Istanbul Research Institute (IAE) has added a new addition to the exhibition it’s finishing up on the Google Arts & Culture platform. Curated by Büke Uras, the exhibition titled “Imaginary World of A Paper Architect: Nazimî Yaver Yenal” focuses on the life and merchandise of architect Nazimî Yaver Yenal, one of the distinguished figures of the Republic era.
IAE continues to current its exhibitions to the viewers on-line. The exhibition “Imaginary World of A Paper Architect: Nazimî Yaver Yenal,” which was opened to guests for the primary time in 2017, addresses the 50-year profession of Yenal, one of the distinctive representatives of 20th century structure in Turkey, in mild of extraordinary visuals. The total exhibition, which was compiled from Yenal’s wealthy archive that was discovered years after the architect’s dying, can now be visited by means of Google Arts & Culture.
In a video on the web site of IAE, Uras refers to Yenal as “probably the most notable paper architect of the early Republican structure” as a result of of his unrealized tasks, with quite a few drawings of designs that go between custom and modernism. Underlining that the architect created by himself another architectural manufacturing area consisting solely of drawings for a few years, Uras says that Yenal informed a highly effective story together with the hopes created by designs that weren’t applied, with causes for failure to implement them and his frustrations.
Yenal’s oeuvre on show
Born in Istanbul in 1904, Yenal started finding out structure in 1920 at Mekteb-i Sanayi-i Nefise-i Şâhâne (the Academy of Fine Arts), based by Osman Hamdi Bey. IAE’s exhibition begins together with his productions throughout this era. Its displays stretch to the distinguished architect’s retirement interval. According to Uras, what makes this present fascinating is that it’s one of probably the most complete collections revealing Ecole des Beaux-Arts methodology. While Yenal was educated by distinguished architects like Vedat Tek and Giulio Mongeri at Sanayi-i Nefise, he was extremely affected by this technique, which was embraced because the reference level on the tutorial schooling at this college.
Yenal was a very gifted pupil throughout his years in school. For instance, Turkish architect Sedad Hakkı Eldem, one of Yenal’s friends, described him as being “a lot forward,” even in his pupil years, in some letters. Yenal was thus far forward that, throughout his commencement in 1926, his instructor Levantine architect Mongeri mentioned, “I choose a rose from my backyard and provides it to you.” Mongeri opened an workplace and employed many of his former college students after commencement. He had nice religion in Yenal, which made this younger architect his favourite. While working there, Yenal was concerned within the design course of of the Ankara central department of Ziraat Bank.
As all can perceive, Yenal received the appreciation of his lecturers throughout his years in school. He acquired first prizes consecutively all through his tutorial profession. In explicit, he stood out with the primary prize he acquired within the first architectural undertaking competitors of the Republican interval organized by Ankara Municipality in 1925. This was adopted by the “Repair of Haydarpaşa Railway Station,” the primary architectural competitors held for Istanbul through the Republican interval.
Yaver was the winner of the primary architectural European competitors organized by Sanayi-i Nefise in 1927-1928, after which went to Paris and Berlin with the scholarship he acquired from this competitors. Later on, he was accepted to the workshop-school “Meister Atelier” of Hans Poelzig, one of Germany’s distinguished architects, in Berlin. The exhibition consists of many drawings belonging to this era. In these drawings, Yenal’s earlier eclectic type, wherein operate is all the time shadowed by the façade plan, combines with modernism, and this results in operate coming into prominence once more.
Yenal’s time in Berlin intersects with the Weimar Republic’s most problematic interval. Berlin was fighting unemployment and excessive inflation. These socioeconomic issues additionally affected structure, which left all plans on paper.
Yenal later returned to the Sanayi-i Nefise as an teacher in 1932. Despite his almost 40-year profession as an educator, he by no means grew to become a undertaking instructor and didn’t be a part of the administration employees of the college. Yenal, sadly, couldn’t win any competitors after the 1940s, leaving him as an architect whose buildings weren’t constructed and remained on paper. However, this doesn’t imply that he was not productive. On the opposite, he formed the again room of his workshop on the academy as a world of his personal and made masterpieces there repeatedly. The solely constructed construction belonging to Yenal is the şadırvan (water tank with a fountain) of the Şişli Mosque. He is probably crucial “paper architect” of Turkish structure from the Republic period.
This large archive on the IAE’s exhibit, which incorporates many tasks, from architectural drawings to furnishings designs, was fastidiously preserved in Yenal’s home after his retirement. The pictures and drawings which have survived from the extraordinary archive, which was disbanded after the architect’s dying and most of which have been destroyed or misplaced, come to mild once more by means of the exhibition.