Bir erken Cumhuriyet modernist mimarı: Seyfi Arkan

This article investigates the architectural understanding of an early Turkish Republican era modernist architect, Seyfi Arkan, who was one of the most influential architects between the years of 1930-40. Some documents on Arkan’s private life, the journals entitled Mimar /Arkitekt published in 1931 onwards and other sources that shed light on the era and Arkan’s buildings have been investigated in some detail. Arkan went to Berlin as a graduate student on a scholarship awarded due to his outstanding success as a student at the Academy of Fine Arts in İstanbul. In Berlin, he became a student of Professor Hans Poelzig, who influenced and partially shaped his architectural understanding and practice when he also worked in his office. Upon Atatürk’s invitation Arkan built Çankaya Presidential Residence in the new capital city of the Turkish Republic, Ankara. On his accomplishment he was appointed to build many other official and governmental buildings in Ankara. This made him the brightest and the most influential state architect of the era.  Arkan tragically lost the support of the State and his popularity after Atatürk’s death. Nevertheless, he still continued his modernist architectural designs and buildings without any compromise, even though he encountered various difficulties in his career afterwards. Modern architecture entered Turkey with the designs of foreign architects in 1927. These architects had been selected by the State to construct the prestige buildings in Ankara and to turn the city to a modern capital. Additionally, it became better well-known as a result of a series of publications in professional journals, Mimar/Arkitekt starting from 1931 on. However, modern architecture did not naturally come into picture with its essence that resulted from some economic, socio-cultural, and aesthetic concerns; but rather as the Zeitgeist of the era and as a by-product of the modern revolution and its ideology. In 1930’s, there was a radical change in the architectural paradigm in Turkey. Modern avant-garde movements in the early 20th Century in the West, namely movements before Bauhaus, were never influential and never exercised in the Turkish architectural practice. The main concern was to construct Ankara, the capital city of the new Nation-State, as a prestige project rather than constructing residential buildings. Since a modern capital was essential for the new republic, modern architecture was preferred. The problems of Turkish architecture in that era were numerous: Preference of foreign architects to conduct the prestige project, thus demoting Turkish architects’ status to a secondary position, lack of autonomy in the context of architecture, the existence of economic and technical problems were among these problems.  Arkan’s architecture is not like other modernist architects of the era abroad. Arkan’s architecture differed from others in the sense that it did not consist of a national identity characteristic which can be detected at first glance. For example, unlike in the case of Arkan, Aalto’s architecture contains influences from both his Finnish background and modernism, and Barragan’s architecture reflects both his Mexican origin and modernist tradition.  Arkan preferred universal architectural principles over local ones although he had a few architectural works, in which he synthesized universal and local architectural features. Arkan’s buildings are representatives of various interpretations from International style, to classicist characteristics, local and authentic variations, as well as Deco aesthetic, and modernist styles. Arkan’s attitude was that of an architect’s who softened the canonical components of the orthodox modern architecture, combining them with already existing conditions and Deco aesthetic interpretations through his professional experience and empathy. Arkan was an architect who was well aware of the fact that modernism was a project which attempted to grasp the spirit of the era. Yet, it is difficult to understand the intellectual background of his architectural designs. The most important factor that gives his designs their spirit was his commitment to the idea of total design. Arkan reflected this attitude in his designs from the smallest artifacts to the larger scale designs like the building itself.  This can be observed in nearly all of his modernist buildings. Arkan’s projects, which might appear to be stereotypical in the context of the Western architecture, are not at all stereotypical in Turkish architecture. In fact, Arkan’s attempts are considered to be more valuable than solely reducing modern architecture to principles and replicating one building after another. Keywords: Seyfı Arkan, modernism, modern architecture: 1930-40.    Bu makalede Erken Cumhuriyet döneminin modernist mimarı olan ve 1930-40 yılları arasındaki yapılarıyla döneme imzasını atmış olan Seyfi Arkan’ın bu aralıktaki yaşamı, eğitimi ve mimarlık anlayışı ele alınacaktır. Arkan’ın özel yaşamına ilişkin çeşitli dökümanlar ile 1931’den itibaren dö-neme ışık tutan Mimar / Arkitekt dergileri, diğer kaynaklar ve Arkan’ın yapıları incelenmiştir. Ar-kan’ın profesyonel kariyeri ve özel yaşamı oldukça trajiktir. Yabancı mimarların Türkiye’deki pro-jeler kapsamında çok gözde olduğu bir devirde Arkan’ın şansı, diğer Türk mimarlarının tersine devlet tarafından görevlendirilmesi olmuştur. Atatürk’ün ölümü sonrası resmi desteğin azalmasıyla yapı etkinliği de azalmaya başlamıştır. Yine de, modernist çizgisini ve yapı etkinliğini sıkıntılarla da olsa ödünsüz sürdürmüştür. Türkiye’de modern mimari Batı’daki gelişiminden daha farklı bir biçimde gelişmiştir. Batı’nın 1930’lar öncesi yaşadığı avangard dönemini Türkiye yaşamamıştır.  Modern mimari, Batı’dakinin tersine Türkiye’ye bir devlet politikası olarak tepeden inme biçimde girmiştir. Bu bağlamda Türkiye’de her alanda ağırlığı hissedilen 1930-40’lı yıllar arası modern mimariye sadece Batı’nın geçirdiği evreler açısından bakmak Türk mimarisi için tek açıklayıcı ölçüt olamaz. Arkan’ın mimarlık anlayışı, bazı yapılarında uluslararası üslubun tasarım ilkeleri doğrultusunda geliştirildiyse de bazı yapılarının biçimlenişinde klasisist, yerel ve Deco estetik tavırlar görülür. Bu bağlamda Arkan mimarlığı uzlaşmacı ve yumuşatılmış bir modernizmdir. Batı modern mimarisi ile kıyaslanırsa, belki stereotipik gibi görünen Seyfi Arkan’ın projeleri Türk mimarisi özelinde stereotipik değildir.  Anahtar Kelimeler: Seyfi Arkan, modernizm,1930-40 yıllarında modern mimarlık

The place of formal architectural education on the formation of the architect

Medya aracılığıyla iletilen görsel imgelerin egemenliğindeki gündelik hayat ortamında, mimarlığın üretim araçlarının da aynı egemen gücün etkisi altında olduğu görülmektedir. Bu çalışmada formel mimarlık eğitimi toplumsal faaliyet bütününün yansıdığı gündelik hayat çerçevesinde ele alınmıştır. Farklı disiplinlerden örnekler verilerek formel mimarlık eğitiminin toplumsal faaliyetin bütününde tanımlanan eleştiri alanı farklı açılardan okunmağa çalışılmıştır. Bu okumanın söylem ve tüketim ideolojisinin yansımaları karşısında, formel mimarlık eğitiminin sahip olduğu direnme noktalarını ortaya çıkarabileceği tartışılmıştır. Rasyonel programların ve kapalı sistemlerin etkisini yitirdiği bir dönemde, formel mimarlık eğitiminin gündelik hayatın dayattığına direnme gücüne sahip olacak şekilde yeniden kurulmasında, mimarlığın kendiliğindenliğini ve deneyimin bilgisini bünyesinde barındırmasının önemi vurgulanmıştır. Anahtar Kelimeler: Formel mimarlık eğitimi, gündelik hayat, toplumsal faaliyetin bütünlüğü.In a medium, where the visual images of media are dominant for daily life, the tools of architectural practice are under the same dominant power. From the moment that architecture needed to be legitimate within the society, the discourse of architecture became one of the components of the architectural production. Formal educational institutes are taken into consideration as one of the translation of social, cultural, and political values and codes. The place of the formal architectural education in this unity of the social praxis can have the leading role to resist the daily life. By re-structuring itself, formal architectural education can be the motive for architectural practice, hence social praxis. The main objective of this study is to discuss the place of formal architectural education within the unity of social praxis. The discussion is enriched by making comparisons from other disciplines. The area of criticism for formal architectural education is defined within a larger system. By discussing within this frame, the answer can be searched in the system, this reading can show the resistance points to what is given by the society and media. Similar to art, education seems to have the anti-thesis of the society and can be used as an instrument to ruin the thing that is insisted as an abso-luteness to the society. In a period where the rational programmes and rational theories are not valid, the importance of the contingent theories and intuitive approaches is discussed within the idea of re-structuring formal architectural education.  Keywords: Formal architectural education, everyday life, the unity of social praxis

A critical approach to the shopping malls as the new public spaces in our age

Tarih boyunca, sosyal, siyasal ve ekonomik alandaki değişimler, kamusal ilişki ve kamusal mekan kavramları konusundaki anlayışları etkilemişlerdir. Kapitalizm öncesindeki dönemlerde kamusal ilişki gündelik hayattaki iş, eğlence ve dinlence aktivitelerinin iç içe geçtiği, kendiliğinden gelişen aktiviteler bütünü olarak görülmüştür. Kapitalist  sistemin kendine özgü mantığı içinde ise gündelik hayatı oluşturan bu alanlar birbirlerinden ayrı bir şekilde tariflenmişlerdir. Bu bağlamda içinde yaşadığımız çağda kamusal ilişki kendiliğindenliğini kaybetmiş ve çağın dinamikleri doğrultusunda eğlence kavramı ile özdeşleşmiştir. Kamusal ilişki kavramına bakışta görülen bu değişim, kamusal mekan anlayışını da etkilemiş; çağımızın yeni kamusal mekanları alışveriş merkezleri haline gelmiştir.  Anahtar Kelimeler: Kamusal mekân, kamusal ilişki, alışveriş merkezleri, tüketim, tüketim toplumu.Throughout history, social, political and economical changes have affected the public spaces, which housed the everyday life of cities. In pre-capitalist periods public activity have seen as spontaneous combination of everyday life activities, like work, entertainment and leisure and they all have diffused each other indivisibly. However, with the rise of capitalist system, these everyday life activities have become separate activities and required separate spaces. This new understanding about the everyday life of the cities has also been influential about both the definition of public activity and public space in our century.  In that context while work activity become identical boring and isolated parts of metropolitan life, entertainment and leisure activities become identical with public life in metropolitan cities. Therefore, spaces including entertainment and leisure activities besides their main functions become the new public spaces in our age. Shopping malls, including leisure and commerce activities, have seen as the new public spaces in our age. This new understanding about public activity and public space has been influential on the space understandings of shopping malls. These spaces are transformed into public leisure complexes with the addition of several activities to their program and their spatial structure. So, as a result of this transformation, architectural spaces of the shopping malls also become a commodity that is both produced and consumed. Keywords: Public space, public life, shopping malls, consumption, consumer society

A study on the architectural representation as a paradigm

Mimari temsil Rönesans’tan bu yana bilinçli olarak mimarlık mesleğinde önemli bir betimleme aracıdır. O bu süre içerisinde genel olarak binaların teknik özelliklerini dile getiren pasif bir araç olarak görülmüştür. Fakat çağdaş mimarlık kültüründe mimari temsilin sahip olduğu bu kimlik, dönüşüme uğramış ve mimari temsil tasarımların etkin bir aracı olarak kabul edilmiştir. Bu çalışmada mimari temsilin sahip olduğu yeni karakter paradigma kavramı çerçevesinde incelenecektir. Bunun nedeni mimari temsilin mimarlık mesleğindeki etki alanlarını ve yarattığı değişimleri algılamada paradigma kavramının daha geniş açıklamalar ve anlamlandırmalar sunabilmesi, temsilin sadece teknik yönleriyle kalmayıp, sosyal ve kültürel niteliklerine de değinme imkanı sunmasıdır.  Anahtar Kelimeler: Mimari temsil, temsil, dil, paradigma.Architectural representation has been using consciously as an important depicting tool in architectural profession since the Renaissance. It has been seen as a passive tool which dealt with technical properties of a building or a group of buildings in this long interval. However, the notion has been transformed by the contemporary architectural culture and it was accepted as an active one in the architectural designs. In this study, the new character of the architectural representation will be examined according to the concept of paradigm. Because of its offerings extensive explanations and meanings about phenomenons, the concept of paradigm was selected for dealing with not only technical issues but also socio-cultural qualities of architectural representations. Thus, impacts on the architectural profession and its transformations which created by architectural representation will be grasped broadly. In this text, it will be indicated that the paradigmatic character of the architectural representation means firstly, it is not only a reproducing device of an idea but also shaping theme into the process of reflection; secondly, it is also affecting device of perception and behavior of the architects. The paradigms of representation can obtain extensive epistemological fundament for them. It enables architects to practice their profession more consciously than before. It is the mechanism which makes the decision on the use of representation tools or within the new conditions.  Keywords: Architectural representation, representation, language, paradigm

The effects of the socio-economical changes on housing typology in Osmaneli town

Toplumsal yaşamdaki değişim ve işlevsel farklılaşma kentin fiziksel yapısında da değişimi beraberinde getirmektedir. Osmaneli (Lefke) kasabası örneğinde, XVII.Yüzyıl ile XIX.Yüzyıl arasında kentin birincil ekonomik uğraşı olan ve yaygın bir eylem olması nedeniyle, toplumsal bir etkinlik olarak görülen konut içi ipekböcekçiliği  XIX. Yüzyıl sonu itibarı ile ekonomik ve sosyal ilişkilerdeki değişime bağlı olarak yavaş yavaş terk edilen bir uğraş haline gelmiş; büyük ölçüde buna bağlı olarak kentin mekansal yapısında değişim ortaya çıkmıştır. Bu çalışmada kent mekanı ve konut mekanında meydana gelen değişimler tespit edilip, zaman boyutu içinde ele alınırken; eski ve yeni ilişkisinin doğru bir biçimde kurulması ve kent mekanı ve konut mekanın koruma planlarının uygulanması ile ilgili çözüm önerileri getirilmiştir. Anahtar Kelimeler: Konut, kent mekanı, kent ekonomisi, ipekböcekçiliği, koruma.The effects of socio-economic changes in house typology and interior space usage are analyzed and evaluated in the context of a sample town. In this evaluation, the town of Osmaneli (Lefke) has been selected as the sample town for its traditional silk cocoon production past, from the XVII Century to the XIX. Century. Osmaneli has been a small scaled town that sustains its living from silk industry and agriculture and had close marketing ties with Bursa. The silk cocoon production has been the major economic activity in houses until recent times. In this study, the effects and present significance of economical change process of the town life and the problems that it brought to the urban space and architecture is analyzed. While the experience of migration of the inhabitants from Osmaneli town and the social and economical effects on daily living are examined, the reasons behind the abandonment of silk textile manufacturing and the effects of migration on housing typology are sought to be determined. It has been pointed out and highlighted the importance of carrying out research by means of an historical period of time and tries to bring out some proposals to evaluate conservation solutions on the sample town Osmaneli.  Keywords: Housing, urban space, urban economy, silk cocoon production

Effect of popular culture on to form urban discourse

Kentsel/mekânsal söylemleri oluşturan çeşitli kaynaklar, sistemler, ilişkiler vardır. Kentsel söylemler, kentsel mekânı yapısal olarak üretenlerin metinlerinden olduğu kadar, popüler kültürün yazılı araçlarındaki temsillerinden sıklıkla beslenir ve toplumun hafızasında mayalanır. Çünkü söylemler, kişinin düşüncesini ifade etmek için kullandığı dil kodlarıdır. Bu yargının, özellikle mimarlığın kamusal alan tarafından tanımlandığı, gündelik yaşamımıza girerek meslekten olmayanlarca da konuşulduğu 1980'li yıllar ve sonrası için doğru olduğu söylenebilir. Bu çalışma Popüler kültür ve kentsel söylem arasındaki ilişkiyi irdelemeyi, bu arakesitin daha iyi değerlendirilmesiyle oluşacak kazanımlara kestirim yapmayı hedeflemektedir. Günümüz kuramcılarının pek çoğu, çeşitli sosyal, kültürel ve ekonomik değişimlerin, mimarlık söyleminin oluşumunu etkileyeceğini, mimarlık söyleminin kendi özerk bilgi alanı içinde kalamayacağını dile getirmektedir. Mimarlık araştırmalarının konuları ve yöntemleri, farklı disiplinlerle olan etkileşimden etkilenip çeşitlenirken, popüler kültür alanı hâlâ derinlikli ele alışa kavuşamamıştır. Bu alanda eleştirel okumalar yapmak isteyenlerin önemli bir kesimi, daha başından "kitlelerin afyonu" olması ön kabulüyle çalışma alanı ile aralarına negatif bir mesafe koymaktadırlar. Bugün popüler kültür çalışmalarının, incelediği alan tarafından dikkate alınmadığı yönündeki eleştirinin büyük ölçüde geçerliliğini kaybettiği söylenebilir. Yüksek kültür ile kitle kültürü arasındaki ayrım ortadan tamamen kalkmamış olsa da aralarındaki sınır özellikle seksenler sonrasında muğlâklaşmıştır. Birbirinden keskin sınırlarla ayrılmayan bu iki alanın neresinde durduğu tam olarak kavranamayan pek çok materyal, ürün, popüler yazılı medya, kültür hayatımızı, yargılarımızı, düşüncelerimizi, söylemlerimizi şekillendirmektedir. Anahtar Kelimeler: Popüler kültür, kentsel söylem, seksenler-İstanbul, küreselleşme, metropolleşme, nostalji. The subject of the paper was to discuss the urban discourse of Istanbul by forming / developing a track through the representation of presented, proposed and / or produced urban projects in Istanbul eighties through the medium of popular textual media which accessed the community out of the architectural profession. There are several resources, systems and relations constituting the urban / spatial discourse. Urban discourses are nourished not only from the texts produced by the constructors of the urban space, but also from the representations of the print media of the popular culture and they got fermented in the memory of the society. Because discourses are the language codes that are used to represent the thought of the individual. This statement, judgement could be regarded as an appropriate for the 1980s and later in which architecture was particularly defined by the public space, and by entering our daily life was being discussed by the laities. Language is one of the most important factors to constitute/ form urban image in the mind of society. Urban codes exist with using language in life domains (the physical milieu, the buildings, the maps, the media'etc.), which produce their characteristic texts. Using of the language-speaking and understanding it is the definition ability of human beings, woven into all human activity. It is our judgments and response, believing, relations, values, and situations. As a reflection of our culture, it is reproduction of the spaces. Language is a neglected subject in discussion of the architecture, which is conventionally regarded as a visual rather than the verbal activity. Architects also benefit from the verbal activities and texts to share with their ideas. But it couldn't say that these texts have more aid to constitute / form of urban image. Architecture has its own linguistic register. These texts are meaningful for the professionals, which use architectural terminology. On the other hand, except for architectural speech, any kind of texts about physical environment (the milieu, the buildings, the spaces') plays an important role to strengthen its presence. Discourse can be described as a communicational process. The literal, verbal, visual, or symbolic language becomes meaningful in context, which is open to cultural interaction. Discourse includes comprehensive subjects such as 'language', 'communication', 'society', 'interaction', and 'culture'. In this case, it does not enable definite and easy description. The most important feature of discourse is the constitution of complex relationships of the text, context and social circumstances, which are producing processes. Because of whether the text, or context or social circumstances have renewable and reconstructable qualities for each other, discourse never presents unique and invariable meanings. Discourse is a dynamic and renovative fact consequently conjunctions amongst all elements. In this case discourse has the quality worth researching by different disciplines. Elements are time-line in verbal expression while they are synchronic in visual. A discourse analysis seems an important possibility for the architecture to understand it, to redeem from multi-layered intensity of the visual synchronization and to describe with the 'linear decomposition' in time-line relation of the verbal expression. In this case, the cinema and the literature as an important form of expression of social reminiscence, the political texts-exposed perfection of power to establish the urban image-, supply and demand of the 'new', brochures, advertisements, posters, can be used to understand the reproduced urban reality and urban culture. This study about the relationship between popular culture and urban discourse proposed to forecast to the achievements constituted by advanced determination of the relevant intersection ended with the comment about the relation between social memory, to remember / to forget and to write. Most of the present theorists uttered that several social, cultural, and economical changes affected the formation of the architectural discourse, and the architectural discourse could not stand within the individual autonomous information area. While the subjects and the methods of architectural research have been affected from the different disciplines, popular culture area have not discussed deeply yet. Most of the researchers who wanted to make critical readings, kept a negative place against the study area even at head of the beginning with the pre-acceptance of being opium of the crowd. In this study, three discourses (globalization, metropolitan, nostalgia) were illustrated by popular print media within the intersection of popular culture and urban discourse. Keywords: Popular culture, urban discourse, eighties-Istanbul, globalization, metropolization, nostalgia

Glutathione S Transferases M1 and T1 Genetic Variants are Associated with Coronary Artery Ectasia

29th Turkish Cardiology Congress of the Turkish-Society-of-Cardiology (TSC) with International Participation -- OCT 26-29, 2013 -- Antalya, TURKEYWOS: 000329858400026…Turkish Soc Cardio

Evaluation of the Apolipoprotein B R3500Q Gene Mutation in Nonvalvular Atrial Fibrillation with Ischemic Stroke in Turkish Population

29th Turkish Cardiology Congress of the Turkish-Society-of-Cardiology (TSC) with International Participation -- OCT 26-29, 2013 -- Antalya, TURKEYWOS: 000329858400355…Turkish Soc Cardio

Plasma lipoprotein(a) levels in patients with slow coronary flow

WOS: 000327688400001PubMed ID: 24570746Introduction: Slow coronary flow (SCF) is a microvascular disorder characterized by delayed opacification of coronary vessels with normal coronary angiogram. It may be due to endothelial dysfunction and diffuse atherosclerosis. Lipoprotein(a) [Lp(a)] is related to cardiovascular events. Plasma Lp(a) levels have not been studied previously in SCF patients. Aim: We investigated plasma Lp(a) and fibrinogen levels, and their relation to coronary flow rate in patients with SCE Material and methods: This cross-sectional study included 50 patients with SCF and 30 age- and sex-matched controls who had normal coronary arteries and normal flow. Coronary flow rates of patients and controls were counted with the thrombolysis in myocardial infarction (TIMI) frame count. Plasma Lp(a) and fibrinogen levels were measured in SCF patients and controls, with routine biochemical tests. Results: There were no significant differences between the two groups with respect to plasma Lp(a) (21 mg/dl vs. 14 mg/dl, p = 0.11) and fibrinogen (278 mg/dl vs. 291 mg/dl, p = 0.48) levels. The TIMI frame count was not correlated with plasma Lp(a) (r = 0.13, p = 0.25) or fibrinogen (r = -0.14, p = 0.28) levels. Conclusions: Our results show that there is no significant association between SCF and Lp(a) and fibrinogen levels

Galata-péra : nots préliminaires sur les processus urbanistiques et le visage architecctural au XIXe Siècle

Donated by Klaus Kreise