Mimarlık Bölümü Koleksiyonu

Permanent URI for this collectionhttps://hdl.handle.net/20.500.11779/1947

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Start date: 2023Has files: No

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  • Book
    Architecture and Interiors of the Harems in Eighteenth-Century Istanbul
    (Cambridge University Press, 2026) Uğurlu, Ayşe Hilal; Türker, Deniz
    This Element centers the architectural and material worlds created by Ottoman imperial women, foregrounding their decisive role in shaping Istanbul at the end of the eighteenth century. Focusing on Mihrişah Valide Sultan and the sultan's sisters and female relatives, it examines how their patronage transformed the imperial harem at Topkapı Palace and extended into a network of waterfront mansions, charitable complexes, and suburban estates. Drawing on poetic inscriptions, archival correspondence, and visual sources, the study reconstructs the collaborative processes linking these women to stewards, builders, and artisans. It argues that their domestic and architectural interventions constituted powerful expressions of authority, visibility, and political agency within the empire.
  • Book
    Letters and Gifts in the Harems of Eighteenth-Century Istanbul
    (Cambridge University Press, 2026) Uğurlu, Ayşe Hilal; Türker, Deniz
    This Element examines the political, architectural, and social transformations of the Ottoman Empire during the reign of Selim III (1789–1807), foregrounding the central role of imperial women in shaping reform. While Selim's military and administrative initiatives reconfigured Istanbul's urban fabric, his mother, sisters, and female relatives actively advanced these efforts through architectural patronage, diplomacy, and gift exchange. Drawing on archival sources, visual materials, and microhistorical analysis, the Element reconstructs the dynamic networks sustained by these women and their stewards. It challenges assumptions of female invisibility, demonstrating instead their strategic visibility, economic agency, and integral participation in imperial governance and cross-cultural exchange.
  • Article
  • Article
    Selimiye as a Commemorative Monument in Modern Turkey
    (Routledge Journals, Taylor & Francis Ltd, 2025) Sezgin, Ahmet
    Selimiye, an Ottoman dynastic mosque, became a contested site of memory in the 20th century. As the Ottoman Empire disintegrated, Bulgaria, Greece, and Turkey all had ambitions and even temporary control over Edirne during the first decades of the 20th century. Its unique location at the crossroads of nation-states provides fertile ground for investigating the role of architectural heritage in the formation of a nation's collective memory, with a consideration of transnational influences. This article investigates the development and reception of commemorations involving the monument through close readings of newspaper reports from Greece, Turkey, and Bulgaria, as well as international media. It reveals the transnational dimension in forming a national frame of remembrance for the liberation of Edirne.
  • Book Part
    Citation - Scopus: 1
    From Ceremony To Spectacle: Changing Perception of Hagia Sophia Through the Night of Decree (layla’t-Ul Kadr) Prayer Ceremonies [Book Part]
    (Edinburgh University Press, 2024) Uğurlu, A.H.; Uğurlu, A.Hilal
    After the Hagia Sophia was converted into an imperial mosque by Ottoman Sultan Mehmed II (r. 1451–81), it became a key venue for imperial religious ceremonies. From the sixteenth century until the 1830s, Ottoman sultans customarily performed the Night of Decree prayers at the Hagia Sophia. Although sultans eventually left this tradition and began attending the Night of Decree prayers at other mosques, such as Nusretiye and later Yıldız Hamidiye Mosques, the Hagia Sophia remained significant for Istanbulites. From the 1880s, the court altered the ceremonial decorum at the Hagia Sophia, issuing passes for foreign embassy staff and guests to observe from the upper galleries, with officials explaining the rituals. This period saw an increase in non-Muslim spectators, from tens to thousands. This paper examines the transformation of a religious ceremony into a spectacle by conceptualizing the Hagia Sophia as a showpiece monument, distinct in function from other imperial mosques. It argues that the Hagia Sophia, historically used as a political tool, continued to serve this purpose in a different way between the 1880s and 1932.
  • Article
    The Curse of the Phoenix: on Rebuilding Beirut and Hatay
    (Intellect Ltd., 2025) Yücel, Ş.E.
  • Conference Object
    Citation - WoS: 1
    Citation - Scopus: 1
    Building a Community Through a Design Build Studio Program
    (Springer international Publishing Ag, 2025) Inceoglu, Arda
    This paper aims to provide a comprehensive and critical assessment of the outcomes stemming from a Design-Build program, a pedagogical approach widely adopted by educational institutions worldwide. These programs are instrumental in equipping students with vital practical skills, often unattainable within the confines of a conventional studio environment. While the objectives of this program align with those of similar initiatives in various educational institutions, an examination reveals an unexpected and substantial outcome. Beyond its primary goals, the Design-Build program has played an integral role in instilling a culture of collaboration and camaraderie within the school, thereby significantly contributing to the overall success of its architectural education. All stages of the program consist of collaborative processes, instilling from an early age the importance of working together by helping each other than individual competition.
  • Conference Object
    Courts & Kalfas: Patronage Relationships in Selim III’s Reign
    (Koç University Research Center For Anatolian Civilizations (ANAMED), 2024) Türker, Deniz; Uğurlu, A. Hilal
    The patronage networks of the members of Sultan Selim III’s extended court, specifically his mother, sisters, cousins, and their respective mothers, expand what is already written about the “Greek” artists, architects, and craftsmen who serviced the imperial family. This paper delves into the role of Greek kalfas, akin to modern architects, who served Selim III and his female relatives. It specifically examines figures such as Komyanoz, Foti, Todori, and Yani Kalfas, exploring their professional lives, which typically began in the imperial arsenal as shipbuilders. These individuals worked under—or alongside—French shipbuilders/architects, who were invited to the Capital by the court in the eighteenth century. Another important but overlooked aspect of their lives is the deep professional (and possibly familial) connections these men had with Aegean islands. The cultural interactions with Italian and French influences might shed light on the decorative tastes they adopted, practiced, and disseminated, particularly in palatial interiors. Additionally, this investigation might help us uncover the business networks of these kalfas, for example, their relations with 'woodcarvers from Chios.'Mapping the multiple and often simultaneous imperial building projects which these kalfas oversaw and examining the privileges they received from their patrons upon the successful and timely completion of these projects demonstrates the significance of these actors for the imperial family. Furthermore, these privileges—whether granted or sought—highlight not only the intense competition among these kalfas but also their deep awareness of each other's professional lives, underscoring the stakes of their interactions. The paper also offers close readings of the lengthy correspondence between Esma Sultan, Abdülhamid I’s daughter, her kethüda (personal accountant/asset manager) Ömer Ağa and her remarkably involved mother Sineperver, on the prolonged building process of her new waterfront mansion in Eyüb. These texts not only reveal insights about Komyanoz Kalfa, a Greek-Ottoman architect from Phanar tasked with the mansion's design and construction, but also about the operational methods of these builders and the decorum of engagement with different members of Esma’s own court. Additionally, the correspondence highlights Sineperver's pivotal role in supporting her daughter by overseeing the project and reveals the architect-client relationship. The paper ends with a rumination on the anonymous Greek artist who accompanied the English architect Charles Robert Cockerell (d. 1863) and allowed the foreigner to sketch domestic architectural features of spaces (instead of the usual grand imperial sites) that were contemporaneous with Esma’s now non-extant Eyüb mansion.
  • Article
    Drawing the Line: on the Impossibility of Utopia
    (Intellect Ltd, 2024) Yücel, Şebnem
    When Dutch artist Joep van Lieshout ventured into developing a zero -carbon, no -waste city in 2005, there were no such examples in the world. His artistic vision, complete with a full set of drawings and models, predated any real attempts to build one.1 Van Lieshout, a controversial artist known for his independent state in Rotterdam harbour (AVL-Ville), has 'dissected systems' in his work, be they systems of society or of the human body.2 While dissecting systems, he has often turned to design and architecture, creating provocative work that blurs the line between reality and fantasy.3 His 2005 zero -carbon city project was no exception.4 Van Lieshout's city was a compact one, covering approximately fifty square kilometres. With a set of calculations, models, drawings, paintings, and even objects, the project was complete. A business plan that accompanied the design outlined a program to maintain the city's profitability, an annual profit of 7.5 billion Euro to be exact.5 The project's description referenced some of the important keywords for urban design today, including zero -carbon design, efficiency, and profitability, ultimately suggesting a responsible, ethical, and a desired future. This was not exactly the case, however. This was - as he labelled it - a 'Slave City'. As the name suggests, Van Lieshout's Slave City would be populated by worker slaves who would be divided into four categories:6 healthy and suitable for work (6 per cent of the population), healthy and unsuitable for work (16 per cent), unhealthy and unsuitable for work (29 per cent) and the majority, unhealthy, unsuitable for work, and tasteless (49 per cent).7 Based on these
  • Book Part
    Cumhuriyet'in Kadın Mimarları
    (İBB Yayınları, 2023) Aydemir, Ayşe Zeynep; Dadyan, Saro
    Cumhuriyet dönemi İstanbul’unun inşasında kadın mimarların rolünü anlamak için kadınların mimarlık eğitimi almaya başladıkları 1930’lardan itibaren Türkiye’nin mimarlık ortamını etkileyen ekonomik, politik ve kültürel gelişmelere değinmek gerekir. Eğitimli nüfusun ağırlıklı olarak İstanbul’da yaşadığı, yükseköğretime erişimin ayrıcalık olduğu, mimarlık eğitiminin henüz yalnızca İstanbul’da verildiği 1930’larda, toplumsal kimliklerden bağımsız olarak, mimarlık hizmetine yönelik talep genç Cumhuriyet’in kamu yapılarıyla sınırlı kalır. Sivil mimarlık üretimlerine yönelik talep ise mimarların mesleki meşruiyet mücadeleleri ile birlikte 1950’lerde atılan kurumlaşma adımları ile başlar. 1930’lardan bugüne, özellikle erken Cumhuriyet döneminin kamu yapıları; 1950’lerde çok partili dönemle beraber gelişen büyük ölçekli konut ve altyapı projeleri; 1980 sonrası ekonomi politikaları ile artan ticari yapılar ve turizm yapıları sürecin önemli eşikleri ve yapılı çevredeki yansımaları olarak tarif edilebilir.