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art from craft” he says. The works of Kaya Kalaycı, yesterday’s
craftsmen and today’s copper artist, are inseperable parts of modern
architecture from now on. It’s possible to see his works in
the most luxurious hotels of Istanbul like Les Ottomans and Four
Seasons. His signature is on the doors, windows and enlightening
objects of these hotels. On many buildings and palaces in London,
Paris and Qatar, there are modern copper designs of Kaya Kalaycı
which have the marks of Ottoman and Seljuk motifs.
Both With Classical Decoration and Harmonic Modern
Kaya Kalaycı headed towards the modern designs under the skin
of traditional, on the way of not only saving the coppersmithing
craft from disappearing but also taking forward it. He uses copper
and metals which he obtains by adding different materials for
decoration. To consider his family bussiness ideally, Kaya Kalaycı
commentates the Seljukian and Ottoman motifs with different
objects those are suitable for today. With this aspect, he keeps
alive our culture, which continues for years in Anatolia, with modern
comment. We can say that copper lives its new spring in the
hands of Kaya Usta.
Kaya Kalaycı uses geometrical, çintamani 8 and cloud motifs, rumi 9 ,
palmette and plantal decorations, abundance (fertility) motif, needle
lace, Seljukian motif, sun motif and abstract decorations in his
works. His marvellous copper works definitely find a place to itself
whether the place that he will decorate is modern or classical.
Kalaycı’s designs create a charming contrast in modern decorations
and create melodious harmony in classical decorations.
Kalaycı Signature On Şakirin Mosque
There are lots of works of Kaya Kalaycı which he benefitted from
Ottoman and Seljukian style with his designers’guidance also.
Among these, there is a statue in the entrance of Luxembourg.
It’s possible to see his signature on Şakirin Mosque which was
opened to service in Uskudar almost two years ago. The fronts
of main dome, which was made of aluminium, women’s mahfil
10 , railings, the grids on riwaqs were made by Kaya Kalaycı in
Seljukian molten style. Kalaycı tells that after the Şakirin Mosque,
he made works for the king of Qatar, for two mosques in Qatar.
“We made a mihrab. We used both inlaid and intaglio art. We
made it from copper again, 3 meters to 6 meters.”
We ask Kaya Kalaycı if he used laser technique like today’s ‘easy
makers’ when we saw wall separators, enlightening objects and
other decorative works in showroom in Nişantaşı. Kaya Usta says
with peace at mind that they are handmade. He indicates that
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