Gök Medrese Restoration, Sivas

Gök Medrese Restoration, Sivas

The Gök Medrese Sivas restoration involved İznik Mavi Çini in the reproduction and application of the structure’s original tilework. Within this project in Sivas, the restoration process focused on maintaining the continuity of the Seljuk tile tradition. Tiles produced in various geometric forms were developed in alignment with the existing architectural language of the monument, ensuring material and visual consistency throughout the intervention.

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Located in Sivas, Gök Medrese derives its name from the distinctive blue tones used in its tile surfaces. Within the scope of the restoration completed in 2021, İznik Mavi Çini undertook the production of Seljuk-period tiles in forms and techniques consistent with the original applications.

The tiles were prepared using the colored glaze technique and presented a surface language shaped by the combined use of turquoise and manganese purple tones. Production included hexagonal, rectangular, square, and specially patterned forms, resulting in a total of 25,000 tiles. These elements were produced using the tile mosaic technique with monochrome glazes, then applied as part of the completed restoration works.

The guiding approach of the project emphasized the preservation of the structure’s original material character and visual coherence. All produced tiles were evaluated in direct relation to the existing architectural surfaces, and the restoration process was carried out within a framework respectful of the monument’s historical identity.

“Restoration in Seljuk structures must prioritize material and technical consistency before formal considerations.”
— “İznik Mavi Çini, Senior Restoration Workshop Manager”

Why is the structure known as Gök Medrese?
The building is referred to as Gök Medrese due to the characteristic blue tones present in its tile surfaces. These tones form a defining component of the structure’s visual identity.

What was İznik Mavi Çini’s role in this restoration?
İznik Mavi Çini was responsible for producing the Seljuk-period tiles used in the restoration. The production process was conducted in line with principles of material and formal continuity.

Which tile forms were used during the restoration?
The project included tiles in hexagonal, rectangular, square, and specially patterned forms. These forms were selected to align with the existing surface organization of the structure.

What was the primary restoration approach?
The process focused on preserving the original material character of the building. The objective was to maintain the continuity of its historical and visual integrity.

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