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THE FORMAL ANALYSIS OF CONTEMPORARY TURKISH ARCHITECTURE

E. Aslan, Z. Ertürk Faculty of Architecture, Eastern Mediterranean University, Famagusta, North Cyprus

E-mail: emrah.aslan@emu.edu.tr

ABSTRACT: This research project deals with the potentials of principles in Anatolian Vernacular and their reflections on recent architecture. The Anatolian Vernacular Architecture has been systematically observed by means of a new visual technique in order to build a source body or a base for post-modernist approaches of various Turkish architects. Furthermore, design actions such as “Formal Imitation”, different kinds of “Interpretations”, “Bricolage”, and “Mimesis” have also been used together. Taking into consideration those dimensions, vernacular sources and different “design actions” a new methodology has been introduced for analyzing Turkish Contemporary Architecture. More than 50 different buildings have been taken for case-study. In each unique case, sources taken from vernacular architecture and applied design activity will be discovered by applying the newly developed visual method called “Visual Appraisal Matrix” (VAM).

Keywords –Vernacularism, Post-Modernism, Interpretation, Mimesis, Bricolage.

1. INTRODUCTION

In the last two or three decades there has been a growing interest in the failures of modern movements in architecture. The articles which take up this issue mainly point out the lack of identity in modernism (Bonta, 1979). The concept of ‘identity’ has been discussed in the history of architecture, especially in post-modernism. Classical and vernacular styles were accepted as the ‘source’ of the new era. Classical and traditional concept motives and even details become the seeds of the new architectural creations. Post-modernism struck the architectural world in 1977 with Jenks’ “The Language of Post-modern Architecture”. In this book Jenks argues that there has been a structural break now with the modernist past (Risebero, 1997). In the late twentieth century most of the former modernist architects moved into historicism with their new designs not only in Europe but also in Turkey. Post-Modernism aims to revert to the use of traditional language of sign and symbol while still using modern technology. Neo-Vernacularism, Neo-Classicism and Post-Modernism, all try to refer to history by using traditional and classic language of architecture. It is obvious that, modern interpretation which is based on vernacular and classical architecture has never completely disappeared. Post-Modernism was much promoted and discussed in the late 1970’s and early 1980’s, and it was one of the several concurrent tendencies, and there were certain aesthetic devices, such as imitation, interpretation, assemblage, cut-paste, bricolage, etc. The history of architecture is obviously a catalogue of changing styles. Classical, traditional and vernacular styles have their own large catalogues depending on the regional, cultural and of course technological and social orders, rules and features. This research project deals with the potentials of principles in Anatolian Vernacular and their reflections on recent architecture. The Anatolian Vernacular Architecture has been systematically observed by means of a new visual technique in order to build a source body or a base for post-modernist approaches of various Turkish architects. Furthermore, design actions such as “Formal Imitation”, different kinds of “Interpretations”, “Bricolage”, and

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“Mimesis” have also been used together. Taking into consideration those dimensions, vernacular sources and different “design actions” a new methodology has been introduced for analyzing Turkish Contemporary Architecture. More than 50 different buildings have been taken for case-study. In each unique case, sources taken from vernacular architecture and applied design activity will be discovered by applying the newly developed visual method called “Visual Appraisal Matrix” (VAM). The aim of the study is quite clear: to look for the “roots” of the post-modernist approaches of Contemporary Turkish Architecture. The purpose of the VAM is to set up a systematic way in searching the relations between historical or vernacular references and contemporary buildings; in other words, it aims to understand the way of using vernacular references in the examples of last fifty years in Turkish Architecture. It should also be noted that in this study regionalism and traditionalism rather than classical styles have been considered.

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2. METHODOLOGY: Development of Visual Appraisal Matrix (VAM) The framework of the research is based on a systematic analysis of historical, mainly vernacular, references which have been used in Turkish Post-Modernism. In order to establish a systematic way of analysing historical references, three main steps have been followed.

• Firstly, a morphological analysis of Anatolian vernacular and their alternatives has been made.

• Secondly, different features of the selected examples have been searched on through the use of VAM.

• On the third stage possible relations and used references will be discussed. This research is based on observational type of survey. This type of survey has two phases. The first phase aims to present a systematic analysis of Anatolian Vernacular and Classical order. The second phase aims to present the Post-Modern Turkish Architecture. The framework of the study is given in Table 1.

Table 1. Flow Diagram of the Research Project

Aim

• To search out the impact of the post-modernism on the Contemporary Turkish Architecture on methodological base.

• To search out the vernacular/classical sources of the Contemporary Turkish Architecture.

Period

Contemporary Turkish Architecture between 1960-2000

Limitations

Region

Contemporary Anatolian Architecture

Special regions:

• Istanbul / Ankara / Izmir • Mediterranean Cost • Halicarnassus, Cappadocia • Central Anatolia • Black Sea Cost

Preparation of

Catalogues

Catalogue of Sources

Catalogue of End-product

• Characteristic example of Anatolian

Vernacular/Classical Architecture • Example of Contemporary Turkish Architecture

The following table shows in essence the archetypes commented on in the research and are, in the same way, divided into themes and motives within the three determinations of spaces – The Elements of Architecture – Architectonic form; spatial forms and their transformations (Table 2).

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Table 2. Morphological Analysis of Anatolian Vernacular: The Main List of the Architectural Features of Sources

ARCHETYPES OF ANATOLIAN VERNACULAR ARCHITECTURE PLAN ORGANIZATION AN D SPACE FORMATION AN D RELATIONS

ALTERNATIVE REFERENCES

• Addition • Penetration • Interior-Exterior spaces • Square • Distorted, basically squared geometries • Rhythmic series of spaces • Rectangular interior spaces • Addition and penetration of spaces in practical examples • Ceilings and floors • Columns and piers

OPENINGS AND FACADES AND CIRCULATIONS • Doors • Windows • Basic forms and bars • Façade and window axis • Staircases • Entrances and portals • Arcades • Ground floors • Bay-windows, balconies and loggias • Roof and attic storey

BUILDING FORMS • Square buildings • Rectangular buildings • Octagonal Buildings • T-L-U shaped ground plans • Towers • Buildings corners • Interior courtyards • Outside staircases • Towers and monuments

ARCHITECTURAL FORM; SPATIAL COMPOSITIONS • Addition-friction-accumulation-stacking • Penetration-superimposition-interlacing-meshing • Emphasize on foreground and back-ground in perspective • The alienation of elements • Unequally emphasized transformations and elements • Superimposition and interplay of dot-line-plane-volume- • Primary building types • Operation: kinking, bending • Operat ion: dividing and breaking • Segmentation • Fragmentation • Addition, stringing, together, accumulation

CONSTRUCTION AND ARCHITECTURAL FORM • Materials • Massive or solid wall construction • The layering of masonry walls • Supportive wall techniques • Skeletal construction • Stabilizing cores in skeletal construction • Flexibility of the plan • Cladding the skeletal structure

Archetypes of Anatolian vernacular

The original Greek

meaning of the word archetype is ‘first form’ or

‘original model’ as it exists as a basis for all

later variations and combinations (Portoghesi,

1968).

In other words, behind the plurality of many forms in history lies a simple set of ‘architype’ which we can

call the grammar of architecture. These archetypes may be

understood as images which can be identified in

relation to both architectural form,

function and technology.

Classification of Anatolian Vernacular

Typological Analysis of Vernacular Architecture

• Mixed techniques of solid wall and skeletal frame

* This chart is based on the study done by Rob Krier (1988)

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Table 3. A Short Flow-Diagram of the Methodology - Visual Appraisal Matrix (VAM): A visual definition of the research work and different step in the process of the work.

Post-Modern Design Action Source - Classical, Vernacular

Contemporary Example of Turkish Architecture

Formal Imitation It is commonly used by some designers who imitate any kind of existing building. The most well- known examples are WOW Hotels (in Turkey) and Lions Garden (in N.Cyprus) which can be defined as ‘kitsch’, or ‘rüküs’ in Turkish

• Direct imitation • Partial imitation

Interpretation It is used by the architects who are primarily concerned with the formal composition of building.

• Formalist • Geometrical • Iconic • Canonic • Typological

Interpretations based on an analogy

Analogy is made with vernacular object or spatial concepts. There are several ways of making analogies such as direct, fantasy, physical organic and cultural.

• Direct • Fantasy • Physical • Organic • Cultural

Bricolage (Levi-Strauss, 1988)(Curtis, 1996)

It is recombining, reusing and reconstructing the several old parts that are laid at architecture’s doorstep.

• Total • Partial • Cut & Paste • Assemblage (Curtis, 1996)

Mimesis It is not the imitation of the form itself but it is the imitation of something else such as a miniature, a concept or a figure from history or mythology. Ever since Plato, “Mimesis” has been considered a dangerous conceptual domain. But it is possible to create imagery and to generate tension within the concept of mimesis as it diverges from imitation to its iconic aspect.

• Historical figures or fact • Mythological events • Cultural and social events

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3. CASE STUDY

Anatolia has been chosen for the field study. With its varied geography, the natural wealth of its soil, and its favourable climatic conditions, Anatolia is an area marked out by nature for the birth, growth and development of the earliest forms of human culture. The methodological excavations which have been carried out since the second world war, changed traditional views on the archaeology of Anatolia. From the Palaeolithic period, the first stage of human civilisation, to the beginning of the 3rd millennium we can observe the regional cultures of Anatolia, formed by the interaction of varying local factors, developing without any break in continuity. These different cultures influenced each other, and were subject to influences from other areas. This mingling of native peoples and incomers, and in particular the fusion of elements from the cultures of its various ethnic groups, gave Anatolia a distinctive personality of its own. One of the most interesting areas to be analyzed as a vernacular and classical architecture in the world is perhaps the Anatolia, since it is the source of many civilizations and cultures. Anatolia is a culture melting pot, and therefore its vernacular and classical architecture reflects its mixed cultural structure. Anatolia is loaded with historical and architectural riches stretching back to the beginning of recorded history from antiquity times to the Ottoman era. Some motifs of anonymous architectural tradition of Central Asia, Middle East and previous Anatolian cultures are accumulated in the physical form of the Turkish houses. The typical plan of the Turkish house has, therefore, been called as a “universal motif”. In this point of view, today, especially in West and Southwest Anatolia, it is possible to see some rural examples as the combination of megaron and hilani or courtyard type house of Mesopotamia. Yet, functional and formal developments as well as final characteristic shape of the house were the outcome of a social life developed after the 15th century. Spatial organization in the house mainly based on agrarian way of life of the inhabitants from different cultural and ethnical backgrounds living harmoniously in Anatolia. Although the Anatolian settlements appear haphazardly organized, under close scrutiny, it is clearly revealed that they have been arranged for the best fulfilment of their functions. There are regional dissimilarities all over Anatolia on settlement scale. In this respect, the scattered settlement pattern, which is very different from the compact Anatolian settlement pattern, is dominant and probably it is the most remarkable characteristic of the Eastern Black Sea that can be seen all throughout the region beginning from Samsun and continuing through Sarp towards Caucasia. Anatolian vernacular and classical architecture varies amongst regions: Yet, the image is clear and shared and the matching is relatively straightforward. The orders and rules are very strong and consistent but variations are noticed and become important. As stated above, Anatolia has one of the richest architectural heritages of the human race. Therefore, she gives us an extraordinary opportunity to have the richest vocabulary to use in creating new and original images towards new combination of forms. Furthermore, the case of Anatolia gives a meaningful message to human beings that different civilizations and cultures could exist on the same land respecting and affecting each other without destroying other’s monuments. The design vocabulary which is delivered by the hybrid structure of Anatolian heritages is the unique design language that combines and integrates the vocabulary of various civilizations and also religions in one.

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The Eastern Mediterranean University (EMU) Cultural Centre Complex project has been chosen as an example of the case study buildings which will be used in the application of the suggested new methodology (Table 4). The present study is at the stage of analysing relevant data. Most probably, after applying the methodology, the possible impacts of the vernacular motives on the Contemporary Turkish Post-modernist architecture will be clearer (Table 5).

Table 4. Catalogue: Project identity cards of a selected building. Building : EMU Culture Center and Administration Building Architect: Zafer ERTURK, Emrah ASLAN, Bulent POTAK, Mustafa DINSEV Project Date: 2001-2004 Location: Famagusta, North Cyprus

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Table 5. A Sample of the application of Visual Appraisal Matrix (VAM) Post-Modern Design Action Source - Classical,

Vernacular Contemporary Example of Turkish Architecture

Formal Imitation It is commonly used by some designers who imitate any kind of existing building. The most well- known examples are WOW Hotels (in Turkey) and Lions Garden (in N.Cyprus) which can be defined as ‘kitsch’, or ‘rüküs’ in Turkish

• Direct imitation • Partial imitation

Interpretation It is used by the architects who are primarily concerned with the formal composition of building.

• Formalist • Geometrical • Iconic • Canonic • Typological

Interpretations based on an analogy

Analogy is made with vernacular object or spatial concepts. There are several ways of making analogies such as direct, fantasy, physical organic and cultural.

• Direct • Fantasy • Physical • Organic • Cultural

Bricolage It is recombining, reusing and reconstructing the several old parts that are laid at architecture’s doorstep.

• Total • Partial • Cut & Paste • Assemblage

Mimesis It is not the imitation of the form itself but it is the imitation of something else such as a miniature, a concept or a figure from history or mythology. Ever since Plato, “Mimesis” has been considered a dangerous conceptual domain. But it is possible to create imagery and to generate tension within the concept of mimesis as it diverges from imitation to its iconic aspect.

• Historical figures or fact • Mythological events • Cultural and social events

THE ELEMENTS OF ARCHITECTURE

• Addition • Penetration • Interior spaces • Square • Distorted geometries • Rhythmic series of spaces • Rectangular interior spaces • Addition and penetration • Ceilings and floors • Columns and piers

OPENINGS AND FACADES

• Doors • Doors handles • Windows • Basic forms and bars • Façade and window axis • Staircases • On the layering of masonry • Entrances and portals • Arcades • Ground floors • Bay-windows, balconies • Roof and attic storey

BUILDING FORMS • Square buildings • Rectangular buildings • T-shaped ground plans • L-shaped ground plans • U-shaped ground plans • Towers • Buildings corners • Interior courtyards • Outside staircases • Towers and monuments

ARCHITECTONIC FORM

• Addition-friction-accumulation • Penetration-superimposition • Emphasize on foreground and

back-ground • The alienation of elements • Unequal transformations • Superimposition and interplay of

interior space-exterior space • Primary building types • Operation: kinking, bending • Operation: dividing and breaking • Segmentation • Fragmentation • Addition, stringing, accumulation • Penetration, superimposition

CONSTRUCTION • Massive or solid wall construction • The layering of masonry walls • Supportive wall techniques • Skeletal construction • Stabilizing cores • Flexibility of the plan • Cladding the skeletal structure • Mixed techniques

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4. CONCLUSION

In this present paper, a new methodology has been introduced for the analysis and interpretation of Post-Modernist Turkish Architecture. The data for this case study come from Anatolia, a crossroads of numerous civilizations. The pilot application of the VAM has showed that the techniques are quite adequate for the purpose the study intended to achieve. Nevertheless, some further studies, at least efforts, are needed in order for a better application of the methodology. These points can be summarized as follows:

It is clear that more detailed catalogues are needed for more sound interpretations of contemporary architecture since Anatolian Classical and Vernacular styles and their language are very rich. To this end, a team work would be essential to compose the detailed features from different regions of Anatolian Classical and Vernacular Architecture.

All connections between historical motives and Post-Modernist Interpretations are subjective. Therefore, for more objective interpretations, more detailed research studies are needed for the Anatolian heritage.

Post-Modernism is an individual interpretation in order to reach a new identity in architecture, therefore, to put forward the rules and principles of the style is almost impossible, as a contrast attitude to Modernist. Accepting this reality as a starting point, we should admit that each case is a unique situation and there will be no generalisations.

5. REFERENCES

Bonta, J.P., 1979, Architecture and its Interpretation, Lund Humpries, London. Curtis, W.I., 1996, Modern Architecture Since 1960, Phaidon Press, Oslo. Evensen, T.T., 1987, Archetypes in Architecture, Norwegian University Press, Oslo. Krier, R., 1988, Architectural Composition, Rizzoli, New York. Levi-Strauss, C., 1988, Savage Mind (Nature of Human Society S.), Weidenfeld & Nicolson

Press, London. Portoghesi, P., 1968, Dizionario Enciclopedico d’Architetture e Urbanistica, Rome. Risebero, B., 1987, The Story of Western Architecture, Herbert Press, London.