18 research outputs found
The Art Déco Influence in the Modern Turkish Architecture of the Early Republican Period
No full textWith the proclamation of the Republic, Atatürk, the founder of Modern Turkey, wanted a new model of politics that would bring about the establishment of the “nation state”, also symbolized by architecture. Having decided to make a transition to modern architecture in Turkey, Atatürk invited academics from Germany and Vienna to achieve this. Consequently, by the 1930s, architecture followed a functionalistrationalist path in both public buildings and in residences. Another architectural style that wielded a lot of influence on the trends in the Modern Movement in this period was Art Déco. The plastic effect of mass in Art Déco was accompanied by purism. The purpose of th is article is to explore the characteristics of the Art Déco style in modern Turkish architecture, tracing it back to the 1930s, the time when a culture of architecture first began to form in Turkey, as Art Déco, in combination with rationalism, proved to be an influential force in Republican Turkey. The effect of this style on the composition of structural masses shall be described through examples of public and residential buildings. At the same time, an attempt shall be made to explore the connotations of contemporaneity, progress, technology, and industry as expressed in the vocabulary of the Republican ideology that embraced the mass aesthetic of the formal style that was Art Déco
A Contemporary Interpretation of Tradition in Mosque Design. Marmara Ilahiyat Mosque, Turkey
No full textIn recent years, the concept of contemporary mosque architecture has emerged in all Islamic countries. The goal of these structures which are produced using original designs, contemporary materials, technology and construction systems is to design structures which suit modern architectural concepts of today in the architecture of traditional mosques. Taken up with contemporary plan and form concepts rather than traditional plans, contemporary lines and interpretations are seen in liturgical elements such as the mihrap, dais, pulpit, gallerys, courtyard, fountain and minaret, which are indispensable elements of the mosque architecture in these mosques. One of the important points that is dwelled upon with these structures is their interior design. The aim of this study is to examine the design, layout features as well as the interior decoration of the Marmara Ilahiyat Mosque, which is one of our contemporarymosques that have been addressed in Turkey in the 20th century. With this goal, the structure’s overall layout, its interior space, decorative and liturgic elements as well as characteristics such as materials, technology and lighting have been examined in detail. As one of the important representatives of contemporary Turkish mosques, the structure is suitable for the land it was built on top of and the city fabric, that it interprets traditional architecture with modern styling, and that it takes its place in a significant position amongst contemporary Turkish mosques, as it is a unique example that achieves a contemporary and dynamic identity of Turkish-Islamic architectures by using today’s materials and techniques from a standpoint of traditional layout, plan elements and interior space embellishments
The Relation between Space and Function in the use of the Iwan in Turkish Architecture of the Middle-ages
No full textThe iwan, which has a deep-rooted history in near eastern and Asian buildings, is a landmark of Islamic architecture. Iwans are used in all building typology, such as vernacular and public architecture. Iwans have an especially important role in Turkish architecture, both in spatial organization and in forming typologies. An iwan is covered on three sides and can be used as portal, interconnection unit, room or royal room, but its most prevalent usage is in the form of four-iwan courtyard. This schema has both a functional role and symbolic meaning as evidenced by the first iwans, found in the houses of Horasan and Maveraunnehir
A New Element in Interior Decoration in 18th and 19th Century Ottoman Mansions: Istanbul Panoramas of Kalemişi as Wall Paintings
No full textWith the start of the Period of Westernization in Ottoman architecture at the beginning of the 18th century, not only palaces and shoreside residences of the sultans, but also kiosks (köşk), mansions (konak), summer pavilions (kasır), and other civil structures such as waterfront residences (yalı) came under the influence of European styles in interior decoration. A significant movement in civil architecture began in this period and it was first the Baroque, Rocaille and Empire styles that made their imprint on Ottoman structures, followed subsequently by other Western trends. A new element that appeared in the program of westernization in architecture that was applied to palaces, shoreside residences of the sultan, kiosks, pavilions and yalı’s was kalemişi wall paintings. The subjects of this decorative artwork, most of which was created by foreign architects, were landscapes and urban panoramas rather than geometric or floral decorations. The city panoramas mostly depicted Istanbul, the capital of both Anatolia and the Balkans. The aim of this article is to introduce examples of structures of Ottoman residential architecture that began, as from the second half of the 18th century, to boast of kalemişi wall paintings and to demonstrate how those depicting urban panoramas were primarily devoted to Istanbul and embodied a reflection of the influence these paintings had on the westernization movement
A Distinctive Architectural Example from the Era of Ottoman Westernization. Palazzo Corpi; The Former American Embassy Building
No full textOttoman architecture begin to change around the beginning of the 18th century. The main factors influencing this change were the opening out to the West of Ottoman culture, relations with the West, and the inclusion of western architects in Ottoman society. The new look that classic Ottoman architecture assumed was to evolve under the thematic influence of European architects. Modifications were manifested not only in civil architecture but even in religious structures, which represented the breaking point of tradition. One of the cultural dynamics that represented the driving force of the changes in Ottoman architecture in the 18th century, producing innovatively novel effects under the European influence, was the various imported styles. The influence of Western art continued to make a mark on Ottoman architecture as from the start of the 18th century up until the end of the 19th century. The Edict of Reform (Tanzimat Fermanı) proclaimed in 1839 added momentum to the westernization movement, bringing with it new cultural dynamics and new types of structures as a result of the changing social clime. One of these architectural types was represented by buildings that housed diplomatic missions. The aim of this article is to examine the architectural and decorative characteristics of one of the important representations of the type of embassy architecture prevailing in the era of Ottoman westernization–the former American Embassy building in Istanbul, originally called the “Palazzo Corpi.” Toward this purpose, we will introduce in detail the plan and spatial organization of the building, the features of its mass, facades and interior
Mimaride Anlam; Yapıdaki “Sembolik Dil” Üzerine Bir Değerlendirme: Mimaride Anlam; Yapıdaki “Sembolik Dil” Üzerine Bir Değerlendirme
No full textMimarlık simgesel bir söylem tarzıdır ve simgenin olmadığı yerde mimari yoktur. Kavram ve sembollerle biçimler arasındaki çok katmanlı ilişkinin doğası mimarlığın araçlarıdır. Bir iletişim aracı olarak mimarlık durağan değidir. Kültür, sosyal oluşumlar, inanç ve yaşam şekilleri onu etkiler. İnsanoğlunun tüm toplumsal ve din[1]sel doğasına biçim veren mimari, bir iletişim biçimi ve bir simgedir. Tüm sanat dalları gibi iletişimsel ve simgesel bir söylem kipi olan mimarlık, insan düşünce ve özleminin fiziksel bir temsili, ürettiği kültür değerleri ve inançlarının kaydıdır. Mimari nesnenin düzanlamı kültürel bir şifreyle belirlenmiş olan işlevdir. Ancak bu anlam üzerinde mimari nesneye “iletişimsel ve simgesel” nitelikli bir işlev veren ve işlev ve mimari nesnenin gösteren olarak birleştikleri bir yananlam düzeyi vardır. Mimarlık, kavramlar ve sembollerle çalışan bir iletişim dilidir ve bir mimar bunları biçimlerle dile getirir. Bu çalışmada göstergebilimsel çözümlemeler ile mağaradan başlayarak Post-Modernist dönem sonuna kadar bir gösterge ve anlatı olarak mimaride anlam, imge, sembol ve ileti olguları, seçilen örnekler üzerinden tartışılarak, yapıların ardındaki göstergelerin şifreleri ve izleyen bireylerle kurdukları diyaloğun tercümesi yapılmaya çalışılacaktır.Architecture is a symbol and a form of communication. Architecture, a symbolic mode of discourse like all branches of art, is a physical representation of human thought and yearning and a record of the cultural values and beliefs created thereby. Each building designs a message for one who can perceive it and again each building has a story it wants to relay to us. When correctly translated a building explains all social, political and economic phenomena which participates in and form the life. By the same token, when the theme of the building is grasped it is no more an ordinary architectural but also a cultural figure which is not just the personality and sound of an individual but of a nation lasting for hundreds of years ensuring the establishment of a complete communication. In this paper, the communicative and symbolic language used in architecture from the cave to Post-Modernism will be investigated and the stories that shape and determine the visual language constituting the comments of the codes and the dialog will be brought out
The Ubaid Period In The Urbanisation Process; The Birth Of Urbanism In The Near East (5500-3800 B.C.)
No full textThe Ubaid culture, which takes its name from Tell-al Ubaid, plays a crucial role in the process of urbanization in the Near East. Surviving for more than 1500 years (5500-3800 BC), it was characterised by important social, economic and political developments which influenced the development of urban polities both the Near East and the East and Southeastern Anatolia Regions. With this culture, certain radical structural changes peculiar to complex societies, urban societies, such as political and economic centralisation based on control over product, production and labor organisation with sealing practices, socio-economic differences, a high degree of economic specialisation and technological development, indicate that a complex economy, and organised trade had begun to take place in the social, political and economical organisations of the societies of the Near East. This paper is concerned with enlightening the role of the Ubaid Culture in the development of urban societies in the Near East. With this aim, this culture will be analyzed from the viewpoint of those characteristics peculiar to urban societies mentioned above
Mimar Sinan Era Kulliyes in the Ottoman Urban Landscape
No full textThe Master Ottoman Architect Sinan, known as Mimar Sinan, produced numerous works of different character, among these, mosques, madrasahs, masjids(prayer rooms), khans (inns), caravanserais, covered bazaars, hammams (bath-houses), darüşşifa (hospitals), imarets (hospices), darülkurra (Koranic schools), sibyan mektebi (primary schools), tekke (lodges), waterways, aqueducts, fountains and palaces. Sinan is an architect that imprinted his mark upon his era by not repeating himself in any of the structures he created. Appointed the head of the Sultan’s Society of Architects in 1538, Sinan created a great number of architectural works. Throughout the years of his long career in Ottoman architecture, in which time he produced an expansive typology of works, Architect Sinan also made a major contribution to urban planning. As Chief Architect, Sinan was responsible for many urban activities having to do with wastewater, fire prevention and the repair of many public buildings in Istanbul. Although documentation pertaining to Sinan’s concept of the urban environment is scant, an analysis of all his structures suggests the existence of a delicate notion of city planning. Looking into the placement of the structures, their functional distribution within the city, the special roles they play in the general urban landscape, as well as their relationships to each other, it is not difficult to witness the rational conceptualization of a city. This article will attempt to examine the works of Architect Sinan in terms of his perspective on kulliye architecture, analyzing the contributions he made to these structures within the urban fabric, and to review his major kulliyes as intrinsic parts of the entirety of the city
A Contemporary Interpretation of Vernacular Architecture. The Architecture of Nail Çakirhan, Turkey
No full text
