Prof.Dr.Alev Erarslan | Istanbul Aydin University (original) (raw)
Papers by Prof.Dr.Alev Erarslan
The eighteenth and nineteenth centuries are known as the Westernization Period of Ottoman archite... more The eighteenth and nineteenth centuries are known as the Westernization Period of Ottoman architecture. As in all the various types of structures built in this period, the Western influence is also seen in residential architecture. During this period, the Neo-Baroque, Neo-Gothic, Neo-Classic, Orientalism, Eclecticism, Art Nouveau, Swiss Chalet and English Victorian styles, as well as other European-based architectural movements exerted a definitive effect on Ottoman architecture, producing a rich diversity of styles as a result. One of the styles that was generally implemented by foreign architects was Art Nouveau. The most powerful representative of Art Nouveau in Ottoman architecture was Raimondo D'Aronco. The aim of this article is to discuss the influence on residential architecture of the Art Nouveau style that came to dominate Ottoman architecture from 1893, as seen in the designs of Raimondo D'Aronco.
With the start of the Period of Westernization in Ottoman architecture at the beginning of the 18... more With 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.
Architecture Image Studies , 2023
The first changes to be seen in interiors in Ottoman architecture appeared at the beginning of th... more The first changes to be seen in interiors in Ottoman architecture appeared at the beginning of the 18th century in a period known as the "Period of Ottoman Westernization. " In 1715, Yirmisekiz Mehmet Çelebi was sent to Paris as an envoy to the court of Louis XIV and upon his return, Çelebi described in great detail Versailles, Fontainbleau, Marley, the palace and parks to Sultan Ahmed III and his Grand Vizier, Nevşehirli Damat şbrahim Pasha. These narrations soon led to the first signs of the Westernization movement in the form of the Cedvel-i Sim (Silver Road), Kaşıthane Stream waterworks and the Sadabat building activities (Arel 1975, 18; Eyice 1981, 166). Sadabat Palace was the most important structure in the architectural plan known as the "Kaşıthane Building Operation" and was constructed along the model of palace and grounds plans brought to Istanbul by the French ambassador Marquis de Bonnac (Eyice 1981, 168). The palace is similar to the palaces that were the fashion in the 18th century in Europe, rising inside vast park grounds and bordered by a canal abutting a stream, complete with cascades and fountains (Eyice 1981, 168). This area also became home to two hundred wooden pavilions or kiosks that were built again as reminiscent of French palaces and as locations where water was a prominent element. The kiosks had sumptuous facades, one more eye-catching than the other, and their grounds were made up of gardens. Each kiosk had a vaulted path in the form of a gallery. The vaulted galleries adorned by lattice-trellises added to the kiosk entrances recalled the treillage of French landscape gardening and again were remindful of elements in western architecture (Arel 1975, 26). These kiosks were referred to as the "Sadabat Kiosks" and belonged to state officials. Their interior decoration programs boasted of Rococo and Baroque influences.
Statues erected in public spaces are important elements of city squares and also represent traces... more Statues erected in public spaces are important elements of city squares and also represent traces of culture that are transferred into the future. These monuments are sometimes built for purposes of propaganda and at other times to commemorate a particular event, but whatever the reason for their creation, they are significant structures that serve as points of social interaction within the communities of which they are a part. When their relationship with the environment is firmly established, these monuments also assume an urban identity. The founder of modern Turkey, Mustafa Kemal Atatürk, wished to have the establishment of the new political model and the "nation state" emerging with the proclamation of the Republic (29 October 1923) symbolized through the language of architecture. Thus, as he promoted the slogan of "reaching the level of contemporary civilization, " he expected to have this concept reflected in architecture as much as possible in the physical sense during the Republican period of institutionalization. Part of his plan to achieve this was to create and activate public spaces in the urban landscape. This led to the monumentalization of the art of sculpture and to the appearance of the city squares of modern Turkey, where the statues that were the works of art displayed in these public spaces came to represent Atatürk and the newly established social order. This article aims to analyze how one of the symbols of Turkish architecture and of the Republican Period, the Taksim Republic Monument in Taksim Square, Istanbul, took shape as a public monument, and attempts at the same time to describe its social relationship with the surrounding environment.
ALEV ERARSLAN' Introd u ction The Ubaid culture, which takes üs name from Tell-al Ubaid (fig. 1),... more ALEV ERARSLAN' Introd u ction The Ubaid culture, which takes üs name from Tell-al Ubaid (fig. 1), a small setdement situated next to the city of Ur in southern Mesopotamia, is divided into live phases referred to as Ubaid 0-4. The eadiest phase of this culture, Ubaid O, is known only from Tell el-Oueili (fig. 1)1. Suı-viving for more than 1500 years, the Ubaid ctılture's later phases-Ubaid 2, 3 and 4are more comprehensively known as compared to earlier periods.
In Ottoman architecture, the eighteenth and nineteenth centuries are known as the Westernization ... more In Ottoman architecture, the eighteenth and nineteenth centuries are known as the Westernization Period of Ottoman Art. All of the various types of structures of Ottoman architecture display a concentrated western influence in these period. In particular, with the era of Sultan Abdulhamid II (1876-1909), Europeanbased architectural movements can be said to have virtually invaded the land, producing as a result a rich diversity of styles. The summerhouses emerged as a new residential typology in the nineteenth century and appeared in Istanbul's coastal districts and the Princes' Islands. The aim of this article is to present the wooden summerhouses that were products of the era in which Ottoman culture turned its face to the west, creating a unique group of residential architecture in the 19th century. Toward this end, various nineteenth century examples of these houses in the Kadıköy District of Istanbul have been explored in terms of their plan designs, the new elements of their layout, and the formation of their facades.
DRAFT.Typological Variations of the Courtyard House with Iwan Tradition. A Comparative Analysis of Examples in Syria, Egypt, Iraq and Iran”, Advances in Scientific Research: Engineering and Architecture, 2020
Üç yönden duvarlarla çevrili önü açık-bazen kemerli-üzeri düz veya tonoz örtülü semi-open bir mek... more Üç yönden duvarlarla çevrili önü açık-bazen kemerli-üzeri düz veya tonoz örtülü semi-open bir mekan olarak tanımlanan iwan ile mimarlık tarihinde ilk kez Mezopotamya mimarlığında karşılaşılır. Mezopotamya bölgesinde M.Ö. 3. bin yıla tarihlenen bazı avlulu evlerde, avlunun bir kanadında servis mekanları arasındaki üstü düz örtülü, derinliği olan, iki yanı sağır duvarlı, önü avluya mekanlar Leonard Wooley tarafondan en erken eyvan olarak tanımlanır (Woolley, Mallowan 1974: 93). Woolley ayrıca Ur III döneminde Ur"da bulunan büyük evlerde, avlunun bir kanadında bulunan reception odalarının önündeki kemerli girişleri de eyvanın atası olaral kabul eder (Woolley, Mallowan 1976: 42). Eyvanın bir sonraki kullanımı Parthian ve Sasanian mimarlığında görülür. Part mimarisinin en güzel örneklerinin görüldüğü Hatra"da M.Ö. 2. yüzyıla tarihlenen saray, tapınak ve konutlarda eyvan artık belirgin bir mekan ve plan öğesi olarak kullanılmaktadır. Eyvanın bundan sonraki kullanımı İslam mimarisinde ortaya çıkar. Zamanla İslam mimarisinin sembolü haline gelen eyvan cami, türbe, hamam, saray, kervansaray, medrese ve konut olmak üzere tüm yapı tiplerinde sevilerek kullanılır. Bu makalenin amacı the Islamic-Arab House olarak da bilinen "the iwan-courtyard house" adlı konut planının Suriye, Mısır, Irak ve Iran"daki tipolojik farklılıklarını ortaya koymaktır. Bu amaçla önce Suriye, Mısır, Irak ve Iran"daki "the iwan-courtyard" evlerinin plan ve mekan özellikleri tanıtılacak sonrasında ise bu planın Suriye, Mısır, Irak ve Iran"daki bölgesel farklılıkları ortaya konulmaya çalışılacaktır.
With the proclamation of the Republic, Atatürk, the founder of Modern Turkey, wanted a new model ... more With 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.
Teke Peninsula, known in the Age of Antiquity as Lycia, was a land of fertile plains and the scen... more Teke Peninsula, known in the Age of Antiquity as Lycia, was a land of fertile plains and the scene of many settlements that contained storage areas bearing evidence of agricultural production dating to the Neolithic Era. Among the most important witnesses to the past production of the region are the wooden granaries that are still being used today. They are a manifestation of the area's rich agricultural production and at the same time, a reflection of the wealth of its wooden architecture. The main aim of this article is to describe the architectural design and structural details of the wooden granaries of the Teke Peninsula, known as Lycia in the Age of Antiquity. The information provided can thus be transferred to future generations as documentation of the history of agricultural production in Anatolia and of the wealth of wooden architecture that displays firm ties to the past.
The period of "Westernization" in Ottoman architecture started with the expansion in relations wi... more The period of "Westernization" in Ottoman architecture started with the expansion in relations with France at the beginning of the eighteenth century. Westernization was initiated with a series of institutional, legislative and urban reorganization plans that brought about political and social change and also modifications in architecture.The greatest influence of the Ottoman Westernization process on architecture and the most important of the cultural dynamics that steered the changes in the architecture of the period was the architectural styles that had found their way into the Empire from Europe. As from the beginning of the eighteenth century, Ottoman buildings took on a different appearance, one that reflected the new styles brought in from Europe. These new cultural elements imported from the west could now be seen in residential buildings as well. In particular, the shoreside palaces built for the sultans in the vicinity of the main palace boasted of European influences in both their architectural styles and in interior design. Towards the end of the nineteenth century, in the era of Sultan Abdulhamit II, architectural movements featuring styles from Europe such as the Neo-Classic,
Wood has been used in Turkish architecture, not only in houses and warehouse structures, but also... more Wood has been used in Turkish architecture, not only in houses and warehouse structures, but also intensively in the building of mosques. The mosques of the times were built in the wood masonry system and were especially abundant in regions of Anatolia that were blessed with generous forests. The Black Sea Region particularly abounds with wooden mosques. Known as çantı mosques, these structures represent the region's cultural wealth. The aim of this article is to describe the mosques built in the "wooden masonry system" (çantı), a group of buildings that together signify a special group of mosques in Anatolian architecture, referring to examples of these types of mosques located in the region of the Black Sea. The features of the plans, construction systems, materials and ornamentation of these structures will be detailed in an effort to document the identity of this collective cultural legacy and as a contribution to the literature for posterity.
The traditional houses of the East Anatolian Region were basically a product of climatic conditio... more The traditional houses of the East Anatolian Region were basically a product of climatic conditions. The types of houses here reflect the region's climatic conditions and display the same type of design in both urban and rural settlements. In response to the region's long and severe winters, houses were kept closed to the outside, having thick walls, small windows with open and semi-open spaces (gardens, courtyards, sofas) that were also kept small. The kitchen was the throbbing heart of the house and the main element of design in its plan was a tandoor, in front of which the whole family assembled. The interior design of this space, with its corbelled roof of wood (locally called "kırlangıç roof or tüteklikli roof" was the most characteristic element of the houses. The aim of this article is to present the traditional residential architecture of the East Anatolian Region and the kitchen that characterizes it, as well as introduce the most unique part of the kitchen-the lantern roof (locally, the kırlangıç roof or the tüteklikli roof)-by offering examples to be found in the district of Gümüşdamla (formerly Zargıdı), Aydıntepe, in the province of Bayburt, one of the main cities of the region.
The master architect of the Ottoman era, Architect Sinan, created and left behind a wide range of... more The master architect of the Ottoman era, Architect Sinan, created and left behind a wide range of structural typologies. The most numerous of Sinan's works were his mosques. The features defining the layout plan of Sinan's mosques are the central domed baldachin and the characteristics of the structure on which the baldachin rests. Sinan made use of multiple support systems of sometimes four, six or eight elements in his system of dome structures, planning the layouts of his mosques around the framework of these systems. Sinan handled each of his domed and multiple pillarsupported central baldachin in different ways in terms of both the foundation of the baldachin and of the side galleries, creating in this group of structures a "Sinan style." This paper is an attempt to make a comparative analysis of the organization of the domed central baldachin constituting the main space of the mosques of Architect Sinan, which is part of a hexagonal and octagonal baldachin system with multiple supports forming the central nucleus of the mosque, and of the side galleries, addressing the relationships between baldachin, structures, dome and galleries.
“A Historicist Approach in the Development Process of Modern Turkish Housing: Sedad Hakkı Eldem’s Residential Structures”, The Journal of International Social Research Volume 13, Issue 71, June 2020, pp. 378-389.
Erken Cumhuriyet dönemi mimari programının en önemli parçası konut inşaası olup Cumhuriyet'in ila... more Erken Cumhuriyet dönemi mimari programının en önemli parçası konut inşaası olup Cumhuriyet'in ilanıyla birlikte hem kamusal hem de konut mimarlığında işlevselci rasyonel Bauhaus mimarlığına yönelinir. Bauhaus etkisine giren Türk konut mimarisindeki fonksiyonalist eğilimler 1930-1933 yılları arasında özellik ve işlevlerine göre biçimlendirilmiş mekanlardan oluşan konut anlayışına dönüşür. Ancak aynı yıllarda Cumhuriyet'in yenilikçi ve aydınlanmacı ideolojisini ve geçmişle bağını koparma siyasetini yansıtan bu konut anlayışının yanı sıra yerli ve milli mimariyi savunan bir mimarlık anlayışı da gelişir. Bu grubun başında ise anahtar bir figür olarak Sedad Hakkı Eldem gelir. Eldem toplum yapısına uyumlu yeni bir üslup yaratılması gerektiğine ve Avrupa kopyacılığının mimarimizi amacına ulaştırmayacağını öne sürerek, 1933 yılında Akademi'de başlattığı "Milli Mimari Semineri" ile ulusal mimari için başvuru kaynağı olarak Türk Evi'ne yönelir. Ve 1931-33 yılları arasında gerçekleştirdiği eskiz ve uygulamalarla geleneksel Türk Evi mimarisine yoğun atıflar yapan konutlar üretmeye başlar. Bu makalede Sedad Hakkı Eldem'in uygulanmış bazı konutları seçilerek mimarın Türk evi plan tipleri ve plan elemanları yorumları incelenecektir.
Erarslan, A., “Antique Revivalism: Empire Style in the Ottoman Architecture”, Developments in Engineering and Architecture, (Eds). Bayko Ranguelov, Zharas G. Berdenov, Recep Efe, ST. Kliment Ohridski University Press, Sofia, 2021, pp. 149-170 (ISBN 978-954-07-5200-6)
Erarslan, A., “Ottoman Baroque Architecture. Turkish Baroqque”, Advances in Scientific Research: Engineering and Architecture, (Eds). Ilia Chrisyov, Viliyan Krystev, Recep Efe, Abd Alla Gad, ST. Kliment Ohridski University Press, Sofia, 2020, pp. 304-342 (ISBN: 978-954-07-5047-7)
Besides the different geographical, topographical, climatic, vegetative conditions and constructi... more Besides the different geographical, topographical, climatic, vegetative conditions and construction materials that make up the environmental features of the many regions of Anatolia, each region also has a traditional residential culture that reflects its particular sociocultural characteristics. In turn, houses bear the characteristics of the region in which they stand, creating a new identity that is unique to that area. The region of Turkey known as Southeastern Anatolia displays a type of house that has been widely used throughout this part of the country-the "iwan-courtyard house." The iwan is defined as a semi-open space surrounded by walls on three sides, open in the front with a flat or vaulted covering, sometimes decorated with arches. In Islamic architecture, the iwan can be identified as a characteristic element of all structures, including mosques, tombs (türbes), madrasahs, hammams, caravanserais and houses. The iwan-courtyard house can be found in various typologies in Anatolia,
The eighteenth and nineteenth centuries are known as the Westernization Period of Ottoman archite... more The eighteenth and nineteenth centuries are known as the Westernization Period of Ottoman architecture. As in all the various types of structures built in this period, the Western influence is also seen in residential architecture. During this period, the Neo-Baroque, Neo-Gothic, Neo-Classic, Orientalism, Eclecticism, Art Nouveau, Swiss Chalet and English Victorian styles, as well as other European-based architectural movements exerted a definitive effect on Ottoman architecture, producing a rich diversity of styles as a result. One of the styles that was generally implemented by foreign architects was Art Nouveau. The most powerful representative of Art Nouveau in Ottoman architecture was Raimondo D'Aronco. The aim of this article is to discuss the influence on residential architecture of the Art Nouveau style that came to dominate Ottoman architecture from 1893, as seen in the designs of Raimondo D'Aronco.
With the start of the Period of Westernization in Ottoman architecture at the beginning of the 18... more With 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.
Architecture Image Studies , 2023
The first changes to be seen in interiors in Ottoman architecture appeared at the beginning of th... more The first changes to be seen in interiors in Ottoman architecture appeared at the beginning of the 18th century in a period known as the "Period of Ottoman Westernization. " In 1715, Yirmisekiz Mehmet Çelebi was sent to Paris as an envoy to the court of Louis XIV and upon his return, Çelebi described in great detail Versailles, Fontainbleau, Marley, the palace and parks to Sultan Ahmed III and his Grand Vizier, Nevşehirli Damat şbrahim Pasha. These narrations soon led to the first signs of the Westernization movement in the form of the Cedvel-i Sim (Silver Road), Kaşıthane Stream waterworks and the Sadabat building activities (Arel 1975, 18; Eyice 1981, 166). Sadabat Palace was the most important structure in the architectural plan known as the "Kaşıthane Building Operation" and was constructed along the model of palace and grounds plans brought to Istanbul by the French ambassador Marquis de Bonnac (Eyice 1981, 168). The palace is similar to the palaces that were the fashion in the 18th century in Europe, rising inside vast park grounds and bordered by a canal abutting a stream, complete with cascades and fountains (Eyice 1981, 168). This area also became home to two hundred wooden pavilions or kiosks that were built again as reminiscent of French palaces and as locations where water was a prominent element. The kiosks had sumptuous facades, one more eye-catching than the other, and their grounds were made up of gardens. Each kiosk had a vaulted path in the form of a gallery. The vaulted galleries adorned by lattice-trellises added to the kiosk entrances recalled the treillage of French landscape gardening and again were remindful of elements in western architecture (Arel 1975, 26). These kiosks were referred to as the "Sadabat Kiosks" and belonged to state officials. Their interior decoration programs boasted of Rococo and Baroque influences.
Statues erected in public spaces are important elements of city squares and also represent traces... more Statues erected in public spaces are important elements of city squares and also represent traces of culture that are transferred into the future. These monuments are sometimes built for purposes of propaganda and at other times to commemorate a particular event, but whatever the reason for their creation, they are significant structures that serve as points of social interaction within the communities of which they are a part. When their relationship with the environment is firmly established, these monuments also assume an urban identity. The founder of modern Turkey, Mustafa Kemal Atatürk, wished to have the establishment of the new political model and the "nation state" emerging with the proclamation of the Republic (29 October 1923) symbolized through the language of architecture. Thus, as he promoted the slogan of "reaching the level of contemporary civilization, " he expected to have this concept reflected in architecture as much as possible in the physical sense during the Republican period of institutionalization. Part of his plan to achieve this was to create and activate public spaces in the urban landscape. This led to the monumentalization of the art of sculpture and to the appearance of the city squares of modern Turkey, where the statues that were the works of art displayed in these public spaces came to represent Atatürk and the newly established social order. This article aims to analyze how one of the symbols of Turkish architecture and of the Republican Period, the Taksim Republic Monument in Taksim Square, Istanbul, took shape as a public monument, and attempts at the same time to describe its social relationship with the surrounding environment.
ALEV ERARSLAN' Introd u ction The Ubaid culture, which takes üs name from Tell-al Ubaid (fig. 1),... more ALEV ERARSLAN' Introd u ction The Ubaid culture, which takes üs name from Tell-al Ubaid (fig. 1), a small setdement situated next to the city of Ur in southern Mesopotamia, is divided into live phases referred to as Ubaid 0-4. The eadiest phase of this culture, Ubaid O, is known only from Tell el-Oueili (fig. 1)1. Suı-viving for more than 1500 years, the Ubaid ctılture's later phases-Ubaid 2, 3 and 4are more comprehensively known as compared to earlier periods.
In Ottoman architecture, the eighteenth and nineteenth centuries are known as the Westernization ... more In Ottoman architecture, the eighteenth and nineteenth centuries are known as the Westernization Period of Ottoman Art. All of the various types of structures of Ottoman architecture display a concentrated western influence in these period. In particular, with the era of Sultan Abdulhamid II (1876-1909), Europeanbased architectural movements can be said to have virtually invaded the land, producing as a result a rich diversity of styles. The summerhouses emerged as a new residential typology in the nineteenth century and appeared in Istanbul's coastal districts and the Princes' Islands. The aim of this article is to present the wooden summerhouses that were products of the era in which Ottoman culture turned its face to the west, creating a unique group of residential architecture in the 19th century. Toward this end, various nineteenth century examples of these houses in the Kadıköy District of Istanbul have been explored in terms of their plan designs, the new elements of their layout, and the formation of their facades.
DRAFT.Typological Variations of the Courtyard House with Iwan Tradition. A Comparative Analysis of Examples in Syria, Egypt, Iraq and Iran”, Advances in Scientific Research: Engineering and Architecture, 2020
Üç yönden duvarlarla çevrili önü açık-bazen kemerli-üzeri düz veya tonoz örtülü semi-open bir mek... more Üç yönden duvarlarla çevrili önü açık-bazen kemerli-üzeri düz veya tonoz örtülü semi-open bir mekan olarak tanımlanan iwan ile mimarlık tarihinde ilk kez Mezopotamya mimarlığında karşılaşılır. Mezopotamya bölgesinde M.Ö. 3. bin yıla tarihlenen bazı avlulu evlerde, avlunun bir kanadında servis mekanları arasındaki üstü düz örtülü, derinliği olan, iki yanı sağır duvarlı, önü avluya mekanlar Leonard Wooley tarafondan en erken eyvan olarak tanımlanır (Woolley, Mallowan 1974: 93). Woolley ayrıca Ur III döneminde Ur"da bulunan büyük evlerde, avlunun bir kanadında bulunan reception odalarının önündeki kemerli girişleri de eyvanın atası olaral kabul eder (Woolley, Mallowan 1976: 42). Eyvanın bir sonraki kullanımı Parthian ve Sasanian mimarlığında görülür. Part mimarisinin en güzel örneklerinin görüldüğü Hatra"da M.Ö. 2. yüzyıla tarihlenen saray, tapınak ve konutlarda eyvan artık belirgin bir mekan ve plan öğesi olarak kullanılmaktadır. Eyvanın bundan sonraki kullanımı İslam mimarisinde ortaya çıkar. Zamanla İslam mimarisinin sembolü haline gelen eyvan cami, türbe, hamam, saray, kervansaray, medrese ve konut olmak üzere tüm yapı tiplerinde sevilerek kullanılır. Bu makalenin amacı the Islamic-Arab House olarak da bilinen "the iwan-courtyard house" adlı konut planının Suriye, Mısır, Irak ve Iran"daki tipolojik farklılıklarını ortaya koymaktır. Bu amaçla önce Suriye, Mısır, Irak ve Iran"daki "the iwan-courtyard" evlerinin plan ve mekan özellikleri tanıtılacak sonrasında ise bu planın Suriye, Mısır, Irak ve Iran"daki bölgesel farklılıkları ortaya konulmaya çalışılacaktır.
With the proclamation of the Republic, Atatürk, the founder of Modern Turkey, wanted a new model ... more With 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.
Teke Peninsula, known in the Age of Antiquity as Lycia, was a land of fertile plains and the scen... more Teke Peninsula, known in the Age of Antiquity as Lycia, was a land of fertile plains and the scene of many settlements that contained storage areas bearing evidence of agricultural production dating to the Neolithic Era. Among the most important witnesses to the past production of the region are the wooden granaries that are still being used today. They are a manifestation of the area's rich agricultural production and at the same time, a reflection of the wealth of its wooden architecture. The main aim of this article is to describe the architectural design and structural details of the wooden granaries of the Teke Peninsula, known as Lycia in the Age of Antiquity. The information provided can thus be transferred to future generations as documentation of the history of agricultural production in Anatolia and of the wealth of wooden architecture that displays firm ties to the past.
The period of "Westernization" in Ottoman architecture started with the expansion in relations wi... more The period of "Westernization" in Ottoman architecture started with the expansion in relations with France at the beginning of the eighteenth century. Westernization was initiated with a series of institutional, legislative and urban reorganization plans that brought about political and social change and also modifications in architecture.The greatest influence of the Ottoman Westernization process on architecture and the most important of the cultural dynamics that steered the changes in the architecture of the period was the architectural styles that had found their way into the Empire from Europe. As from the beginning of the eighteenth century, Ottoman buildings took on a different appearance, one that reflected the new styles brought in from Europe. These new cultural elements imported from the west could now be seen in residential buildings as well. In particular, the shoreside palaces built for the sultans in the vicinity of the main palace boasted of European influences in both their architectural styles and in interior design. Towards the end of the nineteenth century, in the era of Sultan Abdulhamit II, architectural movements featuring styles from Europe such as the Neo-Classic,
Wood has been used in Turkish architecture, not only in houses and warehouse structures, but also... more Wood has been used in Turkish architecture, not only in houses and warehouse structures, but also intensively in the building of mosques. The mosques of the times were built in the wood masonry system and were especially abundant in regions of Anatolia that were blessed with generous forests. The Black Sea Region particularly abounds with wooden mosques. Known as çantı mosques, these structures represent the region's cultural wealth. The aim of this article is to describe the mosques built in the "wooden masonry system" (çantı), a group of buildings that together signify a special group of mosques in Anatolian architecture, referring to examples of these types of mosques located in the region of the Black Sea. The features of the plans, construction systems, materials and ornamentation of these structures will be detailed in an effort to document the identity of this collective cultural legacy and as a contribution to the literature for posterity.
The traditional houses of the East Anatolian Region were basically a product of climatic conditio... more The traditional houses of the East Anatolian Region were basically a product of climatic conditions. The types of houses here reflect the region's climatic conditions and display the same type of design in both urban and rural settlements. In response to the region's long and severe winters, houses were kept closed to the outside, having thick walls, small windows with open and semi-open spaces (gardens, courtyards, sofas) that were also kept small. The kitchen was the throbbing heart of the house and the main element of design in its plan was a tandoor, in front of which the whole family assembled. The interior design of this space, with its corbelled roof of wood (locally called "kırlangıç roof or tüteklikli roof" was the most characteristic element of the houses. The aim of this article is to present the traditional residential architecture of the East Anatolian Region and the kitchen that characterizes it, as well as introduce the most unique part of the kitchen-the lantern roof (locally, the kırlangıç roof or the tüteklikli roof)-by offering examples to be found in the district of Gümüşdamla (formerly Zargıdı), Aydıntepe, in the province of Bayburt, one of the main cities of the region.
The master architect of the Ottoman era, Architect Sinan, created and left behind a wide range of... more The master architect of the Ottoman era, Architect Sinan, created and left behind a wide range of structural typologies. The most numerous of Sinan's works were his mosques. The features defining the layout plan of Sinan's mosques are the central domed baldachin and the characteristics of the structure on which the baldachin rests. Sinan made use of multiple support systems of sometimes four, six or eight elements in his system of dome structures, planning the layouts of his mosques around the framework of these systems. Sinan handled each of his domed and multiple pillarsupported central baldachin in different ways in terms of both the foundation of the baldachin and of the side galleries, creating in this group of structures a "Sinan style." This paper is an attempt to make a comparative analysis of the organization of the domed central baldachin constituting the main space of the mosques of Architect Sinan, which is part of a hexagonal and octagonal baldachin system with multiple supports forming the central nucleus of the mosque, and of the side galleries, addressing the relationships between baldachin, structures, dome and galleries.
“A Historicist Approach in the Development Process of Modern Turkish Housing: Sedad Hakkı Eldem’s Residential Structures”, The Journal of International Social Research Volume 13, Issue 71, June 2020, pp. 378-389.
Erken Cumhuriyet dönemi mimari programının en önemli parçası konut inşaası olup Cumhuriyet'in ila... more Erken Cumhuriyet dönemi mimari programının en önemli parçası konut inşaası olup Cumhuriyet'in ilanıyla birlikte hem kamusal hem de konut mimarlığında işlevselci rasyonel Bauhaus mimarlığına yönelinir. Bauhaus etkisine giren Türk konut mimarisindeki fonksiyonalist eğilimler 1930-1933 yılları arasında özellik ve işlevlerine göre biçimlendirilmiş mekanlardan oluşan konut anlayışına dönüşür. Ancak aynı yıllarda Cumhuriyet'in yenilikçi ve aydınlanmacı ideolojisini ve geçmişle bağını koparma siyasetini yansıtan bu konut anlayışının yanı sıra yerli ve milli mimariyi savunan bir mimarlık anlayışı da gelişir. Bu grubun başında ise anahtar bir figür olarak Sedad Hakkı Eldem gelir. Eldem toplum yapısına uyumlu yeni bir üslup yaratılması gerektiğine ve Avrupa kopyacılığının mimarimizi amacına ulaştırmayacağını öne sürerek, 1933 yılında Akademi'de başlattığı "Milli Mimari Semineri" ile ulusal mimari için başvuru kaynağı olarak Türk Evi'ne yönelir. Ve 1931-33 yılları arasında gerçekleştirdiği eskiz ve uygulamalarla geleneksel Türk Evi mimarisine yoğun atıflar yapan konutlar üretmeye başlar. Bu makalede Sedad Hakkı Eldem'in uygulanmış bazı konutları seçilerek mimarın Türk evi plan tipleri ve plan elemanları yorumları incelenecektir.
Erarslan, A., “Antique Revivalism: Empire Style in the Ottoman Architecture”, Developments in Engineering and Architecture, (Eds). Bayko Ranguelov, Zharas G. Berdenov, Recep Efe, ST. Kliment Ohridski University Press, Sofia, 2021, pp. 149-170 (ISBN 978-954-07-5200-6)
Erarslan, A., “Ottoman Baroque Architecture. Turkish Baroqque”, Advances in Scientific Research: Engineering and Architecture, (Eds). Ilia Chrisyov, Viliyan Krystev, Recep Efe, Abd Alla Gad, ST. Kliment Ohridski University Press, Sofia, 2020, pp. 304-342 (ISBN: 978-954-07-5047-7)
Besides the different geographical, topographical, climatic, vegetative conditions and constructi... more Besides the different geographical, topographical, climatic, vegetative conditions and construction materials that make up the environmental features of the many regions of Anatolia, each region also has a traditional residential culture that reflects its particular sociocultural characteristics. In turn, houses bear the characteristics of the region in which they stand, creating a new identity that is unique to that area. The region of Turkey known as Southeastern Anatolia displays a type of house that has been widely used throughout this part of the country-the "iwan-courtyard house." The iwan is defined as a semi-open space surrounded by walls on three sides, open in the front with a flat or vaulted covering, sometimes decorated with arches. In Islamic architecture, the iwan can be identified as a characteristic element of all structures, including mosques, tombs (türbes), madrasahs, hammams, caravanserais and houses. The iwan-courtyard house can be found in various typologies in Anatolia,
RURAL SETTLEMENT PATTERN AND STRUCTURAL CHARACTERISTICS IN THE ERÇEK BASIN OF VAN, 2018
RURAL SETTLEMENT PATTERN AND STRUCTURAL CHARACTERISTICS IN THE ERÇEK BASIN OF VAN