Comparing Domes of Architect Sinan to Renaissance Architect Palladio, Essay

Comparing Domes of Architect Sinan to Renaissance Architect Palladio, Palladianism - Essay Example On the other hand, one of the associations coming to one’s mind with a dome is the centrepiece symmetry. It serves for the harmony of the building and the place where it is located. Following in keeping with the best traditions of Vitruvius and Alberti, two architects are highlighted so that to point out the use of the dome in their works. The comparison of the works by both architects is not a mere attempt to find out who was the best, but to show off where the edge between different cultures went through the aesthetic sensitivity of a man’s feeling and vision of what he/she feels. A slight connection in the use of dome in the architectural ensemble by Sinan and Palladio re-unites Eastern and Western culture and religion in a peculiar way. First off, it should be mentioned that the medieval architecture was full of the slight overlapping of new styles which layered the old ones in a peculiar and sophisticated way. In this respect it is necessary to mention that the Rom anesque style was followed by the Gothic style and then appeared so-called Mannerism. In this gradual follow-up, there were plenty of the architects able to add something new to the development of the overall look of the architectural ensemble in its connection to the place, epoch, people, and religion (one of the most important constituents underlined in the paper). Thus, the works of Sinan as the one of the most famous architect of his time across the Ottoman Empire go first in this enthusiastic analysis on the world’s architectural heritage. The mosques made by Sinan cannot but inspire to the deepest strings of a man’s soul. Creating his magnificent mosques during the time of more than 50 years, the 16th century Turkish architect felt a huge desire to never stop on using dome as the core idea of Islam, so to speak (Roose, 2009). The perfection seen on the example of Sehzade Mehmet Mosque outlines the uniqueness in how Sinan approached toward the glory of God seen on the example of patterned fornications. With the greatness of the Sinan’s creations, the classical architecture of the Ottoman Empire â€Å"reached its pinnacle† (Celik, 1993). Nevertheless, being Sinan’s first major work built in 1545-1548, it was well appreciated by the contemporaries for the articulated geometry and the arrangement of the domed hall (Moffett, Fazio, & Wodehouse, 2003). Apparently, the link between the central dome and half-domes illustrates the Islamic multifaceted implementation of the gorgeous ornaments. To say more, the dome was inserted with a huge passion of Sinan who tried to engrave the memory of the sultan Suleyman’s son Mehmet (Foster, 2004). What is more important, the construction of the columns supporting the dome in the mosque is also done in a symmetrical proportion, so that to shed light on the logic of the architectural form. Coloured stones and the mosaics incremented in the interior part of the dome of the Sehzade Mos que are done with the pure genius of Sinan. It means that the glory of the Ottoman classical architecture is rooted to the picturesque and full-of-wealth representation of the religious tradition throughout the Empire. Admittedly, Sinan felt his responsibility for praising Islam in terms of the architecture. Hence, his first mosque proved this idea right. Another Example of Sinan’s talent, as an architect is Selimiye Mosque. Built by Sinan in 1575 in Edirne, Turkey, the mosque is full of the architect’