Recognition of Governmental Nationalist Policies' Role in The
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Nomadic Path
Nomadic path With the onset of the Neolithic Revolution and the emergence of Mesopotamian populations, groups of people who lived in the surrounding mountains migrated to the banks of the large rivers of these areas and founded human civilization. People living in Zagros Mountains (western part of Iran) were likely the first people who had domesticated some animals many years ago, were among them. The life of these people was dependent on livestock farming; and each year, looking for good pastures, they migrated between two sides of Zagros Mountain range. But this lifestyle with its ancient traditions is still alive in Zagros Mountains. There are still some Bakhtiari tribes who migrate annually between the tropical regions in Khuzestan (ancient Elam) and the cold and elevated regions in the east of Zagros mountain range. This is a journey along the immigration path, From Susa to Isfahan. www.irannoborders.com E-mail: [email protected] https://www.instagram.com/Irannoborders/ Highlights: Visiting Tehran, the most modern city in Iran and the city of museums(Museum of Ancient Iran, national jewelry museum, the great traditional bazaar, Golestan and Saad Abad palaces. Visiting Shush, the main capital of Elam civilization; Shushtar, an ancient fortress city, and ChoghaZanbil Ziggurat. Exploring Shimbar region, a main region for Iranian nomads. Isfahan, half of the world! the city of Persian architecture. Best time: April www.irannoborders.com E-mail: [email protected] https://www.instagram.com/Irannoborders/ Day 1, 2 and 3: Because of the difference in details passenger’s arrival time, the first day is going to be Duration: 9 days Trip name Nomadic path the transportation from the airport to the hotel (code): Minimum 2/Maximum 10 Group Size: and rest day. -
Art-Sanat, 14(2020): 349–384
Art-Sanat, 14(2020): 349–384 DOI: 10.26650/artsanat.2020.14.0014 http://dergipark.gov.tr/iuarts Başvuru: 26.10.2019 Revizyon talebi: 04.06.2020 Art-Sanat Son revizyon teslimi: 30.06.2020 Kabul: 11.07.2020 ARAŞTIRMA MAKALESI / RESEARCH ARTICLE Giulio Mongeri’nin Erken Cumhuriyet Dönemi Yapısı Eskişehir Ziraat Bankası’nın Kültürel Miras Yönetimi Kapsamında Incelenmesi Analyzing of Giuilo Mongeri’s Early Republic Period Building Eskişehir Ziraat Bank in Scope of Cultural Heritage Management Şule Pfeiffer-Taş* , Rabia Temel** Öz Eskişehir Ziraat Bankası Binası, Giulio Mongeri’nin (1873-1951) Erken Cumhuriyet Dönemi’nde Anadolu’da tasarladığı şubeler arasındadır. Kent kimliğinin simge yapılarından olup Birinci Ulusal Mimarlık olarak adlandırılan dönemin özelliklerini taşımaktadır. Ziraat Bankası’nın (kuruluş 1888), Eskişehir’de bir şube açmak için arazi tahsisi talebi 1906-1907’deki yazışmalardan izlenebilmektedir. Binanın yapımına 1928 yılında başlanabilmiş, açılışı Cumhuriyet’in kuruluşunun yedinci yıl dönümünde 29 Ekim 1930’da gerçekleşmiştir. 1978 yılında bu bina yıkılmak istenmiş, 1979 yılında, 1930 yılı öncesine ait Cumhuriyet Dönemi Yapısı olması nedeniyle Korunması Gerekli Taşınmaz Kültür Varlığı olarak tescillenmiştir. 2005’te Koruma Grubu I (bir) kategorisine alınmıştır. Zaman içinde çeşitli müdahaleler geçirmiştir ancak öncesinde restitüsyon araştırması yapılmaması nedeniyle değişikliklerin izlenmesi zorlaşmaktadır. Çalışma, arşivlerden derlenen belgeler, çizimler, eski fotoğraflar vb. ışığında yapıdaki değişimlerin izini sürerek ve diğer yapılarla karşılaştırarak özgün mimari ve sanatsal öğeleri ortaya koymayı amaçlamaktadır. Mongeri’nin Ziraat Bankası Eskişehir Şube Binası’nda, akımın özelliklerini yansıttığı tasarım unsurları ve yapının dönem içindeki değeri irdelenmektedir. Bulgular, Mongeri’nin eserinin akımın özelliklerini cephe düzenlemesinde, giriş ve müşteri holü iç mekân tasarımında, Bursa kemeri, mukarnas, hatayi, rumi vb. -
Türk Ocaklari, Mimarisi Ve Geleneksel Öğeleri; Ankara Ve İzmir Örneği
Online Journal of Art and Design volume 6, issue 1, January 2018 Türk Ocaklari, Mimarisi ve Geleneksel Öğeleri; Ankara ve İzmir Örneği Yrd.Doç.Dr. Hikmet Eldek Güner Erciyes Üniversitesi, Mimarlık Fakültesi [email protected] ÖZ Osmanlı İmparatorluğu'nun son döneminde başlayan modernleşme/batılılaşma hareketleri, çeşitli alanlarda eş zamanlı yürütülmeye çalışılmıştır. Batıyı örnek alarak, atılımlar yapmaya, savaşlardan alınan yenilgilere karşı yönetimsel reformlar ile yeniden ayağa kalkmaya gayret edilmiştir. Batı kaynaklı gelişen bu çalışmalar beraberinde, "birey olma", "ulus devlet olma" ideolojilerinin de Osmanlı İmparatorluğu içerisinde oluşmaya başlamasına neden olmuştur. 20.yy başında modernleşme modernleşme süreci ve ulus devleti olma sancısı içerisinde milli değerlerin ve ulusal kimliğinin oluşturulmasında Türk Ocakları'nın etkisi oldukça büyüktür. 1912’de kurulan, 1931’da kapatılan Türk Ocakları Türkçülük ideolojini temel alarak batılı olmayı hedeflemiştir. Ulus devlet olma ideolojisini, mimari öğelerinde, plan tiplerinde sergileyen yapılar, esasında batılılaşmaya çalışan bir devletin “Türk” kökenlerini ortaya çıkarma çalışmaları olarak görmek gerekir. Bu çalışma, Türk Ocakları’nın devlet idaresindeki rolünü ortaya sererek, mimari bağlamda bir tanımlama yapmayı ve ocaklar arasından öne çıkan, Ankara ve İzmir Türk Ocakları’nın mekânsal kurgularını, mimari elemanlarında kullanılan geleneksel öğeleri incelemeyi ve ideoloji ile mekânsal kurgu arasındaki bağlantıları değerlendirmeyi hedeflemektedir. Anahtar Kelimeler; Osmanlı İmparatorluğu, -
Birinci Dünya Savaşında Mimarlık Yapmak: Vedad (Tek) Bey'in Harbiye Nezareti'ne Bağlı Çalışmaları
Sanat Tarihi Yıllığı Journal of Art History Sanat Tarihi Yıllığı - Journal of Art History 30, (2021): 111-143 DOI: 10.26650/sty.2021.873150 Araştırma Makalesi / Research Article Birinci Dünya Savaşında Mimarlık Yapmak: Vedad (Tek) Bey’in Harbiye Nezareti’ne Bağlı Çalışmaları* Being an Architect During World War I: Vedad (Tek) Bey’s Works for the Ministry of War 1 Müjde Dila Gümüş ÖZ Mehmed Vedad (Tek) Bey, verimli kariyeri boyunca pek çok önemli görev üstlenmiştir. Bunlar arasında Harbiye Nezareti mimarlığı da bulunmaktadır. Söz konusu görev, I. Dünya Savaşı yıllarına denk gelmesi bakımından dikkat çekicidir. Vedad Bey’in kariyerindeki bu dönem, herhangi bir detaylı araştırmaya konu olmamıştır. Bu makale, Vedad Bey’in Harbiye Nezareti mimarlığı döneminde hazırladığı projelere ve üstlendiği görevin kapsamını aydınlatmaya odaklanmaktadır. 1915-1918 yılları arasında Vedad Bey’in Seyr-i Sefain İdaresi için çeşitli projeler hazırladığı, önceki çalışmalarda tespit edilmiştir. Bunlardan Moda İskelesi, Haydarpaşa İskelesi ve Seyr-i Sefain Acentesi inşa edilirken, Kadıköy İskelesi tasarım aşamasında kalmıştır. Vedad Bey’in Harbiye Nezareti için 1915- 1916 yıllarında hazırladığı “üçüncü sınıf istasyon” projesi, bu araştırma kapsamında tespit edilmiş olup, makalede detaylıca incelenmiştir. Milli Mimari üslubunun sade bir örneği olarak tasarlanmış istasyon binasının, Ankara-Erzurum arasında inşa * Bu çalışma, Nevşehir Hacı Bektaş Veli edilmek istenen demiryoluyla ilişkili bir proje olduğu anlaşılmaktadır. İncelenen Üniversitesi’de 7-9 Ekim 2020’da gerçekleştirilen 24. Uluslararası Ortaçağ ve Türk Dönemi Kazıları bir başka örnek, 1915 yılında inşa edilmiş olan Enver Paşa Köşkü’dür. Bu yapı, ve Sanat Tarihi Araştırmaları Sempozyumu’nda “1. Dünya Savaşında Mimarlık Yapmak: Vedad yuvarlak kemerli ve iyonik sütun başlıklı girişiyle dönemin mimari modasından (Tek) Bey’in Harbiye Nezâreti’ne Bağlı Çalışmaları” uzaklaşması bakımından dikkat çekicidir. -
THE SOCIETY for ASIAN ART PRESENTS Through the Pishtaq: Art, Architecture and Culture of Persia APRIL 22 - MAY 9, 2018
THE SOCIETY FOR ASIAN ART PRESENTS Through the Pishtaq: Art, Architecture and Culture of Persia APRIL 22 - MAY 9, 2018 More than five hundred years before Christ, Cyrus the Great founded one of the world’s first empires at Pasargadae. Over the centuries Persian civilization has been impacted by diverse cultural influences from invading Greeks, Arabs, Mongols and Turks. Join Dr. Keelan Overton on a journey through Iran where impressive monuments serve as vivid testament to the extraordinary history and culture of the country. The name Persia, used by the ancient Greeks, is derived from the southwesterly province of Pars which was the cradle of the Persian Empire. It was here that the Achaemenids became the first kings of a united country. They built capitals at Pasargadae and Persepolis and ruled over territory which stretched from the Persian Gulf to the Black Sea and from China in the east to the Mediterranean shores in the west. It is a welcoming and beautiful country of contrasts, of jagged mountains and golden deserts punctuated by slender wind towers, crumbling clay-baked caravansaries, and everywhere a horizon pierced by mosques and turquoise minarets. ----------------------------------Tour Highlights -------------------------------------- Tehran– 3 nights Visit Jameh Atigh, 9th c. Friday Mosque Visit the National Museum of Iran complex: Learn about tribal rugs at a nomadic gallery Museum of Ancient Iran (History and Archaeology) Yasuj - 1 night Museum of the Islamic Era Drive through the beautiful Zagros Mountains to Yasuj -
A Comparative Study of How the Thoughts of the Poet and Designer Are Reflected in the Architecture of Tomb Garden (Case Examples: Hafez and Saadi Tomb Garden)
35 quarterly, No. 32| Summer 2021 DOI: 10.22034/jaco.2021.288405.1199 Persian translation of this paper entitled: بررسی تطبیقی نحوۀ انعکاس اند یشۀ شاعر و طراح بر معماری باغ مزار (نمونه های مورد ی: باغ آرامگاه حافظ و سعد ی) is also published in this issue of journal. Original Research Article A Comparative Study of How the Thoughts of the Poet and Designer are Reflected in the Architecture of Tomb Garden (Case examples: Hafez and Saadi Tomb Garden) Zahra Yarmahmoodi1*, Fatemeh Niknahad2 1. Ph.D. Candidate, Department of Architecture, Shiraz Branch, Islamic Azad University, Shiraz, Iran. 2. Ph.D. Candidate, Department of Architecture, Shiraz Branch, Islamic Azad University, Shiraz, Iran. Received; 29/05/2021 accepted; 16/06/2021 available online; 01/07/2021 Abstract The garden of the tomb is the design of a symbol and a memorial that reflects the ideas, views, and beliefs of the person resting in it. Therefore, since people will visit this place in the future, it is better to be eternal and stable. As stated in various studies, the secret of a work’s immortality is its relationship with its viewers and users. Adherence to cultural and climatic patterns and adaptation to the conditions of the region and society is essential. Therefore, flexibility, appropriateness of the time, and the transfer of meaning are among the requirements for the design of spaces and monuments. The research uses the descriptive- analytical research method and employs the phenomenological approach to determine the relationship between the poet and the designer’s thought and the architecture of the tomb and in recording and transmitting the cultural-spatial identity of the city. -
Exploring the Symbol of Gavaevodata and the Essence of Siavash in Shāhnāmeh and Its Replication on the Embossments of Persepolis
Exploring the Symbol of Gavaevodata and the Essence of Siavash in Shāhnāmeh and its Replication on the Embossments of Persepolis Introduction The mythology of each ethnic group is rooted in their initial attitudes and thoughts about creation and the universe. When human science, knowledge and research had not yet begun, and the first man had to calm his troubled mind for his own reasons. The only way he could escape the horror of death was to turn to a supernatural and mythical power. Many words have been said about the meaning and roots of myths. Arab lexicographers consider the term myth in Persian (Ostoreh) as an Arabic word on the weight of "Ofoleh" meaning objects connoting unfounded and wonderful myths and words that have been written (Kazazi , 1993: 1). Myth is a narrative that revives the original reality and satisfies the deep religious need and is a basic element of human civilization; moreover, mythology and storytelling are not in vain in any way (Masoumi, 2009: 19). It is an art, creative and poetic that over time, with the creative power of their imagination, have turned every aspect of human life into a poetic symbol; The aspirations of human beings throughout history have found poetic interpretations during these myths and have been narrated from generation to generation, and over time, have crystallized in the aura of poetic imagination of different generations. In between, myth and epic have a close and fundamental connection with each other. The epic is the product of a myth, and the myth is left to the nurturing mother who breeds the epic and nurtures it on her lap. -
Itinerary Brilliant Persia Tour (24 Days)
Edited: May2019 Itinerary Brilliant Persia Tour (24 Days) Day 1: Arrive in Tehran, visiting Tehran, fly to Shiraz (flight time 1 hour 25 min) Sightseeing: The National Museum of Iran, Golestan Palace, Bazaar, National Jewelry Museum. Upon your pre-dawn arrival at Tehran airport, our representative carrying our show card (transfer information) will meet you and transfer you to your hotel. You will have time to rest and relax before our morning tour of Tehran begins. To avoid heavy traffic, taking the subway is the best way to visit Tehran. We take the subway and charter taxis so that we make most of the day and visit as many sites as possible. We begin the day early morning with a trip to the National Museum of Iran; an institution formed of two complexes; the Museum of Ancient Iran which was opened in 1937, and the Museum of the Islamic Era which was opened in 1972.It hosts historical monuments dating back through preserved ancient and medieval Iranian antiquities, including pottery vessels, metal objects, textile remains, and some rare books and coins. We will see the “evolution of mankind” through the marvelous display of historic relics. Next on the list is visiting the Golestan Palace, the former royal Qajar complex in Iran's capital city, Tehran. It is one of the oldest historic monuments of world heritage status belonging to a group of royal buildings that were once enclosed within the mud-thatched walls of Tehran's Arg ("citadel"). It consists of gardens, royal buildings, and collections of Iranian crafts and European presents from the 18th and 19th centuries. -
Historic Tour.Pdf
Andisheh Farazan Tourism Company Type of tourism tour: Historical tour Tour Code: ACH01 Period: The first six months of the solar year The second six months of the solar year staying time: Seven days ten days fourteen days Hotel class: Three stars four stars five stars Tourist route: Tehran (1 day) – kashan (1 day) - Esfahan (2 day) – Shiraz (2 day) - Tehran (1 day) Tourism program: Tehran: Saad Abad Palace - Golestan palace - Museum of Ancient Iran - Museum of Islamic Art - jewelry Museum Kashan: Fin Kashan Collection - (Fin Garden - Fin bathroom) Esfahan: Imam Khomeini Square - thirty three bridg - Paul Khaju - Forty Columns - Wank Church - Eight Paradise palace – Ali gholi agha Bath - Birds Garden Shiraz: Quran Gate – hafezieh – saadieh - Nasir al-Molk Mosque – narangestan ghavam – eram garden - Karim Khan citadel – Persepolis – naghsh rostam – pasargad – naghsh rajab - Ardeshir Babakan Palace Fun & Entertainment: Darband- Toochal - Traditional Iranian Restaurant - Isfahan Aquarium Tunnel – Telecabin Tour feature: Fluent leader in English and Arabic - Donating quality city souvenirs Web site: Andishehfarazan.ir Email: [email protected] Tell: +982144178290 Andisheh Farazan Tourism Company Type of tourism tour: Historical tour Tour Code: ACH02 Period: The first six months of the solar year The second six months of the solar year staying time: Seven days ten days fourteen days Hotel class: Three stars four stars five stars Tourist route: Tehran (2 day) – kashan (1 day) - Esfahan (2 day) – Shiraz (2 day) Kermanshah (1 day) - Tehran -
1 Iran Triplog October 10 to 12.We Started the Trip with an Overnight,13
Iran Triplog October 10 to 12.We started the trip with an overnight,13-hour Qatar flight to Doha; followed by a 7-hour layover; and then a 2.5-hour flight to Tehran, arriving at 4 am on the 12th. We whisked through security and immigration (unlike others whose luggage was thoroughly searched) and we were met at the airport by a driver and the assistant guide, Javad. The drive to the Espinas Hotel (which turned out to be the best hotel of the trip) took about an hour and we checked in and napped for 3 hours or so before going to breakfast. October 12. We were pleased to discover when we checked in that the breakfast was included. It was a selection of yoghurts, cheeses, breads, cereals, various fruits, dates, honey, a spinach frittata “cucu sabzi”, etc., as well 3 or 4 hot selections and an omelet station. To varying degrees, this was the breakfast at each hotel, so we had lots of options and plenty of food. After breakfast, we walked around the neighborhood a bit, then walked to Laleh Park and spent some time walking there. It’s a very large park, and each time we walked there we discovered a new section. There is a small Japanese area with stepping stones, a stage with cement seating, an area where locals blocked off sections and put up nets for net games, a long waterway flanked with blooming oleander, sculptures of historical figures, and flower beds in various areas, a pond, an area of woods…oh, and lots of very well-fed cats. -
Mimar Vedat Tek, Osmanlı İmparatorluğunun Son
Mimar Vedat Tek Architect Vedat Tek imar Vedat Tek, Osmanlı M İmparatorluğunun son dönemlerinde mimarlık mesle- ğini icra eden ve hepimizin aşi- na olduğu önemli eserler veren bir ustadır. Aldığı Batılı eğitim- le, Osmanlı Klasik mimarlığını birleştiren eserler veren Vedat Tek, “Birinci Ulusal Mimari Akımı” olarak adlandırılan dö- nemin öncülerinden biri kabul edilmiştir. Çalışmamızda, genel hatla- rıyla Vedat Tek’in yaşamı, mi- mari kişiliği, I. Ulusal Mimarlık Akımı ve önemli eserlerinden bazılarına kısaca yer verilmiştir. Anahtar Kelimeler: Mimar, Ve- dat Tek, ulusal, İstanbul. rchitect Vedat Tek is A an expert that we are all familiar with, who was per- forming his profession as an architect in the late Ottoman period. Vedat, who combined his Western education with the education on Ottoman Clas- sical Architecture, is accepted as one of the pioneers of the period entitled “First National Architectural Trend”. In this paper, the life of Vedat Tek is illustrated in a ge- neral sense and First National Architectural Trend and some important architectural works are briefly explained. Key words: Ottoman, Vedat Tek, First National Architectural Trend. 44 Ümmügülsüm Erdoğan, Ebru Eynallı Mimar Vedat Tek Ümmügülsüm Erdoğan | Y. Mimar, Vakıflar İstanbul 1. Bölge Müdürlüğü Ebru Eynallı | SanatTarihçisi, Vakıflar İstanbul 1. Bölge Müdürlüğü 45 Mimar Vedat Tek Architect Vedat Tek Vedat Tek’in Ailesi Osmanlı vezirlerinden ve Bağdat Valilerinden Girit’li Sırrı Paşa ile şair ve besteci Leylâ Hanım’ın çocukları olan Vedat Tek, 1873 Yılında İstanbul’da doğmuştur. Vedat Tek’in elit bir ailede yetişmesi, aile çevresinde yaratılan sanatsever ortam onun gelişmesinin önemli etmenlerinden biri olmuş- tur (Özkan 1973). Annesi Leyla Saz (1850/52–1936) Abdülmecit döne- mi saray hekimlerinden İsmail Paşa’nın kızıdır. -
Mimar Kemaleddin (1870 İstanbul-1927 İstanbul)
Mimar Kemaleddin (1870 İstanbul-1927 İstanbul) Architect Kemaleddin was born in 1870 in Istanbul. Due to his father's duty he went to Crete and learnt French and Arabic during his stay there. Having returned to Istanbul, he improved his foreign language skills. After high school, he was enrolled at the School of Engineering and graduated from this school in 1891 with first rank. During his education, with his outstanding talent, he drew the attention of German Architect Prof. Jasmund, who was lecturing at the same school, and became an assistant there. Architect Kemaleddin held this position for four years, during which time he also opened his private office and began designing his early works. In 1895, the Government sent him to Berlin for further studies in architecture. He studied architecture at Charlottenburg Technische Hochschule in Berlin for two years and worked in architectures' offices for a while. Back in Turkey, Architect Kemaleddin was appointed as a lecturer in the fields of architecture and civil engineering at the School of Engineering. It was during this period that his ideas on national architecture started to blossom. He produced his major works in architecture between 1909 and 1919. Founding the first trade association in 1908 under the name of "Ottoman Association of Architects and Engineers", Architect Kemaleddin worked as the Construction and Reparation Manager at the Ministry of Foundations. During this period, when he was involved with the restoration of historical buildings and the design of new ones, he found the opportunity to examine the principles of Ottoman architecture, develop his own style and form his own thoughts on national architecture.