Pınar Haznedaroğlu

(Salt Research Archives)

Sabiha Rüştü Bozcalı, a notable Turkish painter and illustrator, was the second child of Handan Hanım, the artistic daughter of Minister of Interior Memduh Pasha, and Admiral Rüştü Pasha, the son of Minister of Navy Hasan Pasha from Bozcaada. Encouraged by her mother, she began painting at the age of five. She received her initial painting education under the tutelage of Ali Sami Boyar, a painter and museum director. Throughout her life, Bozcalı lived in Berlin, Munich, Paris, and Rome from the age of fifteen, working in the studios of distinguished artists such as Lovis Corinth, Moritz Heymann, Karl Caspar, Paul Signac, and Giorgio de Chirico.

Thanks to the artistic education she received in major cities, Bozcalı had the opportunity to work with Namık İsmail at the Istanbul Academy of Fine Arts (Sanayi-i Nefise Mektebi) in 1928-1929. Although Bozcalı painted landscapes and still lifes, her portraits gained significant attention. Paul Signac, a Neo-Impressionist painter, praised her as "talented, with the sensitivity required by the art of painting, and who devoted herself completely to the difficult work of this profession."

The personal archive of Sabiha Rüştü Bozcalı (1904-1998) is housed at SALT Galata and encompasses sketches, portraits, landscape paintings, and her lesser-known designs. Bozcalı was among Turkey's first female illustrators. The collection includes extensive documents detailing her prolific life, such as images, exhibition catalogs, newspaper articles, postcards, and letters. Her appointment books provide insight into her painting schedule, creative projects, and daily activities, mentioning the people she interacted with and visited.

Sabiha Rüştü Bozcalı's works are significant not only for her artistic career but also for strengthening the place of women in the art world in Turkey. Her works are valuable not only aesthetically but also for reflecting the perspective on industrial and social changes during Turkey's modernization process. Bozcalı proved that female painters should not be limited to domestic subjects and became a pioneer by focusing on industrial production.

Between 1938 and 1940, she was sent to Zonguldak in 1939 as part of the Homeland Tours program organized by the Republican People's Party and People's Houses. Here, she painted the Kozlu Power Plant, Skip Installation, Karabük Iron and Steel Factory, Elevator (Incir Harmanı), Elevator Machine, Semi-coke Machine, Varagel, Semi-coke Factory, and Iron and Steel Factory. The aim of this program was to document modernizing and forming a new identity Turkey by designated artists.

In 1949, she began working as an illustrator for Milliyet newspaper, and from 1953 onwards, she also worked as a newspaper artist for Yeni Sabah, Hergün, Havadis, Cumhuriyet, and Tercüman. She was also one of the artists for Reşat Ekrem Koçu's Istanbul Encyclopedia.

The Sabiha Rüştü Bozcalı collection at SALT Research comprehensively documents the artist's rich and diverse artistic production. The archive includes Bozcalı's sketches, portraits, and landscape paintings, as well as her lesser-known designs. Additionally, it contains photographs, exhibition catalogs, newspaper clippings, postcards, and letters that provide detailed information about her life and career. Notable items in the collection include Bozcalı's crayons and erasers, photo albums from her student years at the Fine Arts Academy, personal notes, and documents.

Among the artworks examined are two drawings titled "Night Time" and "Landscape Study." "Night Time," created using watercolor, depicts a serene night scene, while "Landscape Study" offers a detailed exploration of nature. Another significant piece is "Caricature," a humorous and critical work drawn in ink, showcasing Bozcalı's satirical perspective. The third piece is a cover design for the album of the Fine Arts Academy, highlighting Bozcalı's talent in graphic design. The fourth and fifth items are a postcard and a pencil powder box owned by Bozcalı. These personal objects provide insight into the materials she used in her daily life.

This collection serves as a unique resource for those interested in exploring Bozcalı's artistic diversity and depth. Her works not only hold aesthetic value but also contribute significantly to Turkey's artistic and cultural history. The archive is of great importance to researchers and art enthusiasts, preserving Bozcalı's legacy for future generations.

BURCU KÖKEN DESIGN JOURNALS LESSON REVIEW

During the presentation given by Burcu Köken, she mentioned numerous journals under the titles of art and architecture. She talked about the art design policies of these journals and how art has been shaped up to the present day."Mimar" played an important role in shaping the modern architectural movement and architectural education in Turkey. It made significant contributions to the development of the architectural profession, especially in the early Republican period. This journey aims to follow the developments in the field of architecture, to share information among colleagues and to contribute to the development of the architectural profession. It includes the writings of the important architects of the period and the projects that reflect the understanding of architecture of the period. It also includes academic articles, interviews, project introductions and architectural criticism, and discusses the relationship between architectural practice and these fields. , has great importance in the architectural world. These designs play a strategic role in attracting readers by highlighting the content and purpose of a joruney. Additionally, the cover designs of architecture journeys reflect innovations and trends in the industry, providing readers with up-to-date information and inspiration. For this reason, cover designs of architecture are of great importance both in terms of aesthetics and information communication.

"Mimar" and "Mimarlık" journals are both journals that have made significant contributions to architectural practice and theory in Turkey, but they were published in different periods and published by different publications. "Mimar" and "Mimarlık" journals have made significant contributions to the field of architecture and design in Turkey and have been influential in the development of the understanding of form in art and design policy. Examining the effects of both in the field of architecture and design is important in understanding their contributions in these fields. "Mimar" journey made significant contributions to Turkey's modernization efforts in the early Republican period. He pioneered the dissemination and adoption of the modern concept of architecture. The journey encouraged modern and functional designs in line with the ideals of the new Republic and helped spread this understanding. It was effective in introducing and adopting modernist movements in Turkey. This encouraged the use of simpler, functional and geometric forms in architecture. The projects and design approaches of the leading architects of the period were published in the journey and reached wide audiences.

"Mimar" focused on architectural criticism and theory, allowing design policies to be evaluated critically. The journey has become a platform where various architectural theories are discussed. It has brought to the fore issues such as ethics, sustainability and social responsibility in architectural practice.  By providing a wide range of content on contemporary architectural practices, technological innovations and sustainable design, it has enabled architects to gain knowledge on these subjects. It emphasized the social dimensions of architectural practice by addressing issues such as urban transformation, use of public spaces and social justice. The 1970s were a period when political polarization and social movements intensified in Turkey. During this period, there were serious conflicts between left and right views, and anti-fascist discourses were a part of these conflicts. It did not remain insensitive to social and political events during this period and took a stance against fascism. By introducing various architectural styles and movements, the magazine ensured the support of formal diversity and innovative designs. This allowed architects to explore different formal approaches. It discussed the balance between aesthetics and functionality in architecture and presented various perspectives on these issues.

Both journey played an important role in the development of the understanding of architecture and design in Turkey and contributed to the advancement of the architectural profession. While "Mimar" magazine promoted modernism and functional design in the early Republic period, "Mimarlık" magazine highlighted a wider range of critical and theoretical approaches and supported contemporary architectural practices. Both magazines made significant contributions to the evolution of the understanding of form in art and the shaping of architectural policies.

‘’Yapı" is one of Turkey's leading publications in the fields of architecture, fine arts and culture. The magazine offers a wide range of information on project promotions, art criticism, cultural contents, building materials and technologies, to both professionals and art and culture enthusiasts. While "Yapı" magazine contributes to the development of the architecture and construction industry, it also plays an important role in cultural and artistic fields. ‘’Eser’’ is also more of an artistic magazine. It gives more content about interior architecture (architecture, painting, sculpture, decoration, music, theatre, cinema).

        Cultural heritage is a valuable source of inspiration in contemporary design. Contemporary design mixes the rich history of the past with new and inventive ideas to create works that are both aesthetically and functionally significant. This technique allows designers to create unique and meaningful work in both a local and global setting. The incorporation of cultural heritage into contemporary design brings classic themes, materials, and processes to life again via modern interpretations. For example, materials made with ancient weaving processes are employed in modern furniture designs, preserving old crafts and breathing new life into them.

Similarly, restoring and reusing old structures preserves their inherent characteristics while adapting them to meet modern demands. Contemporary design helps to preserve and conserve cultural heritage. Supporting traditional handicrafts and artists helps to preserve this legacy for future generations. It also helps to ensure that local cultures and identities are preserved during the globalization process. Cultural heritage has a vital and profound role in contemporary design, as does the relationship between tangible and intangible heritage. Cultural heritage refers to the values, beliefs, customs, and physical structures that a civilization carries forth from its history. This legacy is classified into two categories: tangible (tangible) and intangible heritage. Tangible heritage refers to objects that are physically present and may be preserved. This includes tangible artifacts such as historical structures, monuments, museums, works of art, and archeological sites. Examples of tangible heritage are Cappadocia's rock-carved cathedrals and Topkapı Palace. Intangible heritage, on the other hand, refers to information, traditions, and values that are not physical but represent the essence of a civilization and are passed down from generation to generation. These include traditional dances, music, crafts, folk tales, food, and language. Intangible heritage examples include Turkish coffee culture, as well as Hacivat and Karagöz shadow play. In contemporary design, these two sorts of heritage frequently intersect and compliment one another. Contemporary designers interpret cultural history in innovative ways, incorporating traditional components into modern creations. This combination preserves cultural continuity while also producing unique and meaningful designs that include current aesthetic knowledge. For example, a fashion designer may use historic Ottoman designs and weaving processes to create modern apparel. Similarly, an architect may construct structures that integrate history and modernity by incorporating old building aspects into modern buildings. Such techniques not only maintain and preserve cultural heritage, but also help to carry it forward by giving it new life and function. As a consequence, the incorporation of physical and intangible cultural history into contemporary design allows cultural aspects to be brought to life again through unique interpretations. This permits cultural legacy to be both maintained and integrated into modern society.

Contemporary craft is an area in which traditional handicrafts are combined with contemporary design and artwork. This concept refers to works in which traditional craft skills and materials meet contemporary aesthetic and practical requirements. Contemporary craft is a discipline that combines manual dexterity and creative thought, frequently producing one-of-a-kind, handcrafted things. The use of ancient techniques and processes alongside modern materials and design concepts. For example, combine classic pottery processes with modern shapes and embellishments. Aesthetics and utility are equally important. The works produced may have artistic merit while also being intended for practical purpose. Products are frequently handcrafted, so each one is unique. Personal touches and customized designs are commonplace. The materials utilized include wood, ceramics, fabrics, metal, and glass. Various artisanal skills and contemporary manufacturing technologies can be combined. Contemporary craft may also address concerns of cultural preservation and sustainability. Traditional themes, local materials, and eco-friendly production methods can all be incorporated. As a consequence, contemporary craft is the process of generating novel and unique objects by blending historical competence and cultural richness with modern aesthetic and practical demands. This helps to preserve cultural history while also making unique and significant contributions to the realm of current design. For example, Ebüzziya Siesbye is a well-known ceramic artist who merges traditional Turkish tile art with contemporary ceramic shapes. His vases stand out for their clean and graceful designs. These vases are a stunning example of contemporary workmanship, combining classic blue and white hues with modern minimalist forms that are both utilitarian and visually pleasing. Sevan Bıçakçı is a renowned jewelry designer who mixes old Ottoman methods with modern creations. His sculptures include elaborate and detailed designs that frequently integrate historical and cultural motifs. Rings and necklaces adorned with small paintings, Ottoman themes, and precious stones, for example, represent both traditional workmanship and modern aesthetic sensibilities. These examples demonstrate how contemporary craft simultaneously preserves ancient processes and introduces new works to the current design world. While such initiatives help to preserve cultural history, they also provide creative and visually appealing items.

PINAR HAZNEDAROĞLU

NATURAL STONE DESIGN COMPETITION RESEARCH

Group Members;(Selver Karap, Eda Lily Subaşı, Elif Sude Güngör, Pınar Haznedaroğlu)

Tirhandil has a rich history in Turkish maritime history. Although the actual origin of its name is unknown, it is believed to be derived from the Arabic word "trin". Tirhandil's history was first documented in the Middle Ages. It was a popular boat type under the Ottoman Empire. It was utilized extensively, particularly in the Aegean Sea and its surrounds. Tirhandils have a sturdy and long-lasting construction composed primarily of wood. These traits allow them to tolerate severe marine conditions.Tirhandils features a classic sailing pattern. They are outfitted with basic sails such as the mainsail and genoa sail. This sail configuration improves seamanship maneuverability.Tirhandils has a low-freeboard construction. These qualities cause them to wander less and offer stability when exposed to wind. This construction also gives an advantage while sailing in ports and shallow seas.Tirhandils are built with techniques often employed in boat construction. Because of the wooden construction, they offer structural flexibility, allowing for more stable sailing in choppy waters. Tirhandils were utilized for a variety of activities, including fishing, trading, and transportation. Nowadays, it is mostly utilized for tourism activities and racing. Tirhandils are a significant component of Turkish maritime tradition. They are significant for both their historical importance and their role in marine culture. In addition, these boats help to preserve ancient maritime abilities. They are also a popular tourist attraction, particularly along the Aegean Sea coastlines. As a result, the history and qualities of tirhandil play an essential role in Turkish nautical heritage. These boats, with their sturdy build, classic sailing arrangement, and multi-purpose use, have endured from the past to the present, enriching nautical culture. Traditional vernacular boat building often does not need much 2- or 3-dimensional design work. Instead, historical masters frequently drew side and front views and worked with precise dimensions. While the remainder of the boat is being built, the design is molded to reflect the craftsmen's expertise and mastery. This technique bases the design process on practical experience, mastery, and traditional knowledge. The master generally changes and shapes certain aspects to fit the boat's intended function and sea conditions. This approach use the "form drawing" technique to determine the shape of wood or other materials. While drawing wooden boards or materials into the design, the master considers the boat's structural strength, balance, and performance. This conventional style focuses on technical competence and expertise. Experienced artisans are often familiar with the basic aspects of a certain boat type and use this knowledge to form the design. This method produces distinctive and effective boats that reflect regional characteristics and nautical heritage. To summarize, vernacular boatbuilding is a process that relies on practical experience and traditional knowledge. Boat building normally begins with side and front views, which are subsequently molded based on the masters' expertise. This method is critical for preserving ancient nautical traditions and allowing for distinctive and effective vessels.

When I visited İmç 1 and 3, the feelings of the modern architecture were revealed. The design of the stairs inside the buildings was also quite old. When I visited the inside of the buildings, the ceramics used for the floors were different. The windows were also designed differently on each floor of the building. The exterior parts of architecture 1 and 3 were beautiful, but the interior did not look nice because it was surrounded by shops. I liked the architecture of Imç 1 and the open ceiling. In general, the architecture of this imç provides the opportunity for modernization from old to new.

Three questions from Bozdogan's text

Book; Modernizm Ve Ulusun İnşası Sibel Bozdoğan

-Are the structures of the French Revolution and the Kemalist Revolution similar?If they are similar, what contributions did it make to Turkey's modernization?"

-Why was Turkey's modernization of architecture referred to as 'open' and 'joyful'?