[1][better source needed] In 1887, at the age of 17, he enrolled in the School of Civil Engineering (Ottoman Turkish: Hendese-i Mülkiye Mektebi, now Istanbul Technical University).

[1] In 1895, promoted by his scholar German architect August Jachmund, designer of the Sirkeci Railway Terminal in Istanbul, and supported by a state scholarship, he went to Germany, where he was educated two years in architecture at the Technische Hochschule Charlottenburg in Berlin.

[citation needed] However great an influence Jasmund and the German connections are on his perception of design, the wide scope of his references is also important.

The Art Nouveau of Ratip Pasha Mansion, a building of the early era, or the connection of Harikzedegan Apartments with French public housing, the Orientalist flavour in the design of the Evkaf-ı Humayun Nezareti (Ministry of Imperial Foundations), the eclectic style of the 3rd Foundation Han or the Empire line of the Husnu Pasha Tomb cannot be ignored.

The transformation of his ideology into a school of architecture is essentially down to his creative talent and self-confidence, if also fed by his industriousness and organisational expertise or teaching skill/teaching discipline.

Whilst perceiving restoration as a method of interpreting traditional architecture and making the linguistic infrastructure for its renewal, he attempted to manage and give direction to a field whose principles were as yet not clearly defined.

He pioneered in the field by restoring a great number of Ottoman monumental structures employing for the first time a scientific approach.

The skill he demonstrated in the restoration of the Mescid-i Aksa won him international acclaim and an award from the Royal Institute of British Architects.

It was an open field ranging from Technology and Architecture to Pen and Ink and Shadow Drawing and from Calligraphy to Iron Works.

When he was appointed to the Evkaf Nezareti, he took his students to the Building and Reparation Technological Assembly to meet the anticipated demand for intensive and fast production.

This permanent staff composed of the talented architects and engineers he had chosen was to turn into a school and its office was to become a production centre, as it were, of the design concept given the name of national architecture.

It was Kemaleddin Bey who pioneered the founding of the Ottoman Society of Architects and Engineers, and who personally penned the call to the meetings of the Foundation through the Tanin newspaper.

When research and thought of the genetic codes of a work and profession are perceived as a mission, the first or earliest written account of our history of architecture has begun.

He graduated from this school, where the most well known teachers of the era gave lessons such as the mathematician Mehmed Nadir or the astronomer Huseyin Efendi.

Structural engineering and architecture are taught together at the historical Muhendishane (Hendese-i Mulkiye) in Halıcıoğlu, which Kemaleddin starts attending in the second class.

As well as running maintenance and repair works on historical structures, the traditional role of the ministry, he also designed and built new construction projects.

The restoration works that made it possible to become acquainted with and examine Ottoman architecture directly and in a concrete manner were his field of reference for new building designs.

After the proclamation of the Second Constitutional Monarchy in 1908, Ahmet Kemaleddin Bey was appointed director of the Construction and Restoration Department at the Ministry of Foundations (Ottoman Turkish: Evkaf Nezareti).

For his successful restoration work, Mimar Kemaleddin Bey was awarded with honorific membership by the Royal Institute of British Architects (RIBA).

He put arches, copings and tiles on the facade of his buildings in foreground, emphasized symmetry and highlighted conventional style with turrets and cornices.

[8] Notable works of him include:[2] The tomb made for Mahmut Şevket Pasha, one of the last Ottoman grand viziers, and his aide Ibrahim Halıl Bey and his footman Kazım Efendi is in the Hurriyet-i Ebediye War Cemetery to commemorate those who lost their lives in the events of 31 March 1909.

Mahmut Sevket Pasha, known to the people as the freedom Hero for suppressing the uprising in Istanbul as commander of the 3rd Army in the 31 March events, was killed by counter revolutionaries on 14 June 1913.

In spite of the projections made on each axis for axial emphasis, the central corridor plan and texture of the facade with flat square windows is austere.

On the upper veranda a distinctive balance and decorative accent pattern is achieved with the lintels of pairs of flat arched dwarf.