{"title":"Opportunity on Doğan Kuban and Reha Günay Books","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","products":[{"product_id":"mimar-sinan-neden-bir-tasarim-dehasidir","title":"Why Is Mimar Sinan a Design Genius?","description":"\u003cp\u003eYEM Yayın has published the new edition of Prof. Dr. Reha Günay's book, in which he pursued the question \"Why is Sinan a design genius?\" and shared his findings with readers. \u003c\/p\u003e\n\u003cp\u003eIn his new work, Reha Günay, who previously examined Sinan and his structures in great detail in his published books, explains the qualities that distinguish Mimar Sinan from other architects in an easily understandable language for anyone interested in Turkish and Ottoman architecture and culture, especially those just beginning their education in architecture, interior architecture, design, art, engineering, history, etc. \u003c\/p\u003e\n\u003cp\u003eIn the book, Günay briefly and clearly explains, using a \"question-answer-example\" method, who Mimar Sinan was as a \"real person\" and what kind of life he led, having been almost transformed into a fairy tale hero not belonging to this world through various legends and many exaggerated stories; what he achieved under what conditions; how he achieved this success with what methods and tools; and how he stood out from his colleagues as a result. \u003c\/p\u003e\n\u003cp\u003eReha Günay defines his reason for feeling the need to convey Mimar Sinan from this perspective as follows:\u003c\/p\u003e\n\u003cp\u003e“Many of us cannot name Ottoman architects, but there is no one who has not heard of Sinan. Everyone knows him as a great architect; even if they don't know much about Sinan, they remember at least a few rumors; they can also say that he was the architect of the Süleymaniye Mosque in Istanbul and the Selimiye Mosque in Edirne. However, it is a bit difficult to fully answer questions like, 'But why is he a great architect? What did he do to become so famous? What is his difference from other architects? Why do we call Sinan a design genius?'\u003c\/p\u003e\n\u003cp\u003eThe Ottoman Beylik was founded in 1299 and expanded rapidly. This small beylic reached the Rumelian side in 1353; until the conquest of Istanbul, it transformed from a small beylic into an empire by dominating many places in Europe, from Albania to Romania, from Greece to Bulgaria. The empire that emerged within 150 years now also had a new worldview. The first külliye built by Fatih Sultan Mehmed in Istanbul is the architectural product of this new view; it is a composition centered around the mosque and developing along its axes. This emerging building type is a cultural center befitting Eastern Rome but also Ottoman with Islamic elements. Thus begins the period of \"Ottoman Classical Architecture.\" Ottoman art would be more influenced by Greco-Roman art in later periods. Until Sinan, the Old Fatih Mosque and Bayezid Mosque shaped Ottoman Classical Architecture as successful examples carrying these influences.\u003c\/p\u003e\n\u003cp\u003eSinan grew up in such an architectural environment, developed himself as a good observer and thinker, and transitioned from military service to architecture. With a conscious analysis and thought system, he elevated the existing architectural art to great heights with the innovations he created over 50 years and captivated his surroundings. The new principles he introduced to architecture were adopted after him; mosques like Cerrahpaşa, Sultan Ahmed, Yeni Cami, Yeni Fatih, and külliyes like Üsküdar Yeni Valide, Eyüp Sultan, Hekimoğlu Ali Paşa, virtually continued to keep Sinan alive for another 150 years. Therefore, today, we find it difficult to pinpoint Sinan's individual contributions to architecture. However, if we had lived in Sinan's era, we would have been more surprised by each innovation he brought to architecture and admired his works even more than we do today. In this book, we will try to highlight the aspects that made Sinan stand out from his colleagues by touching on these topics...”\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCONTENTS\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eWHO IS SINAN?\u003c\/p\u003e\n\u003cp\u003eWho is Mimar Sinan?\u003c\/p\u003e\n\u003cp\u003eIn What Kind of Environment Did He Live?\u003c\/p\u003e\n\u003cp\u003eHe Is in Harmony with All Segments of Society\u003c\/p\u003e\n\u003cp\u003eHe Served as Chief Architect for Exactly 50 Years\u003c\/p\u003e\n\u003cp\u003eHe Is the Architect Who Produced the Most Works\u003c\/p\u003e\n\u003cp\u003eHe Is a Good Urban Planner\u003c\/p\u003e\n\u003cp\u003eHe Planned the Largest Külliyes\u003c\/p\u003e\n\u003cp\u003eHe Is the Architect Who Created Istanbul\u003c\/p\u003e\n\u003cp\u003eHE IS A GENIUS BECAUSE...\u003c\/p\u003e\n\u003cp\u003eHe Is a Good Work Scheduler\u003c\/p\u003e\n\u003cp\u003eHe Is a Good Observer and Analyst\u003c\/p\u003e\n\u003cp\u003eHis Designs Are Analytical and Scientific\u003c\/p\u003e\n\u003cp\u003eHe Is Diligent, Determined, and Disciplined\u003c\/p\u003e\n\u003cp\u003eHe Knows Building Economics Well\u003c\/p\u003e\n\u003cp\u003eHe Provided Ornament-Free; Speed and Economy\u003c\/p\u003e\n\u003cp\u003eHe Knows Site Selection Well and Accurately Assesses Topography\u003c\/p\u003e\n\u003cp\u003eHe Defines Building Hierarchy Well\u003c\/p\u003e\n\u003cp\u003eHe Has Always Been on the Side of Safety\u003c\/p\u003e\n\u003cp\u003eHe Is a Good Water Engineer\u003c\/p\u003e\n\u003cp\u003eHe Brought Innovations to Traditional Architecture\u003c\/p\u003e\n\u003cp\u003eHe Added Uniqueness and Innovation to Every Structure\u003c\/p\u003e\n\u003cp\u003eHe Transformed Masonry Structures into Framed Construction Systems\u003c\/p\u003e\n\u003cp\u003eHe Reconciled Structure and Space; Developed the Centralized Plan\u003c\/p\u003e\n\u003cp\u003eSinan's Mosques Are Brighter\u003c\/p\u003e\n\u003cp\u003eHe Wrote a Symphony of Domes\u003c\/p\u003e\n\u003cp\u003eHe Found Civilized Solutions for Social Functions\u003c\/p\u003e\n\u003cp\u003eIN CONCLUSION...\u003c\/p\u003e\n\u003cp\u003eAfter So Many Structures, He Developed the Ambition to Surpass Hagia Sophia\u003c\/p\u003e\n\u003cp\u003eHe Is a Universal Architect, Not a Local One\u003c\/p\u003e\n\u003cp\u003eHe Is Aware of Having Done Important Work\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48370208407795,"sku":"9786058043428","price":175.0,"currency_code":"TRY","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/products\/Mimar_Sinan_Neden_Tasarim_Dehasidir_ONKAPAK_3BASKI.jpg?v=1637049907"},{"product_id":"mimarlik-kavramlari","title":"Architectural Concepts - 19th Edition","description":"\u003cp\u003eYEM Yayın, which publishes books on topics such as architecture, interior design, design, engineering, urban planning, urbanization, industrial product design, landscape design, archaeology, culture, and art, has released the 19th edition of its book titled Mimarlık Kavramları (Architectural Concepts).\u003c\/p\u003e\n\n\u003cp\u003e“The process of acquiring knowledge passes through theoretical teaching and printed paper. When it is accepted that the best person to teach architecture (except in special cases) should be an architect, the necessity for the architect to have the ability to express the act of building verbally, either to explain themselves or to understand what their colleagues are saying, arises. I hope this small book can, to some extent, show aspiring architects ways to articulate their work.”\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eDOĞAN KUBAN\u003c\/strong\u003e\u003c\/p\u003e\n\n\u003cp\u003eMimarlık Kavramları, which aims to correctly define architectural activity at a general and conceptual level, especially for those new to architecture and design education, comprehensively evaluates the boundaries of the objective conditions of building production, societal organization, the construction process, building form, and the relationships between individuals and society within a theoretical framework.\u003c\/p\u003e\n\n\u003cp\u003eIn his book Mimarlık Kavramları, which was initially prepared for introductory architectural history courses but was developed in subsequent editions to become one of the fundamental reference sources for architectural education in Turkey, Doğan Kuban gradually examines the emergence and development of basic concepts, which can be called the ABCs of architecture, within the history of architecture.\u003c\/p\u003e\n\n\u003cp\u003eThe book defines all components of architecture, from building materials and techniques such as stone, soil, wood, and mortar to structural elements like columns, arches, vaults, and domes; its relationships with art, aesthetics, cities, and society are examined in detail.\u003c\/p\u003e\n","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48370208669939,"sku":"9786058136663","price":273.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/Mimarlik_Kavramlari.jpg?v=1686646173"},{"product_id":"sile-deki-ev","title":"The House in Şile","description":"\u003cp data-mce-fragment=\"1\"\u003eProf. Dr. Reha Günay's new book, \u003cem data-mce-fragment=\"1\"\u003eThe House in Şile\u003c\/em\u003e, which intimately recounts the story of the house where he was born and raised in Şile and its preservation-restoration-renovation process, has been published by YEM Yayın.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eReha Günay, whom we know for his original works in fields such as architectural history, art history, traditional building and construction techniques, photography, and archaeology, tells the story of his ancestral home, where he was born and raised in Şile, with an approach distilled from all these fields. Of course, as in all his books, unique photographs accompany the text, adding vitality and emotion to this work.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eReha Günay summarizes his reason for preparing this book for publication as follows:\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\"...In this book, you will find my memories related to the house where I spent part of my childhood in Şile. I specifically tried to ensure that these memories were solely about the house. I did not include Şile or my other memories. To better understand what I heard as a child, and what I saw and found in the house, I researched them from various sources. Therefore, you will find the fleeting stories of my memories alongside the realities of that time. In this way, I am, in a sense, grounding myself. Who knows, you might even say 'you shouldn't have grounded yourself'! The items and objects in the book are synonymous with the house for me. I cannot imagine 'The House in Şile' without them. Moreover, these objects can be considered an inventory of an Ottoman family from a hundred years ago. Although they may not have monetary value, they are important from the perspective of folklore and cultural history. Such everyday use items are now rarely found in homes or museums. My greatest wish is for these objects to live on with the house...\"\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eBurçin Yılmaz edited \u003cem data-mce-fragment=\"1\"\u003eThe House in Şile\u003c\/em\u003e, Gökçen Yanlı Atmaca designed the cover, Mecit Demir did the proofreading, Hüseyin Aktürk handled the graphic design, and Kemal Kara prepared it for printing.\u003c\/p\u003e","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48370210111731,"sku":"9786257008310","price":350.0,"currency_code":"TRY","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/products\/YEM_Siledeki_Ev_Kapak.jpg?v=1618904812"},{"product_id":"istanbul-un-kaybolan-ahsap-konutlari","title":"Istanbul's Vanishing Wooden Houses","description":"\u003cp data-mce-fragment=\"1\"\u003eA new edition of Prof. Dr. Reha Günay's book, \"The Lost Wooden Houses of Istanbul,\" which documents the wooden architectural fabric of Istanbul that has been a characteristic feature of the city for centuries but has now vanished, has been released.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe new version of the book, without compromising its content, quality, or page count, was prepared in a smaller size than the first editions to make it easily portable for readers and affordably priced, and it was printed on lightweight paper.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe book, prepared by YEM Yayın, consists of two main sections: The first part starts with the history of wooden house construction and explains the concept of \"Turkish house\" in terms of its architecture and construction technique. It then presents distinguished examples of this tradition that have survived to the present day, accompanied by plans, drawings, engravings, and photographs. The second part attempts to trace the residential fabric of Istanbul district by district with over 200 black-and-white photographs selected from nearly 4000 photographs taken by Reha Günay at different times from 1960 to the present. Günay's lens takes us on a historical journey from Zeyrek to Süleymaniye, from Cibali to Beşiktaş, from Üsküdar to Anadoluhisarı, from Kadıköy to Göztepe.\u003c\/p\u003e\n\u003col start=\"15\" data-mce-fragment=\"1\"\u003e\n\n\u003cli data-mce-fragment=\"1\"\u003eand the 16th century to the present, where the most extraordinary examples of the Turkish house tradition came to life, Istanbul seems to have lost the wooden residential fabric it preserved until recently, and the parallel culture of living that developed with it. This book, which immortalizes examples of this tradition with unique photographs, stands out as an important documentation work that will convey this typology and the residential fabric it created to future generations. \u003cbr data-mce-fragment=\"1\"\u003e The Lost Wooden Houses of Istanbul aims to be a documentation work that goes beyond merely describing a building typology or construction technique, providing insights into the home life and social relations of an era, and also \"showing how time has changed and where society, economy, technology, and urbanization have gone.\" \u003cbr data-mce-fragment=\"1\"\u003e Prof. Dr. Reha Günay describes the book and the photographs included in it as follows:\u003c\/li\u003e\n\n\n\u003c\/ol\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\"After graduating from ITU in 1960, as an architect, I tried to document my surroundings with only my own resources until now. The street I lived on, the roads I took to school, the neighborhoods, were all made up of wooden houses. Wooden houses that were gradually disappearing, being demolished and replaced by apartment buildings, always interested me, also with the education we received at the faculty. Whenever I had the opportunity, I would walk around the streets, look for houses with architectural features, and try to photograph them. Since I was looking for quality houses, dilapidated or altered houses that were rented out floor by floor, mansions, always remained outside the scope. Now, looking back, I think, 'I wish I had taken street photographs.' The street perspectives created by wooden houses; even if the houses were individually unexceptional or deteriorated, they were very beautiful. In architectural terms, they had an organic structure.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eWhat I present in \"The Lost Wooden Houses of Istanbul\" is a part of my small collection! This so-called small collection includes almost three to four thousand frames from Istanbul. While preparing and selecting the photographs, I tried to show the houses together with their surroundings. Sometimes with an unbuilt, tree-lined adjacent plot, sometimes with telephone and electricity poles and wires, stovepipes extending from windows and the sooty canned goods attached underneath, with their connecting wires, with crows and pigeons that had made their homes in a rotten piece of the wooden house cladding, with tiny sparrow nests with grass hanging out, and later with television antennas placed on the roofs... All of these are documents that will go down in history as part of the house life of that time. From time to time, you will also see pictures of demolished, ruined houses. Ruined houses are among my favorites because they provide us with important information about construction methods. Furthermore, scattered houses remaining in a deteriorating, or rather, urbanizing environment, not only give us information about the old fabric of that neighborhood but are also documents that show how time has changed and where society, economy, technology, and urbanization have gone. You can either learn from it, or you can say, 'Change is fundamental, it couldn't have been otherwise,' and move on...\"\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eCONTENTS\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eINTRODUCTION\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eWooden Houses in My Memories\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIstanbul Houses Through the Eyes of Sedad Hakkı Eldem\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eTURKISH HOUSE TRADITION\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eWhat is a Turkish House?\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eLifestyle\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eRooms\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eTurkish House Plan Types\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eUSE OF WOOD IN TURKISH HOUSES\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eDevelopment of Wooden Houses Throughout History\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eWhere is the Origin of the Turkish Wooden House?\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eISTANBUL HOUSES\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eHistorical Development of Istanbul Houses\u003c\/p\u003e\n\u003col start=\"15\" data-mce-fragment=\"1\"\u003e\n\n\u003cli data-mce-fragment=\"1\"\u003eand 16th Century Houses\u003c\/li\u003e\n\n\u003cli data-mce-fragment=\"1\"\u003eCentury Classical Ottoman Houses (First Period)\u003c\/li\u003e\n\n\u003cli data-mce-fragment=\"1\"\u003eCentury Ottoman Baroque Period Houses (Second Period)\u003c\/li\u003e\n\n\u003cli data-mce-fragment=\"1\"\u003eCentury Empire Houses – Napoleonic Period Classicism – (Third Period)\u003c\/li\u003e\n\n\u003cli data-mce-fragment=\"1\"\u003eCentury Vizier and Statesmen's Mansions in Istanbul\u003c\/li\u003e\n\n\n\u003c\/ol\u003e\n\u003cp data-mce-fragment=\"1\"\u003eEXAMPLES OF WOODEN HOUSES FROM THE ANATOLIAN SIDE\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eEXAMPLES OF WOODEN HOUSES FROM THE RUMELIAN SIDE\u003c\/p\u003e","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48370207686899,"sku":"9786257008419","price":175.0,"currency_code":"TRY","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/products\/ISTANBUL_KAYBOLAN_AHSAP_KONUTLAR_ON_Kapak.jpg?v=1637049316"},{"product_id":"istanbul-adalarinin-yasayan-ahsap-konutlari","title":"The Living Wooden Houses of Istanbul's Islands","description":"\u003cp data-mce-fragment=\"1\"\u003eA new edition of Prof. Dr. Reha Günay's book \"Living Wooden Houses of Istanbul Islands,\" which documents the still vibrant wooden architectural fabric of the Istanbul islands, has been released.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe new version of the book was prepared in a smaller size than the first editions, without compromising its content, quality, or number of pages, with the aim of being easily portable for readers and affordably priced. It was also printed on lightweight paper.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIn his book \"Istanbul's Lost Wooden Houses,\" Reha Günay revealed the sadness of Istanbul's disappearing wooden housing fabric. In \"Living Wooden Houses of Istanbul Islands,\" he presents a selection of structures on the Islands that continue to thrive with enthusiasm despite urbanization, population growth, and our general indifference.\u003cbr data-mce-fragment=\"1\"\u003e The book allows us to view Istanbul's islands through the distilled lens of Reha Günay's more than 50 years of experience as an architect, photographer, academic, and author.\u003cbr data-mce-fragment=\"1\"\u003e In the book, Reha Günay provides examples ranging from very small traditional houses to magnificent Neo-Classical or Art-Nouveau mansions, in addition to the street fabric of Büyükada, Heybeliada, Burgazada, and Kınalıada. He offers highly original explanations regarding the architectural and artistic features of these structures.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eReha Günay summarizes his reason for carefully selecting black and white photographs taken over many years on the Islands to prepare a book as follows:\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\"While preparing 'Istanbul's Lost Wooden Houses,' I considered including the island houses, but I didn't feature them because they are a very important group of houses and they are still alive. With this book, instead of the sorrow of lost houses, we experience the joy of living houses. Indeed, these structures, located right next to Istanbul, continue to exist thanks to the struggles and efforts of their owners. In this way, we find the cultural values we lost on the mainland collectively preserved in this natural wonder of a geography and enjoy them to the fullest. Cultural heritage teaches us history as a passage of time. Not just events, but also humanity, economy, technology, art, and culture... Isn't it an easy attitude to simply take a ferry and see these structures without making any effort to protect them? That's why we owe a thank you to the islanders. If we look at the foreign tourists wandering the Islands, it seems they understand the value of Islands' architecture better than we do. Going to the Island should not just be about eating, drinking, riding a phaeton, swimming, lying under a tree, or sitting in a café. It is necessary to walk around the Island, see its structures from the simplest houses to the most magnificent mansions, understand them, learn their stories, and even feel the necessity to enjoy them.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe photographs in the book are mostly recent. We did not attempt to collect all important structures. Rather, we made selections from houses of various segments. We took examples from very small or traditional houses as well as from magnificent Neo-Classical and Art-Nouveau mansions. Although there are some structures on the Islands that have suffered from restoration, most have been recently compiled, tidied up, painted, and adorned. Seeing these structures in their living state truly gladdens one's heart...\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eToday, the Islands are like an open-air museum reflecting various styles of 19th-century European architecture. Nearby Istanbul, which is thousands of years old, has now entirely lost its traditional wooden housing fabric; it barely preserves its old masonry societal structures while having lost its historical environment. In contrast, the Islands standing before us in a remarkably preserved state today seems like a miracle. To sustain this miracle and pass it on to future generations will provide extraordinary contributions to our culture in the future...\"\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eCONTENTS\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eA LOOK AT THE HISTORY AND ARCHITECTURE OF THE ISLANDS\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eTanzimat Edict and Minorities\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eWesternizing Architecture\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eExpansion in Istanbul's Settlement Borders\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIslands Architecture\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eBÜYÜKADA\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eHEYBELİADA\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eBURGAZADA\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eKINALIADA\u003c\/p\u003e","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48370207654131,"sku":"9786257008426","price":175.0,"currency_code":"TRY","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/products\/ADALARIN_YASAYAN_AHSAP_KONUTLAR_ON_Kapak.jpg?v=1637049702"},{"product_id":"cennetin-kapilari-gates-of-paradise","title":"Gates of Paradise","description":"\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eCENNETİN KAPILARI \/ GATES OF PARADISE\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eDivriği Ulucamisi ve Sifahanesi’nde Hürremşah’ın Yontu Sanatı \/ \u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003eThe Sculpture of Hürremşah at Divriği Ulucami and Şifahane\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e Prof. Doğan Kuban’s eagerly awaited new edition of the book “Cennetin Kapıları \/ Gates of Paradise”, which describes the unique stone sculptures of Divriği Great Mosque and Hospital within Anatolian architectural development and unrivaled in the history of Islamic art, was published by YEM Publishing with the valuable contributions of Rönesans Holding.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e In the Turkish-English book, accompanied by Cemal Emden's very special photographs, the stone sculptures of Divriği Great Mosque and Hospital, dated 1228\/29, which remained unique in the architectural development in Anatolia and are unparalleled in the history of Islamic art, are presented during the art era known as Anatolian Seljuk Architecture between the 12th and 14th centuries.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eDoğan Kuban, in his book examining the position of these sculptures, which have no other parallel in the history of world art as well as in Islamic and Turkish arts, within the universal concept of sculpture, says the following:\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e“Among the masters of the building, only one’s name, ‘Hürremşah of Ahlat’, is given once in both the mosque and the hospital. It is probable that the design of the buildings and a part of the stone sculptures are the creation of this artist from Ahlat. The sculptural program realized to decorate the monumental portals in the building moved the ornamentation away from its complementary role to the architecture, creating an extraordinary work that sculpted stone carving. It is these sculptural stone carvings that make Divriği art original and famous. However, beyond this aesthetic quality, the North (Qibla) Portal, designed as a virtual Gate of Paradise, is perhaps the only image of a gate of paradise in the history of Islamic art. In this respect, it should have a very important place in Islamic culture.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eWestern culture has created a vision of world art history within its own historical expansions, and the art traditions of the entire world are presented with interpretations filtered through the European art vision. In European sculpture history, the subject is fundamentally the human figure. Since the Islamic tradition rejects figurative art as a principle, Islamic stone carving has been evaluated in the category of ornamentation in world art history. Although since the development of the concept of abstract art, the subject of the figure has ceased to be a mandatory feature of the concept of painting and sculpture. However, this situation has neither eliminated the existence nor the effect of a broad theoretical and critical thought based on the tradition of figurative art. Furthermore, the place of Islamic art structures, which have been excluded from the thousands of years of figurative art tradition, is limited in world art history, even if on a universal scale. Divriği sculpture is an art phenomenon unparalleled in Islamic art...\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eFor the author of this book, the portals of Divriği Great Mosque and Hospital have characteristics that we would place in the category of artistic activity that Western art history defines as 'sculpture'. Although similarities that can be found in sculptural techniques and forms in different cultural environments cannot be considered as stylistic similarities. It has been shown in this book with undeniable examples that the professional encounter between the artist carving the stone and the material leads to similar behaviors.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe comparisons made in this book are illuminating in terms of the character of Hürremşah's sculpture. However, in the Western art tradition where all criteria are based on the 'representation' of the human figure, calling Divriği sculpture 'sculpture' only seems possible when we reach the 20th century.”\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003cstrong\u003eGATES OF PARADISE\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTheSculpture of Hürremşah at Divriği Ulucami and Şifahane\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e“The book you are holding in your hand is devoted to the description of the Stones culpture of the Divriği Ulucami and Şifahane (Great Mosque and Hospital of Divriği) (1228\/29), a glorious example of 12\u003csup\u003eth \u003c\/sup\u003eto 14\u003csup\u003eth \u003c\/sup\u003ecentury Anatolian Seljuk architecture and a truly unique phenomenon in the history of Islamic art. Of the craftsmen in volved in the work the name of only one has survived – that of ‘Hürremşah of Ahlat’, whose name appears once in both them osqueand the hospital. It seems probable that this master builder and stone Carver from Ahlat was responsible for the design of the buildings and for the creation of part of the sculpture. He created a sculptural programme for the decoration of the monumental portals which gave the ornamentation a sculptural dimensionan dremoved it from its traditional role as a me resubsidiary element and complement to the architecture. It is this sculptural stone work that is responsible for the unique quality and fame of Divriği art, but besides this aestheticquality, the Qibla portal, designed as an imaginary ‘Gate of Paradise’, is probably the only example of a symbolic paradisegate in thehistory of Islamic architecture. From that point of view, it deserves to be awarded a very important place in Islamic culture...''\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48370206671091,"sku":"9786257008464","price":875.0,"currency_code":"TRY","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/products\/CENNETIN_KAPILARI_3BASKI_ON_KAPAK_YEM.jpg?v=1639734840"},{"product_id":"osmanli-mimarisi-karton-kapak","title":"Ottoman Architecture - Paperback (2nd Edition)","description":"\u003cp data-mce-fragment=\"1\"\u003eYEM Yayın has published a new edition of \"Ottoman Architecture,\" written by Prof. Doğan Kuban with the aim of \"unveiling prejudices related to Ottoman history, culture, and art, and putting an end to the clichés created by foreigners and even Turks themselves since the 19th century.\"\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThis comprehensive reference work, featuring meticulously compiled academic data, includes nearly 1,000 specially taken photographs, architectural drawings, engravings, comparative tables, and maps, as well as an Ottoman-Turkish Architectural Dictionary.\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eDOĞAN KUBAN TALKS ABOUT \"OTTOMAN ARCHITECTURE\"\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eDoğan Kuban, who states that \"the experience of establishing a relationship between social history and architectural history can also be evaluated as looking at Ottoman history through the mirror of architecture,\" shares his views on this unique work as follows:\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\"Ottoman architecture is the most internationally significant production and product of Ottoman culture. The Ottomans produced great works which, I believe, hold a special place in world architectural history; these have survived to this day and have influenced leading art historians and architects worldwide. I am a historian of this subject. I have been working in this field for over 60 years. As a master of this craft, I felt the need to explain architecture in a more detailed way, intertwined with Ottoman history and culture, with a different understanding than what has been done so far.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eI prepared 'Ottoman Architecture' by bringing together ideas, studies, research, and comparisons from other works, which I compiled over many long years. In fact, I can say that I summarized in a single work a task that is encyclopedic in nature and could be done by many people. I say 'summarized' because it is not possible to fit all of Ottoman architecture into 720 pages. However, such works are not read encyclopedically. In my opinion, books prepared with an internally consistent approach are more illuminating because they have internal consistency. I tried to achieve this in a field where I spent 60 years, and I succeeded. That is why I am happy.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\"Architectural history\" can merely be the story of grand, rich, and beautiful buildings. It can also be the story of personal and societal demands related to a building, but this parameter has often not been given sufficient weight. Yet, structures do not materialize until these demands are transformed into a building program. Behind these demands and programs lie social functions, social values, personal tastes, manners, knowledge, and techniques. For example, the fact that the staircase, one of the most magnificent elements of architectural history, was not used as an important design element in Ottoman architecture before the 19th century, and that designs such as the Scala Reggia or the staircase hall of Würzburg Palace never developed in Turkey, is an architectural history problem that deserves contemplation. Similarly, seeking answers to questions about dimensions, symmetry, and ornamentation; examining the content of the desires and aspirations behind the wills that created houses, palaces, and mosques; is more important than merely displaying buildings as a cultural showcase. The fact that Sinan continued his research until he reached the Selimiye; the fact that Nuruosmaniye, built 20 years after the Hekimoğlu Ali Paşa Mosque, could be designed and implemented with such a bold interpretation at that time, are as important as the buildings themselves. Because it is these interpretations and tastes that make them unique and appealing. Understanding and explaining how much of these are tradition, how much thought, how much patron's command and taste, and how much the expression of the artist's will, are the efforts that make architectural history worth writing and reading. If written with a sufficiently developed intuition, this effort can better explain the true nature of historical production. I believe that architectural history can only have meaning if written this way, otherwise, it cannot go beyond a display of goods. \u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eReaders of this work may reject the naming of structures they previously knew as mosques as zawiye or imaret here. This long-debated issue needed to reach a conclusion with clear evidence from documents. Because this issue is related to the structure of the state at the beginning of Ottoman history.\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe information included in this narrative could not have been compiled without drawing upon the work of hundreds of experts who have been working on this subject for almost a century. Therefore, however much I may reject their judgments, I dedicate my book to the memory of researchers who have sincerely labored in this field...\"\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48370209358067,"sku":"9786257008471","price":910.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/products\/OSMANLI_MIMARISI__Karton_Kapak.jpg?v=1639735379"},{"product_id":"osmanli-mimarisi-ciltli","title":"Ottoman Architecture (Hardcover)","description":"\u003cp data-mce-fragment=\"1\"\u003eYEM Yayın has published the longed-for new edition of Professor Doğan Kuban’s “Ottoman Architecture,” which he wrote with the intention of “revealing prejudices about Ottoman history, culture, and art, and putting an end to the clichés created by foreigners and even Turks themselves since the 19th century,” with the valuable contributions of RÖNESANS Holding.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThis comprehensive reference work, which includes meticulously compiled academic data, features nearly 1,000 specially taken photographs, architectural drawings, engravings, comparative tables, and maps, as well as an Ottoman-Turkish Architecture Dictionary.\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eDOĞAN KUBAN TALKS ABOUT “OTTOMAN ARCHITECTURE”\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eDoğan Kuban states that “the experience of establishing a relationship between social history and architectural history can also be regarded as looking at Ottoman history through the mirror of architecture,” and shares his views on this unique work as follows:\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e“Ottoman architecture is the most internationally significant production and product of Ottoman culture. The Ottomans created great works that, I believe, hold a special place in the history of world architecture. These works have survived to this day and have influenced prominent art historians and architects worldwide. I am a historian of this field. I have been working in this area for over 60 years. As a scholar of this subject, I felt the need to explain architecture in a more intertwined manner with Ottoman history and culture, with a bit more detail, and with a different understanding than what has been done so far.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eI prepared 'Ottoman Architecture' by bringing together ideas, studies, research, and comparisons that I compiled over many years and wrote about in other works. In essence, I can say that I summarized in a single work a task that is encyclopedic in nature and could be done by many people. I say 'summarized' because it is not possible to fit all of Ottoman architecture into 720 pages. However, such works are not read encyclopedically. In my opinion, books prepared with an internally coherent approach are more illuminating because they possess internal consistency. I strived and succeeded in achieving this in a field where I have spent 60 years. For that, I am happy.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\"Architectural history\" can be just the story of large, rich, and beautiful buildings. It can also be the story of personal and social desires related to a structure, but this parameter has often not been given enough weight. Yet, structures do not materialize until these desires turn into a building program. Behind these desires and programs lie social functions, social values, personal tastes, manners, knowledge, and techniques. For example, the fact that the staircase, one of the most magnificent elements of architectural history, was not used as an important design element in Ottoman architecture before the 19th century, or that designs like a Scala Reggia or the staircase hall of Würzburg Palace never developed in Turkey, is an architectural history problem worth pondering. Similarly, seeking answers to questions about dimensions, symmetry, and ornamentation; examining the content of the desires and aspirations behind the wills that created houses, palaces, and mosques; is more important than arranging structures like a showcase for cultural display. The fact that Sinan did not cease his research until he reached Selimiye; and that Nuruosmaniye, built 20 years after the Hekimoğlu Ali Paşa Mosque, could be designed and implemented with such a bold interpretation at that time, are as important as the structures themselves. Because it is these interpretations and tastes that make them original and appealing. Understanding and explaining how much of these are tradition, how much are ideas, how much are patron's orders and tastes, and how much are expressions of the artist's will, are the efforts that make architectural history worth writing and reading. If written with sufficient developed intuition, this effort can better explain the true nature of historical production. I believe that architectural history can only have meaning if written in this way, otherwise it cannot go beyond a display of goods. \u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eReaders of this work may object to structures they previously knew as mosques being referred to here as zawiyas or imarets. This long-debated issue needed to be resolved with clear documentary evidence. This is because the problem is related to the structure of the Ottoman state at its inception.\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe information included in this narrative could not have been compiled without benefiting from the work of hundreds of experts who have been working on this subject for almost a century. Therefore, however much I may reject their judgments, I dedicate my book to the memory of the researchers who sincerely toiled in this field...”\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003cstrong data-mce-fragment=\"1\"\u003e\u003c\/strong\u003e\u003c\/p\u003e","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48370209325299,"sku":"9786257008488","price":2100.0,"currency_code":"TRY","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/products\/OSMANLI_MIMARISI_ONKAPAK_3BASKI_YEM.jpg?v=1639736051"}],"url":"https:\/\/yemkitabevi.com\/en-us\/collections\/dogan-kuban-ve-reha-gunay-kitaplari\/yazar_dogan-kuban.oembed","provider":"YEM Kitabevi","version":"1.0","type":"link"}