Thesis (MSc.Arch) by Pınar Kutluay
‘‘Curtain wall’’ is mostly regarded as a direct outcome of the industrial reform in the Nineteent... more ‘‘Curtain wall’’ is mostly regarded as a direct outcome of the industrial reform in the Nineteenth Century. Following technological determinist approach, most of the studies about curtain wall seek to find an origin for it in the late Nineteenth Century. Different from these studies, this thesis investigates the formation of the discourse of curtain wall in view of its metaphoric background. Instead of focusing only on technology as the main factor, the study unveils different sides of the discourse which remained in the background and deciphers how ‘‘curtain,’’ a term borrowed from textile and theatre, has been associated with facade of frame structure.
In detail, the study sheds light on how frame structure, one of the main components of a curtain wall system, came to be called as ‘‘skeleton’’ with reference to the theory of organicism. The dressing—Bekleidung—theory of Gottfried Semper is also examined as an alternative interpretation of the relationship between structure and facade regarding monumentalization through dressing and masking; as skeleton structure led architects to reconsider wall with concern of representation. Furthermore, the study concentrates on the architectural environment of Chicago in the second half of the Nineteenth Century, exploring two mainly different interpretations of frame structure which both arose from a shared concern of representation by some significant architects, including Louis H. Sullivan, who was also interested in monumentalization through ornament. This thesis claims that curtain wall is a metaphor invented to reconcile the emerging technology with the theory of representation which had diverse sides.
Conference Presentations and Proceedings by Pınar Kutluay
ARCHTHEO'21-XV. Uluslararası Mimarlık Teorisi ve Tarihi Konferansı Bildiri Tam Metin Kitabı, 2021
The concepts of monument and monumentality have often been subjects of debate in art and architec... more The concepts of monument and monumentality have often been subjects of debate in art and architectural history. The etymological root of the word ‘’monument’’ refers to memory, and this signifies its relationship with time and history. With their material, visual and representational qualities, monuments also symbolize and remind certain events, figures, or ideas. In architectural history, the conception of monument has generally been associated with antiquity; therefore, the idea of monumentality has often played a fundamental role in how Classical architecture is perceived and
studied. Alongside order, it has been widely used to understand and examine the historical and theoretical background of the design concerns for classical buildings. For instance, Roman architecture is known to be monumental. The idea of order gained importance together with reason during the Enlightenment, and they both contributed to the development of several scientific disciplines, including archaeology. Such a rational way of thought also paved the way for a revival of Classicism, which would later be labeled as Neoclassicism. From the architectural perspective, this referred to incorporating classical architectural elements into the contemporary styles of the period. In Nineteenth-Century Germany, the increasing interest in archaeology as a result of the Enlightenment
eased the growth and spread of this approach. Meanwhile, leading archaeologists like Johann Joachim Winckelmann and Heinrich Schliemann produced influential works in archaeology based on their
studies of ancient Greeks and Romans. Their views, together with the general archaeological activities and increasing body of knowledge in the field, became a source of inspiration for architects such as Karl Friedrich Schinkel and Gottfried Semper. These significant figures benefitted from archaeology in shaping their architectural approaches regarding both theory and practice. Monumentality emerged as an important idea for them concerning their interest in Classicism. This paper seeks to investigate how Nineteenth-Century German Neoclassical Architecture shares the idea of monumentality with classical architecture based on the scholarly and built works of Schinkel and Semper.
IGSCONG'21 International Graduate Studies Congress, 2021
The world went through significant changes in the nineteenth century in many aspects. Along with ... more The world went through significant changes in the nineteenth century in many aspects. Along with the Enlightenment, the Industrial Revolution paved the way for new technologies, especially regarding the industry in Europe. Factories emerged as a new building typology, and production increased. However, these developments harmed the Ottoman Empire, especially its economy. Tanzimat (1839), which was a multi-layered reform package, encouraged the resolution of this problem. Consequently, the Ottomans also began to found factories. After the Industrial Revolution, the weaving and carpet industry grew in Europe, and demand increased. The Ottomans had already been producing carpets for centuries, and it was an integral part of their economy. Under such circumstances of the period, they preferred to concentrate on textile and carpet production. The foundation of Hereke Fabrika-i Hümayunu was the result of this attempt. It became one of the most remarkable factories and a symbol of industrialization of the empire at that time, in terms of where it was founded, how it was operated, and what it produced. This paper seeks to explore how it contributed to Ottoman architecture and industry in the nineteenth century by focusing on its location, organization, and production.
IDES’19 International Design and Engineering Symposium | Sustainability, Innovation, Production, 2019
Architectural history education is a fundamental component of architectural education curricula a... more Architectural history education is a fundamental component of architectural education curricula at undergraduate level all over the world. Although learning architectural history is an important means for architecture students to understand and interpret what others have done before, it is usually taken for granted. In most schools, it is taught as linear in following a chronological order, as subjective due to its origin in the discipline of history, and as non-global due to the dominance of the 'Western'-based and Eurocentric canon of great monuments and architects as important figures. Such approaches constituted the basis of architectural history survey books that were used to support architectural history courses until the 1980s. In 1985, Spiro Kostof's A History of Architecture became a turning point and significant attempt to globalise architectural history. Moreover, since the late 20 th century, all three of these notions have been continuously challenged and debates have occurred regarding how to redefine architectural history focusing on the issues of linearity, subjectivity and globalisation. This paper seeks to elucidate the issues of linearity, subjectivity and globalisation by analysing and comparing different views on them in order to provide a more comprehensive understanding of how architectural history can be redefined and taught more effectively.
TESKON 2015
The excessive consumption of energy in last decades and its detrimental consequences all over the... more The excessive consumption of energy in last decades and its detrimental consequences all over the world have made the design of environment-friendly buildings a committed objective of contemporary architects. In urban scale buildings, double-skin façade systems seem to offer an alternative to this ongoing energy problem. Particularly, buildings with double-skin façades which are able to act in response to changing climate conditions lower the energy consumption while setting a firm balance between the interior and exterior. Nevertheless, despite its being globally wide-spread, this system is still fairly new and unknown in Turkey. This study examines the history of double skin façade as an architectural element through a comparative analysis of some selected examples from the world vis-à-vis two recent buildings in Turkey.
ARCHTHEO 2013
Along with the changes and innovations in society and economy in the 19th century, there was a de... more Along with the changes and innovations in society and economy in the 19th century, there was a demand for higher buildings in America. In this case, the traditional load-bearing system lost its practicality; since the building was carried by the load-bearing walls and the thickness of the base wall was proportioned to the height of the building. When the building became taller, the base wall had to be thicker. In order to solve this problem, different strategies in construction were generated. Furthermore, thanks to the availability of new materials such as iron and steel, the frame appeared. As it took over the role of carrying load of floors and roof from wall, wall began to support only itself. This type of structure would be called as ‘‘cage’’ and popular especially in New York, prior to the appearance of skeleton structure in which wall is also carried by the frame. With the appearance of the cage structure, wall as an architectural component began to be reconsidered by architects. Since it was only supporting itself being detached from the main structure, it was on its way of becoming ‘‘autonomous.’’ This paper seeks to examine how cage structure appeared and contributed to the autonomous character of wall before the emergence of skeleton structure in which wall is transformed into an autonomous surface, being carried by the frame.
ARCHTHEO 2011
Metaphors have penetrated into architecture as they have into many other disciplines. One of the ... more Metaphors have penetrated into architecture as they have into many other disciplines. One of the most influential metaphors in building design, “dressing―Bekleidung,” was advocated by Gottfried Semper in the 19th century. Suggesting a break away from the Vitruvian triad―utilitas, firmitas and venustas, he categorized the elements of a building based on the idea of tectonics, which other thinkers such as Andrea Palladio, Carlo Lodoli and Karl Bötticher had already described in different ways until that time. Kenneth Frampton writes that for Semper, the building consists of the light tectonics of the frame and heavy stereotomics of the earthwork. Furthermore, with the theory of “dressing―Bekleidung,” Semper claims that the woven textile cover which is carried on the front defines the limits of the architectural space. According to him, it also becomes the building enclosure and precedes the structure. These ideas of Semper seemed to bring a different perspective to the analysis of architecture. However, he knew that a similar approach to his was already present in traditional Japanese architecture. For instance, he argues that the traditional Japanese teahouse is an example which clearly justifies the separation between the components of a building in terms of tectonics and stereotomics, i.e. framework and earthwork. This paper seeks to explore the hints traditional Japanese architecture offered related to the metaphor of “dressing.”
Journal Articles by Pınar Kutluay
Journal of Social, Humanities and Administrative Sciences, 2022
During the rise of industry, Gottfried Semper's understanding of tectonics and notions of body an... more During the rise of industry, Gottfried Semper's understanding of tectonics and notions of body and dressing of building highly dominated architecture of Nineteenth Century Germany. Later in the twentieth century, being concerned with the human body and its health, the Körperkultur Movement emerged as an important social change and emphasized the negative consequences of industrialization. After the Korperkultur, the Austrian-born architect and artist Frederick John Kiesler also dealt with tectonics in architecture regarding the relationship between body and dressing of building. His interpretation of architectural form includes references to body, nature, and perception that are parallel to the doctrines of the Korperkultur and shows that how such a cultural movement had a significant impact on architecture. This study seeks to examine how Kiesler interpreted form in his architectural design in terms of the notion of body together with the aspects of nature and perception similar to the approach of the Körperkultur.
Social Sciences Studies Journal , 2022
Seljuks left a remarkable legacy in Anatolia and contributed to its development in various aspect... more Seljuks left a remarkable legacy in Anatolia and contributed to its development in various aspects. Architecture became a means that allowed them to realize their economic and political goals especially with monumental buildings. In this case, building typology and patronage were decisive. During the reign of Anatolian Seljuks, the most common typologies were caravanserais, madrasas, and mosques and their patronages referred to an important issue. By the thirteenth century, architecture had different patrons than sultans in Seljuks, members of
the royal class and the military bureaucratic elite also began to patronize buildings from various typologies. This paper tries to analyze how different kinds of patronage in Anatolian Seljuk Architecture shaped the architectural style of the period and the constructions of the buildings with different typologies in the cases of the Sultan, the grand vizier Sahip Ata as a high-degree bureaucrat and the Sultan’s wife, Mahperi Huand Hatun, as his family member.
Academic Social Resources Journal , 2022
Encounters have led to significant changes in world history. They have allowed cultural exchange ... more Encounters have led to significant changes in world history. They have allowed cultural exchange between different parties such as the East and West. In the case of Ottoman Empire and Europe, it is also possible to observe the consequences of this issue. Until the eighteenth century, Ottomans did not feel the need to interact and learn from Europeans; however, things changed in this period. The newly formed political and economic relations between Ottomans and Europeans became influential in many areas, including architecture. Cultural exchanges and different attitudes of both parties can be explored by examining the terms of Orientalism and Occidentalism, which can shed light on how they contributed to shaping their architecture. This paper aims to investigate the similitude and contrasts between the concepts of Orientalism and Occidentalism in relation to how they can be used for an analysis of Eighteenth-Century Ottoman and European Architecture.
Journal of Social, Humanities and Administrative Sciences, 2022
Roman architecture is usually considered a whole with Greek architecture. Referring to its formal... more Roman architecture is usually considered a whole with Greek architecture. Referring to its formal qualities, it has been regarded as perfect throughout architectural history. However, this perfection not only derives from formal qualities but also monumentality that revolved around the issues of politics, urbanism, and visual imagery. Roman buildings conveyed political messages that contributed to their monumental characters and their arrangements defined monumentality on the urban scale. Furthermore, visual imagery offered citizens a different architectural and urban experience that led to perceiving monumentality in their minds. This paper tries to examine Roman architecture in terms of these three concepts of politics, urbanism, and visual imagery based on how they contributed to achieving monumentality.
Şeffaflık bir maddenin, içinden ışığın geçmesine izin vermesini sağlayan fiziksel özelliğidir. Ör... more Şeffaflık bir maddenin, içinden ışığın geçmesine izin vermesini sağlayan fiziksel özelliğidir. Örneğin cam şeffaftır. Bir cam parçası tutulup bakıldığında, arkası hiçbir engel olmaksızın rahatça görülebilir. Şeffaflık bu basit tanımının ötesinde, bir filmin çekildiği ortamın, mimari mekanlarının ana özelliği olabilir mi? Azınlık Raporu göz önünde bulundurulduğunda bu soruya olumlu yanıt verilebilir. Azınlık Raporu 2002 yılında Steven Spielberg tarafından çekilen bir filmdir. 1946 doğumlu Spielberg sinemanın dahi çocuğu diye anılan Amerikalı bir yönetmen ve yapımcıdır. E.T, Jaws, Terminal, Sıkıysa Yakala, Münih, Er Ryan'ı Kurtarmak ve Jurassic Park gibi ünlü filmlere imza atmıştır. Bunlar dünya çapında tanınan filmlerdir. Yönetmen parlak kariyeri boyunca değişik türlerde filmler çekmiş ve üç kere Oscar ödülü kazanmıştır. Azınlık Raporu'nun senaryosu ünlü bilim kurgu yazarı Philip K. Dick'in bir kısa hikayesinin üzerine kuruludur. Olaylar 2054 yılında Washington DC'de geçer. Dedektif John Anderton potansiyel suçluları, onlar suçu işlemeden önce, üç kahinin ve bazı özel teknolojik cihazların yardımıyla yakalayan bir polis ünitesinin şefidir. Oğlunu birkaç yıl önce halka açık bir yüzme havuzunda kaza sonucu yitirmiş ve eşinden ayrılmış mutsuz bir adamdır. Teselliyi ailesinin eski videolarında aramaktadır. Ayrıca sık sık şehrin varoş kesimlerinde gezerken görülen bir uyuşturucu bağımlısıdır. Kendini yaptığı işe adamıştır, ön suç sisteminin mükemmel olduğuna ve hiç yanılmayacağına gönülden inanmaktadır. Ancak, parçası olduğu sistem onu hiç
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Thesis (MSc.Arch) by Pınar Kutluay
In detail, the study sheds light on how frame structure, one of the main components of a curtain wall system, came to be called as ‘‘skeleton’’ with reference to the theory of organicism. The dressing—Bekleidung—theory of Gottfried Semper is also examined as an alternative interpretation of the relationship between structure and facade regarding monumentalization through dressing and masking; as skeleton structure led architects to reconsider wall with concern of representation. Furthermore, the study concentrates on the architectural environment of Chicago in the second half of the Nineteenth Century, exploring two mainly different interpretations of frame structure which both arose from a shared concern of representation by some significant architects, including Louis H. Sullivan, who was also interested in monumentalization through ornament. This thesis claims that curtain wall is a metaphor invented to reconcile the emerging technology with the theory of representation which had diverse sides.
Conference Presentations and Proceedings by Pınar Kutluay
studied. Alongside order, it has been widely used to understand and examine the historical and theoretical background of the design concerns for classical buildings. For instance, Roman architecture is known to be monumental. The idea of order gained importance together with reason during the Enlightenment, and they both contributed to the development of several scientific disciplines, including archaeology. Such a rational way of thought also paved the way for a revival of Classicism, which would later be labeled as Neoclassicism. From the architectural perspective, this referred to incorporating classical architectural elements into the contemporary styles of the period. In Nineteenth-Century Germany, the increasing interest in archaeology as a result of the Enlightenment
eased the growth and spread of this approach. Meanwhile, leading archaeologists like Johann Joachim Winckelmann and Heinrich Schliemann produced influential works in archaeology based on their
studies of ancient Greeks and Romans. Their views, together with the general archaeological activities and increasing body of knowledge in the field, became a source of inspiration for architects such as Karl Friedrich Schinkel and Gottfried Semper. These significant figures benefitted from archaeology in shaping their architectural approaches regarding both theory and practice. Monumentality emerged as an important idea for them concerning their interest in Classicism. This paper seeks to investigate how Nineteenth-Century German Neoclassical Architecture shares the idea of monumentality with classical architecture based on the scholarly and built works of Schinkel and Semper.
Journal Articles by Pınar Kutluay
the royal class and the military bureaucratic elite also began to patronize buildings from various typologies. This paper tries to analyze how different kinds of patronage in Anatolian Seljuk Architecture shaped the architectural style of the period and the constructions of the buildings with different typologies in the cases of the Sultan, the grand vizier Sahip Ata as a high-degree bureaucrat and the Sultan’s wife, Mahperi Huand Hatun, as his family member.
In detail, the study sheds light on how frame structure, one of the main components of a curtain wall system, came to be called as ‘‘skeleton’’ with reference to the theory of organicism. The dressing—Bekleidung—theory of Gottfried Semper is also examined as an alternative interpretation of the relationship between structure and facade regarding monumentalization through dressing and masking; as skeleton structure led architects to reconsider wall with concern of representation. Furthermore, the study concentrates on the architectural environment of Chicago in the second half of the Nineteenth Century, exploring two mainly different interpretations of frame structure which both arose from a shared concern of representation by some significant architects, including Louis H. Sullivan, who was also interested in monumentalization through ornament. This thesis claims that curtain wall is a metaphor invented to reconcile the emerging technology with the theory of representation which had diverse sides.
studied. Alongside order, it has been widely used to understand and examine the historical and theoretical background of the design concerns for classical buildings. For instance, Roman architecture is known to be monumental. The idea of order gained importance together with reason during the Enlightenment, and they both contributed to the development of several scientific disciplines, including archaeology. Such a rational way of thought also paved the way for a revival of Classicism, which would later be labeled as Neoclassicism. From the architectural perspective, this referred to incorporating classical architectural elements into the contemporary styles of the period. In Nineteenth-Century Germany, the increasing interest in archaeology as a result of the Enlightenment
eased the growth and spread of this approach. Meanwhile, leading archaeologists like Johann Joachim Winckelmann and Heinrich Schliemann produced influential works in archaeology based on their
studies of ancient Greeks and Romans. Their views, together with the general archaeological activities and increasing body of knowledge in the field, became a source of inspiration for architects such as Karl Friedrich Schinkel and Gottfried Semper. These significant figures benefitted from archaeology in shaping their architectural approaches regarding both theory and practice. Monumentality emerged as an important idea for them concerning their interest in Classicism. This paper seeks to investigate how Nineteenth-Century German Neoclassical Architecture shares the idea of monumentality with classical architecture based on the scholarly and built works of Schinkel and Semper.
the royal class and the military bureaucratic elite also began to patronize buildings from various typologies. This paper tries to analyze how different kinds of patronage in Anatolian Seljuk Architecture shaped the architectural style of the period and the constructions of the buildings with different typologies in the cases of the Sultan, the grand vizier Sahip Ata as a high-degree bureaucrat and the Sultan’s wife, Mahperi Huand Hatun, as his family member.