restoration works at Mar Petyun Chaldean Church, initiated in 2019, were completed, and the church was reopened for worship. Chaldean Church 378 379 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE D İ YA R B A K I R S U R İ Ç İ R E S I D E N T I A L A R E A Before After Chaldean Church Situated in Özdemir Neighborhood, Sur District, near Sheikh Mattar (Sheikh Mutahhar) Mosque, Mar Petyun Chaldean Church is currently used by Eastern Syriacs (Chaldean Catholics). Due to the lack of written records and inscriptions, the exact construction date of Mar Petyun Church is unknown. However, an inscription above the northwest entrance gate to the church suggests that 1834 is considered the renovation date. 380 381 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE D İ YA R B A K I R S U R İ Ç İ R E S I D E N T I A L A R E A Chaldean Church (After) Chaldean Church (Before) Structurally, the church consists of three naves divided by arches and five apses. The architectural complex, located within the church, is arranged in an irregular U-shape around the courtyard. The basalt stone walls of the church are in harmony with the lozenge and two-color stone pavements in front of the apse. In addition to the main building material, volcanic basalt stone, earth, wood, and lime mortar were used. 382 383 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE D İ YA R B A K I R S U R İ Ç İ R E S I D E N T I A L A R E A Fatih Paşa (Kurşunlu) Camii ve Külliyesi Fatih Pasha (Kurşunlu) Mosque and Complex (After) Located in Sur District, Diyarbakır, Fatih Pasha Mosque (Kurşunlu Mosque) was reopened for worship after four years. The mosque, closed since 2015, welcomed its congregation once again with the call to evening prayer. Known as Kurşunlu Mosque due to its lead-covered domes, this first Ottoman mosque in Diyarbakır is located east of the old city, surrounded by the city walls and near the Inner Castle. Although no construction inscription has been found, the mosque was built between 1516 and 1520 by Diyarbakır’s first Ottoman governor, Bıyıklı Mehmet (Fatih) Pasha. Fatih Pasha (Kurşunlu) Mosque and Complex (Before) With walls adorned with exquisite Ottoman tiles, a magnificent mihrab and minbar, Fatih Pasha Mosque has a central dome surrounded by four smaller domes. The last congregation place of the mosque was built with seven domes, and with the ruined buildings around it, which are likely to be madrasahs and baths, and the tomb belonging to the tomb of its benefactor in front of it, formed a complex (külliye). 384 385 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE D İ YA R B A K I R S U R İ Ç İ R E S I D E N T I A L A R E A Before Restoration works on Fatih Pasha (Kurşunlu) Mosque were completed. Between 2016 and 2018, the restoration of registered monumental structures was initiated. Within this scope, the restoration of Fatih Pasha (Kurşunlu) Mosque was successfully completed. Before After 386 387 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE D İ YA R B A K I R S U R İ Ç İ R E S I D E N T I A L A R E A Easter (2024) was celebrated with a service at the Surp Giragos Armenian Church. Surp Giragos Armenian Church As part of the Diyarbakır Suriçi Restoration Project, Surp Giragos Armenian Church, which suffered severe damage in 2015, was restored in its original form and reopened for worship in 2022. The restoration focused on stone craftsmanship. 388 389 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE D İ YA R B A K I R S U R İ Ç İ R E S I D E N T I A L A R E A Owned by the Armenian Surp Küçük Church and Hıdır İlyas Surp Gregos Churches Foundation, the exact construction date of Surp Giragos Armenian Church is unknown. However, it is considered one of the most significant examples of Armenian architecture and the largest Armenian church in the Middle East. The church was restored by Armenian Patriarch Bedros Vartabet in 1722 and later expanded and rebuilt in 1729 by Armenian architects Şahin, Saruhan, and Yarem. Before After 390 391 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE D İ YA R B A K I R S U R İ Ç İ R E S I D E N T I A L A R E A Standing with a majestic appearance, Surp Giragos Armenian Church extends in an east-west direction, with its entrance on the west side. The church complex includes a narthex, naos, women’s gallery, apse, and the now-missing bell tower. The original onion-shaped bell tower, which was destroyed by a lightning strike, was rebuilt by an Armenian stonemason in a more magnificent form in the early 20th century, reaching 29 metres in height. It was crowned with a 3-metre, 24-karat gold cross. However, it was destroyed by artillery fire in 1914. The Great Mosque The Great Mosque Recognised as one of Anatolia’s oldest mosques, the Great Mosque is the largest and most renowned mosque complex in Diyarbakır. It is believed that after the conquest of Diyarbakır in 639, the Great Mosque was built on the site of the largest Christian place of worship, the Mar Toma Church. 392 393 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE D İ YA R B A K I R S U R İ Ç İ R E S I D E N T I A L A R E A The Great Mosque Accepted as Islam’s fifth holiest site (Harem-i Şerif), Diyarbakır’s Great Mosque, located in Sur District, has undergone multiple restorations in 1964, 1975, 1976, and 1977. During a comprehensive restoration between 2010 and 2017, the plaster was removed from the interior walls, revealing the original stone surfaces. During this process, a new inscription belt was discovered on the eastern wall of the prayer hall (harim). Additionally, excavations on the west wing inside the harim revealed three different floors belonging to the Roman, Byzantine, and Ottoman periods, which were preserved under a retractable glass cover. Other sections underwent mechanical cleaning, restoring the structure to its original state, while its capacity was increased from 6,000-7,000 to 10,000 worshippers. The Great Mosque (Before) 394 395 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE D İ YA R B A K I R S U R İ Ç İ R E S I D E N T I A L A R E A The Great Mosque (Ulu Camii) consists of six sections: the Hanafi section, Zinciriye and Mesudiye Madrasahs, Shafi'i section, the Eastern Maksura, and the Western Maksura. Over different periods, various buildings were constructed, forming a complex that spans a rectangular area in an east- west direction. When evaluating the entire Suriçi restoration projects, it is evident that they have provided significant benefits both to the country and society. The commercial and residential areas of the local population have been reorganised, and the infrastructure of Suriçi has been strengthened. In addition to investments in roads, sewage systems, electricity, and water networks, landscaping efforts have given the region a more aesthetic appearance, integrating social spaces and green areas with the historical fabric. As a result, the quality of life for residents has improved, and tourist interest in the area has significantly increased. These efforts have not only preserved the historical and cultural heritage but have also revitalised the local economy, particularly by boosting commercial activity through tourist shops and cafés. Among the positive media reviews, the successful integration of modern life with historical elements has been highlighted. Recent visitor data shows that the street is heavily used, especially on weekends, and has become an important part of the Suriçi district. Yenikapı Street, in particular, serves as an exemplary model that combines historical identity with modern functionality. The Great Mosque 396 397 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE D İ YA R B A K I R S U R İ Ç İ R E S I D E N T I A L A R E A Through urban transformation and restoration projects in Diyarbakır, previously neglected areas have been revitalised, and slums around the city walls that disrupted the historical fabric have been removed. Green areas have also been added to the area, creating an environment that can be easily visited. As part of the Suriçi Project, transportation arrangements have improved accessibility to the area. New roads, public transportation infrastructure, and parking areas have enhanced connectivity, providing both locals and visitors with more convenient access. Furthermore, within the scope of restoration and preservation efforts, particular attention has been given to the fortifications and historical structures. The aim has been to protect cultural heritage, restore registered historical buildings, and ensure that the historical fabric is preserved for future generations. Diyarbakır welcomes 500,000 visitors during the 2024 holiday period Official statistics, including data from museum sites, indicate that interest in the area has significantly increased after restoration efforts. Thanks to these projects, the Suriçi district has become one of Diyarbakır's most prominent historical and tourism centres. YEAR NUMBER OF DOMESTIC TOURISTS NUMBER OF FOREIGN TOURISTS TOTAL NUMBER OF TOURISTS 2015 199,506 21,623 221,129 2016 117,884 3,194 121,078 2017 264,908 11,235 276,143 2018 396,936 24,440 421,376 2019 488,729 40,409 529,138 2020 360,061 16,547 376,608 2021 520,759 27,864 548,623 2022 598,939 56,697 655,636 2023 517,440 32,829 550,269 2024 588,674 33,674 622,348 Hasankeyf Project/ Archeopark completed by 2020. 400 401 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE Hasankeyf meets nine out of the ten criteria required to be included in the UNESCO World Heritage List. With a history spanning over ten thousand years, impressive natural and cultural heritage, and an estimated annual visitation of nearly two million domestic and international tourists, Hasankeyf hosts numerous cultural artefacts, including cave dwellings, historic castles, bridges, and many ancient structures. Therefore, Hasankeyf is a settlement of great significance both for Türkiye and the world. With the Ilısu Prof. Dr. Veysel Eroğlu Dam and Hydroelectric Power Plant (HPP) Project, constructed on the Tigris (Dicle) River to enhance Türkiye’s energy production and support economic policies, the Hasankeyf settlement has undergone transformation. The Ilısu Prof. Dr. Veysel Eroğlu Dam and Hydroelectric Power Plant, which constitutes 4% of the country’s installed hydroelectric power capacity, can meet the annual energy needs of a city with a population of six million. Furthermore, the dam project has been designed to contribute significantly to the national economy and to have a lifespan of at least 500 years. 402 403 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE In the new settlement established on an area of three thousand decares, public buildings and many social facilities, as well as workplaces and residences in accordance with the architecture of the region, were built in the new settlement, which offers modern living opportunities for the residents of Hasankeyf district in the historical texture. To preserve the historical and cultural heritage of the region, various projects such as the Hasankeyf New Settlement Area and the Hasankeyf Archaeopark have been developed and implemented. Hasankeyf New Residential Area One of the world's oldest settlement centers, the historical Hasankeyf district, contains a reservoir area, historical structures, and the Hasankeyf Museum, which houses artifacts from the Paleolithic, Neolithic, Chalcolithic, Bronze Age, Iron Age, Middle Ages, Roman, Artuqid, and Ottoman periods. Due to the impact of the Ilısu Prof. Dr. Veysel Eroğlu Dam and HPP Project, the historical Hasankeyf district has been divided into two sections: Lower Town and Upper Town. The Lower Town consists of old settlements and historical monuments, while the Upper Town is the part that was later developed into a residential area. Extensive efforts have been made to ensure the transfer of historical and cultural assets in the Lower Town, which falls within the reservoir area, to future generations. Utilising contemporary technological capabilities, these historical structures have either been preserved in their original locations or relocated in a disciplined manner to museums or archaeopark areas under a holistic approach. The Upper Town and the Darphane district, which were not submerged, have been converted into open-air museums through restoration and conservation efforts. Hasankeyf Settlement 404 405 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE With the Hasankeyf New Residential Area project, a new residential area has been established to accommodate the local population, providing the necessary infrastructure and housing. To support daily life in the new settlement, modern structures such as schools, healthcare centers, mosques, roads, and commercial areas have been built to meet social and economic needs. Hasankeyf Settlement Hasankeyf Settlement The Hasankeyf Municipality, which relocated to the new settlement area earlier, has begun offering services to citizens. In the new Hasankeyf settlement (Upper Town), a strictly horizontal architectural approach has been adopted, and vertical architecture has been strictly prohibited except for public buildings. In this area, a total of 865 housing units, including 756 residences and 119 lodgings, have been constructed. Additionally, 98 shops, including 49 in the trade center and 49 in the inn building, have been established. A sample apartment from the residences built in the new settlement area of Hasankeyf district. All apartments are single-story structures covering approximately 160 square metres within a 700-800 square metre plot, surrounded by walls. 406 407 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE The new Covered Bazaar for tradespeople Several facilities have been completed and put into service, including the Government Office, Municipality Service Building, District Police Department, PTT Service Building, a 24-classroom primary school, a high school building, a regional boarding primary school, a museum building, a 25-bed state hospital, a library, a kindergarten, a public education center, a mufti’s office, two primary schools, the District Directorate of Food, Agriculture, and Livestock, the District Gendarmerie Command Service Building, a Tourism Vocational School and Training Hotel, a vehicle maintenance and repair facility, a slaughterhouse, a condolence house, a terminal, a covered market area, a 200-bed student dormitory for university students, and four mosques. Additionally, 550 graves submerged by the reservoir have been relocated to the new residential area. This project aims to improve the living standards of Hasankeyf and surrounding communities while contributing to the economy and tourism sectors. However, some project details are still under development. Hasankeyf Archaeopark The Hasankeyf Archaeopark Project is an archaeological park and museum area covering 430,000 square metres, dedicated to preserving and exhibiting Hasankeyf’s historical and cultural artefacts. Within this framework, in 2017, the first structures relocated were the Zeynel Bey Mausoleum, followed by the Artuqid Bath, İmam Abdullah Zaviye, Hasankeyf Castle Middle Gate, Eyyubi (Girls’) Mosque, Sultan Süleyman Külliye Gate (Portal) Fountain and Minaret, Koç Mosque, and Er-Rızk Mosque Minaret. The Archaeopark also features museums, exhibitions, restaurants, and souvenir shops for visitors. Additionally, the Archaeopark includes recreational and leisure areas such as nature trails, observation terraces, and a pedestrian bridge in Artuqid architectural style, designed to match Hasankeyf’s historic bridge, providing access between the new settlement and the museum. A newly completed district library in Hasankeyf (in the photo) 408 409 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE Zeynel Bey Mausoleum The approximately 550-year-old Zeynel Bey Mausoleum, relocated to its new site, continues to attract visitors. Using the "Single-Piece Transport Method," the 1,150-ton Zeynel Bey Mausoleum was transported 1,935 metres in 3 hours and 55 minutes. Historical Artuqid Bath 410 411 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE The process of lowering the Artuqid Bath, which was removed from the reservoir in Batman’s Hasankeyf district and relocated to the archaeological park area three kilometres away. The relocation of the 1,200-ton Artuqid Bath, previously located near the historic bridge on the northern bank of the Tigris, was successfully completed in 2018 in a highly publicised operation attended by many domestic and foreign journalists and citizens. İmam Abdullah Zaviye The İmam Abdullah Mausoleum and Zaviye were relocated in three parts (the tomb, minaret, and annex-eyvan section, weighing 800, 400, and 200 tons, respectively) and were reassembled in Hasankeyf’s new settlement area within the Archaeopark. 412 413 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE İmam Abdullah Zaviye After completing the landscaping of the area, the remains of İmam Abdullah, which had been safeguarded at the Hasankeyf Museum, were ceremoniously reinterred in the new tomb with prayers under the supervision of clergy and archaeologists. Relocation of the Middle Gate of Hasankeyf Castle 414 415 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE The 400-ton Middle Gate of Hasankeyf Castle, which was temporarily placed in a protected area in three sections, was transported to the entrance of the museum in the Arkeopark, approximately five kilometres away, and reassembled. Hasankeyf Castle Hasankeyf Castle, also known as the Upper Town, was built on a steep and natural cliff on the banks of the Tigris River. The castle, which features steep slopes, can be accessed via two routes, east and west. The monumental gates on the eastern route are particularly notable. A single-line inscription in Naskh script on the "Middle Gate" indicates that it was constructed in 1416 by Eyyubi Sultan Süleyman. 416 417 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE Relocation of the Kızlar (Eyyubi) Mosque Relocation of the Kızlar (Eyyubi) Mosque Kızlar (Eyyubi) Mosque, also known as Camii Beniat, with a total weight of 4,960 tons, is the heaviest structure among the relocated cultural assets in Hasankeyf. The mosque was relocated as a whole in four sections: the west and east blocks, along with the north and south walls. To facilitate the transportation of the historic 13th-century mosque, a 104-metre-long bridge with 12 culverts was constructed over the Tigris River. 418 419 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE Süleyman Han Mosque Süleyman Han Mosque The 612-year-old minaret of Süleyman Han Mosque in its new location The 612-year-old, 36-metre-high minaret of Süleyman Han Mosque, consisting of 132 rows, was dismantled stone by stone and transported to the Archaeopark. Built in 1407 by Süleyman Han, the minaret has been reconstructed in its new location in accordance with its original design. 420 421 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE Koç Mosque The mihrab of the Koç Mosque The consolidation and preservation efforts for Koç Mosque, which consists of a long, narrow rectangular prayer hall extending from east to west in front of the mihrab wall and a courtyard in front of this space, have been completed to ensure its protection underwater. Additionally, the mihrab of the historical Koç Mosque, which was removed from the dam reservoir area and relocated to the Archaeopark, has been placed at the entrance of the Hasankeyf Museum, where artefacts from different historical periods are exhibited. 422 423 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE Er-Rızk Mosque The minaret of Er-Rızk Mosque The minaret of Er-Rızk Mosque, originally located between Hasankeyf Castle and Artuqid Bridge and consisting of 168 rows of cut stone and standing 42 metres high, was decided to be dismantled and relocated. The dismantling process of the minaret began in 2018 and was completed in six months, after which it was reassembled at its new location in the Archaeopark area. The Harim Wall of Er-Rızk Mosque was transported in four separate parts. The dismantling and reconstruction of the historical structure, which weighs a total of 720 tons, were carried out with great precision by a team of experts. 424 425 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE As part of the reinforcement efforts, the piers of the Roman Bridge, one of the historical symbols of the district, were also strengthened. 427 A new bridge was built over the Tigris River to facilitate the relocation of historical structures to the Archaeopark. The transportation process was conducted with utmost care to prevent any damage to the original structures and architectural elements. Given the condition, transportation distance, and weight of the structures, the relocation of the historical monuments under the project is regarded as one of the most extensive monument relocation efforts in the world. In the Archaeopark, landscaping and environmental arrangements were completed, historical artefacts were illuminated, and a replica of the historic Kale Street from old Hasankeyf was built between Er-Rızk Mosque and Kızlar Mosque. The Archaeopark is designed to function as an open-air museum, offering both local and international visitors a chance to explore Hasankeyf’s historical and cultural values. Additionally, an interactive and educational environment has been created to provide visitors with an in-depth understanding of Hasankeyf’s history. This area has become a major attraction for history enthusiasts and contributes significantly to preserving the region’s cultural heritage for future generations. 428 429 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE Yamaç Complex Believed to be a 13th-century structure from the Ayyubid period, the Yamaç Complex consists of a mosque, madrasa, zawiya, and a bachelor’s bath. The mosque within the complex sits on an upper level, featuring a rectangular courtyard with a pool in the centre and a harim with porticoes to the south. The on-site protection and reinforcement efforts of the complex, which was not affected by the dam reservoir, have been completed. The on-site protection and reinforcement efforts of the Yamaç Complex, which was not affected by the dam reservoir, have been completed. A project has been prepared for the cleaning and restoration of the ancient caves around Yamaç Complex to ensure their preservation and integration into tourism. 430 431 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE As one of the most significant regional museums in Türkiye, Hasankeyf Museum houses historical and cultural artefacts recovered from rescue excavations conducted in areas affected by the dam. The Hasankeyf Museum building spans 96,323.26 square metres and comprises various units, including administrative offices, exhibition halls, an artefact restoration laboratory, a children’s educational workshop, an open-air theatre, a backstage area, a greenhouse park, a greenhouse restoration building, and a cultural park area. In addition to the exhibition halls, a science centre dedicated to the works of Al-Jazari (1136- 1206), a physicist, roboticist, and master of matrix mechanics, has been established. This centre features interactive systems, simulators, and other technological tools to enhance visitor engagement and curiosity. The artefacts in the museum have been displayed in chronological order across two floors and ten exhibition halls. These exhibits span from the Palaeolithic period to the Neolithic, Chalcolithic, Bronze Age, Iron Age, Persian, Hellenistic, Roman, and Mediaeval Age (Umayyad, Abbasid, Hamdanid, Marwanid, Artuqid, Ayyubid, and Aq Qoyunlu), as well as the Ottoman and Republican eras. Given that Hasankeyf and its surroundings were major centres during the Ayyubid and Artuqid periods, particular emphasis has been placed on preserving both movable and immovable cultural assets from these times. Hasankeyf Museum Hasankeyf Museum Hasankeyf Museum As of the end of 2019, a total of 302 excavation projects, 59 surface surveys, and three depot studies had been carried out. These excavations uncovered various artefacts from different periods, including pottery, stone, bone, glass, and metal objects, as well as coins, seals, and grinding stones. Within the scope of the Ilısu Dam and Hydroelectric Power Plant (HES) Project, approximately 1,360 registered artefacts discovered during the excavations have been documented at the Hasankeyf Museum. This project not only focuses on exhibiting historical artefacts but also aims to enhance the region’s tourism potential. The fact that the project has been conducted with the participation of the local community and through a sustainable approach serves as a significant testament to its contribution to the region’s economic and social development. 432 433 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE Hasankeyf Museum Hasankeyf Museum Hasankeyf Museum 434 435 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE Artefacts unearthed in archaeological excavations carried out in the reservoir area of the dam and rescue works for the protection of cultural assets Artefacts unearthed in archaeological excavations carried out in the reservoir area of the dam and rescue works for the protection of cultural assets 436 437 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE Hasankeyf Museum Hasankeyf Museum 438 439 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE 440 441 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE At the same time, in the Şaab Valley, which is included in the Hasankeyf Project and has an area of approximately 50 decares in the historical district, one of the oldest settlement centres in the world, extensive landscaping efforts have been undertaken. Various social amenities have been constructed, including walking trails, observation terraces, cafes, shops, a prayer hall, bridges, and seating areas. Şaab Valley, which is naturally integrated with Hasankeyf’s historical fabric, offers opportunities for nature walks, photography, and exploration of historical sites, allowing a broader audience to experience both the region’s natural beauty and its rich history. A 72-metre- long steel truss bridge with corten steel railings and a wooden walking platform was built for transportation from the Shaab Valley to the Yamaç complex. Afforestation and landscaping activities have been completed across 420 decares in the Archaeopark region and 43 decares in Şaab Valley. Hasankeyf has emerged as one of Türkiye’s key tourism destinations, thanks to its rich historical and cultural heritage. In recent years, there has been a noticeable shift in the perception and attitude of Hasankeyf’s residents toward tourism. 442 443 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE The local community has embraced various tourism-related enterprises, including boat transportation, tour guiding, accommodation services, food and beverage establishments, souvenir shops, and local tours. These initiatives have not only enabled the local population to play a more active role in the tourism sector but also revitalised the regional economy and helped sustain traditional production methods. This transformation has contributed to the region’s sustainable tourism goals while also improving the quality of life for the local community. 444 445 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE P R E S I D E N T I A L C O M P L E X New Town General of State Works (DSİ) TOKİ Modern Areas November 22, 2022 446 447 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE Y U S U F E L İ N E W T O W N The Yusufeli New Settlement Town was developed as part of the Yusufeli Dam, one of Türkiye’s largest dam projects, and was built on a higher elevation than the former settlement. This new town was designed with modern infrastructure, wide roads, parks, and social facilities. The planning of the new settlement particularly focused on environmental planning, sustainability, and enhancing the quality of life for local residents. The objective was to create a future-oriented living space that harmonises with nature. In selecting the new settlement area for the Yusufeli district, multiple factors were considered, including proximity to the main transportation route, access to Artvin and neighbouring villages, the availability of arable land, forested areas, and tourism resources, as well as underground and surface water potential, flood and earthquake risks, and socio-cultural opportunities. Surveys were conducted across both Yusufeli’s district centre and surrounding villages to determine residents’ preferences, ultimately leading to the selection of the “Yansıtıcılar” area as the new settlement site. President Recep Tayyip Erdoğan attended the inauguration ceremony of the "Yusufeli Dam and Hydroelectric Power Plant (HES), New Connection Roads and Tunnels, and the New Settlement Area.” 448 449 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE Y U S U F E L İ N E W T O W N The new settlement area includes 2,698 residential units, 323 commercial spaces, public buildings, and social facilities, such as a Government House, District Police Department, District Gendarmerie Command, Courthouse, PTT (Postal Services), Library, District Directorate of Youth and Sports, Indoor Sports Hall, Central Mosque, Neighbourhood Mosque, Mufti’s Office, Teachers’ Lodge, a 16-classroom middle school, a 24-classroom high school, one 4-classroom kindergarten, a 12-classroom middle school, a 12-classroom Imam Hatip High School, a 100-student dormitory, one 8-classroom kindergarten, a 12-classroom primary school, a 16-classroom vocational high school with electrical, furniture, and plumbing workshops, a health center, a municipal service building, a 25-bed hospital, a small industrial estate, the Forestry Directorate, a fire station, and a bus terminal. The relocation of villages affected by the dam project was carried out simultaneously, with seven new village settlements constructed, including 507 residential units and 10 workplaces. Yusufeli District New Settlement Area Yusufeli New City Center In addition, 40 kilometres of village roads were built in Arpacık, Morkaya-Kınalıçam, Minathev (Erdemler District), Tekkale, and Irmakyanı villages, along with a total of seven tunnels spanning 6.7 kilometres and two viaducts measuring 232 metres in length. As part of the Yusufeli Dam and HES Project, 1.1 million cubic metres of topsoil were transported to the new district centre, and extensive afforestation efforts were undertaken, including the planting of 22,094 trees, 81,280 saplings, and the laying of 40,250 square metres of turf. During the relocation of Yusufeli district, great care was taken not only to physically relocate the settlement but also to preserve its socio-cultural values and pass them on to future generations. Suggestions have been developed on measures to ensure that residents could maintain their previous way of life and cultural traditions in the new settlement areas. Additionally, financial compensations were provided to affected citizens, and various economic support programmes were implemented to create job opportunities and income sources in the new settlements. During the construction of the Yusufeli Dam, settlements in the region were rebuilt in a modern way. Modern and functional approaches were adopted in the landscaping of the new settlements. An environmental arrangement suitable for public use has been made with green areas, walking paths, sports and social activity areas. These areas aim to create sustainable living spaces while enriching the social life of the people of the region. To ensure that the historical heritage of the former Yusufeli was preserved, some sections were digitally recorded, and significant archival and documentation studies were conducted to prevent the loss of historical traces. Various cultural projects have been initiated to preserve and promote local culture. Additionally, in coordination with expert committees consisting of technical experts, local headmen, and municipal council members, approximately 500 graves identified based on citizens’ requests were recorded and relocated to a communal cemetrey area in the new settlement. Yusufeli New City Center 450 451 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE Y U S U F E L İ N E W T O W N Yusufeli’s new settlement area, with its modern infrastructure and living spaces designed to be more resilient against natural disasters such as earthquakes and floods, has significantly improved the quality of life and safety for the local population. Furthermore, environmentally friendly initiatives have led to the creation of green spaces, establishing a living environment in harmony with nature. The new settlement area has also supported economic growth by boosting business and trade in the region, while improvements in social amenities and transportation networks have made the region more attractive overall. The existing settlement area of Yusufeli District was 750 decares; in the new settlement, this area has been doubled to 1,535 decares. Modern, villa-type new houses with a view of the dam lake built in the new settlement area of Yusufeli District New Houses of Villagers Whose Settlements Changed Due to Yusufeli Dam New settlements of residents of Yeniköy, Tekkale, Irmakyanı, Çeltikdüzü, Çeveli, İşhan and Meşecik villages 452 453 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE P R E S I D E N T I A L C O M P L E X Dam General Works (DSİ) Modern November 22, 2022 454 455 FORM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE Y U S U F E L İ D A M President Recep Tayyip Erdoğan attended the inauguration ceremony of the "Yusufeli Dam and Hydroelectric Power Plant (HES), New Connection Roads and Tunnels, and the New Settlement Area.” Old and, of New Settlements Of Yusufeli District The Yusufeli Dam has garnered significant attention in both national and international media, serving as a pioneering project in both academic and practical fields. The dam has been featured in various articles, presentations, and platforms, earning prestigious awards that further underscore its success. The Yusufeli Dam and Hydroelectric Power Plant (HES) Project is located in the Eastern Black Sea Region, within the Yusufeli district of Artvin, approximately 70 kilometres southwest of the city of Artvin. Spanning 410 kilometres, it is situated on the Çoruh River, one of the largest rivers in Northeastern Anatolia. The primary function of the dam is to harness hydroelectric potential for energy production, providing a sustainable solution to Türkiye’s electricity needs. With an installed capacity of 558 megawatts, the dam is capable of generating approximately 1.9 billion kilowatt-hours of electricity annually. This clean energy production is expected to meet the energy needs of 2.5 million citizens while generating an estimated 6 billion TL in annual revenue. Additionally, by replacing fossil fuels with clean energy, the project significantly contributes to reducing carbon emissions and protecting the environment. 456 457 FORM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE Y U S U F E L İ D A M With a structural height of 275 metres from the foundation, the Yusufeli Dam is the tallest dam in Türkiye and ranks fifth globally in the double-curvature thin concrete arch dam category. A total of 4 million cubic metres of mass concrete was used in the construction of the dam and the total number of workers during construction reached 7,500 people during the peak period. Beyond its impressive physical scale, the dam stands out due to the innovative engineering solutions employed during its construction, its environmental and social impacts, technological contributions, and its crucial role in energy production. 458 459 FORM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE Y U S U F E L İ D A M 460 461 FORM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE Y U S U F E L İ D A M The Yusufeli Dam is not merely a dam structure; it encompasses multiple engineering components and functional sections. These sections ensure its efficiency in energy production, as well as environmental and social sustainability. The prominent parts of the dam are as follows: dam body, crest spillways, tunnel spillways, bottom outlet structure, powerhouse, switchyard, water intake structure, reservoir area, tailwater discharge structures, tailwater dam and control galleries. The challenging geographical terrain where the dam was built posed significant obstacles beyond just transportation constraints. Due to the high landslide risk in the region, ensuring construction safety was a top priority. To stabilise slopes outside the dam excavation areas and to control loose materials, over 15 professional mountaineers were deployed. 462 463 FORM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE Y U S U F E L İ D A M 464 465 FORM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE Y U S U F E L İ D A M During the establishment of the new settlement area and the construction of the Yusufeli Dam, environmentally sensitive measures were implemented. The dam has facilitated water resource management, expanded irrigation areas, and contributed to the sustainability of agricultural activities in the region. Additionally, environmentally friendly engineering solutions were adopted to mitigate the negative effects on the surrounding ecosystem, ensuring the preservation of natural habitats. Beyond energy production, the Yusufeli Dam was designed to foster economic and social development in the region, ultimately enhancing the quality of life for communities near the reservoir. At the same time, flood risks were reduced and water management improved by regulating water resources on the Çoruh River on which the dam was built. With a structural height of 275 metres, the Yusufeli Dam is equivalent in height to a 100-storey skyscraper. canoe tours. accounts, the fortress was charge. Various measures have been taken to mitigate the impacts on the regional ecosystem. Controlled water releases have been implemented to protect fish populations, and fish farms have been established in the area. Additionally, to support agricultural activities, farmland improvements have been carried out, and greenhouse cultivation has been promoted. These initiatives have directly contributed to the regional economy and helped diversify income sources for local residents. As part of environmental sustainability efforts, a total of 500,000 trees have been planted to support ecological balance. To reduce dust pollution, crushing facilities were operated in enclosed environments. Sedimentation ponds were constructed to treat wastewater from concrete plants, ensuring that wastewater was reused. Furthermore, recyclable waste was sent to licensed facilities, minimising the negative impact on the environment. The dam reservoir was designed as a key element of the landscape, with natural aesthetic adjustments made to preserve its visual harmony with the environment. By integrating visually appealing and ecologically sustainable landscaping strategies, the Yusufeli Dam and its surroundings have become a model project in both aesthetic and environmental values. Thus, the landscape design of the Yusufeli Dam reflects an environmentally friendly approach that not only protects the region’s natural heritage but also aims to enhance the quality of life for the local community. During the construction of the Yusufeli Dam, one district centre and seven villages in the region were flooded. Therefore, the affected settlements have been rebuilt in a modern way. The new residential areas were equipped with comprehensive infrastructure, including housing, schools, healthcare facilities, commercial spaces, and social areas. Local residents relocated to these new settlements, where they gained access to better living conditions. G E L E N E K T E N G E L E C E Ğ E T Ü R K İ Y E M İ M A R İ S İ A S R I N M Ü H R Ü B Ü Y Ü K Ç A M L I C A C A M İ 466 467 Completed 468 469 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE N AT I O N ' S G A R D E N S energy. 470 471 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE N AT I O N ' S G A R D E N S space by 2028. • • • • • • 472 473 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE N AT I O N ' S G A R D E N S EXAMPLES OF OPENED NATION'S GARDENS 474 475 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE N AT I O N ' S G A R D E N S 476 477 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE N AT I O N ' S G A R D E N S 478 479 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE N AT I O N ' S G A R D E N S 480 481 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE N AT I O N ' S G A R D E N S 482 483 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE N AT I O N ' S G A R D E N S 484 485 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE N AT I O N ' S G A R D E N S 486 487 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE N AT I O N ' S G A R D E N S 488 489 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE N AT I O N ' S G A R D E N S 490 491 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE N AT I O N ' S G A R D E N S 492 493 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE N AT I O N ' S G A R D E N S 494 495 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE N AT I O N ' S G A R D E N S 496 497 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE N AT I O N ' S G A R D E N S 498 499 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE N AT I O N ' S G A R D E N S 500 501 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE N AT I O N ' S G A R D E N S 502 503 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE N AT I O N ' S G A R D E N S 504 505 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE N AT I O N ' S G A R D E N S 506 507 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE N AT I O N ' S G A R D E N S 508 509 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE N AT I O N ' S G A R D E N S 510 511 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE N AT I O N ' S G A R D E N S 06 health and sports facılıtıes Sports Complexes G E L E N E K T E N G E L E C E Ğ E T Ü R K İ Y E M İ M A R İ S İ A S R I N M Ü H R Ü B Ü Y Ü K Ç A M L I C A C A M İ 512 513 Sports Complexes 514 515 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE S TA D I U M S A N D S P O R T S C O M P L E X E S 516 517 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE S TA D I U M S A N D S P O R T S C O M P L E X E S 518 519 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE S TA D I U M S A N D S P O R T S C O M P L E X E S Located 520 521 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE S TA D I U M S A N D S P O R T S C O M P L E X E S 522 523 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE S TA D I U M S A N D S P O R T S C O M P L E X E S of 17,000 and covers an area of 160,000 square metres. 524 525 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE S TA D I U M S A N D S P O R T S C O M P L E X E S - 526 527 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE S TA D I U M S A N D S P O R T S C O M P L E X E S 528 529 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE S TA D I U M S A N D S P O R T S C O M P L E X E S 530 531 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE S TA D I U M S A N D S P O R T S C O M P L E X E S metre plot. 532 533 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE S TA D I U M S A N D S P O R T S C O M P L E X E S 20,000. 534 535 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE S TA D I U M S A N D S P O R T S C O M P L E X E S 536 537 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE S TA D I U M S A N D S P O R T S C O M P L E X E S Konya Stadyumu September 2014. 538 539 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE S TA D I U M S A N D S P O R T S C O M P L E X E S enclosed area. 540 541 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE S TA D I U M S A N D S P O R T S C O M P L E X E S October 23, 2021. 542 543 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE S TA D I U M S A N D S P O R T S C O M P L E X E S October 8, 2017. 544 545 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE S TA D I U M S A N D S P O R T S C O M P L E X E S 546 547 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE S TA D I U M S A N D S P O R T S C O M P L E X E S January 26, 2025. 548 549 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE S TA D I U M S A N D S P O R T S C O M P L E X E S Basketball Development Centre Ankara Sports Hall 550 551 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE S TA D I U M S A N D S P O R T S C O M P L E X E S 33,000 138,000 February 19, 2021 15,000 650,000 July 21, 2015 12,139 58,700 January 28, 2018 33,000 206,251 October 14, 2015 15,000 120,000 October 27, 2018 17,000 160,000 July 26, 2014 43,361 179,600 December 21, 2015 15,000 72,000 September 20, 2020 21,500 143,388 January 24, 2021 33,000 158,353 May 9, 2018 18,423 59,142 May 7, 2023 34,000 145,089 November 20, 2016 22,000 62,255 January 28, 2019 12,981 30,000 August 28, 2022 35,574 140,095 January 15, 2017 20,000 90,000 January 26, 2020 T Ü R K İ Y E ' S STADIUMS AND SPORTS COMPLEXES 25,000 191,775 June 25, 2021 32,864 196,000 March 8, 2009 33,000 150,469 September 1, 2018 42,000 450,000 September 13, 2014 25,745 136,585 September 19, 2017 25,534 77,020 June 20, 2013 16,768 90,000 October 23, 2021 13,797 21,000 August 27, 2005 14,850 56,436 August 12, 2009 28,154 127,829 October 8, 2017 33,919 334,000 July 29, 2017 27,532 133,950 August 14, 2016 41,235 174,356 December 18, 2016 12,500 44,000 January 26, 2025 Basketball Development Centre 12,500 150,000 September 29, 2024 Ankara Sports Hall 10,400 55,000 T Ü R K İ Y E ' S STADIUMS AND SPORTS COMPLEXES STADIUMS Area (m2) Area STADIUMS Area (m2) Area G E L E N E K T E N G E L E C E Ğ E T Ü R K İ Y E M İ M A R İ S İ A S R I N M Ü H R Ü B Ü Y Ü K Ç A M L I C A C A M İ 552 553 Indoor Area Number of Beds Number of Rooms Number of Number of Beds 10,564,563 m2 36,465 1,176 8,286 6,603 79,211 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE C I T Y H O S P I TA L S 555 Features 557 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE C I T Y H O S P I TA L S 558 559 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE C I T Y H O S P I TA L S • 1640 Beds • • • • • • 1640 Beds • 3 • 60 Op • 2 • 41 • 1 H 560 561 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE C I T Y H O S P I TA L S • 4050 Beds • • • • • • 4050 Beds • 904 O • 13 • 9 • 6 • 2 H 562 563 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE C I T Y H O S P I TA L S • 4050 Beds • • • • • • 4050 Beds • 1 • 125 Op • 7 • 9 • 4 H 564 565 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE C I T Y H O S P I TA L S • 1500 Beds • • • • • • 1500 Beds • 300 O • 4 • 2 • 2 • 1 H 566 567 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE C I T Y H O S P I TA L S has a closed area of 196,071 square metres and commenced • 1100 Beds • • • • • 1100 Beds • 2 • 3 • 209 Int • 1 568 569 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE C I T Y H O S P I TA L S • 2720 Beds • • • • • • 2720 Beds • 7 • 90 Op • 4 • 804 • 3 H 570 571 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE C I T Y H O S P I TA L S standards, has 165,300 square metres of LEED Gold 165,300 • 1085 Beds • • • • • • 1085 Beds • 403 O • 4 • 2 • 3881 V • 1 H 572 573 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE C I T Y H O S P I TA L S • 1085 Beds • • • • • • 1085 Beds • 2 • 3 • 1 • 2 • 1 H 574 575 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE C I T Y H O S P I TA L S • 1670 Beds • • • • • • 1670 Beds • 3 • 36 Op • 2 • 3 • 1 H 576 577 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE C I T Y H O S P I TA L S • 1150 Beds • • • • • • 1150 Beds • 25 • 3 • 209 Int • 2 • 1 H 578 579 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE C I T Y H O S P I TA L S • 1875 Beds • • • • • • 1875 Beds • 3 • 64 Op • 25 • 4 • 1 H 580 581 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE C I T Y H O S P I TA L S 5, 2020. of 238 thousand 924 square metres. • 815 Beds • • • • • • 815 Beds • 2 • 27 Op • 1 • 8 • 1 H 582 583 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE C I T Y H O S P I TA L S 584 585 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE C I T Y H O S P I TA L S • 845 Beds • • • • • • 845 Beds • 1 • 20 Op • 1 • 1 • 1 H 586 587 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE C I T Y H O S P I TA L S March 30, 2020. • 1005 Beds • • • • • • 1005 Beds • 2 • 27 Op • 12 • 136 • 1 H 588 589 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE C I T Y H O S P I TA L S years. area. • 2060 Beds • • • • • • 2060 Beds • 3 • 5 • 3 • 48 • 2 H 590 591 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE C I T Y H O S P I TA L S • 1140 Beds • • • • • • 1140 Beds • 2 • 48 Op • 205 Int • 1 • 1 H 592 593 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE C I T Y H O S P I TA L S space and 281,480 square metres of open space. landscaped area. • 1607 Beds • • • • • • 1607 Beds • 413 O • 4 • 2 • 3 • 1 H 594 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE C I T Y H O S P I TA L S healthcare needs. and employees. • 1220 Beds • • • • • • 1220 Beds • 21 • 6 • 208 Int • 2 • 1 H 596 597 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE C I T Y H O S P I TA L S system. • 1295 Beds • • • • • • 1295 Beds • 384 O • 4 • 300 Int • 2 • 1 H 598 599 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE C I T Y H O S P I TA L S • 610 Beds • • • • • 610 Beds • 20 • 20 Op • 7 • 1 2018. • 558 Beds • • • • • • 558 Beds • 1 • 1 • 1 • 1 • 1 H 600 601 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE C I T Y H O S P I TA L S • 1440 Beds • • • • • • 1440 Beds • 2 • 5 • 25 • 406 • 1 H from the sea. metres, represents an example of modern • 605 Beds • • • • • • 605 Beds • 1 • 1 • 1 • 2 • 1 H 602 603 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE C I T Y H O S P I TA L S Aydın, Ordu and Samsun. funds: • 475 Beds • • • • • • 475 Beds • 1 • 1 • 8 • 1 • 1 H 604 605 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE C I T Y H O S P I TA L S Indoor Area (m²) Number of Beds Number of Rooms Number of Number of Beds Number of Spaces 553,000 1640 60 330 290 4167 1,315,967 4050 131 904 958 6278 1,145,129 4050 125 1031 747 9865 285,000 1500 43 300 246 2929 96,000 1100 35 232 209 1893 1,21,000 2720 90 725 429 8046 475,000 1435 49 403 235 3881 347,500 1085 35 227 187 2209 384,500 1670 36 353 298 3500 333,303 1150 37 256 209 2208 680,000 1875 64 335 259 4640 238,924 815 27 220 105 873 221,571 845 20 167 188 1965 Indoor Area (m²) Number of Beds Number of Rooms Number of Number of Beds Number of Spaces İstanbul Prof. Dr. Cemil Taşcıoğlu City Hospital 179,619 1005 27 240 126 1367 628,015 2060 54 337 374 4828 55,755 515 12 70 80 400 302,148 1140 48 224 205 1071 466,379 1607 43 413 266 3400 383,160 1220 63 218 208 2305 421,566 1295 49 384 300 2923 180,000 610 20 202 79 1160 178,204 558 19 145 148 1464 374,813 1440 53 280 256 4061 156,890 605 18 142 119 2600 141,120 475 18 148 82 1178 T Ü R K İ Y E ' S C I T Y H O S P I TA L S T Ü R K İ Y E ' S C I T Y H O S P I TA L S G E L E N E K T E N G E L E C E Ğ E T Ü R K İ Y E M İ M A R İ S İ A S R I N M Ü H R Ü B Ü Y Ü K Ç A M L I C A C A M İ 606 607 houses of justıce 07 G E L E N E K T E N G E L E C E Ğ E T Ü R K İ Y E M İ M A R İ S İ A S R I N M Ü H R Ü B Ü Y Ü K Ç A M L I C A C A M İ 608 609 Ankara Acarsoy Büyükkılıç Gökhan Aksoy Modern 63,826 m2 March 2009 610 611 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE C O N S T I T U T I O N A L C O U R T S E R V I C E B U I L D I N G at the end of March 2009. 612 613 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE C O N S T I T U T I O N A L C O U R T S E R V I C E B U I L D I N G 614 615 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE C O N S T I T U T I O N A L C O U R T S E R V I C E B U I L D I N G of plants such as broadleaf and needle-leaf trees, structures and promenades, as well as entrance and trees. G E L E N E K T E N G E L E C E Ğ E T Ü R K İ Y E M İ M A R İ S İ A S R I N M Ü H R Ü B Ü Y Ü K Ç A M L I C A C A M İ 616 617 Ankara Sönmez 191,272,80 m2 September 1, 2021 618 619 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE C O U R T O F C A S S AT I O N P R E M I S E S - - - - - - - - - - - 620 621 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE C O U R T O F C A S S AT I O N P R E M I S E S 622 623 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE C O U R T O F C A S S AT I O N P R E M I S E S 624 625 FROM TRADITION TO FUTURE: ARCHITECTURE OF THE CENTURY OF TÜRKİYE C O U R T O F C A S S AT I O N P R E M I S E S the process.