A unique representation of Ottoman residential architecture: 19th century summerhouses in the Kadıköy District, Istanbul (original) (raw)
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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.
The roofs of Istanbul's wooden houses with the influence of European styles
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Turkish houses with their own characteristics related to the architectural elements and spatial construct manifest differentiating examples over the centuries. From the 18th century, traces of the European styles steadily reflected to the Turkish houses. On the period between late 19th century and early 20th century, the effects of these styles were intense on the wooden residential architecture. With its pluralist and progressive feature, interactive relations were extensive in the Last Ottoman capital Istanbul. Consequently, a great diversity in wooden houses had occurred. This variety of styles was exposed on the choices of architectural elements. Having a significant effect on both the façade image and the spatial organization, roof is one of the architectural elements expressing explicitly the European influence on the Ottoman wooden houses of Istanbul. There are many examples of roof types dissimilar to the classical Ottoman houses like pointed and steep roofs, cross or T shaped ones and even the roofs with curvilinear forms. Besides the distinctness in shape organizations of the roofs, the insertions of windows, balconies, ornaments and decoration elements were also developed. Another issue reflecting the western style is the tower designed with roof structure which signifies the architectural approach. Wooden houses under the effect of European styles are generally found in the country side or summer houses and the new settlements of their period. In this work, the European influence on the timber residential architecture in Istanbul with a special emphasize on the roof styles will be presented. Apart from the general information about this wooden housing heritage with different forms, structural system and usage of the materials will also be discussed.
How Traditional Ottoman Houses Affect Contemporary Architecture in Turkey
In the twentieth century after the advent of republicanism in Turkey, nationalistic and regional approaches were at odd s with approaches influenced by the West in search of Turkish identity in architectural works. For this reason, this interested Turkish architectures to pay attention to their native architecture and urbanism during Ottoman era. In this context, traditional houses came to the fore as the key to achieving Turkish identity in architecture in the course of the second nationalist movement in modern times, and thereafter it was developed by following generation of Turkish architectures. The acclaimed modern features lying in the architecture of the houses and customs representing the Turkish civil identity have turned them into a symbol of contemporary Turkish identity in this course of action. Ottoman tradition of house construction and its effect on Turks' architecture in the course of the second nationalist movement in Turkey's contemporary architecture have made the study of Turkish architectures' transition from tradition to modernity a significant issue, which is addressed in this paper. The results of the seminal works by the second nationalist leaders as to Turkey's architecture were here approached in terms of how they were impressed by the architecture of Ottoman traditional houses, which were divided into three categories and the architectural characteristics of each of them were analyzed and compared.
THE OTTOMAN HOUSE / EVALUATION OF STRUCTURE AND FORM
Introduction: Even if in limited number of samples of Ottoman houses remained, the written sources from the Ottoman period that we accessed show how the Ottoman state power kept a tight grip on the city and its structures, so that the construction practice defined as vernacular architecture was scientifically and technologically managed and supervised from the 16 th century onwards at the latest. The newly emerging socioeconomic requirements of those eras led to an important stage in the development of the Ottoman house. While declaring that the Ottoman house had reached its magnificent peak in 19 th century, we were also witnessing the collapse of the wooden Otto-man house in the meantime.
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1 ABSTRACT This study aims to define the changes in architectural scenery and cityscape in Ottoman cultural life in early modern era, i.e. 18 century. It is aimed to complement intercultural relations in this age through surveying the foreign impacts on Ottoman architecture. Istanbul, as the capital city, the cultural center of the Ottoman Empire, located between the two worlds: the East and the West, considered as an ideal example for this study. The 18 century for Turkish architecture was a “receptive” age which combined with the wish for innovative experience in all manners, and can be identified as the century of “change”. The exchange of artistic and technical models between the Ottoman cultural era and the rest of the world increased rapidly and extensively at the beginning of the century. In the first decades of the century new period of renewal, called as the “Tulip Period”, appears. Beginning with this period traditional, introverted manner of the society began to change; t...
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,
THE PARADIGMS IN THE NINETEENTH CENTURY OTTOMAN ARCHITECTURAL HISTORIOGRAPHY
EAHN 2015 Belgrade Entangled Histories, Multiple Geographies Proceeding Book, 2016
Narratives of Ottoman architectural historiography have been constructed on a well-established scholarly tradition of a great canon. Such narratives have generally been based on the periodization of the empire’s historical progression – namely the periods of rise, growth, stagnation and decline – or the stylistic evaluation of ‘great masters’ and their ‘masterpieces’. The periodization of historical events brings with it another paradigm in architectural historiography; the issue of ‘style’. Particularly for 19th century Ottoman architecture, the great canon’s reliance on paradigms of ‘style’, ‘westernization’ and ‘decline’ has become a dominant tendency, used to identifying the changes in architectural practice. Both change and ‘decline’ have, in Western historiographical traditions, been discussed with respect to notions of modernization and westernization. Another pattern has been added to the discussion, namely the nationalist approaches in the construction of Ottoman historiography by Turkish authors. How the Ottoman past was treated by Turkish historians is a significant subject for the evaluation of the 19th century Ottoman historiography. The aim of this paper is to discuss architectural historiography on 19th century Ottoman architecture questioning the existing paradigms of decline, style and westernization.
The Change in Interior Design in 19th Century Ottoman Architecture. Art Nouveau Season Panels
Architecture Image Studies , 2023
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.