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The Black Sea is in the north of the Eastern Black Sea Region and the northern Anatolian mountains in the south. Region has a narrow coastline starting from Giresun to Sarp border gate, lush forests, deep valleys and steep slopes. In the region precipitation is seen almost throughout the year. People in this region with their unique climate and geographical conditions have been searching for innovative and functional solutions to their problems from the past to the present day and have created unique solutions in this direction. One of these solutions is architectural solutions in traditional Eastern Black Sea structures in rural areas. By arranging the materials in the region in a simple but functional way, need-based structures have been formed. It is remarkable that, these structures can protect the integrity of themselves by withstanding the climatic conditions, landslide-induced earthquakes, time and wrong interventions. The subject of this study is researching the traditional structure of Eastern Black Sea’s vernacular architecture. In this context, examples of buildings in the Yücehisar (Çarişka ith old name) village of Pazar district of Rize have been examined. The fact that new construction in the region is scarce and that it continues to be used seasonally with the existing structures of traditional buildings, increases the importance of this area. Selected examples of buildings in this area have been found suitable for researching criteria because of minimal intervention and structural integrity.
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The identity of cities is being reshaped in line with the changing and developing science, industry and communication technologies. These changes and developments being experienced over the recent years have caused a lot of treasures that have significant artistic or historical importance either to be forgotten entirely (by being transformed) or to lose their functionality and be left behind time. Mardin which is one of the oldest cities of the region it is located in is a city that welcomes a wide range of religious and ethnic components, where different groups of ethnicities live together and where culture and art intertwined together. Assyrians living in Mardin have especially been successful at architecture and architectural ornaments and also at handicrafts such as jewellery. Another traditional form of art they have been good at on the other hand is block printing. The block printing is referred to as “hetmo” by the Assyrians. The phrase “block printing” is used to refer to printing made with an impress or figures drawn using a brush mostly on cotton fabrics. Abandoning the traditions rapidly and not attaching traditional arts the significance that they deserve play a great role in block printing which is a form of folk art from Anatolia losing its influence today. However, it is observed that the foundations of contemporary or modern arts rely and practice upon traditional arts. In this study, having discussed the art of block printing and introducing the last representative of Assyrian block printing; Miksiye Nasra Simmes Hindi, the significance of this culture in terms of traditional arts is pointed out. Field study, source person interviews and literature screening techniques are used within the scope of our methodology in this study. Assyrian art of block printing and its latest representative have been documented with the photographs of Miksiye Nasra Simmes Hindi who was the latest representative of the art of block printing which were taken back when she was alive and also with the photographs of her workshop taken after her death.
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From the second half of the 2010s, an increasing number of cities have prepared their online archives which thematise the city’s past through photographs, narratives, maps, etc. All these have been prepared primarily for the locals and are based on dialogue: the information shared by the institutions can be supplemented by the users, providing examples for living archives. This article starts from the theoretical background of the city’s visual experience, then calls attention to some Western European and US websites offering the digitized images of cities. These archives can be studied from multiple perspectives, since they also show, besides the past of the localities, how the city streets and squares were seen by the inhabitants 100 or 150 years ago.
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Architecture, in very broad understanding, means that narrowing down the particular space. In addition to this, while sculpture since antiquity maintain its particular existence it is also articulated with architecture many times in different layers of the time. Due to the fact that, limits between architecture and sculpture melt down. Modernity brought staggering changes on both discipline. It is also caused increasing number of definitions for sculpture and architecture. Finally, modernity brought also novelties when these two disciplines enter their spaces. This particular research investigates that these two disciplines` basic problems on the one hand. On the other hand, investigates these two disciplines when they enter their spaces for seeking their own problems in each other`s zones.
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Ceramic as an art and craft has a very long history. In this context, Nina Hole, who created her own original language within the traditional structure, made a great and important contributions to the contemporary ceramic art. She has made a connection between nature and architecture in terms of inter disciplinary aspect with the help of her own artistic language towards ceramic art. Not only artistry but also technique and production mode, she was interested in both at the same time. This article focuses on the boundaries of ceramic art in terms of traditional and contemporary perspective and how Nina Hole is pushing these boundaries. As a conclusion, this paper will examine the contemporary concepts and debates of contemporary ceramic art in the light of Nina Hole's method of producing art works and approaching ceramic art. Nina Hole, who acted as a bridge between Europe and America, focused on the structuralist view of ceramic art and how it is shaped by the development of technology in today's world. With the light of it, the dynamics of contemporary ceramic art will be examined. In this context, as seen, interdisciplinary aspects of her art works are the inevitable result of the contemporary art production mode. The "power of production" concept of the "new" is related to revealing what is hidden in the technique. Nina Hole's approach to ceramics art will be examined through the contemporary art’s concerns.
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The Neoclassical architecture was based on the characteristics of the Ancient Roman architecture, transforming it into the spatial indicators of wealth, power and inevitably the concepts of authority. At this point, it forms especially the spaces of dystopia films based on ideology and society management. The aim of this study is to examine the content of the relationship between the concept of dystopia and neoclassical architecture. The study object of this study is the movie “What Happened to Monday” co-produced by France, Belgium, UK and USA in 2017. The film was chosen because it had a strong architectural expression and clearly understood the relationship between dystopia and neoclassical architecture through its spatial construct. In this context, firstly the concept of dystopia and the emergence of neoclassical architecture and the attitude of representation are explained. In the light of these explanations, the relationship between dystopia and neoclassical architecture is examined through the movie “What Happened to Monday”. Architecture has a strong representation in urban space. Therefore, the architectural styles of the selected places in cinematographic narration should be determined in a way to strengthen the context of the story.
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The fact that different disciplines are gathered together in art branches is one of the current trends. Combination of dynamics of any arts with those of different artistic disciplines has allowed progressive, different and changeable works to appear and strengthened creativeness of artists on the way to uniqueness. It is clear that different disciplines 'sharing their material and techniques among them provides supportive opportunities for art and leads young potential artists as well. Flexibility, softness and permeability of textile material have been seen to combine architectural concept of space on art works in the crossroad between architecture and textile arts. In a different approach to space concept, Do Ho Suh has chosen textile material in the works by which he questions themes of nomadic life, belonging, accommodation and home . He has preferred architecture as a method of questioning them. The present study has determined semantical assessment of works created with textile material by Do Ho Suh’s designing mentality using semiotics as a target.
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The art of engraving has taken its place in art history by developing its techniques for centuries. In the beginning, engraving, which was used for reproduction purposes to ensure that art works reach more people and homes, has become an instrument of artistic expression on its own. A Venetian Italian architect, architectural historian, archaeologist and thinker Giovanni Battista Piranesi’s (1720- 1778) engravings known as the “Le Carceri” drawings are mysterious places that contain the different expressions of the reality they contain, their imaginary and ancient references, and their unknowns. Known as dungeon engravings in the history of art, these spaces are actually monumental, gigantic spaces with rows of staircases, mezzanines, domed interiors, with many different entrances and exits from the dungeon. In this report, the Piranesi engravings, which are not known by many people, will be examined in form and content and will be concluded by discussing on the visuals.
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Land Art is an art movement which emerged in the United States in the late 1960s and in the early 1970s in Europe, in which architecture, landscape and the work of art are inextricably bound up with each other. Aiming to inspire connection with nature and embrace nature rather than technology, Land Art expanded boundaries of art and developed outside of studios and gallery spaces, opposing capitalism’s logic. With a deeper understanding of environmental issues, the movement aims to reshape wide, open spaces in nature along with a specific concept, thereby aiming to connect humanity to nature and creating environmental awareness. For this purpose, land art creates artistic imagery using soil, rocks and other natural materials. The sense of land art was also a protest against the commercialization and exploitation of art since works of land art are not sellable or purchasable objects. The most prominent land artists are Alice Aycock, Christo, Michael Heizer, Nancy Holt, Walter De Maria, Mary Miss, Dennis Oppenheim, Robert Smithson, Michael Singer, Mel Chin, James Turrell, Ana Mendieta, Alan Sonfist Christian Phillip Müller, Jan Dibbet and British artists Richard Long, Hamish Fulton, and Andy Goldsworthy. Besides, the notable Turkish land artists are Mehmet Ali Uysal, Yücel Dönmez, Ayşe Erkmen, Mehmet Kavukcu, Cengiz Tekin, Mustafa Duyuluer, Varol Topaç and Elçin Ekici. This paper attempts to exam-ine the land art movement, the leading artists/works from all around the world alongside Turkish land artists and their works. According to the results of the research, it has been observed that there are not many examples of land art in Turkey where the land art movement developed especially after the late 2000s. Further, we cannot imply that these examples in Turkey refer to a sustainable creative movement.
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Isamu Noguchi; a Japanese and American sculptor who had introduced visionary playground designs which were rarely known at his art practice. Noguchi was far beyond from his time and created a special landscaping architectural intellection. Functionally and utility were his main focus of his art vision. Moreover, he used his sculpture language designing playground in public areas which to contribute and to communicate with society. By creating these new type of landscapes, he aimed to question the nature of art and design. Furthermore, he went far beyond of aesthetics of sculpture art and he pointed how to discover art in a new aspect. Noguchi was able build landscapes and playground without foziness and that led him to make sculptury landscapes. The playgrounds that he designed were helped him to formalize public areas and design sculpture for cities. Nonetheless, the playgrounds supported art to communicate with daily life routines. Creating a new public space model by expanding the expression possibilities of the sculpture allows art to communicate with society in a new kind of socio-cultural and spatial context.
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The geometric shapes and ornaments can be accepted the most abstract productions of human mind and consciousness. The geometric designs can be seen in almost all the cultures which produced movable and immovable artifacts such as soil, metal, textiles. But the Islamic arts’ geometric designs, especially using architecturals and illuminates are different and developed excellencely from its own contemporary and ancient cultures. We can encounter the re-using the geometric designs, for today’s art and design medium charactarized as a bit post modern, is on the stage among the transitive of styles as a multicultural and multiflow, interdisciplinary, the different flow at new art and design production, different historical layer. It is possible to face to face with these facts on the using past times’ geometric design elements at today. They are becoming more visible the effectives of past design elements as abstract expression today’s art, ready-made objects for design, a mature design, religious and/or historical belongingness and attaching importance to this, highlighting as an identity element, giving a deep-rooted image of history, putting forward the institutionalization, a postmodern attitude towards different things, the mobility of geometric designs up and down, right and left. As we have witnessed many times in the use of artistic and design products of the past, it is possible to read it as a result of consumption culture, in which new forms are not produced and the use of a ready-made design product capitalism emerges. It is also clear that the use of artistic and design products in the past is not progressive even if the forms are updated on the mind and perception.
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The architecture of the Municipality Building of 1870, located at the Istiklal Caddesi, was originally a Polish I.V. Goslavski. This structure, which is generally referred to by names such as the Assembly Building and the Municipal Building, is evaluated in Neo-Baroque and Art-Nouveau styles and XIX. It is seen that it was made in the European style which started to dominate Baku in the century.
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The Hittites from ancient Anatolian Civilizations was one of the most important one that has given a new shape to the architecture and art of Anatolia. This civilization was first introduced to the world by Charles Texier in 1834 with ‘Hattusha’ the Hittite capital. Hattusha, a mountainous city, was a unique capital in Anatolia in terms of the location selected during its period . With the recent and past archaeological studies, stone foundations has revealed the architecture of a magnificent city.The Great Temple is at the head of the most important architectural structures in Hattusha.This study aims to reach the interactions of the Great Temple Complex on Anatolian Architecture and its design criteria.Research has shown that the Great Temple is not only a sanctuary but also is a large complex that houses spaces with different functions such as workplaces or archive room.
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Having emerged in the classical period, Corinthian capitals were very popular and widely used in the Roman Empire. Based on designs of Roman Empire structures, methods used, architectural arrangements in the city, public structures and their functions, and based on the depictions on Bityhnian coins belonging to the Roman period, this study covers capitals that are thought to exist in the city and that must belong to colonized structures in the Corinthian order. Intensification movements occurring in Anatolia during the reign of Hadrian in the Empire also continued during the Severan period, and these movements were observed in the city of Bithynia. The city had privileges being the birthplace of Antinoos during Hadrian period, and architectural structuring was more concentrated. Corinthian capitals found in the Bolu Museum inventory are also one of the most important evidences of this structuring. As a result of excavations and studies conducted, among Corinth capitals obtained from many architectural structures in the city of Bolu, those brought to the museum constitute the main subject of research.
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Many architectural works have been made in Konya Seljuks, beylik and Ottoman period. From different periods to today; mosques, masjid, shrine, baths, bridges have reached such structures. Within these structures, Cemel Ali Dede Tomb is one of our important architectural works that will be inherited from the Anatolian Seljuk State. The tomb, which is one of our tiled works in Konya province, has undergone many repairs over time. Cemel Ali Dede Tomb started with a general information about our work continues with detailed explanations about the tiles. Information was obtained from the source data about the current situation and originality of the tiles; places, techniques, sizes and colors of which are applied are given priority. In our study, detailed information about the tiles was provided. The research topic we have determined is; Cemel Ali Dede Tomb is designed to emphasize the importance and value of the tiles. Thus, it is foreseen that this kind of architectural structures enriching Turkish tile art will be revealed and contribution will be made to our art.
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Painting decoration technique on wood is an element of decoration which is liked and applied in civil architecture as well as religious architecture. However, the number of houses with painting decoration on wood, which could come without any deterioration until today, is quite a little. Canikli Mansion, located in No: 39, in Mahmut Pasa Quarter, Central District of Tokat Province, is one of the rare examples of the 19th century painting decoration. In the last months of 2016 a restoration proposal was made for the Mansion within the scope of social project carried out by Tokat Municipality and repair and maintenance work was initiated and restoration was completed at the end of 2018. It is seen that the cabinet, large closet and ceilings were covered with yellow oil paint before the restoration works of the main room that is located at the southwest end of the first floor of the house. During the restoration, by blasting work in the main room the original decorations were uncovered and taken under protection. In our study, it is aimed to evaluate Canikli Mansion in terms of architectural and painting decoration and identify its place in the period.
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The stylish difference of the Rococo in the garden art is still the topic of the researchers’ discussion. The Rococo, which was in opposition to the formal and rhetorical art of the Baroque, brought a new value to the eighteenth-century gardens. This value was expressed primarily in the elements of the composition, asymmetry, irregularity, wavy line, fragmentation of form and ornamentation, as well as in relation to nature and specific mood.France is considered to be the fatherland of the Rococo style, from where this new, light style has spread to other European countries. The dissemination of new ideas was favored by print theoretical dissertations and collections of projects. The works by authors such as L. Liger, J-F. Blondel, J-B-A. le Blond, F. de Cuvilliés, M-A. Laugier, G-L. Le Rouge, W. Chambers, S. Switzer and B. Langley enjoyed particular popularity.Many impressive gardens with Rococo features were created especially in Germany and Poland. Their special flourishing in Poland fell on the times of the Polish-Saxon Union, and especially during the reign of Augusts III in the years 1733-1763.Special attention should be paid to the projects related to the patronage of the first minister H. Brühl. Rococo features can be found in several of his gardens, such as garden at Nowy Świat in Warsaw, garden in Wola, the unfinished garden project for the former Sanguszko palace or a garden in Brody (Pförten). Rococo compositions were also created in the gardens of Prince Adam Poniński at Żyzna street in Warsaw and in Górce. In 1966, the concept of a magnificent royal garden at the Ujazdów Castle was created. Noteworthy is also the arrangement of gardens in Puławy from the times of Zofia and August Czartoryski as well as Flemming in Terespol. The designers of many Polish gardens of that period were Saxon architects, such as: J.D. von Jauch, J.F. Knöbel, C.F. Pöppelmann, E. Schröger or J.Ch. Knöffel. From the 1770s, Rococo creations in Poland began to give way to landscape concepts.
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The aim of this study is to analyze the architecture of residential interiors and furniture making presented at the exhibition in 1912, to indicate the sources of inspiration for designers and to place them in the context of foreign furniture making. The sources of information were the exhibition catalog, press articles, and the archival materials stored in the National Archives in Krakow that had not been used so far, as well as photographs from the collections of the Print Room of the Academy of Fine Arts in Krakow and the Museum of the Jagiellonian University.The interiors and furniture presented by the artists from the society for Polish applied arts (TPSS) at the Krakow exhibition in 1912 perfectly matched the trends prevailing in designing around 1910. How far they were from the curvy-line Art Nouveau. The designers consciously and creatively used their native tradition, especially the furniture making of the Biedermeier period and folk art. On the one hand, Polish artists drew from the architecture of manor interiors, and on the other they were close to the inspiration of an English home. Their projects can be compared with the works of Austrian artists from the circle of the Vienna Workshop and German artists associated with the Deutscher Werkbund. They were a harbinger of simplified, geometrized, folk-inspired, influencing the beauty of the material, Polish furniture of the interwar period. The equipment for the house of a worker and a craftsman being an example of cheap furniture was characterized by solidity, modesty, operating with economical, but noble forms, inspired by folk ornamentation. They were the beginning of attempts by Polish designers to create minimalist, functional, solid and cheap equipment that were continued in the interwar period.
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The publications to date have characterized Henryk Bekker (1886-1942) as a political and self-government activist and President of the Council of the Jewish Religious Community. None of them has yet discussed his activities in the field of construction and architecture. He was born in Białystok as Chaim Beker, presumably in a family of assimilated Jews who often “Polonized” their first and last names. It is probably for that reason that in the later years of his life he was known as Henryk Bekker. From 1906 he studied in Munich at the Königlich Bayerische Technische Hochschule, where he received a degree of Construction Engineer in 1911. Little is known about his life during the next dozen or so years except that he married a Lublin resident Helena Zynger and stayed with her in eastern Ukraine, where their daughter Irena was born in 1918. Somewhere at the beginning of 1922 the Bekker family came to Lublin and took up their residence at Bernardyńska St. no. 24/3. In Lublin H. Bekker worked as a freelance construction engineer. The current state of research makes it possible to connect his architectural and construction work with 27 construction designs, mostly commissioned by Jewish investors. They comprise buildings of different status, size and architectural value. He executed the projects in Lublin and the Lublin region: these included large tenement houses and tenement annexes, schools, ritual bathhouses, shops, craftsmen’s workshops, small industrial plants and waterworks/sewage installations. Among the buildings distinguished by both the size scale and the architectural level, we should mention the constructions in Lublin, including two buildings built for the Jewish Cooperative Housing Association “Spółdom” (at Probostwo St. no. 19 and Wieniawska St. no. 6), tenement houses at Okopowa St. no. 10, Krótka St. no. 4 and Ogrodowa St. no. 19 and the Perec House. Those buildings were associated with the trend of modernism. Their architecture was characterized by simplified building bodies, functional interior solutions, and reduction of decorative detail. Although none of them displayed any special avant-garde forms or avant-garde technical solutions, they all contributed to the modernization of the architecture of interwar Lublin.
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