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Coca Mi'mâr Sinân Â?â (Ottoman Turkish: Â?â_en. Sinan Agha the Great Architect"; Contemporary Turkish: The Ottoman supreme Ottoman physicist (c. 1488/1490 - 17 July 1588) was Selim II and Murad III, respectively, and was the construction designer for Sultan Suleiman the Magnificent, whose name was Sp. z o.o.[mi??ma?? si?nan], "Sinan the Architect".
His responsibilities included the building of more than 300 large constructions and other more humble ventures, such as a school. Later, his trainees designed the Sultan Ahmed Mosque in Istanbul, Stari Most in Mostar and helped to create the Taj Mahal in the Mughal Empire. At about fifty years of age he was named principal regalarchiteur, using his military engineering abilities to "create beautiful sacred buildings" and bourgeois alliances.
In the course of these crusades, he turned out to be a capable designer and designer. As the Ottoman armies conquered Cairo, Sinan was appointed head of architecture and was privileged to demolish all those of the conquered city's structures that did not conform to the citymap. In 1535, during the Iranian expedition, he constructed vessels for the armies and armed forces to sail across Lake Van.
In 1539, when Chelebi Lütfi Pasha became Grand Vizier, he named Sinan, who had previously been serving under his authority, to the offices of the architect of the House of Bliss. This contract included the building of the surveillance equipment and the supply within the Ottoman Empire. In addition, he was in charge of the planning and building of civil engineering works such as streets, water works and overpasses.
Over the years, he turned his bureau into that of the Empire's architects, a sophisticated administrative unit with greater authority than his lead minist. Sinan' s education as an military technician gave him an experiential access to the world of building, not a notion. Different springs say that Sinan was the architects of at least 374 buildings, among them 92 mazes; 52 small mazes ( "mescit"); 55 colleges of divinity (medrese); 7 colleges of Koran recitators (Darülkurra); 20 tombs (Türbe); 17 communal cuisines ( "Imaret"); 3 hrs. (darü??ifa); 6 water products; 10 viaducts; 20 caravanseries; 36 castles and manor houses; 8 arches; and 48 bathrooms.
37 ] Sinan was head of architecture of the Palast for almost 50 years, i.e. head of all building work of the Ottoman Empire, and worked with a large staff of assistents, comprising archi -tects and masters. Sinan' s careers can be seen in three main works.
His first two are in Istanbul: the ?ehzade mosque, which he called a work of his time as an apprentice, and the Süleymaniye mosque, which is the work of his qualifying phase. Selimiye Mosque in Edirne is the result of its magnificent scenery. The mosque ?ehzade is the first of the great sculpted walls of Sinan.
Mihrimah Sultan Mosque, also known as Üsküdar Quay Mosque, was finished in the same year and has an unusual look with a central cupola carried by three semi-domes. By the time Sinan turned 70, he had finished the Süleymaniye Mosque. Located on one of the Golden Horn Mountains of Istanbul and in the name of Suleyman the Magnificent, this is one of the emblematic landmarks of that time.
It is the largest example of the performance levels achieved by Sinan that the cupola is larger than the 31 metre (102 ft) of the Selimiye Mosque, which Sinan finished at the age of 80. Sinan' s work culminated in Selimiye's designs, architectural designs, tiled decoration and processing of country stones.
A further area of architectural design in which Sinan made one-of-a-kind creations are his tomb. Selim II is one of the best example of Islamic tomb design in Turkey. Sinan' s own tomb, on the other side of the Süleymaniye compound to the northeast, is a very simple one.
Sinan maintained and improved Istanbul's system of drinking and drinking waters, and constructed vaulted waters in several places in the town. In the beginning of Sinan's carreer the Ottoman style was very practical. Architects could draw up a design for a new edifice and assistants or foremen knew what to do because new concepts were averted.
And Sinan would slowly but surely overturn that. Throughout these years he pursued the tradition of Ottoman arquitecture, but he began to explore other options, as during his army carreer he had the chance to explore the monumental buildings in the captured towns of Europe and the Middle East. The Hüsrev Pasha Mosque and its twin medress in Aleppo, Syria was his first chance to create a large one.
Constructed in the 1536-1537 season for its supreme command and the Aleppo government between two wars. The building was constructed in a hurry, which can be seen in the rough workmanship and the rough decor. He began building the tomb (door) of Grand Admiral Hayreddin Barbarossa in 1541.
Strangely enough, the Admiral isn't dead there, but in his door next to the Iskele-Moschee. Sinan was commissioned by Mihrimah Sultana, the only Suleyman' s daugther and grandvizier Rüstem Pasha' s spouse, to construct a medrasa (college) medrate in Üsküdar, an maret (soup kitchen) and a Siberian sekteb ("Koran school").
The Iskele ( "Jetty") shows several features of Sinan's ripe style: a roomy, towering cellar, slim miniature vaults, single-headed bald-acchino, surrounded by three semi-domes ending in three exedras and a wide dual-porticus. It was completed in 1548. Building a dual Portikus was not a first in Ottoman arquitecture, but it did create a tendency for Landmoscheen and especially for Wesiren mausoleums.
They later needed Rüstem Pasha and Mihrimah in their three mosques in Constantinople and in the Rüstem Pasha Mosque in Tekirda?. Soon after Sinan began building the Iskele-Moschee in November 1543, the Saxon ordered Sinan to construct a new large shrine with an adjacent building to commemorate his favorite sire.
The ?ehzade would be bigger and more challenging than its predecessors. Architecture experts consider this shrine to be Sinan's first work. Possessed by the idea of a large main cupola, Sinan turned to the designs of the Fatih Pasha Moscow in Diyarbak?r or the Piri Pasha in Hasköy.
Zinan constructed a medieval church with a main cupola, this year with four identical semi-domes. It is a conclusive approach that is already very different from the additional designs of Ottoman architectural tradition. Later, Mehmed Agha copied the idea of grooved pillars in his Sultan Ahmed Mole to facilitate their look.
However, Sinan refused this idea in his next missions. After he had constructed a temple for his boy, it was customary to erect his own royal temple, a permanent memorial bigger than any other and to be erected on a gentle slope above the Golden Horn. Sinan was commissioned to erect a temple, the Süleymaniye, surrounding a kiliye comprising four collges, a table of soups, a clinic, an asylums, a hammam, a caravansary and a traveler's shelter.
He now heads an impressive division with a large number of wizards and has completed this impressive job in seven years. In front of Süleymaniye no semicubic roofs were constructed. This monumental accomplishment has enabled Sinan to emerge from the anonymous nature of his forerunners. He must have known the concepts of the Renaissance designer Leone Battista Alberti (who in turn was a student of De Architura by the ancient Rome author and chemist Vitruvius), because he too sought to build the perfect temple, which reflected the harmonious architectural geometrical perfect.
But unlike his West colleagues, Sinan was more interested in simplifying things than enriching them. He made use of subtile geometrical relations, using a multiple of two when computing the relations and dimensions of his building. In a later phase, however, he also used three-divisions or two to three ratio when working out the width and dome proportion, such as the Sokollu Mehmet Pasha Mosque at Kad?rga
Whilst he was busy building the Süleymaniye, Sinan or his subjects worked out the blueprints and gave orders for many other buildings. In 1551 Sinan constructed a mosque for the Grand Vizier Pargal? ?brahim Pasha and a tomb (door) at Silivrikap? (Constantinople). Sinan received further orders from the next Grand Vizier, Rüstem Pasha.
During the 1550s he constructed a large guesthouse (han) in the Galata area of Istanbul. Some ten years later he constructed another one in Edirne and between 1544 and 1561 the Ta? in Erzurum. From 1553 to 1555 Sinan constructed the Sinan Pasha Mosque for the Grand Admiral Sinan Pasha at Be?ikta?, a smaller model of the Üç ?erefeli Mosque in Edirne.
It is further proof that Sinan had thoroughly examined the work of other designers, especially as he was in charge of the maintenance of these structures. Copying the old shape, he considered the weak points of the structure and tried to resolve them with his own solutions. 1554 Sinan used the shape of the Sinan Pasha-Moschee again for the building of the next Grand Vizier Kara Ahmet Pasha in Constantinople, his first hexagonals.
Using a hexagon plane, Sinan was able to narrow the lateral cupolas to half cupolas and place them in the angles of 45º. Of course Sinan must have liked this form, as he later replicated it in a mosque such as the Sokollu Mehmed Pasha Mosque at Kad?rga and the Atik Valide Mosque in Üsküdar.
1556 Sinan constructed the Haseki Hürrem Hamam, which replaced the ancient baths of Zeuxippus, which still stand near the Hagia Sophia today. And in 1559 he constructed the Cafer A?a cafe under the Hagia Sophia foray. That same year he began building a small Iskender Pasha mosque on Kanl?ka, next to the Bosphorus.
It was one of the many small and routinely orders Sinan's studio has been receiving over the years. When Rüstem Pasha passed away in 1561, Sinan began building the Rüstem Pasha Mosque, which was looked after by his wife Mihrimah Sultana. It' located directly below the Süleymaniye. That same year Sinan made a door for Rüstem Pasha in the mosque gardens ?ehzade, adorned with the fine tile that Iznik could make.
After doubling her fortune after her husband's murder, Mihrimah Sultana now wanted her own shrine. The Mihrimah Camii was constructed by Sinan at Edirnekap? (Edirne Gate) for her on the highest of the seven mounds of Constantinople. When he lifted the shrine on a curved plateau, he emphasized the location on the hill.
Dealing with size, Sinan constructed a mosque in one of his most fanciful projects, using new supporting structures and side rooms to enlarge the area available for window. It was a 37 metre high and 20 metre broad cupola on a quadratic pedestal with two side balconies with three domes each.
It is a revolution in Gothic architecture as the Ottoman architecture allows. From 1560 to 1566 Sinan in Constantinople constructed a temple for Zal Mahmud Pasha on a hill behind Ayvansaray. Although Sinan designed the blueprints and partially overseen the work, he entrusted the work on smaller areas to less capable people, as Sinan and his most capable helpers were about to begin his work on the Selimiye Mocca in Edirne.
The outside of the building is dominated by the temple with four rows of four window openings to the eastern side. In this way, the Moschee takes on the character of a building or even an apartment building. They look like a first rehearsal for the Selimiye Mock. At this later phase of his career, Sinan tried to achieve a uniform and stylish interior.
You can see this in the Sokollu Mehmet Pa?a Moscow in Istanbul (1571-1572) and in the Selimiye Moscow in Edirne. For the other structures of his last era, Sinan was experimenting with room and wall treatment that were new to classic Ottoman architectural styles. The Selimiye in Edirne is his masterwork, according to his biography "Tezkiretü'l Bünyan".
These mosques, freed from the disadvantages of Ottoman tradition, mark the culmination of Sinan's work and all Ottoman-classics. During the construction, his primary motive was the architect's statement: "You can never construct a cupola that is bigger than the cupola of Hagia Sophia and especially as Muslims".
As she was done, Sinan asserted that she owned the biggest cupola in the worid and left the Hagia Sophia behind. The Selimiye cupola is higher at the basis. At the time the house was ready, Sinan was more than 80 years old. It was in this temple that he eventually achieved his goal of achieving an optimal, totally uniform, vaulted interior: a victory for the room that masters it.
Four miniature shrines (83 metres high) at the corner of the temple are the highest in the Islamic civilization and emphasise the upright position of this minaret, which already rules the town. In Damascus he also created the Taqiyya al-Sulaimaniyya Kazan and Damascus Moque, which is still one of the most important memorials in the town, and the Banya Bashi Moque in Sofia, Bulgaria, which is currently the only working one.
In Vi?egrad he also constructed the Mehmed Pa?a Bridge Sokolovi? across the Drina River in eastern Bosnia and Herzegovina, which is now a UNESCO World Heritage Site. In his early years as an architectural designer, Sinan had to do with an establishment of traditionally dome style architectural design. As a result of his education as an military technician, he approached the subject of modern military engineering from an experimental rather than a theoretic point of departure.
By the time Sinan passed away, classic Ottoman arquitecture had peaked. There was no follower talented enough to improve and further evolve the Selimiye MOSKH. Its pupils withdrew to former designs like the MOSHEE ?ehzade. Its most important architectural work was Masjid Al-Haram. Sinan is said to have built or oversaw 476 structures during his 50-year term as emperor-in-residence ('196 of which are still preserved), according to the formal register of his works, the Tazkirat-al-Abniya.
It commissioned its assistance to build less important structures in the province. Dead in 1588, he was entombed in a grave in Istanbul, a door designed by himself, in the graveyard in front of the Süleymaniye Mosque in the northern wall, opposite a road called Mimar Sinan Caddesi.
The Mimar Sinan Fine Arts Academy in Istanbul, a state-run Turkey school. Sinan' s portraits were shown on the back of the Turkisch 10,000 lire notes from 1982-1995 and a 7,500,000 lire medallion from 2001 (in the "Millennium" series), also on 6 stamps: 100 lire in 1957 (400th anniversery of the opening of the Suleymaniye Mosque), 50 lire in 1988 (400th day of Sinan's death) and a sentence of 4 pieces from 14 November 2007 (60, 70, 70 & 80 Kurus - Sinan and his works).
Zinan (Ottoman architect): Mimar Sinan ( "architect Sinan") or Mimar Koca Sinan ("great Sinan" architect) (born around 1490, A??rnaz, Turkey - deceased on 17 July 1588, Constantinople[now Istanbul]), most acclaimed by all osmanian artists, whose idea, perfect in the building of mausoleums and other edifices, as the fundamental subjects for practically all later Turkic religions and bourgeois architectures were used.
As a stonemason and joiner, Sinan joined his father's art. Guidebook to the works of Sinan, the Istanbul based designer. Sinan the Old - he was about ninety years old - was an armenian from Anatolia, who had been taken to the capitol as one of the "assembled".
Zaryan, Sinan, Armenian Soviet Encyclopedia, p. 385. Sinan, perhaps of Armanian origin, built mausoleums and other structures throughout the Turkish Empire. Talbot, Hamlin Architecture Through the Ages. "Sinan, the Greek Orthodox parent's boy, joined his father's craft as a stonemason and carver. And Sinan: Sinan:
SINAN: He was borne in Cappadocia, probably in a Grecian religious group. The glory of the Ottoman leader Sinan, who has touched his ear, is said to have summoned some students of this ethnic mastermind to India to execute his work. Akgündüz Ahmed & Öztürk Said, (2011), Ottoman History, Errors and Truths, IUR Press (Islamic University of Rotterdam), p.196, See onlin.
"In another opinion, Sinan came from a Christian-Turkish background whose parents were named Abdullmennan and his grandpa Do?an Yusuf. Armenian and Ottoman Art". The glory of the Ottoman leader Sinan, who has touched his ear, is said to have summoned some students of this ethnic mastermind to India to execute his work.
Sinan ("Dictionary of Islamic Architecture") filed 2011-06-04 at the Wayback Machine. From prehistory to postmodernism, p. 223. Sinan age:: Culture of the Ottoman Empire. And Sinan: Sinan: A great Ottoman architect and urban planner. And Sinan. SINAN. "Archaeological Files, May 1988, number 127.
"Archaeological Files, May 1988, Number 127. Topçu, Ali (1988a) "Sinan et l'architecture civile", Les Dossiers d'archéologie, May 1988, Nummer 127, "Sinan et la modernité", Les Dossiers d'archéologie, May 1988, Nummer 127.