PAPERS by Bilge Ar
authors Seda Güntan, Bilge Ar, Mekansal Araştırmalar Dergisi / Journal of Spatial Research, 2(1), 1-10., 2024
Virtual environments in video games have fundamentally transformed and persistently influenced ou... more Virtual environments in video games have fundamentally transformed and persistently influenced our comprehension of spatial and temporal dimensions, much like television and cinema influenced these notions in the 20th century. Similar to the connection between cinema and architecture, in the 21st century, video games not only utilize architecture as an environment or the set, but they also go beyond. In 3D video games, the purpose of space design has evolved from being a mere background to being an essential component that supports the scenario and subtext, providing as a tool for cinematographic narrative. Thus, the gaming industry becomes part of an important relationship with architecture and the history of architecture. The architectural and spatial elements found in our present reality are reproduced and transformed to create alternative, unreal environments. The user/gamer inherits the perspective of either the real or fantastic environment and events that they experience. Within the scope of the article, the transfer of space narrative, perception, and aesthetics by reference to the history of design and architecture was examined in the context of the memory of the place and nostalgia.
Anatolia Antiqua XXXI, 2023
authors: Martin SEYER, Alexandra DOLEA, Philip M. BES, Dávid Zs. SCHWARCZ, Gerhard FORSTENPOINTNE... more authors: Martin SEYER, Alexandra DOLEA, Philip M. BES, Dávid Zs. SCHWARCZ, Gerhard FORSTENPOINTNER, Danai KAFETZAKI, Nikolaus SCHINDEL, Ceyda ÖZTOSUN, Hakan ÖNIZ, Mercan HELVACIKARA, Zeynep KUBAN, Bilge AR, Umut ALMAÇ, Görkem GÜNAY
![Research paper thumbnail of 'Arkelojik Alanda Mimarın Rolü': Uygulamalı Bir Eğitim Modeli ['The Role of Architect in Archaeological Field Studies': A Practice-Based Training Model]](https://attachments.academia-assets.com/90469420/thumbnails/1.jpg)
TÜBA-KED - Türkiye Bilimler Akademisi Kültür Envanteri Dergisi / Turkish Academy of Sciences Journal of Cultural Inventory, Vol. 25, 21-32, 2022
The architect working in the historical environment is expected to have some basic knowledge, reg... more The architect working in the historical environment is expected to have some basic knowledge, regardless of the specific purpose of their work, whether it is the design of a protection roof to be built for more effective preservation of archaeological data, the documentation of new architectural data revealed by excavations, or the planning of an anastylosis application to be carried out in the area. First of all, the architect; must be able to perceive, understand and evaluate the historical structure and environment. It is observed that the provision of this knowledge in architectural education and the training of architects for the archaeological site are lacking. In this study, in archaeological field research that requires the contribution of many different disciplines; a practical training model proposed for the education of architects and architect candidates who will take responsibility in studies related to the identification, documentation and evaluation of immovable cultural heritage is discussed. A series of summer schools were organized in selected sites with undergraduate architecture students during the active season of archaeological excavations in order to create an education model for this and to enable this topic to be able to take its place in architectural education as a credit course in the future. The difficulties in archaeological sites and the multidisciplinary nature of the excavation teams were observed in the summer schools, and it was emphasized that the architect could take on many other roles besides documentation. During the training, traditional measurement techniques were taught and applied, and introductions to digital methods were given. In this study, considering the possible steps to be taken in the future, the theoretical framework and practical applications of these summer schools held directly at the archaeological site, the observations made, and the evaluations of the feedback of the participants are handled.
sITA – studies in History and Theory of Architecture, Bucharest, Vol 8, 167-184, 2020
A recent project with architecture students provided rather surprising results in relation to the... more A recent project with architecture students provided rather surprising results in relation to their perception of Byzantine architecture. The students’ descriptions for Hagia Sophia were strikingly similar to those of the sixth century Byzantine spectators such as Procopius and Paul the Silentiary, with whom they were not familiar. Another 12th century description confirmed a similar appreciation of the building centuries later. Its constructive features, such as the size of the dome, and how it was supported, were found to be mind-boggling. Other elements such as the cornices and column capitals seemed as if they had no load bearing roles, because of their decorative features. The usage of light contributed to these perceptions. Such oddities in design, that contradict the nature of the material, were also encountered in later centuries such as the knotted column, popular in the 11th and 12th centuries.
Another issue is the three-dimensional character of the Byzantine building, which provided various viewpoints, but never a clear perception of the whole interior. The dictation of liturgy describing where each group stand, defined their limited visual access, adding more mystery to their perception. Such inscrutability is very clearly visible in Byzantine texts.
This paper aims to examine the aesthetic features of Byzantine interiors through direct references to material culture and contemporary texts, trying to understand how a building was designed to be perceived, and how these intended perceptions acquired by decorative schemes are still immutable despite what has been made available by modern technology.
A/Z ITU Journal of the Faculty of Architecture. Istanbul, 17 (2): 15-29, 2020
Today a long lost monument; San Michele Church, which stood once as the cathedral church of the G... more Today a long lost monument; San Michele Church, which stood once as the cathedral church of the Genoese colony, has a significant place in the history of Galata. It was founded replacing the Byzantine church of Hagia Thekla as Galata transformed into a Genoese settlement in 13th century. Serving as a church, it was still intact when Galata went under Ottoman rule. It has lost its congregation and started to serve as a storage unit as part of state property. It must have survived for a hundred more years under the Ottoman rule until its ownership changed to private property, and eventually it was replaced by a monumental caravanserai for the grand vizier Rüstem Pasha, designed by Architect Sinan in mid 16th century, later named Kurşunlu Han. The first parts of this study focus on the Genoese and Ottoman archival documents referring to the church, to draw an outline of the history of the church, and the site, through Byzantine, Genoese and Ottoman periods. The second part presents the on-site observations and aims to merge these with the data acquired from historic documents questioning any possible traces on the 16th century Ottoman monument that may date back to the church. This study aims to bring to light the above mentioned chronology of the church, portray as much as possible its architecture, its functional transformations, its afterlife under Ottoman rule and physical evidence that might be tracing back to San Michele Church within the body of Kurşunlu Han, which replaced it.
![Research paper thumbnail of İşgal İstanbul'unun Kentsel Dönüşümünü Beyaz Ruslar Üzerinden Okumak [A Study of the Urban Transformation of Occupied Istanbul through the Experience of White Russian Refugees]](https://attachments.academia-assets.com/61617620/thumbnails/1.jpg)
Yıllık: Annual of Istanbul Studies 1, 2019
Abstract
The occupation years of Istanbul under allied forces (from November 13, 1918 to October... more Abstract
The occupation years of Istanbul under allied forces (from November 13, 1918 to October 6, 1923) did not involve intense construction activities and thus has not attracted much attention as a subject for architectural history research. However, as the capital of the recently defeated Ottoman Empire, the city, which became severely crowded, presented an enormous need for new spaces in order to fulfill a great variety of new functions to serve allied forces, soldiers, and immigrants coming from all over the empire. Due to the poor economic conditions of the defeated Ottoman state, these new demands were fulfilled by the functional transformation of existing buildings instead of new construction. Allied forces acquired the spaces they needed through the same methods of seizing and refunctioning since the occupation never lost its temporary classification. Along with massive internal immigration to Istanbul, refugees fleeing from the Bolshevik Revolution also greatly increased the population of the city. This study aims to examine functional transformations in the urban and architectural environment of occupied Istanbul by White Russian refugees. First, spaces providing basic needs are examined, such as shelters, orphanages, hospitals, and soup kitchens. Second, the influence of refugees from Russia on the social life of the city is examined based on the functional transformation process of available buildings, focusing especially on spaces used for entertainment and sports activities that have come to show permanent effects extending to later periods.
Özet
İstanbul'un 20 Mart 1920 öncesi mütareke, sonrası resmi işgal olmak üzere 13 Kasım 1918'de başlayıp 6 Ekim 1923'te Türk ordusunun İstanbul'a girmesi ile sonlanan işgal dönemi yoğun bir yeni inşaat faaliyeti içermemesi nedeniyle, dönem üzerine yapılan incelemelerde mimari açıdan dikkat çekmemiştir. Oysa bu dönemde İstanbul, Osmanlı İmparatorluğu'nun yenik düştüğü bir savaşın ardından gerek işgal kuvvetleri yöneticileri ve askerleri gerekse imparatorluğun her yanında kaybedilen topraklardan başkente sığınan mültecilerle oldukça kala-balık bir hal almış ve tüm bu nüfus ve yeni idare için çok sayıda mekâna ihtiyaç duyulmaya başlanmıştır. Ekonomik durumu kötü olan imparatorlukta bu yeni ihtiyaçlar zorunlu olarak mevcut yapıların işlevlerinin dönüştürülmesi ile karşılanmıştır. Geçici niteliğini kaybetmeyen işgal nedeniyle işgalci kuvvetler de ihtiyaç duydukları mekânları benzer bir yöntem ile elde etmişlerdir. Başkentin aldığı yüklü miktardaki iç göçün yanı sıra Bolşevik devriminden kaçan Rusyalılar da bu dönemde büyük dalgalar halinde İstanbul'a gelmiştir. Bu çalışma şehrin kentsel ve mimari ortamında işgal döneminde geçirdiği işlevsel dönüşümü göçmen grupları içinde başlıca bir yere sahip Beyaz Ruslar üzerinden değerlendirmeyi hedeflemektedir. Bu amaçla öncelikle Rusyalı göçmenlerin asal ihtiyaçlarının sağlanması amacıyla onlar için oluşturulan barınak, yetimhane, hastane, aşevi gibi kurumlar ele alınmaktadır. Çalışmanın ikinci yarısındaysa Rusyalı mültecilerin İstanbul'un sosyal hayatına etkileri yine mimari işlevsel dönüşüm süreci üzerinden incelenmekte ve bu defa Rusyalı mülteciler tarafından, özellikle eğlence ve spor faaliyetleri için oluşturulan mekânlar ortaya konmakta, bunların şehrin hayatında sonraki dönemleri etkileyen kalıcı etkileri irdelenmektedir.
![Research paper thumbnail of Beylerbeyi Sarayı Dekorasyonunda Owen Jones’un Yayınlarından Uyarlanmış Elhamra Desenleri [Alhambra Patterns Adapted from Owen Jones Publications in Beylerbeyi Palace Decoration]](https://attachments.academia-assets.com/60526077/thumbnails/1.jpg)
Milli Saraylar Sanat Tarih Mimarlık Dergisi, sayı 17 [issue 17], 2019
Studies on the Alhambra Palace, handled both through romantic and academic approaches, played a s... more Studies on the Alhambra Palace, handled both through romantic and academic approaches, played a significant role in the recognition of Islamic art throughout Europe. Starting with the 19th century, artists and architects paid visits to the palace, located so close to the Western centers, and they shared their visual experiences through illustrated books. Alham- bra’s forms and motifs began to find a place in Western art and architecture, in many art objects and spaces designed with an “oriental inspiration”. Alhambra and its visual vocabulary have turned into a passion.
The Ottoman world welcomed the Alhambra style as an original Western innovation. The new style did provide another spirit into the Ottoman designs as it carried aspects in direct relation to the language of Islamic Art. The style had been applied especially in imperial buildings (e.g. main gate and kiosks of the Ministry of Defense, Çırağan Palace) and in the residences of prominent figures of the government (e.g. Baltalimanı Shore-Palace, Mecit Efendi Mansion, Sait Halim Paşa Mansion).
Beylerbeyi Palace holds the role of a precursor on the adoption of the Alhambra style in Istanbul. It welcomed Empress Eugénie of France right after its completion with its both “of latest fashion” and “traditional-Islamic” decoration. The pala- ce was predominantly decorated with the motifs taken from The Grammar of Ornament, which, for the period had been a highly influential compilation, prepared by Owen Jones. The identification of Alhambra motifs that arrived in the imperial Beylerbeyi Palace through Jones’ illustrated work, sets forth that unlike in the West, this style had been taken seriously by the Ottomans, and it appealed to the Ottoman taste in the creation of a new artistic essence.
Keywords: Alhambra Palace, Beylerbeyi Palace, Ottoman Architecture, Owen Jones, The Grammar of Ornament, Eugénie, Alhambra Style, Ornamental Elements
Journal of Archaeology and Art [Arkeoloji ve Sanat], 2016
Thrace held great political, economical and military importance during Byzantine period. Primary ... more Thrace held great political, economical and military importance during Byzantine period. Primary reason for this is its location close to the capital Constantinopolis. This is first of all obvious in the numerous castles and settlements within the region. Skopelos in Kırklareli, which is known as Polos or Yoğuntaş in present day is one of these settlements. It was founded as an Episcopal see in 8th century AD and was occupied until 14th century when it was abandoned after the Ottoman conquest. In accordance with its preservation level and considerable size, and its standing as an administrative and military center as proven by the Byzantine literary sources, the settlement attracted attention for a detailed survey study. The first campaign includes the preparation of drawings and documentation of all architectural elements and archaeological remains on surface. Main focus of the study is a fortification system including a city wall with towers in varying plan types from different construction phases, a citadel and a partially preserved outer extension. Water supply system with well preserved vaulted cisterns are another focal point in the survey. The large cistern of the city is surprisingly situated outside the city walls. The building remains inside the city walls are also reflected in the prepared plan. With the data of the documentation stages the structure and function of the fortified system is being examined. A second phase of the survey will include a regional evaluation of the survey data to expand the knowledge on the settlement network of Thrace in Byzantine Period.
A|Z ITU Journal of the Faculty of Architecture, vol. 12 (2): 3-17, Jul 2015
The re-evaluation and re use of antique construction material as spolia may have much deeper mean... more The re-evaluation and re use of antique construction material as spolia may have much deeper meanings than sole economic purposes. It may be because of aesthetic taste or the wish to give a political or religious message. The origins and choice of spolia, the motives for the use of it, possible political, ideological, liturgical and perhaps legal reasons behind it must all be evaluated. Spolia materials are subject to many different fields by nature of their given and original lives. This work covers some ideas between approaches to spolia material and meanings attributed to them in mainly monumental buildings of Byzantine Empire, Anatolian Seljuq Sultanate and Ottoman Empire. The evaluation starts with the reign of Constantine, on vast lands covering East and the West, Rome and Constantinople where extensive use of spolia was deliberately applied. Through Middle Ages different approaches were encountered in Europe, Byzantine territories and in the lands dominated by Anatolian Seljuqs. Later on while Early Ottoman era applications get integrated to the applications of the Byzantine era, a completely different attitude and usage is developed during Classical Ottoman era. This work tries to give and overview of these usages and the ideas behind them through some comparative ideas.
![Research paper thumbnail of Aya İrini’de Dâr-ül Esliha Düzenlemesi [Dâr-ül Esliha (House of Weapons) Arrangement in Hagia Eirene]](https://attachments.academia-assets.com/40695078/thumbnails/1.jpg)
İstanbul Araştırmaları Yıllığı, 2014
Hagia Eirene Church had been turned into an armory depot shortly after 1453. During the reign of ... more Hagia Eirene Church had been turned into an armory depot shortly after 1453. During the reign of Ahmed III, in accordance with the new approaches that appeared with the beginning of the Westernization movements, an exhibition under the name "Dâr-ül Esliha" (meaning "House of Weapons") was organized inside the building in 1726. An inscription describing the opening, main political events of the era of Ahmed III and his contribution to the changes in Hagia Eirene had been placed on top of the main door. This private exhibition included the spoils from the fall of Constantinople and other sieges alongside many out of date weapons of the Ottoman army after the military reforms. This study mainly focuses on the function change Hagia Eirene has undergone during this era, the background circumstances that paved the way for transformation and change, and additions done to the building in relation to its change in function.
Technical Notes, Short Reports... by Bilge Ar
ANMED: News Bulletin on Archaeology from Mediterranean Anatolia, 20, p. 8-11, 2022
Anmed: News Bulletin on Archaeology from Mediterranean Anatolia, 18, p. 3-6, 2020
CHAPTERS IN BOOKS by Bilge Ar
In: Jevtić, I., Kontogiannis, N.D., Stanković, N. (eds) Religious Buildings Made in Byzantium. New Approaches to Byzantine History and Culture. Palgrave Macmillan, Cham., 2024
Starting from the Late Antique examples, there is already a tendency to abandon the importance gi... more Starting from the Late Antique examples, there is already a tendency to abandon the importance given to featured facades on the exteriors of Byzantine churches. With the developing dominance of the monastic arrangements after the seventh century, unlike the earlier episcopal or parochial examples, the Byzantine church tends to become an independent mass, standing solitary in the middle of a courtyard. This detachment from neighboring service structures leaves compact modules of churches to be perceived from all directions. The non-existence of a single representative facade also brings a disregard for an organized open space (city square) at the entrance. Standing in contrast with the urban space around cathedrals of the West, this urban arrangement shares more features with Islamic examples from the eastern Mediterranean. This study presents some thoughts on how the lives and world definitions of the “other(s),” mainly the Islamic communities, in the medieval Mediterranean may have been sharing similar preferences with the Byzantine users and, through this, examine the exteriors of Byzantine church buildings through their communication with the urban fabric as guiding forces in the design process.
authors: Bihter Almaç, Bilge Ar, -in Drawing; Inquiry, Time, Dialogue and Materiality, Eds. Thomas-Bernard Kenniff & Carole Lévesque, 24-31, Montréal, Québec, Canada, 2024
WerteWandel, ed. Julia Ess, Eva Maria Froschauer, Elke Richter and Clara Jiva Schulte, 161-174. Berlin, Boston: Birkhäuser, 2021
Sanat Tarihi Defterleri 18, ed. S. Ögel, T. Saner, B. Ar, Ege Yayınları, Istanbul. 65-76 , 2020
РУССКАЯ «БЕЛАЯ ЭМИГРАЦИЯ» В ТУРЦИИ: ВЕК СПУСТЯ (1919–2019) [“White” Russian Immigration in Turkey at its 100. Anniversary (1919-2019)], ed. T. OLCAY, V.A. Moskvin, V.İ. Petroçenko, M. Yu. Sorokina. Moscow, Russia. p. 71-99.
Metin Ahunbay’ın İzinden – Ayatekla, Binbirkilise ve Dara/Anastasiopolis Araştırmalarından Özel Konular – Mimarlık Tarihi Araştırmaları 1, 2017
Metin Ahunbay’ın İzinden – Ayatekla, Binbirkilise ve Dara/Anastasiopolis Araştırmalarından Özel Konular – Mimarlık Tarihi Araştırmaları 1, 2017
Geç Osmanlı Döneminde Sanat, Mimarlık ve Kültür Karşılaşmaları ed. Gözde Çelik, İstanbul: İş Bankası Yayınları, p. 313-327, 2016
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PAPERS by Bilge Ar
Another issue is the three-dimensional character of the Byzantine building, which provided various viewpoints, but never a clear perception of the whole interior. The dictation of liturgy describing where each group stand, defined their limited visual access, adding more mystery to their perception. Such inscrutability is very clearly visible in Byzantine texts.
This paper aims to examine the aesthetic features of Byzantine interiors through direct references to material culture and contemporary texts, trying to understand how a building was designed to be perceived, and how these intended perceptions acquired by decorative schemes are still immutable despite what has been made available by modern technology.
The occupation years of Istanbul under allied forces (from November 13, 1918 to October 6, 1923) did not involve intense construction activities and thus has not attracted much attention as a subject for architectural history research. However, as the capital of the recently defeated Ottoman Empire, the city, which became severely crowded, presented an enormous need for new spaces in order to fulfill a great variety of new functions to serve allied forces, soldiers, and immigrants coming from all over the empire. Due to the poor economic conditions of the defeated Ottoman state, these new demands were fulfilled by the functional transformation of existing buildings instead of new construction. Allied forces acquired the spaces they needed through the same methods of seizing and refunctioning since the occupation never lost its temporary classification. Along with massive internal immigration to Istanbul, refugees fleeing from the Bolshevik Revolution also greatly increased the population of the city. This study aims to examine functional transformations in the urban and architectural environment of occupied Istanbul by White Russian refugees. First, spaces providing basic needs are examined, such as shelters, orphanages, hospitals, and soup kitchens. Second, the influence of refugees from Russia on the social life of the city is examined based on the functional transformation process of available buildings, focusing especially on spaces used for entertainment and sports activities that have come to show permanent effects extending to later periods.
Özet
İstanbul'un 20 Mart 1920 öncesi mütareke, sonrası resmi işgal olmak üzere 13 Kasım 1918'de başlayıp 6 Ekim 1923'te Türk ordusunun İstanbul'a girmesi ile sonlanan işgal dönemi yoğun bir yeni inşaat faaliyeti içermemesi nedeniyle, dönem üzerine yapılan incelemelerde mimari açıdan dikkat çekmemiştir. Oysa bu dönemde İstanbul, Osmanlı İmparatorluğu'nun yenik düştüğü bir savaşın ardından gerek işgal kuvvetleri yöneticileri ve askerleri gerekse imparatorluğun her yanında kaybedilen topraklardan başkente sığınan mültecilerle oldukça kala-balık bir hal almış ve tüm bu nüfus ve yeni idare için çok sayıda mekâna ihtiyaç duyulmaya başlanmıştır. Ekonomik durumu kötü olan imparatorlukta bu yeni ihtiyaçlar zorunlu olarak mevcut yapıların işlevlerinin dönüştürülmesi ile karşılanmıştır. Geçici niteliğini kaybetmeyen işgal nedeniyle işgalci kuvvetler de ihtiyaç duydukları mekânları benzer bir yöntem ile elde etmişlerdir. Başkentin aldığı yüklü miktardaki iç göçün yanı sıra Bolşevik devriminden kaçan Rusyalılar da bu dönemde büyük dalgalar halinde İstanbul'a gelmiştir. Bu çalışma şehrin kentsel ve mimari ortamında işgal döneminde geçirdiği işlevsel dönüşümü göçmen grupları içinde başlıca bir yere sahip Beyaz Ruslar üzerinden değerlendirmeyi hedeflemektedir. Bu amaçla öncelikle Rusyalı göçmenlerin asal ihtiyaçlarının sağlanması amacıyla onlar için oluşturulan barınak, yetimhane, hastane, aşevi gibi kurumlar ele alınmaktadır. Çalışmanın ikinci yarısındaysa Rusyalı mültecilerin İstanbul'un sosyal hayatına etkileri yine mimari işlevsel dönüşüm süreci üzerinden incelenmekte ve bu defa Rusyalı mülteciler tarafından, özellikle eğlence ve spor faaliyetleri için oluşturulan mekânlar ortaya konmakta, bunların şehrin hayatında sonraki dönemleri etkileyen kalıcı etkileri irdelenmektedir.
The Ottoman world welcomed the Alhambra style as an original Western innovation. The new style did provide another spirit into the Ottoman designs as it carried aspects in direct relation to the language of Islamic Art. The style had been applied especially in imperial buildings (e.g. main gate and kiosks of the Ministry of Defense, Çırağan Palace) and in the residences of prominent figures of the government (e.g. Baltalimanı Shore-Palace, Mecit Efendi Mansion, Sait Halim Paşa Mansion).
Beylerbeyi Palace holds the role of a precursor on the adoption of the Alhambra style in Istanbul. It welcomed Empress Eugénie of France right after its completion with its both “of latest fashion” and “traditional-Islamic” decoration. The pala- ce was predominantly decorated with the motifs taken from The Grammar of Ornament, which, for the period had been a highly influential compilation, prepared by Owen Jones. The identification of Alhambra motifs that arrived in the imperial Beylerbeyi Palace through Jones’ illustrated work, sets forth that unlike in the West, this style had been taken seriously by the Ottomans, and it appealed to the Ottoman taste in the creation of a new artistic essence.
Keywords: Alhambra Palace, Beylerbeyi Palace, Ottoman Architecture, Owen Jones, The Grammar of Ornament, Eugénie, Alhambra Style, Ornamental Elements
Technical Notes, Short Reports... by Bilge Ar
CHAPTERS IN BOOKS by Bilge Ar
Another issue is the three-dimensional character of the Byzantine building, which provided various viewpoints, but never a clear perception of the whole interior. The dictation of liturgy describing where each group stand, defined their limited visual access, adding more mystery to their perception. Such inscrutability is very clearly visible in Byzantine texts.
This paper aims to examine the aesthetic features of Byzantine interiors through direct references to material culture and contemporary texts, trying to understand how a building was designed to be perceived, and how these intended perceptions acquired by decorative schemes are still immutable despite what has been made available by modern technology.
The occupation years of Istanbul under allied forces (from November 13, 1918 to October 6, 1923) did not involve intense construction activities and thus has not attracted much attention as a subject for architectural history research. However, as the capital of the recently defeated Ottoman Empire, the city, which became severely crowded, presented an enormous need for new spaces in order to fulfill a great variety of new functions to serve allied forces, soldiers, and immigrants coming from all over the empire. Due to the poor economic conditions of the defeated Ottoman state, these new demands were fulfilled by the functional transformation of existing buildings instead of new construction. Allied forces acquired the spaces they needed through the same methods of seizing and refunctioning since the occupation never lost its temporary classification. Along with massive internal immigration to Istanbul, refugees fleeing from the Bolshevik Revolution also greatly increased the population of the city. This study aims to examine functional transformations in the urban and architectural environment of occupied Istanbul by White Russian refugees. First, spaces providing basic needs are examined, such as shelters, orphanages, hospitals, and soup kitchens. Second, the influence of refugees from Russia on the social life of the city is examined based on the functional transformation process of available buildings, focusing especially on spaces used for entertainment and sports activities that have come to show permanent effects extending to later periods.
Özet
İstanbul'un 20 Mart 1920 öncesi mütareke, sonrası resmi işgal olmak üzere 13 Kasım 1918'de başlayıp 6 Ekim 1923'te Türk ordusunun İstanbul'a girmesi ile sonlanan işgal dönemi yoğun bir yeni inşaat faaliyeti içermemesi nedeniyle, dönem üzerine yapılan incelemelerde mimari açıdan dikkat çekmemiştir. Oysa bu dönemde İstanbul, Osmanlı İmparatorluğu'nun yenik düştüğü bir savaşın ardından gerek işgal kuvvetleri yöneticileri ve askerleri gerekse imparatorluğun her yanında kaybedilen topraklardan başkente sığınan mültecilerle oldukça kala-balık bir hal almış ve tüm bu nüfus ve yeni idare için çok sayıda mekâna ihtiyaç duyulmaya başlanmıştır. Ekonomik durumu kötü olan imparatorlukta bu yeni ihtiyaçlar zorunlu olarak mevcut yapıların işlevlerinin dönüştürülmesi ile karşılanmıştır. Geçici niteliğini kaybetmeyen işgal nedeniyle işgalci kuvvetler de ihtiyaç duydukları mekânları benzer bir yöntem ile elde etmişlerdir. Başkentin aldığı yüklü miktardaki iç göçün yanı sıra Bolşevik devriminden kaçan Rusyalılar da bu dönemde büyük dalgalar halinde İstanbul'a gelmiştir. Bu çalışma şehrin kentsel ve mimari ortamında işgal döneminde geçirdiği işlevsel dönüşümü göçmen grupları içinde başlıca bir yere sahip Beyaz Ruslar üzerinden değerlendirmeyi hedeflemektedir. Bu amaçla öncelikle Rusyalı göçmenlerin asal ihtiyaçlarının sağlanması amacıyla onlar için oluşturulan barınak, yetimhane, hastane, aşevi gibi kurumlar ele alınmaktadır. Çalışmanın ikinci yarısındaysa Rusyalı mültecilerin İstanbul'un sosyal hayatına etkileri yine mimari işlevsel dönüşüm süreci üzerinden incelenmekte ve bu defa Rusyalı mülteciler tarafından, özellikle eğlence ve spor faaliyetleri için oluşturulan mekânlar ortaya konmakta, bunların şehrin hayatında sonraki dönemleri etkileyen kalıcı etkileri irdelenmektedir.
The Ottoman world welcomed the Alhambra style as an original Western innovation. The new style did provide another spirit into the Ottoman designs as it carried aspects in direct relation to the language of Islamic Art. The style had been applied especially in imperial buildings (e.g. main gate and kiosks of the Ministry of Defense, Çırağan Palace) and in the residences of prominent figures of the government (e.g. Baltalimanı Shore-Palace, Mecit Efendi Mansion, Sait Halim Paşa Mansion).
Beylerbeyi Palace holds the role of a precursor on the adoption of the Alhambra style in Istanbul. It welcomed Empress Eugénie of France right after its completion with its both “of latest fashion” and “traditional-Islamic” decoration. The pala- ce was predominantly decorated with the motifs taken from The Grammar of Ornament, which, for the period had been a highly influential compilation, prepared by Owen Jones. The identification of Alhambra motifs that arrived in the imperial Beylerbeyi Palace through Jones’ illustrated work, sets forth that unlike in the West, this style had been taken seriously by the Ottomans, and it appealed to the Ottoman taste in the creation of a new artistic essence.
Keywords: Alhambra Palace, Beylerbeyi Palace, Ottoman Architecture, Owen Jones, The Grammar of Ornament, Eugénie, Alhambra Style, Ornamental Elements
Description styles of Roman and Byzantine monuments in the maps differ in accordance with their function. Technical structures of water distribution appear as a technical section drawing showing the operation procedure. More recent maps appear closer to contemporary understanding of a plan drawing. Others with older dates represent structures as elevation pictures laid on a regular plan. These pictures sometimes appear stylised as a realistic image showing the character of the described building. In other cases, instead of forming this visual bond, pictures are simplified to point out the technical details. Surroundings of distribution paths also differ in accordance with dates and mapping character. In some cases they are given as laid elevation pictures on a regular map. In others they are given as a whole city silhouette/elevation laid along two sides of a water distribution path. Among the monuments taken into examination scale differentiations affect the delicacy in detailing. As an example doors on city walls have very detailed descriptions showing the single stones forming the arches over the openings. However far larger scaled church buildings appear as one or more modules composed of a simple white cylinder capped with a blue dome.
Although there is no aim of composing a complete city map, descriptive pictures of surroundings give information on major landmarks, fountains, baths, mosques and some important houses that have running water facility. This study traces the pictorial descriptions, elevation drawings and any other notes that provide documentative information on Roman and Byzantine monuments hidden in the maps.
Kariye through the Looking-Glass is a pursuit in the form of drawings. Here, the act of drawing is an inquiry into the intricate Byzantine spatial making and the immateriality of Chora’s architecture. Similar to Lewis Carroll’s story, this research uses drawing as a passage through a looking-glass to reveal Chora’s complex and richly decorated interiors and its multi-dimensional inner space that never offers a clear perception of the whole.
Given this complexity, the Byzantine church cannot be fully understood using common methods of architectural representation. Unveiling Chora is a series of explorations on the reconfigurations of drawings that enable us to encounter the complexity of this structure.
The initial drawing set is an inquiry into the multi-coloured marble surfaces of the structure. They are arranged in book-matched panels forming symmetrical and continuous lines on each page in order to create an endless, consistent surface where all the niches and corners of the interior unfold. Chora unveils as a single wall with strange spatial implications. The drawing further investigates the psychedelic, inkblot-like visuals of the marble surfaces. Similar to the builders of Chora, layering and configuring the veneer as they install the plates, the drawing traces the veins of the marble surfaces. Enacting their construction in the form of drawing is a form of mimicry, a reflection with a means to exceed the visit of the 21st-century monument.
Architecture and Archaeology. Theory and Practice on the Mediterranean Cultural Heritage -
Organized by SNS, in coordination with EELISA partners UMP, SSSA, and ITU, with the patronage and participation of the Parco Archeologico e Paesaggistico della Valle dei Templi di Agrigento. Pisa, Scuola Normale Superiore, June 8, 2022.
The main objective of our workshop is to foster a multidisciplinary approach toward the management and the study of archaeological sites, museums, monuments, and landscapes. Our mission is to promote a new generation of professionals aware of the complexity and challenges in the different fields of cultural heritage. It is our common feeling that conservation, restoration, preservation, and valorization of the Mediterranean Cultural Heritage have to be grounded on sound and shared competence in training future engineers, architects, and archaeologists.
Anahtar Kelimeler İstanbul’un Fethi, Bizans yapı stoku, II. Mehmed, Yeniden İşlevlendirme, İşlevsel Dönüşüm
Starting from early 18th century, increasing relations with the west introduced some new ideas and reforms. With the request of Ahmed III war spoils of conquests and the ancient or out of date weapons in Hagia Eirene had been organized as a private exhibition for the Sultan under the name Dar-ül Esliha [House of Weapons] in 1726; introducing an exhibition function inside this military building resembling the cabinets of curiosities.
As a building that belongs to the army Hagia Eirene got directly affected by the military reforms and wars and within the following century the ancient weaponry collection lost its importance. The fate of the collections had changed when Fethi Ahmed Pasha was put in charge of the building. Pasha previously had diplomatic jobs in Moscow, Vienna, Paris and London. He had seen the importance given to archaeology and museums in Europe. In his return he organized two parallel exhibitions, one for the ancient weapons and the other for archaeological artefacts in 1846. These were on two sides of the atrium of Hagia Eirene, and they just served the Sultan and his selected guests.
Based on these private collections, in 1869 Hagia Eirene was opened as the first official museum of the Ottoman Empire under the name “Muze-i Humayun” [Imperial Museum]. In 1875 archaeological collection was moved to new quarters and the building returned to its military function. In 1910s the military collection housed here was turned into a Military Museum to evoke the nationalistic feelings of Ottomans while World War I was approaching. Building kept this function for a few decades also in the Republican period.
This paper aims to handle the values and meanings attributed to the building during this colorful process of changing functions throughout its Ottoman history, the symbolic meanings it acquired according to its changing content and its being used as an expression of power in terms of religion, war, conquest and knowledge.
Yerleşim, korunmuşluk durumu ve büyüklüğüyle Bizans yazılı kaynaklarının da doğruladığı üzere, bölgenin idari ve askeri merkezi olarak sahip olduğu anlam nedeniyle dikkat çekmiş ve detaylı bir araştırma için seçilmiştir. İlk çalışma sezonunda toprak üzerindeki tüm mimari ve arkeolojik kalıntılar, plan çizimi için belgelenmiştir. Araştırmanın odak noktası, farklı dönemlere ait ve çeşitli biçimlerdeki kuleleri olan duvarın yanı sıra bir iç kale ile çok azı korunagelmiş ön kaleyi çevreleyen bir sur sistemi- dir. Tonoz örtülü sarnıçlarının korunageldiği su sistemine de ağırlık verilmiştir. Şehre ait büyük sarnıç, şaşırtıcı bir biçimde sur duvarları dışında bulunmaktadır. Ayrıca, sur içindeki yapı kalıntıları plana aktarılmıştır. Belgeleme çalışmalarının verileri ile tahkimatlı sistemin yapısı ve işlevi incelenmektedir.
Today two mural paintings that describe landscapes, one at the entrance portico added bu Mahmud I and one on top of the door to the Sultan’s throne room in the atrium are still present in Hagia Eirene. Another mural painting showing a symbolic representation of the military museum is seen inside the main dome. Besides these figural depictions there are other floral and geometric patterns included in the Ottoman decoration programme of the building. This paper handles the three mural paintings mentioned, their detailed description and their dating with a stylistic interpretation.