In the West-oriented educational setting of the 1920s, as part of the Ministry of Education’s initiative to send successful students abroad to help them gain […]
Upon his return to the Academy of Fine Arts in 1932, Yenal found himself in the midst of an important reform process. Once the Republic […]
In 1917, as World War I on full swing, the towers and roof of Haydarpaşa Train Station were burned and considerably damaged due to a […]
In his final year at the school of architecture in 1925, Nazimî Yaver won his first victory outside the school at a competition entitled, “single […]
The total of 25 drawings Yenal apparently made for the Anıtkabir Competition in 1941 is comprised plan, cross-section, façade and detailed drawings. The design satisfies both the physical and psychological demands stated in the conditions of the competition. In the drawings in question, the design elements are markedly different from each other in terms of time and space (chronology and geography) and include elements from the architecture of ancient Egyptian, Seljuk, Mamluk, 19th-century Russian, and Nazi Germany periods. The search for spirituality provided through the oculus and the visitor’s perception of light was proposed as the most important design criteria of the mausoleum. It still remains unknown if Yenal ever submitted the sketches to the Anıtkabir Competition.
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