Who is Turgut Cansever?
The wise architect Turgut Cansever was born in Antalya. He left before he reached school age and lived involuntarily in cities such as Ankara, Bursa and Istanbul, where a Turkish architect should live. It is the life of the country that makes him wise, and he has transformed this life into architecture.
His ancestors migrated from Central Asia to Edirne three hundred years ago and moved to Istanbul from there. His father, Hasan Ferit Cansever (1891, Istanbul – 1969, Istanbul) is one of the founders of the Turkish Hearth. Hasan Ferit, a graduate of medicine, worked as a physician in the Ottoman provinces and became the provincial health director in Antalya during the national struggle. Turgut Cansever was born here on September 12, 1920.
Due to his father’s civil service, he toured our country. He started primary school in Ankara and continued in Bursa. He remembered Bursa of his childhood as a city like poetry and praised the people’s protection of his city. He finished primary school and enrolled in Istanbul Galatasaray High School, but took a break for a year when he fell ill. He evaluated the patiente year and became interested in painting. He learned to see rather than to look from painter Murtaza Bey from Bursa.
While he was a boarding student at Galatasaray High School, his family moved to Istanbul in 1933. They started to live in a mansion in the north of Beyazıt Madrasa. He attended school during the day. He observed Marmara and Beyazıt Square from Beyazıt. He passed through Beyazıt Square every day to go to school, to a cafe and to paint Istanbul.
He opened his first painting exhibition at the age of fifteen. He increased his painting manners from masters and continued to open exhibitions. He took ney lessons and tried to learn French and Persian. They had professional discussions with friends such as Turan Güneş, Turhan Feyzioğlu, Emin Ülgener and İlhan Usmanbaş. In 1940, he entered the architecture department of the State Academy of Fine Arts, known today as Mimar Sinan University. Although he was passionate about painting and music, he chose architecture at his father’s insistence. Fortunately, the poetry and clarity of expression in the lectures of Sedad Hakkı Eldem, one of the professors of the department, made him love architecture.
He became an assistant in the same department with the suggestion of his teacher and did academic studies. He followed the lectures of the art historian Ernst Diez and received his doctorate under his supervision. In 1949, he completed his doctorate in Istanbul University, Faculty of Letters, Department of Art History, under the name of Style Developments in Seljuk and Ottoman Architecture: Turkish Column Capitals. In this work, which is recorded as the first art history doctorate in our country, the continuity of Turkish architecture with Greek, Roman, eastern and Islamic architectural understandings and the integrity of Ottoman art within itself are emphasized.
He worked as a lecturer at the State Academy of Fine Arts between 1950-51. He became an associate professor with his thesis on Fundamental Issues of Modern Architecture in 1960. He worked as the head of Marmara Region Planning Organization, Istanbul Municipality Planning Director and METU Faculty of Architecture diploma project manager. He worked as a consultant to the Ministry of Construction and Settlement in 1974, as the head of the Istanbul Metropolitan Planning Department in 1974, as a member of the Turkish delegation of the Council of Europe between 1974-77, and as a planning consultant in the Istanbul Municipality between 1975-80.
Hadrian’s Gate, built in 130, and Karakaş Mosque, built in 1991, face each other in Antalya. While the gate is surrounded by Turkish walls, the mosque is multinational and unifying as if it was left over from the period of principalities. They wait for time in the common grievance of the crushing modernity in the city. The attitude of Turgut Cansever, the architect of the mosque, who carries the time, takes care of himself and takes action only for beauty as symbolized in his work. Like all his other works, he calls to discover the beauty in the world.
He worked as a chairman in Istanbul Metropolitan Planning Studies, a manager in Aegean Regional Planning Studies, a consultant in Ankara Municipality, and took part in post-earthquake architectural interventions with the resolution of unplanned urbanization problems. Apart from his public works, he also drew attention with his private projects. It has achieved an unprecedented success by receiving the Aga Khan Architecture Award, which rewards architectural works in the Islamic society, three times. Many awards, especially the Grand National Assembly of Turkey Distinguished Service Award (2007) and the Presidential Culture and Arts Grand Award (2008); He is a jury member and consultant, especially for the Aga Khan Architecture Award (1983). Many commemorations, information feasts and organizations have been held in the name of the artist, especially the exhibition named Turgut Cansever: the architect and the “Man of Thought”, which is the first ever architect exhibition in Turkey based on archival material.
Some of his architectural works are the Turkish Historical Society (1967), for which he received the 1980 Aga Khan Architecture Award, Ertegün House (1971), the Demir Holiday Village (1990) for which he received the 1992 Aga Khan Architecture Award, Karatepe Open Air Museum (1957), Büyükada Anadolu Club(1957), Karatepe Open Air Museum(1961), Nuri Birgi House(1968), Çürüksu Mansion Restoration(1971), Underwater Archeology Institute(1983), Ataç House(1989), Karakaş Mosque(1991).
The books he wrote continue to be among the bedside works of contemporary Turkish architecture. City and Architecture in Islam (2006), Mimar Sinan (2006), Residences Villas / Public Housing and Complexes / Renovation Works Selections from Building 1 (1999), Understanding Istanbul – All His Works 3 (1998), City in Islam and Architecture – All His Works 2 (1997), Not Putting the Dome on the Ground, Speeches – All His Works 1 (1997), Home and City (1994), City and Architecture (1992), he has generally heralded our architectural heritage that has lasted for ages, and has been removed from history and existence. He presented the lessons he learned as ways to beautify the world.
It is possible to see the understanding of beautification in his architectural, literary or personal works. In his works, the beauty of the small and the sublimity of consent, truth and taqwa stand out. We see discussions such as acquiring sincerity by not making mistakes, the importance of asceticism, and an understanding that does not belittle the people around, but is not deceived by the arrogance of those around them.
According to him, the message should not lead people, if the message is given, it should only be in a way that enables them to take action and find their own truth. Neutral, correct, dignified, low-voiced architecture that says beautiful things and beautifies the world must be created instead of architectural forms that affect and direct people.
The universe is beautiful in that it is God’s order. Contrary to the sinful human conception of the West, the human being in the beautiful order is also beautiful. Things to be done in the world should not disrupt this order, but should comply with the principles of the will that creates beauty. Cansever bases this thought on a hadith that means “the main duty of art is to beautify the world”.
It should show people such beauties that images should become nurturing values in the subconscious. People should be fed by seeing beautiful homes, cities and a beautiful world. Beauty should not be ostentatious, but modest. One should strive to bring out pure beauty through simplicity and sobriety.
His modest and conservative attitude shows itself in construction. He designed the Turkish Historical Society in the form of a castle, as an enclosure to protect the sacred wisdom within. Building material is also a sign of conservative attitude. Marmara marble was used inside the building, which was built with dark colored Ankara stone. Marble flooring has parallel lines like Anatolian rugs. The space left for enlightenment in the middle of the building was built in accordance with the plan of the Turkish house with a middle sofa, and was inspired by the madrasah.
Beyazıt Square, where he met with his friends in his youth, passed through and went to school, was designed by him in 1958. Our architect showed his understanding here as well, and tried to ensure integrity by saving this square, which carries history and the university, from road traffic. Beyazıt Square Arrangement Project is the first large-scale pedestrianization project of our country, and it is also a symbol of preserving culture against cultural destruction. Pedestrianization is actually an effort to prevent the contrast between the ancient Bayezid Mosque and modern buildings and the invasion of the complex by modernity. Famous historian İlber Ortaylı stated that the square had been ruined until he came to Cansever, which he admired, and met the criticisms directed at the architect.
Cansever often talks about the beauty of Istanbul in his works. He gives exemplary examples of his neglect during the modernization period. It also has a warning about the future. He states that the current building stock will be a disaster. In the 2000s, the majority of Istanbul resides in buildings without the contribution of engineers and architects, and there is not even qualified concrete in the buildings constructed outside of the last twenty years.
According to Cansever, every civilization has an understanding of the city that reflects itself. Contrary to European civilization, a Muslim’s city should be in a structure that is far from ostentatious, private, does not imprison the eye and understanding, and respects the other. However, this purpose has been avoided in modern times. Ottoman architecture, in which the monotheistic style of Islamic art meets with the dynamic, self-renewing porch structure of the Turkish house, does not receive the attention it deserves. It is unacceptable to destroy this understanding that European intellectuals envy and those who visit want to visit again.
Modern buildings built for someone else, not according to their own understanding, are a sign of impersonality and submission. The Turkish people should first realize that they have their own thoughts and a great legacy, and then they should try to reveal it.
Cansever grew up in a secular environment and had an Islamic sensitivity. He experienced the diversity of these lands and the contrast of life. There were people from all walks of life around him and he tried to perceive beauty from all walks of life. Attention was paid to both philosophy and hadith. He mentioned Nietzsche as well as Ibn Arabi. He never stopped short of Bergson and Kant.
Turgut Cansever, an artist who transcends architecture and all borders, was not given due attention neither during his lifetime nor after his life. When he passed away on February 22, 2009 at the age of 89, he left works that will keep him alive. In this way, people will be able to learn about the beautiful style of the house and the city from him forever.
Source
- Beşir Ayvazoğlu, Beautifying the World – Conversations with Turgut Cansever, TİMAŞ Publications, 2016.
- Turgut Cansever, Not Putting the Dome on the Ground, TİMAŞ Publications, 2016.
- Turgut Cansever, City and Architecture in Islam, TİMAŞ Publications, 2016.
- Halil İbrahim Regular, Turgut Cansever (1920-2009), Journal of Islamic Studies, P. 22, 2009, pp.160-181.
- Ufuk Demirgüç, Critical Regionalism in Architecture and Turgut Cansever, master’s thesis, Istanbul Technical University, 2006.
It is a translation of a published journal article. Source: Bilge Mimar Turgut Cansever, Ebabil dergisi, Bahar 2018, ss.92-95.