The similarity of the architectural drawing technique in the Ottoman world to the traditional Ottoman arts of calligraphy and miniature painting reveals its connection to the mindset and traditional way of thinking that enabled the transfer of what was imagined onto paper in every instance.

The use of calligraphic tools in transferring architectural drawings to paper makes it possible to read the traces of this art's aesthetic and technical features in spatial design. On the other hand, the relationship between the choices in miniature painting regarding how to view nature and the built physical environment and architectural expression techniques is also evident.

Prose (inshā'), which supports both the use of calligraphic tools and the expression of technical drawings, is an important indicator that architectural design cannot be considered separately from writing, written material, and writing tools. Through the effects of beautiful writing tools and writing on the design thinking behind architectural drawings, it is possible to interpret the traces of modes of seeing in the Ottoman world within architectural narrative through traditional arts. When this interpretation is made not through Ottoman monumental structures but through the designs of ordinary structures whose drawings and written documents are found in archives, it establishes another story, differing from other texts that describe Ottoman Architecture.

Instead of examining Ottoman Architecture through familiar methodologies such as plan typologies, function, and stylistic differentiation in light of successive historical processes, this book questions it based on writing, written documents, language, and modes of seeing. From this perspective, the culmination of the principles generated by traditional design approaches and architectural thought is written through a backward assessment from the late Ottoman period.
(From the Promotion Bulletin)