İlhan Koman

His distinct style of mixing science and art in his works earned him a unique position among contemporary artists,[3] for which he was referred to as the Turkish Da Vinci.

[2] In the 1880s, the family emigrated (from the provinces of Ottoman Rumelia that would later become a part of Yugoslavia) to Edirne, following the Russo-Turkish War (1877–1878) and the Treaty of Berlin (1878).

[5] His maternal grandfather, Mehmet Şerafettin Aykut Bey, was a revolutionary during the reign of Sultan Abdul Hamid II and one of the founders of the Trakya Paşaeli Müdafaa-i Hukuk Cemiyeti.

In 1947, he earned a state scholarship by winning the Ministry of Education's exam, and was sent to Paris, France, together with Neşet Günal, Refik Eren and Sadi Öziş.

[2] He started to work in the metal workshop established in 1953 in the academy with Sadi Öziş, Hadi Bara, Şadi Çalık and Zühtü Müridoğlu.

Upon the invitation of Scottish architect Ralph Erskine, whom he met during the six months they worked on the Brussels project, he went to Sweden to research forms for his architectural designs.

In line with his last will, his body was cremated and the ashes were spread in the Baltic Sea, where he spent a significant time of his life.

[10] Originally located in front of the Yapı Kredi Headquarters in Levent, Istanbul, his sculpture Akdeniz (1980) is the sculptor's most well-known work in Turkey.