Anıtkabir Competition By Paul Bonatz And Sayar Case Study
In the lines that the architect wrote during the project proposal phase, his tendency is clearly revealed. The idea that the jury will decide in favor of a general international style is probably related directly to the undetermination of the names that will probably take place in the jury. Nevertheless, it seems probable that Bonatz influenced the delegation with his ideas since his election as the jury president, as understood from these details.
Paul Bonatz; Is officially invited to the jury in February 1942, presumably the turning point of his life and career. In his autobiographical work Leben und Bauen , published in Stuttgart containing his professional and personal memories, Bonatz, who mentions Arif Hikmet Yenen and Kemali Söylemezoğlu …show more content…
In his article titled Anıtkabir Competition, Sayar clearly stated his idea as following: "This important event did not yield a proportional result since it occurred unfortunately during the world's most violent period of the great depression. Consequently, like many architects, we are not very satisfied with the result of the competition (Sayar, 1943 ). Moreover, he suggests "the renewal of the competition if it is necessary" (Sayar, 1943). It is also worth mention the claim of Sayar in the same text regarding the Onat-Arda project by arguing that "the project does not have a national character".
The project of Emin Onat and Orhan Arda's Turkish History Thesis in the view of an ancient temple, which corresponds to the above-mentioned context very accurately, has been originated from the nationality and explained by the architects as follows. Onat and Arda quoted almost everything from Turkey and Turkish history asserted by the Turkish Historical Society in the context of the Turkish History Thesis, in order to justify the example they use in their styles (Wilson, 2015, …show more content…
This strengthens the argument that the definition of National Architecture is not a clear visual imagination, on the contrary, the whole structure and the definition of the National Architecture itself consist of hybridity, that all architects, historians, and theoreticians can perceive and describe differently and therefore do not exist.
The project which contains the "national" or "Turkish" character by Arkitekt or Zeki Sayar in its most intense form is the Akçay-Söylemezoğlu-Aru project. According to Sayar,
As for the projects that have been purchased, the project, which has strong ideas and foundations to compete with the first three projects, is the project of three young Turkish architects (R. Akçay, K. Söylemezoğlu and K. Aru). The plan of this project is not dependent on any foreign influence and the external architecture is Turkish style. Architects have even gone a little back in the exterior architecture. When it comes to the interior architecture, this is completely composed of a Turkish composition. They have succeeded in creating a clean Turkish architectural character in the monument with the proportions and motifs allowed by the Turkish architectural rules, without being influenced by any foreign monuments. It represents an unprocessed, immature volume except
Paul Bonatz; Is officially invited to the jury in February 1942, presumably the turning point of his life and career. In his autobiographical work Leben und Bauen , published in Stuttgart containing his professional and personal memories, Bonatz, who mentions Arif Hikmet Yenen and Kemali Söylemezoğlu …show more content…
In his article titled Anıtkabir Competition, Sayar clearly stated his idea as following: "This important event did not yield a proportional result since it occurred unfortunately during the world's most violent period of the great depression. Consequently, like many architects, we are not very satisfied with the result of the competition (Sayar, 1943 ). Moreover, he suggests "the renewal of the competition if it is necessary" (Sayar, 1943). It is also worth mention the claim of Sayar in the same text regarding the Onat-Arda project by arguing that "the project does not have a national character".
The project of Emin Onat and Orhan Arda's Turkish History Thesis in the view of an ancient temple, which corresponds to the above-mentioned context very accurately, has been originated from the nationality and explained by the architects as follows. Onat and Arda quoted almost everything from Turkey and Turkish history asserted by the Turkish Historical Society in the context of the Turkish History Thesis, in order to justify the example they use in their styles (Wilson, 2015, …show more content…
This strengthens the argument that the definition of National Architecture is not a clear visual imagination, on the contrary, the whole structure and the definition of the National Architecture itself consist of hybridity, that all architects, historians, and theoreticians can perceive and describe differently and therefore do not exist.
The project which contains the "national" or "Turkish" character by Arkitekt or Zeki Sayar in its most intense form is the Akçay-Söylemezoğlu-Aru project. According to Sayar,
As for the projects that have been purchased, the project, which has strong ideas and foundations to compete with the first three projects, is the project of three young Turkish architects (R. Akçay, K. Söylemezoğlu and K. Aru). The plan of this project is not dependent on any foreign influence and the external architecture is Turkish style. Architects have even gone a little back in the exterior architecture. When it comes to the interior architecture, this is completely composed of a Turkish composition. They have succeeded in creating a clean Turkish architectural character in the monument with the proportions and motifs allowed by the Turkish architectural rules, without being influenced by any foreign monuments. It represents an unprocessed, immature volume except