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PAOLO GIRARDELLI, SENNUR SENTÜRK, CENGIZ CAN.MareMagnum

Segni essenziali: Disegni architettonici della Chiesa di Sant' Antonio.= Yasayan çizgiler: Sant' Antonio Kilisesi mimari çizimler sergisi. [Exhibition catalogue].

SEDAD HAKKI ELDEM, (1908-1988).MareMagnum

Sedad Hakki Eldem 1: Gençlik yillari. Prep. by Ugur Tanyeli, Edhem Eldem, Bülent Tanju.

New English Paperback. Pbo. 4to. (30 x 24 cm). In Turkish. 210 p., color and b/w ills. Sedad Hakki Eldem 1: Gençlik yillari. He was born in Istanbul in 1908. He graduated from Academy of Fine Arts, department of Architecture. Between 1931 and 1932 he travelled France, England and Germany with scholarship of the academy. In 1932 he opened his own office, also started teaching at the Academy of Fine Arts and continued until retirement at 1978. In 1934 he worked for National Architecture Seminar in Turkey which was a complete disaster for him because of the discussions between modern architecture and traditional architecture. In 1938 he designed the Turkish Pavilion in New York Exhibition. Sedad Hakki Eldem represented Turkish Republic at International Union of Architects in Lozan (1948) after Second World War. Also in the same year Sedad Hakki worked with his colleague Emin Onat on the project of Istanbul Palace of Justice. He worked on proportions and architectural organizations of Ottoman domestic houses, 18th and 19th century palaces and mansions. He known as a role model and pioneer to reinterpret the Classical Ottoman Patterns in modern architecture. He was a part of Former Artifacts Maintain Council (Eski Eserleri Muhafaza Encümeni) between 1941 and 1945 and also a part of Supreme Council of Antiquities and Monument Real Estate. Between 1928 and 1934 defined as preparation years for Sedad Hakki Eldem. At these years the architect worked at Istanbul, Paris and Berlin but there is no built project or something. The only structure that has been built in that period is temporary Turkish pavilion in Budapest Exhibition in 1931. This structure give us so little clues about his searching in architecture. Whereas Sedad Hakki was tried almost every approach popular in these years, also tried to combine them even if they are all contradicted. He even give parts to different architectural elements in one design. For example, one of his trials in Paris, embassy project has Auguste Perret impressions in details, its planimetry has traditional middle "sofa" and "Eyvan" types of components that usually belong to Turkish Architecture. Also the architect inspired by a sheme that peculiar to Iran-Middle East, named "Cihar-bag". At the same time he examined the style of Art Deco, Le Corbusier, Hoffmann, Olbrich, Tessenow and Webb. Despite all of these and his instability of style, he never abandon his researches about traditional and domestic Ottoman civil architecture. He made use of all styles as much as they compromise with traditional architecture. The styles that do not overlap with domestic architecture, are disappeared. TURKISH ARCHITECTURE Biography Istanbul History art Turkish intelligentsia Memoirs.

Bookshop Khalkedon Books, IOBA, ESA · Istanbul, TR35,23 €

Lady Montegü [Lady Mary Wortley Montagu (15 May 1689 ¿ 21 August 1762)]MareMagnum

Sark mektuplari. First Turkish edition. Translation and annotion: Ahmet Refik [Altinay]

Fine English Sark mektuplari., Lady Montegü [Lady Montagu], translation and annotion: Ahmet Refik [Altinay], Hilmi kitabhanesi, Ist., 1933. Paperback. Pbo. Foolscap 8vo. (18 x 12 cm). Fine. First Turkish edition of 'Letters of Lady Montagu'. 144 p. Montagu's Turkish letters were to prove an inspiration to later generations of European women travellers to the Orient. In particular, Montagu staked a claim to the particular authority of women's writing, due to their ability to access private homes and female-only spaces where men were not permitted. The title of her published letters refers to "Sources that Have Been Inaccessible to Other Travellers". The letters themselves frequently draw attention to the fact that they present a different (and, Montagu asserts, more accurate) description than that provided by previous (male) travellers: "You will perhaps be surpriz'd at an Account so different from what you have been entertaind with by the common Voyage-writers who are very fond of speaking of what they don't know." Montagu provides an intimate description of the women's bathhouse, in which she derides male descriptions of the bathhouse as a site for unnatural sexual practices, instead insisting that it was ¿the Women¿s coffee house, where all the news of the Town is told, Scandal invented, etc¿. However, Montagu's detailed descriptions of nude Oriental beauties provided inspiration for male artists such as Ingres, who restored the explicitly erotic content that Montagu had denied. In general, Montagu consistently derides the quality of European travel literature of the 18th century as nothing more than "trite observations.superficial.[of] boys who only remember the best wine or the prettyest women." Montagu's Turkish letters were frequently cited by imperial women travellers, more than a century after her journey. Such writers cited Montagu's assertion that women travellers could gain an intimate view of Turkish life that was not available to their male counterparts. However, they also added corrections or elaborations to her observations. Julia Pardoe, in describing her own visit to a bathhouse, wrote "I should be unjust if I did not declare that I saw none of that unnecessary and wanton exposure described by Lady Mary Montagu. Either the fair Ambassadress was present at a peculiar ceremony, or the Turkish ladies have become more delicate and fastidious in the ideas of propriety." Emmeline Lott, who wrote a book about her experience working as a governess for the son of Ishamel Pasha, claimed that Montagu's aristocratic rank meant that she had seen only the most attractive elements of Oriental life: ".her handsome train, Lady Ambassadress as she was, swept but across the splendid carpeted floors of these noble Saloons of Audience, all of which had been, as is invariably the custom, well ¿swept and garnished¿ for her reception.

Bookshop Khalkedon Books, IOBA, ESA · Istanbul, TR25,03 €

Prep by BARIS CEZAR, EMRAH GÜLEK, ÇIÇEK ÖZTEK.MareMagnum

Sakli limandan hikayeler: Yenikapi'nin batiklari. Edited by Gülbahar Baran Çelik, Zeynep Kiziltan.

New English Paperback. Pbo. 4to. (30 x 24 cm). In Turkish. Stories from the Hidden Harbor: Shipwrecks of Yenikapi. Color and b/w ills. 219 p. "In 2004, the Istanbul Archaeological Museums started large-scale salvage excavations at Yenikapi within the scope of Marmaray-Metro projects. For the first time in Istanbul's history, archaeological excavations were conducted at one of its Byzantine harbors. When the excavations started, it was not known what this ancient harbor at the mouth of the Lykos (Bayrampasa) River would yield. At first, Ottoman remains were encountered in the excavation area, which covers over 58,000 square meters. Then, one of Constantinople's most important, and the world's best known harbors, the Theodosian Harbor, was reached only 1 meter below sea level. During the ongoing excavations, countless small finds and works of architecture were unearthed. In addition to wood and rope fragments, an unexpected find, a shipwreck, was found in 2005. As the excavation area expanded, a total of 37 ships dating between the 5th and 11th centuries were brought to light. Among the finds are very well preserved small and large merchantmen, as well as galleys from the Middle and Late Byzantine periods, which have been found for the first time. The Yenikapi wrecks constitute the largest collection of shipwrecks ever found together. Another surprise was waiting for the archaeologists 6,3 meters below sea level: Istanbul's oldest settlement. This Neolithic settlement dates back 8000 years and changes the writing of Istanbul's history. The footprints of Istanbulites who lived there thousands of years ago were found a few meters below. As the excavations go on uninterrupted, we have now acquired much new information about the city. This exhibition has been prepared in light of the finds from Yenikapi and their scientific study. It presents a section of the city from its first inhabitants to the present, and allows a multidimensional view of trade, seafaring, shipbuilding technology, and everyday life in Constantinople through four wrecks that were found together with their cargo. A publication by the Istanbul Archaeological Museums, Koç Foundation, Koç University Research Center for Anatolian Civilizations and Koç University Press".

Bookshop Khalkedon Books, IOBA, ESA · Istanbul, TR57,49 €