Taçkapılar

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Kütle Biçimlenişi ve Cephe Düzenlenmesi

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Mukarnas Bezeme

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Minareler (Biçimsel Analiz)

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Art History Postgraduate Education in Istanbul Technical University (1999 and 2006)

Günümüz sanat tarihi eğitimi, küreselleşen dünyada birçok alandan beslenmektedir. Her sanat yapıtı içinde bulunduğu kültürün bir göstergesidir. Dolayısı ile sanat tarihi, dünya kültürünün malzemesini bize sunmakta, geçmişin sosyo-kültürel ve ekonomik yapısını çözümlememizi sağlamakta, günümüzü ve geleceğimizi daha doğru değerlendirebilmemize aracı olmaktadır. Özellikle, çeşitlilik açısından kültür birikiminin zengin olduğu ülkemizde sanat tarihi eğitimi önem kazanmaktadır. Bu nedenle, yüksek lisans eğitiminde gerekli olan yenileme ve değişiklikler disiplinlerarası bilgiye, farklı sanat dönemlerinin birbiriyle ilişkisine ve farklı eğitim yöntemlerine dayanmaktadır. Bu makalede, İstanbul Teknik Üniversitesi Sanat Tarihi Lisansüstü eğitiminin 2001-2006 yılları arasında geçirdiği yapısal yenilenmeye yer verilmiştir. Sanat tarihi Rönesans döneminde Vasari'yle başlar ve gelişmiş ülkelerde sanat tarihinin historiografisi günümüze değin her dönemin düşünsel yapısına uygun biçimlenerek gelişme gösterir. Ülkemizde sanat tarihi eğitiminin geçmişi kısadır. İlk sanat tarihi kürsüsü 1943 yılında İstanbul Üniversitesi'nde kurulmuştur. İstanbul Teknik Üniversitesi'nde ise Sanat Tarihi dersi Mimarlık Tarihi kürsüsünün bir dersi olarak 1950'lerde eğitim programında yer almış ve Mimarlık Tarihi ile birlikte Mimarlık Fakültesi'nin eğitim programlarını, kuramsal ve biçimsel tasarımı besleyen bir dal olmuştur. Türkiye çapında seçkin bir akademik kadroyla eğitime katkıda bulunmuştur. Anahtar Kelimler: Sanat tarihi, eğitim, disiplinlerarası bilgi.Nowadays, several fields of globalized world contribute education of Art History. Each artwork represents its own culture. Therefore, Art History presents the material of world culture; helps to analyze the socio-cultural and economical structure of the past and functions as a tool in order to analyze better our present and future. Especially, Art History education is becoming a very important study in a country such as Turkey where cultural heritage is very rich. This is why the necessary upgrading and changes of the postgraduate education depend on acquiring interdisciplinary knowledge, interconnection between different periods of art history and different methods of education. This article is about the structural changes between 2001 and 2006 of the postgraduate program of History of Art, Istanbul Technical University. The historiography of Art History in developed countries resembles a development, which is appropriate and linear of each following periods of intellectual structure. However, the past of art history education is very short in our country. The first chair of Art History was established in Istanbul University in 1943. Furthermore, in Istanbul Technical University, a course of Art History combined, as a course under the chair of Architectural History was included in the education program in Istanbul Technical University in 1950. With the courses of Architectural History, this course did become one of the main nourishing subjects in the Faculty of Architecture that contributed the educational program, the design of theory and form. Also, with a distinguished academic team, the program contributed the education in Turkey. The Chair of Art History was established by Prof.Dr. Semra Ögel and started its postgraduate education in the academic year of 1986-1987, in ITU Institute of Social Sciences. The directorship of the chair was replaced by Prof.Dr. Ayla Ödekan after the retirement of Prof.Dr. Semra Ögel in 1999. The program had 15 placements for MA and 10 for PhD degrees between 1999 and 2006. As a known fact, it is difficult to find a job in the field of History of Art in Turkey; however our all ITU students who have graduated from our program succeeded to find jobs, which proves the performance and success of our program. As writers, gallery experts, academicians in the public and private universities and as university members, they are continuing their profession in History of Art. The aim of our chair is to widening up the perspective of the education of the field of Art History. Therefore, the program was updated by including several courses of periods of Ancient, Byzantine, Seljuk, Ottoman, Early Republic of Turkey and Modern. Moreover, courses of theory, methods, sociology, and philosophy were included to the program. An interdisciplinary education combined with new methods in archiving, critical theory and collaboration with guest professors improved the program, which became one of the most demanded postgraduate Art History education. In the meanwhile, relations that were established with Art History Department of Berlin Technical University by Prof.Dr. Semra Ögel have been developed and new exchange agreements such as with Trier University have been established since 2001. Several workshops and conferences were initiated since 2001 in order to open the education to different fields and public. For example, "Young Researcher in Art History" conference gathers new graduated MA and PhD. students from Turkey to support them to present their dissertation thesis, and work in order to create a discussion platform and also to archive recent research each year. Several Turkish artists have been invited to present and discuss their artistic practices in order to create a link between the practical sites of art and history & theory. The symposium "Human Rights and Art" hosted several artists, writers and cultural entrepreneurs. "Art and Philosophy" workshop was a fruitful collaboration with Galatasaray University Philosophy Department and several other guest professors. The research project in the city of Birecik in Anatolia between 2001 and 2005 was conducted with the prominent science institution of Turkey such as TUBA that a lot of students of our program were able to participate. The whole activities since 2001 created several connections and relations between different fields of science, disciplines and also parts of the society. After the retirement of Prof.Dr.Ayla Ödekan, Prof.Dr.Filiz Özer is the chair of the program since the academic year of 2006-2007. Keywords: Art history, education, interdisciplinary knowledge

Sedat Çetintaş

Erken ve Klasik Osmanlı mimarlığı konularında değerli çalışmalar veren Sedat Çetintaş, cumhuriyet döneminin önde gelen aydınlarındandır. Bu çerçevede sanatsal değeri yüksek rölöveleriyle Bursa, Edirne ve İstanbul’da Osmanlı anıtlarını belgelemiştir. Son derece değerli yayınlar yaparak, bilimsel açıdan da çalışmalarını desteklemiştir. Makalede, Sedat Çetintaş’ın çalışmaları, ortaya koydukları ele alınacaktır.Producing significant publications on Early and Classical Ottoman Architecture, Sedat Çetintaş is one of the preliminarily intellectual personalities of Republic Era. He worked on surveys of Ottoman heritage in Bursa, Edirne and İstanbul which has significant artistic values as well. Moreover, he had scientific publications. The essay involves his works

İstanbul'da Tanzimat sonrası Galata-Şişli hattında Rum cemaati ve eğitim yapılarının arka planı

The relations with the Western countries which were increased and intensified rapidly after the Tanzimat Period especially through the second part of the 19th century, educating masses of people became a priority and provided non-Muslims with the means of building a national/ideological/social identity for themselves to be an eligible part of the rising kapitalist system in the new era as the new educational ways formed by the Enlightment ideas worked as a mechanism of social transformation. Thus, along with the Tanzimat reforms guaranteeing individuals their rights to private property, they started to build a new model of urbanization of their own in Galata and Pera region in İstanbul. Pera located just North of Galata became both a residancial area and employment centre specifically for the European diplomatic missions starting from the 16th century onwards while Galata was reserved rather for business and finance characterizing the region as westernized by the co-existance of the Ottoman Greeks, Armenians, Jews and Levantines with the European community. Greeks gaining great economical power from state-lending, commercial and banking activities in the 19th century, Pera became increasingly favorable center of social importance in Istanbul accompanied with the social and economical rise of a Greek middle class. The Greeks were more to make use of new opportunities by the civil rights they were entitled according to the continuous reforms and new legislations during the post-Tanzimat period as they had preceding contacts with the West for establishing business relations with the European countries as traders and dragoman in diplomatic missions etc.. Due to various reasons such as new means of transportation, new types of buildings emerging with new functions like, schools, hospitals,  train stations, universities, police stations, barracks, factories, bridges, apartment blocks, clock towers etc. changing the pattern of the daily life with increased standards of living as well as the great conflagrations like in Hocapaşa in the Historical Peninsula as well as Galata and Pera, the Greek, Armenian and Jews are moved from Fener, Balat, Hasköy, Kumkapı and Samatya to the more favoured areas and different parts of the northern region like Kurtuluş, Feriköy, Şişli, Nişantaşı and Maçka along the route between Galata and Şişli towards the end of the 19th century. The buildings by the Ottoman non-muslim communities had their contributions in the western type of urbanization process in these regions. Along with the gradual Greek Orthodox population flow to the area, the Greek community character became more significant. Historically, generally, education took place in the nartex or in the courtyards of the churches. The Institutional differentiation was to emerge following the Tanzimat period, with the creation of educational institutions expressing a particular character that is serving for a mass education to produce more consciousness of a national identity.  Among of all the building types, the educational buildings indicated the changing paradigms with the rising notions in the era, indicating the impacts of the cultural transformation in the building environment. Parallel to the changing state of economical, political and social affairs at the Ottoman Empire following the Tanzimat, they went through a social transformation period which reflected itself directly to the building environment. The upper classes of the Greek Orthodox communities composed of big merchants, state officials and bankers based in Istanbul took the lead to bring a new aspect, a new context to the educational and cultural environment with the means in their power. Thus, the Greek community built their schools for higher education in order to become a well educated and a modern society using European concepts both in teaching programmes and buildings as a strong architectural language. The educational institutions including primary, secondary and higher schools established all through the 19th century were not isolated formations but parts of a larger  social, cultural and educational context following the examples in the European countries both ideologically and architectural wise representing and conveying the Enlightment and modernization ideas gradually forming their own national identity in order to transform the community. These school buildings erected were clearly reflecting the life styles in the era, making a great contribution in the urbanization process in order to state the results of the social and political context created by the Western impact and the new paradigms that the 19th c. brought with. Keywords: Minorities, Ottoman Greeks, non-Muslims’ educational buildings. Tanzimat temelinde çok çeşitli sivil hak ve özgürlüklere kavuşan gayrimüslimler içinde Rumlar, Batılı ülkelerle geçmiş yüzyıllara uzanan bağlarını güçlendirmiş, imparatorluk içinde ağırlıklı oranda ticaret ve parayla uğraşan kesim olarak mesleki avantajlarının ve konjonktürün getirdiği fırsatları değerlendirerek ekonomik ve toplumsal alanda parlak bir yükselme elde etmişlerdir. Ticari ilişkilerinin bir yan getirisi olarak Rönesans ve Fransız devriminin yarattığı Batılı yeni dünya anlayışı ve endüstriyel gelişme ile imparatorluk içinde herkesten önce tanışmışlardır. Yeni dünya sistemi içinde kurdukları ilişkilerle Rumlar imparatorluğun başşehrinde önce ekonomik güç elde etmiş, arkasından kendilerine sunulan tarihsel geçmişle geleceği Aydınlanma fikirleri rehberliğinde yorumlayan entelektüel sınıflarını yaratmışlardır. Zenginleşme ve zenginliğin sağladığı olanaklarla ortaya çıkan gayrimüslim burjuvazi, Batıda gördüğü yaşam biçimini yüzyıllardır yaşadığı imparatorluk sınırları içinde, İstanbul’da yaratabilmek için en başta eğitime ağırlık vermiştir. Çağdaş kitlesel eğitimle biçimlendirilecek olan Rum milleti, modern yaşam biçimlerini şehirde yeniden üretecektir. Kentsel bağlamdaki yansımaları ise, Galata-Şişli hattında modern yapı biçimlerinin örneklendiği ilk kentsel prototipin oluşmasına katkılarıdır. Yer aldıkları kentsel doku içerisinde benimsedikleri yeni dünya görüşünü etkili biçimde yansıtmışlar, Avrupai yaşam şeklini mekansal bağlamda ifade ederken devrin batılı fikirlerinden etkilenen yeni dünya ideallerini kendi bakış açıları doğrultusunda mimarlık alanında da yansıtmışlardır. Bu bağlamda işlevine yönelik tasarlanıp inşa edilen eğitim yapıları, mimari dil bağlamında dönemin sözcülüğünü yapan anıtsal binalardandır. Şehrin modernleşmesi ve yeni oluşan kentsel yapılanma içinde dönemin referanslarına temel katkıda bulunan önemli yenilikçi binalar olarak yerlerini almışlardır. Anahtar Kelimeler: Azınlıklar, Osmanlı Rumları, gayrimüslim cemaat okulları

Erken Cumhuriyet Dönemi'nde yerli malı kavramı ve İstanbul yerli malı sergileri

Priority was given to consumer products during 1930’s in the Early Republican Period Turkey, as a result of the governmental support on the idea of productivity and on the practice of industrialization, in order to increase the welfare of the nation. Concepts like welfare, hygiene and modernity were emphasized in relation to everyday products. Increase in productivity was aimed by encouraging the use of domestic products. Expanding the idea of consumption and encouraging the use of domestic products were the significant efforts within an economy that was closed to outside and highly state supported. In 1929, National Union of Economy and Savings (MITC) was founded as an offspring of the policy of economy significantly supporting industrialization and mechanization. One of the missions of MITC was “the promotion of increasing the quantity, the quality and the beauty” of Turkish products and to make them known and sold worldwide. MITC organized “the National Models Exhibition” in 1930, “the Agriculture and Technique Exhibition” in 1931, “the Second National Exhibition of Industry” in 1931, “Tenth Year Economy Exhibition” in 1933 and “Ankara Industry Exhibition” in 1934. The most significant events that MITC organized in the context of design history were “the national exhibitions of domestic products”. After the Turkish participation to the first International Great Exhibition in 1851 and to the successor 19th Century and early 20th Century world exhibitions, the idea of exhibiting was carried into a new level of understanding by the agency of MITC during the Early Republican Period. Despite the fact that exhibiting was appropriated for overcoming the hard economic conditions, it was also one of the propaganda tools of the Early Republic serving as an arena of modern socialization. Apart from the ones held in Ankara, MITC encouraged the organization of domestic products exhibitions for ten years of time in Istanbul, between 1929 an 1938. The exhibitions were organized in the large hall of Galatasaray High School. The profile of the exhibitors was heterogeneous including firms from the private sector, state-supported factories, state-owned factories, together with local artisans, and artists. The exhibitions of domestic products provided a platform for the activity of design and practice in different working areas. Products of industry and crafts from a wide range of the Turkish daily life were exhibited. Designing the stands and pavilions of the exhibitors was one of the main design activities for a significant and a limited number of designers. The posters for the announcement and the promotion of the exhibitions and the other activities of MITC were also a telling design activity of the time. MITC, as some of the state organizations, was successful in using graphic design as a strong tool of propaganda and promotion. Among the exhibitors, most of the state institutions and factories, and some of the private firms showed themselves off through high modernist stands, which acted as a face of modern production and positivist thinking. The modernist stands and pavilions of most state firms were designed by the designers/decorators/artsists of the time such as Arif Dino, Vedat Ar and İsmail Hakkı Oygar. These high modernist stands acted as meeting points between modern design and the public. The posters designed by İhap Hulusi, also served the same purpose whilst promoting the use of domestic products. The objective of the İstanbul Domestic Products Exhibitions was to bring the products of Turkey together with large communities under the same roof for setting the idea of money saving and encouraging the consumption and use of domestic products. Another important and significant issue that domestic product exhibitions acted as a key actor was about challenging the negative impressions of the public on the domestic products, and presenting the concept “Türk Malı (Turkish Product)” as reliable. Writers and thinkers of the period supported MITC and the idea of “Türk Malı”, while they also criticized local producers for not reaching the standards that MITC was promoted. Domestic products were not only exhibited but also sold in these exhibitions. It can be argued that these exhibitions acted as the first modern domestic department stores in the Republican Turkey, and triggered a new dimension of the consumer society.  Keywords: Early Republican Period, domestic products, domestic product exhibitions, exhibition design.1930’larda fikirde üretkenliğin, uygulamada endüstrileşmenin desteklenmesinin sonucu olarak ulusun refahının arttırılması yolunda tüketim mallarına öncelik verilir. Gündelik yaşam eşyalarıyla refah, hijyen, modernlik gibi konular ilişkilendirilirken, “yerli mal” kullanımı teşvik edilerek üretkenliğin arttırılması hedeflenir. Dışa kapalı ekonomiyle birlikte toplumda tasarruf bilincini uyandırmak ve yerli ürünlerin tüketimini özendirmek amaçlı uygulamalar yapılır. Böylece, 1929’da Milli İktisat ve Tasarruf Cemiyeti (MİTC) kurulur. MİTC’nin Türkiye’de ürün tarihi bağlamındaki en belirgin etkinliği ulusal yerli malları sergilerinin düzenlenmesidir. 1851 uluslararası sergisine katılımın ardından yeni bir kavrayışla düzenlenmeye başlanan sergilerin, MİTC’nin aracılığıyla Erken Cumhuriyet Dönemi’nde sürdürülerek başka bir düzleme taşındığı görülür. “Sergicilik” içine girilen ekonomik koşulların aşılmasına hizmet etme önceliğiyle benimsense de aynı zamanda Erken Cumhuriyet’in propaganda araçlarındandır. Cemiyet Ankara’da düzenlediği sergiler dışında, İstanbul’da 1929-1938 yılları arasında, 10 yıl boyunca “Yerli Malları Sergisi”nin düzenlenmesini sağlar. Sergi salonu olarak Galatasaray Lisesi’nin salonu kullanılır. Yerli malları sergileri sergilenecek ürünler, ürünlerin sergileneceği stantlar ve tanıtımın aracısı afişler gibi farklı alanlarda tasarlama ve uygulama zemini hazırlamıştır. Sergilerin amacı tasarruf bilincini yerleştirmek ve yerli mal kullanımını özendirmek için Türkiye’de üretilen ürünlerin geniş kitlelerle aynı çatı altında buluşmasını sağlamaktı. Bununla birlikte sergilerde halkın yerli ürünler hakkındaki olumsuz fikirlerini değiştirmek, yerli mallarla güven kazanmak da hedeflenmiştir. Satış da yapılan bu sergiler tüketim toplumunun yeni bir boyutu olan departman mağazaları görevini de periyodik olarak üstlenmişlerdir. Bu sergiler Erken Cumhuriyet Türkiye’sinde bazı mimar ve sanatçıların stant tasarımları yapmalarına olanak da sağlamıştır. Anahtar Kelimeler: Erken Cumhuriyet Dönemi, yerli malı, yerli malı sergileri, sergi tasarımı

Historical development of museum education

Müzeler kurulduğu yıllardan itibaren eğitim amacını taşımışlardır. Ancak müzelerde eğitim toplum yaşamına, eğitim ve müzecilik teorilerine göre farklı dönemlerde farklı anlam ve roller üstlenmiştir. Bu çalışmanın amacı, müzelerde eğitimin gelişimini ana hatlarıyla tarihsel perspektif içinde değerlendirmektir. Müze bir kurum olarak Avrupa’da mevcut koleksiyonların ziyarete açılmasıyla ortaya çıkmıştır. Müzelerin halka yönelik eğitim misyonuyla kurulmaları, halka açılmalarıyla başlamıştır. 19. yüzyılda müze ve eğitim ilişkisi Endüstri Devrimi’nin etkileriyle gelişmiştir. Bu dönemde doğrudan eğitim amacıyla pek çok müze kurulmuştur. Müze eğitimi 19. ve 20. yüzyılın ilk yarısı boyunca izleyiciye bilgi aktarımı ve öğrenenin olabildiğince çok bilgiyi alması olarak görülmüştür. Fakat 20. yüzyılın ikinci yarısından başlayarak müzelerde eğitimin anlamı tamamen değişmiştir.  Bu dönemde müze eğitiminde bilimsel yaklaşım önem kazanmıştır. Bunun en büyük etkenlerinden biri UNESCO ve ICOM gibi uluslararası organizasyonların kurulmasıdır. 20. yüzyılda müze eğitimine yaşanan diğer önemli bir gelişme, 1950’lere kadar daha çok okul gruplarına yönelik çalışmalara ağırlık verilirken, 1950 sonrasında yetişkin izleyiciye yönelik çalışmalara da önem verilmeye başlamasıdır. Günümüzde eğitim müzelerin temel işlevleri arasında kabul edilmekte; müze eğitimi insanların var olan bilgi, yetenek ve kişisel ilgilerine göre müze koleksiyonlarından deneyim kazanmalarını, kendi anlamlarını çıkarmalarını sağlama ve yaşam boyu eğitimlerine katkıda bulunma süreci anlamını taşımaktadır. Pek çok müzede eğitim bölümü diğer bölümlerden ayrı bir birim olarak yer almakta,  farklı izleyici türlerinin ilgi ve ihtiyaçlarına göre formal ve informal eğitime katkıda bulun çeşitli eğitim etkinlikleri sunulmakta, değerlendirilmekte ve geliştirilmektedir. Anahtar Kelimeler: Müze eğitimi, müze eğitiminin tarihçesi, müzecilik.Museums are institutions which have educational aims since the first museums had been estab-lished. The meaning and role of the education in museums change according to life of the society which is formed by the artistic, scientific, technologic and social developments and theories of education and museology in different periods of time. The aim of this study is to explain the development of the museum education on the main lines with a historical perspective. Before modern museums developed, different societies preserved objects and collections they held important. Museums in the modern sense developed in Europe in the 17th century with the opening of private collections of courtiers and gentlemen to visit. Museums have been accepted among the most important institutions as the source of knowledge during the Age of Enlight-enment. These first museums were educational environments for the members of the bourgeois to learn their country and the world and to increase their level of knowledge. Education as a crucial museum function has been recognized as long as there have been public museums. The first public museum, the Louvre Museum, opened in 1793. It formed an integral part of the newly democratic state. After the opening of the Louvre museum a lot of public museums established in Europe. In these museums education carried a political meaning such as transferring the information and values determined by the government to educate the people as citizens. In the 19th Century the relation between museums and education was developed with the influences of the Industrial Revolution. In the latter half of the 19th century, as industrialization progressed, population moved to the cities, and science and industry reshaped life. Moreover, government increasingly took responsibility for social services and education. Museums were viewed as one type of institution among several ones that could provide education for masses. Many museums were established for direct and explicit educational purposes. Since the begin-ning of the 19th century the museums have been serving schools. Educational programs for children and school groups gained importance in the museum education, until the 1950's. The relation between the school and the museums especially developed after the 1950's. During the 19th century and much of the twentieth, education in museums was mainly understood as delivery of information to learners whose task was ab-sorbing as much as possible. But it has been completely changed since the twentieth century. At the second half of the 20th century scientific approach gained importance in the museum education. One of the most important reasons of this is the establishment of organizations like UNESCO and ICOM. The activities and publications of these institutions lead to establish international standards and to create the environment of discussion and sharing information in museum education. In the definition of museum declared at 11th General Conference of  ICOM held on Copenhagen at 1974 education accepted one of the main functions of museums: A museum is a non-profit making, permanent institution in the service of society and of its development, and open to the public, which acquires, conserves, researches, communicates and exhibits, for purposes of study, education and enjoyment, material evi-dence of man and their environment. Another im-portant development in the museum education in the 20th century is the increasing importance of educational programs for adults. One of the main factors of this is the appearance of the concept of "lifelong learning". Since the mid-20th century the museum education discipline has been appeared in museum studies. Today, education in museums has been under-stood as the process which enables people to make their own meanings from museum collec-tions according to their existing knowledge, skills, background and personal motivation, and this provides them to develop their lifelong education. In many museums, education department takes place as an independent department, and many museums organize and present various educational activities according to the needs of different visitor groups such as children, adults, teenagers, etc. In Turkey the museum education has been developing for the last twenty years. Museum exhibitions are generally designed as object based without any educational purpose and there are very few numbers of educational programs in Turkish Museums. It is needed to develop the educational function, which will contribute to the education and culture of the public in Turkish museums.Keywords: Museum education, history of museum education, museum studies