{"id":6466,"date":"2019-03-06T14:21:51","date_gmt":"2019-03-06T14:21:51","guid":{"rendered":"http:\/\/circassiancenter.com\/tr\/?p=6466"},"modified":"2019-03-06T14:21:51","modified_gmt":"2019-03-06T14:21:51","slug":"dogan-kuban-kimdir","status":"publish","type":"post","link":"https:\/\/www.circassiancenter.com\/tr\/dogan-kuban-kimdir\/","title":{"rendered":"DO\u011eAN KUBAN K\u0130MD\u0130R?"},"content":{"rendered":"

<\/p>\n

1926’da Paris’te do\u011fdu. 1949 y\u0131l\u0131nda \u0130stanbul Teknik \u00dcniversitesi Mimarl\u0131k Fak\u00fcltesi’nden Y\u00fcksek Mimar olarak mezun oldu. 1952’de ayn\u0131 kurumun Mimarl\u0131k Tarihi ve R\u00f6l\u00f6ve K\u00fcrs\u00fcs\u00fc’ne asistan olarak atanm\u0131\u015ft\u0131r. Burada, T\u00fcrkiye’de ilk Restorasyon dersini veren Paolo Verzone’nin \u00e7evirmenli\u011fini yapm\u0131\u015f, sonralar\u0131 da bu dersi kendisi \u00fcstlenmi\u015ftir.<\/p>\n

1953’te Aspendos Tiyatrosu onar\u0131m\u0131nda dan\u0131\u015fmanl\u0131k yapan Kuban, 1953-56 aras\u0131nda Kapadokya ve Pisidia’daki Antik \u00c7a\u011f ve Hristiyan an\u0131tlar\u0131n\u0131n ara\u015ft\u0131r\u0131lmas\u0131nda Verzone’nin asistanl\u0131\u011f\u0131n\u0131 yapm\u0131\u015f, 1954’te yeterlilik tezi olarak, T\u00fcrkiye’de Bat\u0131l\u0131la\u015fmay\u0131 ilk kez bir mimarl\u0131k ya da sanat tarihi sorunsal\u0131 olarak ele alan “Osmanl\u0131 Barok Mimarisi Hakk\u0131nda Bir Deneme” \u00e7al\u0131\u015fmas\u0131n\u0131 haz\u0131rlam\u0131\u015ft\u0131r. 1954’te \u0130T\u00dc Mimarl\u0131k Fak\u00fcltesi’nce R\u00f6nenans mimarl\u0131\u011f\u0131n\u0131n ara\u015ft\u0131r\u0131lmas\u0131 amac\u0131yla \u0130talya’da g\u00f6revlendirilmi\u015f, yurda d\u00f6nd\u00fckten sonra “Osmanl\u0131 Dini Mimarisi’nde \u0130\u00e7 Mekan Te\u015fekk\u00fcl\u00fc-R\u00f6nesansla Bir Mukayese” (1958) adl\u0131 teziyle docent \u00fcnvan\u0131n\u0131 alm\u0131\u015ft\u0131r. 1962-63 Fulbright doktora sonras\u0131 ara\u015ft\u0131rma bursuyla ara\u015ft\u0131rma bursuyla ABD’de, Ann Arbor’daki Michigan \u00dcniversitesi sanat tarihi B\u00f6l\u00fcm\u00fc’nde konuk \u00f6\u011fretim \u00fcyesi olarak ders vermi\u015f; 1963-64’te Washington DC’deki Dumbarton Oaks Bizans Ara\u015ft\u0131rmalar\u0131 Merkezi’nde Anadolu’daki H\u0131ristiyan Yap\u0131lar\u0131 Katalo\u011fu \u00fczerinde \u00e7al\u0131\u015fm\u0131\u015f, 1966-76 aras\u0131nda ayn\u0131 kurumun finanse etti\u011fi \u0130stanbul Kalenderhane Camisi kaz\u0131s\u0131 ve restorasyonunda Cecil Striker’la e\u015fba\u015fkan olarak proje ve kontrolluk \u00e7al\u0131\u015fmalar\u0131 yapm\u0131\u015f; 1964’te Suriye’de Oleg Grabar y\u00f6netimindeki Do\u011fu Kasr-\u00fcl Hyr kaz\u0131s\u0131n\u0131n ilk mevsiminde kaz\u0131 mimarl\u0131\u011f\u0131n\u0131 y\u00fcr\u00fctm\u00fc\u015f, yurda d\u00f6nd\u00fckten sonra 1965’te “Anadolu T\u00fcrk Mimarisinin Kaynak Sorunlar\u0131” adl\u0131 teziyle profes\u00f6r olmu\u015ftur.<\/p>\n

\u00d6\u011fretim program\u0131nda “Modern Mimarl\u0131k Tarihi”nin ayr\u0131nt\u0131l\u0131 olarak yer almas\u0131n\u0131 sa\u011flayan Kuban, do\u00e7entli\u011finden 1993 y\u0131l\u0131nda emekli oluncaya kadar, s\u0131ras\u0131yla \u0130T\u00dc Mimarl\u0131k Tarihi ve R\u00f6l\u00fcve K\u00fcrs\u00fcs\u00fc, Mimarl\u0131k Tarihi ve Restorasyon K\u00fcrs\u00fcs\u00fc ile Restorasyon Ana Bilim Dal\u0131 ba\u015fkal\u0131\u011f\u0131 yapm\u0131\u015f, 1974-77 aras\u0131nda da \u0130T\u00dc Mimarl\u0131k Fak\u00fcltesi dekanl\u0131\u011f\u0131 g\u00f6revini \u00fcstlenmi\u015ftir.
\n1967’den ba\u015flayarak ABD ve Suudi Arabistan’da konuk \u00f6\u011fretim \u00fcyesi olarak \u0130slam ve T\u00fcrk Sanat\u0131 \u00fczerine ders vermi\u015f, seminerler d\u00fczenlemi\u015ftir. Kuban, konuk \u00f6\u011fretim \u00fcyeliklerinin yan\u0131 s\u0131ra 1963’ten ba\u015flayarak, \u00e7e\u015fitli ABD eyaletleri, Danimarka, Hollanda, \u0130svi\u00e7re, \u0130talya, Macaristan, Kanada, Pakistan, Sudan, Suudi arabistan, M\u0131s\u0131r, Fas, Endonezya ve Singapur’daki \u00fcniversite, m\u00fcze ve ara\u015ft\u0131rma merkezi gibi pek \u00e7ok bilim kurumunda konferanslar vermi\u015ftir.<\/p>\n

1968-72 aras\u0131nda \u0130T\u00dc taraf\u0131ndan finanse edilen “Edirne An\u0131tlar\u0131 Monografik \u00c7al\u0131\u015fmas\u0131 ve Alan Ara\u015ft\u0131rmalar\u0131” konulu proje ile Edirne saray\u0131 kaz\u0131s\u0131n\u0131 y\u00fcr\u00fctm\u00fc\u015f; 1968-78 aras\u0131nda Uluslar aras\u0131 An\u0131tlar ve Sitler Konseyi (ICOMOS) T\u00fcrkiye kolunun kurulmas\u0131 i\u00e7in \u00e7al\u0131\u015fm\u0131\u015ft\u0131r. 1974’te \u0130T\u00dc Mimarl\u0131k Fak\u00fcltesi’ne ba\u011fl\u0131 Mimarl\u0131k Tarihi ve Restorasyon Enstit\u00fcs\u00fc’n\u00fc (MTRE) kuran ve ba\u015fkanl\u0131\u011f\u0131n\u0131 \u00fcstlenen Kuban, 1979-80’de Uluslararas\u0131 \u0130slam Tarihi Sanat\u0131 ve K\u00fclt\u00fcr\u00fc Ara\u015ft\u0131rmalar\u0131 Merkezi (IRCICA) ba\u015fkan\u0131 se\u00e7ilmi\u015f ve merkezin \u0130stanbul’da kurulmas\u0131 \u00e7al\u0131\u015fmalar\u0131n\u0131 ger\u00e7ekle\u015ftirmi\u015ftir. Ta\u00e7 Vakf\u0131 (1976), Tarihi Evleri Koruma Vakf\u0131 (1977) ve T\u00fcrkiye Sosyal ve Ekonomik Tarih Vakf\u0131’n\u0131n (1991) kurucular\u0131ndan olan kuban, 1968-81 aras\u0131nda Gayrimenkul Eski Eserler ve An\u0131tlar Y\u00fcksek Kurulu \u00fcyeli\u011fi, sonra da ayn\u0131 kurumda ba\u015fkanl\u0131k yapm\u0131\u015ft\u0131r. 1978-79’da K\u00fclt\u00fcr Bakanl\u0131\u011f\u0131 Y\u00fcksek K\u00fclt\u00fcr Kurulu \u00fcyeli\u011finde de bulunan Kuban, 1960-61’de “Mimarl\u0131k ve Sanat”, 1967-70 aras\u0131nda “Mimarl\u0131k” dergileri, 1968-70 aras\u0131nda da \u0130T\u00dc Mimarl\u0131k Fak\u00fcltesi Mimarl\u0131k Tarihi B\u00f6l\u00fcm\u00fc’n\u00fcn yay\u0131mlad\u0131\u011f\u0131 “Anadolu Sanat\u0131 Ara\u015ft\u0131rmalar\u0131”, 1975-81 aras\u0131nda \u0130T\u00dc Mimarl\u0131k Fak\u00fcltesi ve Restorasyon Enstit\u00fcs\u00fc’n\u00fcn yay\u0131mlad\u0131\u011f\u0131 MTRE B\u00fclteni, 1991’den bu yana “\u0130stanbul” dergisi, 1993-95 aras\u0131nda “D\u00fcnden Bug\u00fcne \u0130stanbul Ansiklopedisi” yay\u0131n kurulu e\u015f-ba\u015fkanl\u0131\u011f\u0131n\u0131 \u00fcstlenmi\u015f; 1983’te O.Grabar’\u0131n yay\u0131n y\u00f6netmenli\u011fini yapt\u0131\u011f\u0131, \u0130slam sanat\u0131 ve mimarl\u0131\u011f\u0131 alan\u0131ndaki “Muqarnas” dergisinin dan\u0131\u015fma kurulu \u00fcyesi olmu\u015ftur.<\/p>\n

1979-83 aras\u0131nda, merkezi Cenevre’de bulunan A\u011fa Han Mimarl\u0131k \u00d6d\u00fcl\u00fc’nde y\u00f6netim komitesi \u00fcyeli\u011fi yapm\u0131\u015ft\u0131r. 1980’de Pakistan’\u0131n Lahor kentinde d\u00fczenlenen “\u0130slam \u00dclkeleri Koruma” konulu uluslar aras\u0131 kongreye UNESCO uzman\u0131 olarak kat\u0131lan Kuban, 1986’da Ankara’da d\u00fczenlenen 1. Uluslararas\u0131 Asya-Avrupa Sanat Bienali’nde T\u00fcrkiye Grubu ba\u015fkanl\u0131\u011f\u0131 ve sergi d\u00fczenleyicili\u011fi g\u00f6revlerini \u00fcstlenmi\u015ftir.<\/p>\n

Eserleri
\n<\/b>
\n1) <\/span>T\u00fcrk Barok Mimarisi Hakk\u0131nda Bir Deneme, \u0130stanbul, 1954 (An Easy on the Turkish Baroque Arhitecture)
\n2) <\/span>Osmanl\u0131 Dini Mimarisinde \u0130\u00e7 Mekan Te\u015fekk\u00fcl\u00fc. R\u00f6nesansla Bir Mukayese, \u0130stanbul, 1958 (Space Formation in the Ottoman religious Architecture. A Comparison with Renaissance Architecture)
\n3) <\/span>Bir Bat\u0131 Anadolu Gezisi \u0130zlenimleri, \u0130stanbul, 1961
\n4) <\/span>Anadolu-T\u00fcrk Mimarisinin Kaynak ve Sorunlar\u0131, \u0130stanbul, 1965 (The Source and Problems of the Anatolian-Turkish Architecture)
\n5) <\/span>T\u00fcrkiye Sanat\u0131 Tarihi, \u0130stanbul, 1970; 7. Bask\u0131 1996 (Ger\u00e7ek Yay\u0131nlar\u0131, 100 Soruda Serisi) (\u00c7a\u011fda\u015f Yay\u0131nlar\u0131) (A History of Art in Turkey)
\n6) <\/span>Mimarl\u0131k Kavramlar\u0131, \u0130stanbul, 1973; 4. Bask\u0131 1998 (YEM) (Concepts of Architecture)
\n7) <\/span>Muslim Religious Architecture, Part I, Leiden, 1974; Par II, Leiden, 1985 (Iconography of Religions, XXII, 2, 3) (BRILL)
\n8) <\/span>Sanat Tarihimizin Sorunlan, \u0130stanbul, 1975; Geni\u015fletilerek T\u00fcrk ve \u0130slam Sanat\u0131 \u00dczerinde Denemeler, \u0130stanbul, 1982; 2. Bask\u0131, 1995 (Arkeoloji ve Sanat) (Essays on Turkish and Islamic Arts)
\n9) <\/span>Turkish Culture and Arts, \u0130stanbul, 1985 (BBA)
\n10*Bat\u0131ya G\u00f6\u00e7\u00fcn Sanatsal Evreleri. Anadolu’dan \u00d6nce T\u00fcrklerin Sanat Ortakl\u0131klar\u0131, \u0130stanbul, 1993 (CEM) (Artistic Etapes of the Migration to the West)
\n11) <\/span>\u0130zmir ve Ege’den Mimari \u0130zlenimler, (D. Goffman’la birlikte; \u00c7izimler Kaya Din\u00e7er, \u0130zmir, 1994 (\u00c7imenta\u015f, \u0130zmir) (Architectural Impressions from the Aegan and \u0130zmir)
\n12) <\/span>The Turkish Hayat House, \u0130stanbul, 1995; T\u00fcrk\u00e7e \u00c7evirisi: T\u00fcrk Hayatl\u0131 Evi, \u0130stanbul, 1995 (Eren, \u015fimdiki hak Eren’de)
\n13) <\/span>\u0130stanbul, An Urban History. Byzantion, Constantinopolis, \u0130stanbul, \u0130stanbul, 1996; T\u00fcrk\u00e7e \u00c7evirisi: \u0130stanbul, Bir Kent Tarihi. Bizantion, Konstantinopolis, \u0130stanbul, \u0130stanbul, 1996; \u0130kinci T\u00fcrk\u00e7e Bask\u0131s\u0131, \u0130stanbul, 2000 (Tarih Vakf\u0131)
\n14) <\/span>Sinan’\u0131n Sanat\u0131 ve Selimiye, \u0130stanbul, 1997; 2. Bask\u0131 1998; \u0130ngilizce \u00c7evirisi: Sinan’s Art and Selimiye, \u0130stanbul, 1997 (Ayd\u0131n Do\u011fan Vakf\u0131 Sosyal Bilimler 1997 \u00d6d\u00fcl\u00fc) (Tarih Vakf\u0131)
\n15) <\/span>Kalenderhane in \u0130stanbul. The Building, Mainz, 1997 (With C.L. Striker) (Verlag Philip Von Zaben Gmbh, Mainz)
\n16) <\/span>Mimarl\u0131k ve Kent \u00dczerine \u0130stanbul Yaz\u0131lar\u0131, \u0130stanbul, 1998 (YEM) (Architectural and Urban Essays on \u0130stanbul)
\n17) <\/span>Divri\u011fi Mucizesi, Orta\u00e7a\u011f \u0130slam Bezemesi \u00dczerine Yorumlar, \u0130stanbul, 1999 (The Miracle of Divrigi, htanbul, 2001) (2nd ed. 2002)
\n18) <\/span>Sinan, An Architectural Genius, (Photographs A. Ertu\u011f), Bern, 1999 (Ertu\u011f, Borusan)
\n19) <\/span>Tarihi \u00c7evre Koruman\u0131n Mimarl\u0131k Boyutu, Kuram ve Uygulama, \u0130stanbul, 2000 (The Architectural Dimensions of Historical Environment, Theory and Practice)
\n20) <\/span>Ah\u015fap Saraylar (Kaybolan Kent Hayalleri); Wooden Palaces of the Ottomans, \u0130stanbul, 2001 (YEM)
\n21) <\/span>T\u00fcrkiye’de Kentsel Koruma, Kent Tarihleri ve Koruma Y\u00f6ntemleri, \u0130stanbul, 2001 (Tarih Vakf\u0131) (Urban Conservation in Turkey, City Histories and Methods of Conservation)
\n22) <\/span>Sel\u00e7uklu \u00c7a\u011f\u0131nda Anadolu Sanat\u0131, \u0130stanbul, 2002 (YKY) (Anatolian Art in the Seljuk Period)
\n23) <\/span>Osmanl\u0131 Mimarisi,\u0130stanbul, 2007, YEM Yay\u0131nlar\u0131<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

1926’da Paris’te doğdu. 1949 yılında İstanbul Teknik Üniversitesi Mimarlık Fakültesi’nden Yüksek Mimar olarak mezun oldu. 1952’de aynı kurumun Mimarlık Tarihi ve Rölöve Kürsüsü’ne asistan olarak atanmıştır. Burada, Türkiye’de ilk Restorasyon dersini veren Paolo Verzone’nin çevirmenliğini yapmış, sonraları da bu dersi kendisi üstlenmiştir. 1953’te Aspendos Tiyatrosu onarımında danışmanlık yapan Kuban, 1953-56 arasında Kapadokya ve Pisidia’daki Antik […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_bbp_topic_count":0,"_bbp_reply_count":0,"_bbp_total_topic_count":0,"_bbp_total_reply_count":0,"_bbp_voice_count":0,"_bbp_anonymous_reply_count":0,"_bbp_topic_count_hidden":0,"_bbp_reply_count_hidden":0,"_bbp_forum_subforum_count":0,"ocean_post_layout":"","ocean_both_sidebars_style":"","ocean_both_sidebars_content_width":0,"ocean_both_sidebars_sidebars_width":0,"ocean_sidebar":"0","ocean_second_sidebar":"0","ocean_disable_margins":"enable","ocean_add_body_class":"","ocean_shortcode_before_top_bar":"","ocean_shortcode_after_top_bar":"","ocean_shortcode_before_header":"","ocean_shortcode_after_header":"","ocean_has_shortcode":"","ocean_shortcode_after_title":"","ocean_shortcode_before_footer_widgets":"","ocean_shortcode_after_footer_widgets":"","ocean_shortcode_before_footer_bottom":"","ocean_shortcode_after_footer_bottom":"","ocean_display_top_bar":"default","ocean_display_header":"default","ocean_header_style":"","ocean_center_header_left_menu":"0","ocean_custom_header_template":"0","ocean_custom_logo":0,"ocean_custom_retina_logo":0,"ocean_custom_logo_max_width":0,"ocean_custom_logo_tablet_max_width":0,"ocean_custom_logo_mobile_max_width":0,"ocean_custom_logo_max_height":0,"ocean_custom_logo_tablet_max_height":0,"ocean_custom_logo_mobile_max_height":0,"ocean_header_custom_menu":"0","ocean_menu_typo_font_family":"0","ocean_menu_typo_font_subset":"","ocean_menu_typo_font_size":0,"ocean_menu_typo_font_size_tablet":0,"ocean_menu_typo_font_size_mobile":0,"ocean_menu_typo_font_size_unit":"px","ocean_menu_typo_font_weight":"","ocean_menu_typo_font_weight_tablet":"","ocean_menu_typo_font_weight_mobile":"","ocean_menu_typo_transform":"","ocean_menu_typo_transform_tablet":"","ocean_menu_typo_transform_mobile":"","ocean_menu_typo_line_height":0,"ocean_menu_typo_line_height_tablet":0,"ocean_menu_typo_line_height_mobile":0,"ocean_menu_typo_line_height_unit":"","ocean_menu_typo_spacing":0,"ocean_menu_typo_spacing_tablet":0,"ocean_menu_typo_spacing_mobile":0,"ocean_menu_typo_spacing_unit":"","ocean_menu_link_color":"","ocean_menu_link_color_hover":"","ocean_menu_link_color_active":"","ocean_menu_link_background":"","ocean_menu_link_hover_background":"","ocean_menu_link_active_background":"","ocean_menu_social_links_bg":"","ocean_menu_social_hover_links_bg":"","ocean_menu_social_links_color":"","ocean_menu_social_hover_links_color":"","ocean_disable_title":"default","ocean_disable_heading":"default","ocean_post_title":"","ocean_post_subheading":"","ocean_post_title_style":"","ocean_post_title_background_color":"","ocean_post_title_background":0,"ocean_post_title_bg_image_position":"","ocean_post_title_bg_image_attachment":"","ocean_post_title_bg_image_repeat":"","ocean_post_title_bg_image_size":"","ocean_post_title_height":0,"ocean_post_title_bg_overlay":0.5,"ocean_post_title_bg_overlay_color":"","ocean_disable_breadcrumbs":"default","ocean_breadcrumbs_color":"","ocean_breadcrumbs_separator_color":"","ocean_breadcrumbs_links_color":"","ocean_breadcrumbs_links_hover_color":"","ocean_display_footer_widgets":"default","ocean_display_footer_bottom":"default","ocean_custom_footer_template":"0","ocean_post_oembed":"","ocean_post_self_hosted_media":"","ocean_post_video_embed":"","ocean_link_format":"","ocean_link_format_target":"self","ocean_quote_format":"","ocean_quote_format_link":"post","ocean_gallery_link_images":"off","ocean_gallery_id":[],"footnotes":""},"categories":[48],"tags":[],"class_list":["post-6466","post","type-post","status-publish","format-standard","hentry","category-degerlerimiz","entry"],"_links":{"self":[{"href":"https:\/\/www.circassiancenter.com\/tr\/wp-json\/wp\/v2\/posts\/6466","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.circassiancenter.com\/tr\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.circassiancenter.com\/tr\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.circassiancenter.com\/tr\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.circassiancenter.com\/tr\/wp-json\/wp\/v2\/comments?post=6466"}],"version-history":[{"count":1,"href":"https:\/\/www.circassiancenter.com\/tr\/wp-json\/wp\/v2\/posts\/6466\/revisions"}],"predecessor-version":[{"id":6467,"href":"https:\/\/www.circassiancenter.com\/tr\/wp-json\/wp\/v2\/posts\/6466\/revisions\/6467"}],"wp:attachment":[{"href":"https:\/\/www.circassiancenter.com\/tr\/wp-json\/wp\/v2\/media?parent=6466"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.circassiancenter.com\/tr\/wp-json\/wp\/v2\/categories?post=6466"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.circassiancenter.com\/tr\/wp-json\/wp\/v2\/tags?post=6466"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}