Nationalism gained momentum with the Second Ottoman Constitution proclaimed in 1908, inspiring the search for new concepts in architecture. A movement led by the architects Kemalettin and Vedat introduced a style of architecture called Turkish Neoclassical or the National Architectural Renaissance, which much later (in the 1970s) came to be known as the first National Architecture Movement. This sought to create a new architecture incorporating elements and motifs from classical Ottoman architecture replacing the influence of Arabic/Islamic references.
The architects of this period endeavored to revive the works of classical Turkish architecture by means of a National Architecture Renaissance, and thereby create a Turkish national style. This endeavor could be interpreted as an outcome of the growing awareness of nationhood, or the trend towards Panturkism instead of Panislamism, after the Islamic countries broke away one by one from the Ottoman Empire. This ostensibly nationalist movement attempted to apply broad eaves, domes, pointed arches, columns, projecting bays, stalactite carving, tiling and other structural elements taken primarily from historic religious buildings. The movement was manifested mainly in public buildings, with little influence on dwellings.
The Turkish nationalist movement which theoretically originated with the poet and writer Ziya Gökalp (1876-1924), and the support of the government kept the movement alive during the early years of the Republic. However, this architecture was not appropriate to the innovative and progressive character of the young, dynamic Republic, which was carrying out radical reforms in every area. The architects of this period now began to replace the Islamic-Ottoman elements of the earlier phase with Seljuk and Ottoman elements in their endeavor to create a new architecture. Two other architects with a close affinity to Kemalettin and Vedat who joined the movement were Arif Hikmet Koyunoğlu and the Italian Giulio Mongeri.
Progressive ideas originating in Europe, in particular with Bauhaus and CIAM, did not take long to arrive in Turkey. Europe after World War I in an effort to break its relationship with the past focused on ending new architectural ways of creating a new identity. Under this influence, in Turkey’s only school of Architecture (Sanayi-i Nefise Mektebi - today’s Mimar Sinan University) reforms were made in 1927 to the content of the educational programme. In the 1930s most Turkish architects produced examples of the new architecture based on cubism and reinforced concrete in the contemporary International Style. Ankara Exhibition Hall (Şevki Balmumcu, 1933), Istanbul University Observatory (Arif Hikmet Holtay, 1934), Florya Sea Pavilion (SeyŞ Arkan, 1934), Taksim Municipal Café, numerous Community Centers, notably the Kadıköy Community Centre (Rüknettin Güney, 1938) and Yalova Spa Hotel (Sedad H. Eldem, 1935-38) are among the foremost buildings of this period. In 1940 the number of Turkish architects was 150.
Disintegration of the Second National Architecture movement began in 1948 when a rational design by S. H. Eldem and E. Onat came in the third competition for Istanbul Courts of Law; and it faded away entirely with the competition for Istanbul Municipal Offices in 1952.
The 1950s were a universalist and rationalist era for Turkish architecture, in which foreign publications and influences prevailed over technological, economic, social and environmental concerns. Visually Modern architecture had arrived in Turkey, but the technological infrastructure was as yet absent.
The 1960s were a period of departure from rationalism, lassitude, and fragmentary searches for form.
Postmodernism spread widely in Europe in the 1970s, and between 1980 and 1990 became popular in Turkey. Architects designed buildings in the style of such European movements as Late Modernism, Postmodernism and Deconstructivism.
On the whole, despite many successful buildings taken singly, due to economic and social upheaval, contemporary Turkish architecture has been adversely affected by the disorganized and rapid development of society, and the cultural disintegration which has resulted. A delayed industrial revolution and excessive population growth have brought uncontrolled, unplanned, intensive and anarchic urbanization. The serious housing shortage which resulted, and the failure to take the necessary economic and administrative precautions, led to housing designed and built by non-professionals, often without building permission, and the rise of shanty towns, in addition to a new, anarchic and anonymous architecture. The debasement of urban land use by political concessions and land speculation made it impossible to protect environmental values, urban integrity, and any chance of regulating relations between buildings. In this way the appearance of Turkish cities was determined by anarchic building without character or identity, while individual examples of good design were overshadowed by the chaotic appearance and texture of their surroundings.
In recent years, under the adverse affects of early globalization, in Turkey as in other countries, ethical values have become eroded, leading to a mayhem in which everything is tried without discrimination, above all in tourism, but also in many other areas. The cultural level of building owners is a major factor in this inconsistency, and
where large projects ranging from residential estates to commercial centers are concerned, owners and employers have begun to give preference to foreign architects, frequently being undistinguished, as well as being unaware of Turkey and its culture. On the whole the cultural degeneration that has become widespread throughout the country is the foremost obstacle preventing Turkish architecture from making its presence felt.
16 Haziran 2010 Çarşamba
Anıtkabir
His life full of wars for independence of Turkish country and revolutions to raise the Turkish nation to level of modern civilization, Mustafa Kemal Atatürk, the leader in the Turkish War of Independence and Turkish Revolutions, died on November 10th 1938.
In the first stage on starting construction, the nationalization procedure was initiated. The construction of Anıtkabir was started in 9th November 1944, with a magnificent ceremony. Construction was completed in 9 years, in 4 stages.
Construction of First Stage: 1944 - 1945
Construction of Second Stage: 1945 - 1950
Construction of Third Stage: 1950
Construction of Fourth Stage: 1950 – 1953
Architectural Properties of Anıtkabir
The period between the years 1940 and 1950 is called “2nd National Architecture Period” in Turkish architecture. In the early 1950s, the influence of the Second National Architectural Movement rapidly faded and the influence of Western architecture intensified. This period, which lasted until the 1960s, and during which an exploration process in education, organization, design and application was predominant, can be regarded as a period of preparation for the emergence of contemporary Turkish architecture. Since the 1960s Turkish architects have been involved in an unending exploration of concepts, scientific principles and aesthetic values in architectural design. This resulted in the emergence of a myriad of approaches and tendencies and led to a dynamic and productive pluralism in architecture. No single vision and no single movement dominate the contemporary Turkish architectural scene. While making contributions emanating from their own creative resources, and from their unique personal or stylistic tendencies, contemporary Turkish architects have tried almost every architectural approach, from the use of fantastic and/or irrational forms to expressionist approaches, from creating monumental symbols to the utilization of traditional elements and from an arabesque search to postmodernist designs. Anıtkabir is one of the best examples for that period. With the properties of this period, Anıtkabir also bears features of Seljuk and Ottoman architecture and ornamental details.
The Architecture of the Mausoleum; in the "Anıtkabir Project", there was a vault section that would rise over colonnade. In the case of lowering the height of the Hail of Honor which was 28 meters long. After the studies of architects, it was found possible to cover the hail of honor with a reinforced concrete ceiling, instead of a stone vault. This change made in the project had reduced the weight of the rising section over the colonnade and, therefore, certain technical risks to result from heavy weight were eliminated further.
In the first stage on starting construction, the nationalization procedure was initiated. The construction of Anıtkabir was started in 9th November 1944, with a magnificent ceremony. Construction was completed in 9 years, in 4 stages.
Construction of First Stage: 1944 - 1945
Construction of Second Stage: 1945 - 1950
Construction of Third Stage: 1950
Construction of Fourth Stage: 1950 – 1953
Architectural Properties of Anıtkabir
The period between the years 1940 and 1950 is called “2nd National Architecture Period” in Turkish architecture. In the early 1950s, the influence of the Second National Architectural Movement rapidly faded and the influence of Western architecture intensified. This period, which lasted until the 1960s, and during which an exploration process in education, organization, design and application was predominant, can be regarded as a period of preparation for the emergence of contemporary Turkish architecture. Since the 1960s Turkish architects have been involved in an unending exploration of concepts, scientific principles and aesthetic values in architectural design. This resulted in the emergence of a myriad of approaches and tendencies and led to a dynamic and productive pluralism in architecture. No single vision and no single movement dominate the contemporary Turkish architectural scene. While making contributions emanating from their own creative resources, and from their unique personal or stylistic tendencies, contemporary Turkish architects have tried almost every architectural approach, from the use of fantastic and/or irrational forms to expressionist approaches, from creating monumental symbols to the utilization of traditional elements and from an arabesque search to postmodernist designs. Anıtkabir is one of the best examples for that period. With the properties of this period, Anıtkabir also bears features of Seljuk and Ottoman architecture and ornamental details.
The Architecture of the Mausoleum; in the "Anıtkabir Project", there was a vault section that would rise over colonnade. In the case of lowering the height of the Hail of Honor which was 28 meters long. After the studies of architects, it was found possible to cover the hail of honor with a reinforced concrete ceiling, instead of a stone vault. This change made in the project had reduced the weight of the rising section over the colonnade and, therefore, certain technical risks to result from heavy weight were eliminated further.
Emin Onat
He was born in Istanbul in 1908. He went to the Vefa Sultanisi School. In 1926, he entered the High School of Engineering. From the first classes, he showed a preference for fine arts and architecture lessons. In 1928, he was sent to Switzerland to be trained as a teacher of architecture. He graduated from the Zurich Technical High School in 1934 and returned to Turkey to serve as assistant professor to Pro. Debbe at the High School of Engineering.
Emin Onat inspired by the second national architectural movement.
Following a period of approximately ten years (1930-1940) during which attempts were made to keep pace with positive trends in world architecture, an reaction against the hegemony of foreign architects, which had been going on since 1927, caused a trend towards a new national architecture to begin. This return to tradition was influenced by the Fascist movement in Italy and the rise of National Socialism in Germany with their totalitarian ideas The new trend, which tended towards romanticism and aimed to create a new national architecture, influenced architecture in Turkey between 1935 and 1950. The movement, first under the name of the National Architecture, and later called the Second National Architecture, aimed at finding and using traditional features in its architectural style.
Apart from his academic career, and his principle work, the Mausoleum of Ataturk, other works of Emin Onat are as follows: Hamidiye and Mahmudiye, Kepirtepe Village Institutes (1941-1942, with Leman Tomsu), Istanbul Göztepe Villa Meral (1941), Istanbul Moda Emin Onat House (1944), Istanbul University Science and Literature Faculties (1944, S.H.Eldem), Bursa Governor’s Mansion (1945-1946), Bursa Uludağ Sanatorium (1946, Leman Tomsu), Bursa Yapı Kredi Bank (1948), alteration and repair of the Istanbul Technical University Taşkışla Building (1950, with Paul Bonatz), the Istanbul house of Emin Onat’s mother (1951), Ankara Kavaklıdere Cenap And House (1952), Open Air Cafe in Ankara’s Victory Square (1952) , Ankara Çankaya Presidential Secretariat Building (1953), Apartment Block in Mete Caddesi, Taksim, Istanbul (1955), Istanbul Industry and Development Bank (1955), Yüksel Apartment in Nişantaşı, Istanbul ( 1955), Hayat Apartment in Ankara (1956), Police Hall in Ankara (1956), Sporel Apartment in Moda, Istanbul (1956-1957), Marmara Apartment in Moda, Istanbul Moda (1956-1957), Sea Club in Moda, Istanbul (1956-1957), Office Building in Gümüşsuyu, Istanbul (Devres Han-1961).
Emin Onat inspired by the second national architectural movement.
Following a period of approximately ten years (1930-1940) during which attempts were made to keep pace with positive trends in world architecture, an reaction against the hegemony of foreign architects, which had been going on since 1927, caused a trend towards a new national architecture to begin. This return to tradition was influenced by the Fascist movement in Italy and the rise of National Socialism in Germany with their totalitarian ideas The new trend, which tended towards romanticism and aimed to create a new national architecture, influenced architecture in Turkey between 1935 and 1950. The movement, first under the name of the National Architecture, and later called the Second National Architecture, aimed at finding and using traditional features in its architectural style.
Apart from his academic career, and his principle work, the Mausoleum of Ataturk, other works of Emin Onat are as follows: Hamidiye and Mahmudiye, Kepirtepe Village Institutes (1941-1942, with Leman Tomsu), Istanbul Göztepe Villa Meral (1941), Istanbul Moda Emin Onat House (1944), Istanbul University Science and Literature Faculties (1944, S.H.Eldem), Bursa Governor’s Mansion (1945-1946), Bursa Uludağ Sanatorium (1946, Leman Tomsu), Bursa Yapı Kredi Bank (1948), alteration and repair of the Istanbul Technical University Taşkışla Building (1950, with Paul Bonatz), the Istanbul house of Emin Onat’s mother (1951), Ankara Kavaklıdere Cenap And House (1952), Open Air Cafe in Ankara’s Victory Square (1952) , Ankara Çankaya Presidential Secretariat Building (1953), Apartment Block in Mete Caddesi, Taksim, Istanbul (1955), Istanbul Industry and Development Bank (1955), Yüksel Apartment in Nişantaşı, Istanbul ( 1955), Hayat Apartment in Ankara (1956), Police Hall in Ankara (1956), Sporel Apartment in Moda, Istanbul (1956-1957), Marmara Apartment in Moda, Istanbul Moda (1956-1957), Sea Club in Moda, Istanbul (1956-1957), Office Building in Gümüşsuyu, Istanbul (Devres Han-1961).
Freehand Sketches, Photographs, Plan and Section Drawings of Anıtkabir
Freehand sketch and photographs of Anıtkabir:
Plan and section drawings of Anıtkabir:
Plan and section drawings of Anıtkabir:
The Location of Anıtkabir
The Location of Anıtkabir on Google Earth:
The Location of Anıtkabir on Google Maps:
The Location of Anıtkabir on Google Maps:
Our Comments Related with Experiencing of Anıtkabir
Anıtkabir can be seen easily almost every place in around the city of Ankara because of its topography. With influencing the second national architecture period, Anıtkabir was constructed with more monumental, symmetrical and cube shaped stones. It has huge and symmetrical columns which also lets the light to go inside of the building. Almost all walls and ceilings and crossing at right angles. For the ceremony, to assemble the people in same place it has giant area in front of the structure. Different colors used as exterior plating material over concrete. I think it shares Seljuk and Ottoman architecture and ornamental details because in mehmetçik turrent passion flower and rosette were used which is from Seljuk and Ottoman art.
Ankara Palace (1924 - 1928)
The building was first designed by Architect Vedat Tek to be part of the Sihhiye Vekáleti building, however, handed over to Vakiflar Idaresi, Architect A. Kemalettin Bey's new design made it into a hotel. Across from the New Assembly Building the building’s main function was, in Architect Kemalettin's own words; “a place native and international customers can feel the comfort of being in a European Hotel.” At the beginnings of the Republic period, the building served as the capital city’s most important building to host balls, receptions and organizations for state matters. However, as the city centre shifted to Kizilay-Bakanliklar in 1950's, it slowly lost its significance.
Two floors above a basement floor, along with a roof, the buildings ground floor receives its light from the centered openings positioned above the spacious ball room surrounded by corridors which open to the hotels rooms which create various shaped spaces. The rooms on the ground floor face the north and south, the symmetric upper floor is spread out and centered.
The symmetric masses jutting out of the front facade, is a fine example of the interesting National Architecture of the time. The back facade has no relation with the front, only some of the windows have arches.
All Ottoman structural and decorative items are collected on the front facade, as are the decorative motif reliefs, ceramic tiles, plaster ceiling decorations and Mukarnas style column capitals in the interior of the entrance level. The upper floors are more simple in contrast. The building was built for a modest and suitable price of 400.000 TL. Today it is used as Foreign Affairs Ministerium State Guest House.
Two floors above a basement floor, along with a roof, the buildings ground floor receives its light from the centered openings positioned above the spacious ball room surrounded by corridors which open to the hotels rooms which create various shaped spaces. The rooms on the ground floor face the north and south, the symmetric upper floor is spread out and centered.
The symmetric masses jutting out of the front facade, is a fine example of the interesting National Architecture of the time. The back facade has no relation with the front, only some of the windows have arches.
All Ottoman structural and decorative items are collected on the front facade, as are the decorative motif reliefs, ceramic tiles, plaster ceiling decorations and Mukarnas style column capitals in the interior of the entrance level. The upper floors are more simple in contrast. The building was built for a modest and suitable price of 400.000 TL. Today it is used as Foreign Affairs Ministerium State Guest House.
A. Kemalettin Bey
Architect Kemalettin was a significant Turkish architect of the very late period of Ottoman architecture and the early years of the Turkish Republic.
Born in Istanbul in 1870, A. Kemalettin Bey, was the son of Navy Captain Ali Bey. When his father went to Crete on duty, Kemalettin went with him and there he learned French and Arabic. On return to Istanbul, he was privately educated. He studied engineering at university and graduated top of his class (1891). To further his skills he was chosen to go to Germany. Before he went he studied Ottoman Architecture, especially Ottoman Fine Arts and the Great Architect Sinan, so when he went to Germany he was filled with Eastern culture.
While in Germany he studied 19th Century German Architecture at Charlattenburg Technical School. When he returned to Turkey, four years later, he knew how to collaborate history with architecture and applied to become a professor of architecture and civil engineering. Here he taught his students the phases, falls and consequences Turkish Architecture had to suffer due to degeneration in the hands of outsiders.
Kemalettin Bey also ran his own Architectural office, where he accepted projects; such as Bostanci and Bebek Mosques. Kemalettin Bey was trying to merge the stability of German Architecture with the gracious Ottoman Architecture to create a new perspective, in other words trying out a Neoclassicist style. Kemalettin Bey would take the Turkish domes, vaults and pendantives and stylize them to reflect them from his buildings, he would take traditional Turkish tile decorations and use them so his buildings do not lose their sense of touch with history, while still being of modern quality.
Born in Istanbul in 1870, A. Kemalettin Bey, was the son of Navy Captain Ali Bey. When his father went to Crete on duty, Kemalettin went with him and there he learned French and Arabic. On return to Istanbul, he was privately educated. He studied engineering at university and graduated top of his class (1891). To further his skills he was chosen to go to Germany. Before he went he studied Ottoman Architecture, especially Ottoman Fine Arts and the Great Architect Sinan, so when he went to Germany he was filled with Eastern culture.
While in Germany he studied 19th Century German Architecture at Charlattenburg Technical School. When he returned to Turkey, four years later, he knew how to collaborate history with architecture and applied to become a professor of architecture and civil engineering. Here he taught his students the phases, falls and consequences Turkish Architecture had to suffer due to degeneration in the hands of outsiders.
Kemalettin Bey also ran his own Architectural office, where he accepted projects; such as Bostanci and Bebek Mosques. Kemalettin Bey was trying to merge the stability of German Architecture with the gracious Ottoman Architecture to create a new perspective, in other words trying out a Neoclassicist style. Kemalettin Bey would take the Turkish domes, vaults and pendantives and stylize them to reflect them from his buildings, he would take traditional Turkish tile decorations and use them so his buildings do not lose their sense of touch with history, while still being of modern quality.
Freehand Sketches, Photographs and Plan, Section and Elevation Drawings of Ankara Palace
Freehand sketch and photographs of Ankara Palace:
Plan, section and elevation drawings of Ankara Palace:
Plan, section and elevation drawings of Ankara Palace:
The Location of Ankara Palace
The Location of Ankara Palace on Google Earth:
The Location of Ankara Palace on Google Maps:
The Location of Ankara Palace on Google Maps:
Our Comments Related with Experiencing of Ankara Palace
During our visit to the building in the old city centre; Ulus, we were greeted by a grand building, which still stands in all its glory. Unfortunately, the shift of the city centre has left the area of Ulus, with its many beautiful historic buildings alone. Looking up at the building, it is hard to completely get a grasp of the full front facade, it seems to be hidden slightly amongst the urbanized city backdrop. However, the emergence of traditional historic Turkish motifs with modern attributes that Architect Kemalettin favored, stand out magnificently. The movement, especially on the front facade is like that of Architect Sinan’s Selimiye Mosque, for example, there are different shaped windows and floors are varied and distinguished by such details.
Ankara University, Faculty of Language, History and Geography Building (1937 - 1939)
The main block consists of the combination of two four storey buildings with high ground floor and basement extending along the boulevard in a north-south alignment with two large blocks set perpendicular to them. The whole is lent a modern appearance by the asymmetrical entrance with rounded wall and single corner column.
The basement and first floor facades are in rusticated masonry while the middle storey façade is in regular cut stone. The wings are in a mixture of stone and brick. The back and side facades are plastered.
Bruno Taut made drew upon certain features of traditional Turkish art in his use of the stone and brick wall composition characteristic of the early Ottoman period and of turquoise tiles in the supports.
There are a number of interesting details, such as the concave cornices and the curve at the end of the protecting roof supported by a single column at the entrance. Taut himself was responsible for the design of the various iron elements as well as other details in the building.
Some writers have described the building as a synthesis of the Central European and Turkish architectural traditions.
The basement and first floor facades are in rusticated masonry while the middle storey façade is in regular cut stone. The wings are in a mixture of stone and brick. The back and side facades are plastered.
Bruno Taut made drew upon certain features of traditional Turkish art in his use of the stone and brick wall composition characteristic of the early Ottoman period and of turquoise tiles in the supports.
There are a number of interesting details, such as the concave cornices and the curve at the end of the protecting roof supported by a single column at the entrance. Taut himself was responsible for the design of the various iron elements as well as other details in the building.
Some writers have described the building as a synthesis of the Central European and Turkish architectural traditions.
Bruno Taut
Bruno Taut, who made a name for himself as a designer of public housing, worked for some time in Turkey. He recognized the trend in architecture towards the need to satisfy the requirements of the public as an art in itself. He supported the principles of modern architecture both in his work and in his writings.
After graduating from high school, Taut entered the Vocational School for Constructional Design in Konisberg. After finishing there in 1901, he worked for some time in an architectural bureau. In 1904 he began to work in the office of the architect and town-planner, Fischer. In 1908 he was in Berlin where he both worked and followed courses in town-planning at the university there. He was in Berlin again in 1914 where he set up an office with his brother, Max Taut (1884-1967) and Hoffman. He became a member of the German "Werkbund" with the aim of creating a union between the Fine Arts and the Practical Arts. His first works were realized as a preparation for more advanced work in the future. In 1936 he was invited to Turkey, where he had previously come in 1916 for the Turco-German Friendship House competition. There he worked at the Architectural Department of the Academy of Fine Arts and designed educational buildings for the Ministry of Education. His chief works in Turkey are the building for the Faculty of Languages, History and Geography (Ankara, 1936-38); Ataturk High School (1937-1938), in co-operation with the architect Asim Komurcuoglu and the contractor, Franz Hillinger; the Taut House, his residence (1937-1938) Ortakoy, Istanbul; the Republic Girls' Institute (Izmir,1938) and in 1938 the catafalque in Ankara for Ataturk's funeral ceremony.
Taut had the desire to unite local architectural features of the place he lived in, such as Japan or Turkey where architectural practice followed their own traditions, with modern thought in architecture and art. He was the first contemporary architect to give colour a prominent place in his designs. He was interested in every kind of architectural feature, painting pictures and designing furniture as well as creating decor for theatres and cinemas. His capacity to live life to the fullest and his ability to answer the needs of the community made him one of the foremost architects of the 20th century.
After graduating from high school, Taut entered the Vocational School for Constructional Design in Konisberg. After finishing there in 1901, he worked for some time in an architectural bureau. In 1904 he began to work in the office of the architect and town-planner, Fischer. In 1908 he was in Berlin where he both worked and followed courses in town-planning at the university there. He was in Berlin again in 1914 where he set up an office with his brother, Max Taut (1884-1967) and Hoffman. He became a member of the German "Werkbund" with the aim of creating a union between the Fine Arts and the Practical Arts. His first works were realized as a preparation for more advanced work in the future. In 1936 he was invited to Turkey, where he had previously come in 1916 for the Turco-German Friendship House competition. There he worked at the Architectural Department of the Academy of Fine Arts and designed educational buildings for the Ministry of Education. His chief works in Turkey are the building for the Faculty of Languages, History and Geography (Ankara, 1936-38); Ataturk High School (1937-1938), in co-operation with the architect Asim Komurcuoglu and the contractor, Franz Hillinger; the Taut House, his residence (1937-1938) Ortakoy, Istanbul; the Republic Girls' Institute (Izmir,1938) and in 1938 the catafalque in Ankara for Ataturk's funeral ceremony.
Taut had the desire to unite local architectural features of the place he lived in, such as Japan or Turkey where architectural practice followed their own traditions, with modern thought in architecture and art. He was the first contemporary architect to give colour a prominent place in his designs. He was interested in every kind of architectural feature, painting pictures and designing furniture as well as creating decor for theatres and cinemas. His capacity to live life to the fullest and his ability to answer the needs of the community made him one of the foremost architects of the 20th century.
Freehand Sketches, Photographs and Plan Drawing of Ankara University, Faculty of Language, History and Geography Building
Freehand sketches and photographs of Ankara University, Faculty of Language, History and Geography Building:
Plan drawing of Ankara University, Faculty of Language, History and Geography Building:
Plan drawing of Ankara University, Faculty of Language, History and Geography Building:
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