To the origins
It all began in 7500 BC, at Çatal Höyük. It was here, in the heart of Anatolia, that researchers discovered traces of the very first city in history. A refuge for newly sedentarized hunter-gatherers, the town consisted of some 2,000 houses built of brick on stone foundations. Grouped by 5 or 6 around a courtyard and rectangular in shape, the houses were placed one against the other, in an assembly that drew no streets. People moved from roof to roof, accessing the dwelling through a hole drilled in the roof. To find out more about this incredible first city, visit the Ankara Museum...
In the 2nd millennium BC, the Hittites left their mark on the region. Brilliant conquerors and great builders, the Hittites created the first large centralized state in Asia Minor and developed exceptional architecture, particularly in military terms, as witnessed by Alaça Höyük, the first Hittite capital with its Sphinx Gate and monumental statues, once part of a vast system of ramparts. Another capital, another jewel, this time in Hattousa. Set in the natural defences of a rocky outcrop, the city bears witness to a great art of urban planning. The lower town houses religious buildings, while higher up stands the powerful and austere Bogaz Kale citadel, protected by its lion-like stone monoliths. At Kültepe, the remains of a karum, a merchants' quarter protected by a wall, are still visible.
On the shores of Lake Van, the kingdom of Ourartou left vestiges of fortresses and sanctuaries, such as on the hill of Toprakkale, where traces remain of a temple dedicated to the war god Haldi and of an underground mausoleum whose staircase dug into the rock provided access to a large room used as a sanctuary or royal chamber. The Lycian kingdom, for its part, left vestiges of a profoundly spiritual architecture, as witnessed by the rock tombs of Caunos, the superb "lion tombs" and "harpy tombs" at Xanthe and the boat-shaped pedestal sarcophagi on the coast from Fethiye to Kaş. As for the Phrygians, they remain famous for their cliff-cut architecture, as at Yazilikoya.
Greco-Roman antiquity
From the 11th century BC onwards, the Greeks established themselves in Turkey. Their architecture was characterized by a quest for rationality and an emphasis on ideal proportions, which gave rise to the Greek orders. The Doric order is distinguished by its simplicity. The Ionic order, on the other hand, is characterized by elegance, lightness and scrolled capitals. The most beautiful Ionic temple can be seen in Priene. It is the temple of Athena Polias, of which 5 columns remain. Its architect, Pytheos, applied the rules of proportion laid down by Aristotle. These first two orders were followed by the acanthus leaves of the Corinthian order, characteristic of the Hellenistic period. Rationalism was replaced by grandiosity, and from then on all buildings, not just temples, benefited from this formal research. Theaters and porticoes (galleries of columns) multiplied. The temple of Artemis in Ephesus, where you can still see a fluted column and an altar terrace, and the largest temple dedicated to Apollo in Didymes are fine examples. Great builders, the Greeks were also ingenious town planners, as evidenced by the plans of Milet and Pergamon. The former, the home town of urban planner and inventor of the geometric plan Hippodamos of Miletus, is gridded by straight streets that intersect at right angles, forming blocks of equal size. The second abandoned the geometric plan in favor of one that could be perfectly adapted to the terrain. Town planners chose to exploit the possibilities offered by hills, such as successive terraces. The theater was thus built on a steep slope, the ideal terrain for a tiered structure.
The Romans added their engineering know-how to this Greek heritage. They introduced roads, bridges and aqueducts. To build faster and on a larger scale, the Romans also used new materials, such as brick. Costing less than stone, brick was also lighter and easier to handle. But the great Roman invention was, of course, concrete. Like brick, it's easy to produce and use. Thanks to concrete, the Romans were able to build vaults and domes on an ever larger scale, without the need for intermediate supports. The Romans also made their contribution to urban planning, adding the colonnaded lanes that can be admired in Ephesus in particular. Among the finest examples of Roman splendor are theAspendos theater, the villas of Ephesus and the remains of the ancient city of Heraclea de Latmos on the shores of Lake Bafa.
Byzantine Turkey
Now an official religion, Christianity needed new buildings to demonstrate its power. Temples were too cramped, and larger buildings were needed to accommodate the faithful. This led to an astonishing syncretism: Christians developed new architectural solutions based on existing Greco-Roman structures. Baths served as models for baptisteries, emperors' mausoleums inspired sanctuaries, and columns and capitals supported vaults. As for the basilicas - which until then had served as covered markets, public squares and courts of justice - they became churches. They were designed to allow the congregation to turn towards the altar: this gave rise to the longitudinal or basilical plan, with its central hall surrounded by colonnades. With the shift of the center of power from Rome to Byzantium, Emperor Justinian attempted to restore the splendor of the ancient empire by perfecting the ideal of the circular temple. But the mass and power sought by Rome were replaced by lightness and elegance, with an accumulation of vaults and couples.
The domes of this new Rome symbolize the Cosmos and Heaven, while the light and atmosphere are intended to contribute to the elaboration of a new divine mystique. Hagia Sophia, with its dome resting on a central 3-nave plan, was the masterpiece of the period. It took more than 10,000 workers and 100 foremen to complete this splendor, whose dome, 56 m high and 31.80 m wide, is built on a square plan. Another fine example is theChurch of Saint Sophia in Trabzon. Byzantine architecture is also characterized by the almost systematic use of brick, which is easy to work with and allows for greater flexibility and the use of curves and vaults, and by extremely refined decoration, as evidenced by the sumptuous decorations of colored mosaics. A Christian land for centuries, Cappadocia boasts a unique religious heritage. Here, the churches are rupestral. In fact, they are carved into the rock, the famous tuff formed by the discharge of ash and mud from the Erciyes volcano. Although these churches are built underground, they nonetheless follow the Byzantine plan of several naves and domes. Their decoration varies from period to period, from the simple lines of color and geometric motifs of the iconoclastic period to the large frescoes painted when the safety of worship was assured. The finest examples of these rock churches can be found in Göreme : Elmali Kilise (the apple church), Karanlik Kilise (the black church) and Tokali Kilise (the loop church).
Byzantine Turkey was not only religious, it was also military. The Byzantines were masters at building powerful fortifications, such as Istanbul's ramparts, extended in the5th century to a length of 21 km. These mighty protectors of brick and stone ensured its defense for a long time to come. Some ancient temples and theaters were even transformed into fortresses.
Seljuk wealth
From the 11th to the 13th century, the Seljuks made their mark on Anatolia, developing an early form of Islamic architecture strongly influenced by Iran, as evidenced by the iwans - vaulted rooms closed on 3 sides and open on the4th, delimited by a third-pointed arch, known as a Persian arch - as well as the domes and ceramics. Seljuk mosques are generally small, without courtyards, and their exteriors are characterized by a high, monumental portal spectacularly decorated with stalactites (a famous Iranian motif also known as muqarnas).
The minaret is built of brick on a stone base, its silhouette enhanced by blue glazed bricks. The schools(medersa) and hospitals(imaret) surrounding the mosque are also the focus of much attention. The Divrigi complex, known as the "Miracle of Divrigi", is a fine example of Seljuk architecture, with its Market Gate nicknamed the "Textile Gate" for its lace-like decoration of highly detailed floral ornamentation. In Erzurum, don't miss the medersa with its 2 fluted, earthenware-encrusted minarets and its stalactite entrance porch; and in Konya, take time to observe the Ince Minare Medersa and its portal combining floral, geometric and calligraphic decorations. The Seljuks are also famous for their turbes, or tombs, recognizable by their conical roofs, which are hardened reproductions of the ruler's royal tent. The tomb of the Emir Sultan at Erzurum is a fine example. Finally, the Seljuks left numerous caravanserais along their trade routes. Square in plan, surrounded by high walls and arranged around a central courtyard, these are true fortresses, both sober and harmonious. On the road to Ankara, Horozlu Han, built in the 12th century, is one of the finest.
The great Ottoman era (15th-17th centuries)
With the powerful Ottoman sultans in power, Islam became the empire's official religion. Many churches were transformed into mosques, starting with Hagia Sophia, now adorned with 4 minarets. The Ottomans thus achieved an astonishing transition between Christian Byzantine values and Muslim Ottoman principles. This syncretism is essential to understanding the Ottoman genius for pragmatically and symbolically integrating existing structures. Where Justinian sought to erect a single sanctuary, the Ottomans sought to create a monumental type that could be replicated ad infinitum. Ottoman mosques are characterized by a quest for visual and spatial balance; great importance given to light; decoration in mosaics and arabesque ornaments, symbolizing divine perfection; slender minarets and, above all, the systematic use of domes and half-domes creating a pyramidal effect, symbolizing spiritual elevation. The most famous exponent of this architecture is Sinan, who designed the Sehzade and Sulaymānīyah mosques, which impress with their light, lofty structure. But Ottoman architecture is also deeply political, reflecting imperial power. At the head of a gigantic empire, the Ottomans had all the material and financial resources they needed to build numerous sumptuous edifices. The Topkapı Palace in Istanbul is a prime example of this imperial architecture. Finally, the Ottomans became famous for their water architecture. A place of purification as well as sociability, Ottoman fountains were monumental, with facades adorned with sculptures and protected by wide canopies. These fountains are fed by superb aqueducts inspired by Roman constructions. Added to this are the magnificent hammams, with their openwork domes allowing soothing light to penetrate these places of relaxation.
The Ottoman house
The Ottomans also contributed to the development of a type of housing that we now refer to as the "Turkish house", and which originally developed in Central Anatolia. In these houses, every effort is made to respect privacy, as evidenced by a stone first floor with no openings to the outside world. The second floor is wooden and corbelled. It overlooks the street and opens onto vast louvered balconies reminiscent of moucharabiehs, allowing women to see without being seen. Inside, everything is organized around the sofa or living room. In Safranbolu, you can admire the finest examples of Ottoman houses organized around an inner courtyard with garden and fountain. In Istanbul, this Ottoman art of domestic living is reflected in the yalı, wooden summer residences built along the banks of the Bosphorus(yalı means shore). These yalis are imagined in perfect osmosis with nature. With the garden positioned to one side, there's nothing to disturb the breathtaking view of the sea on one side and the hill on the other. Nature's hold over the home is perfectly in keeping with the Ottoman tradition of simplicity. It wasn't until the 19th century that the facades and decorations of these yalis became more elaborate, with wood lace and precious materials. Among the yalis still in existence is the yali of Amcazade Hüseyin Pacha. Dating from the late 17th century, it is the oldest preserved yali.
Ottoman Eclecticism (18th-20th centuries)
This second Ottoman period saw a major influence from Western currents, especially in Istanbul. It was under the reign of Sultan Mahmud I that Ottoman Baroque made its appearance. The great achievement of this period is the Nuruosmaniye mosque complex, built between 1749 and 1755, whose capitals, arches and moldings can still be seen on the façade. At the end of the 18th century, Westerners had a strong presence in Istanbul. This explains the Ottoman variations on the European style. Baroque, Empire, Neo-Gothic, Orientalist (inspired by Andalusian and Maghrebian architecture) and Neoclassical styles all rubbed shoulders. This mix of styles was to inspire a great family of architects, the Balyans. In Istanbul, we owe them the Baroque palace of Küçüksu, the Dolmabahçe mosque, combining Baroque and Renaissance on a classical plan, and above all the Dolmabahçe palace, literally a filled garden. This incredible palace was begun in 1843 and completed in 1856. Its 600 m-long maritime façade is punctuated by 12 gates. Its décor is incredibly rich, with a dialogue between balustraded staircases and crystal chandeliers. Another important architect of the period, the Italian Raimondo d'Aronco, reinforced this architectural eclecticism with a new style: Art Nouveau. One example is the large complex built by Sultan Abdülhamid II, including a superb library. Finally, it was at the very beginning of the 20th century that the first national architecture appeared. The official style adopted by the state from 1908 onwards was eclectic and dominated by orientalism. Thus, while the facades remain very Western in appearance, the interior spaces retain the oriental separation of private and public, organized around sofas, the halls that distribute the different spaces.
Republic and architectural renewal
As soon as the Republic was proclaimed, the authorities wanted to distance themselves from the Ottoman past, so they transferred their capital to Ankara. This was how a modest town was transformed into a major urban center with monumental buildings symbolizing the ambition of the fledgling state. This period saw the emergence of the first national style, sometimes called Turkish Neoclassical or National Architectural Renaissance, influenced by Seljuk and Ottoman traditions. The Istanbul Post Office and the Ankara Museum of Ethnography are fine examples. Moreover, as the new capital lacked architects, European designers were called in to make their mark, initially in the neoclassical style (symmetry, sober lines, columns on facades), before allowing European styles to express themselves, such as the Bauhaus style with the Florya Atatürk Marine summer residence, or Art Deco with the Ankara railway station. The early years of the Republic were also marked by major hydraulic works, as Atatürk sought to develop Turkey's 900 km-long Euphrates River. In all, 22 dams and 19 power plants were built. The second national trend developed a few years later under the impetus of architects such as Sedad Hakki Eldem, and can be divided into two architectural impulses. On the one hand, a "nationalized" modern architecture was imagined, with very sober, even austere lines. On the other, there was a regionalist trend that placed modern techniques at the service of traditional style, as with the great Atatürk Library. Inspired by traditional housing, Eldem also brought Ottoman houses up to date.
Contemporary architecture
Even if it is not always easy to get out of the architectural framework inherited from the Ottomans, as shown by the history of the Yesilyurt mosque, whose plans had to be rethought because the architect had imagined a building without a dome, some constructions innovate smoothly like the Green Valley mosque, built in 2010. Designed as two overlapping domes with a separate minaret, it impresses with its white marble structure. In Istanbul, the Sapphire Istanbul tower spearheads sustainable architecture. At 261 meters high, it is one of the city's greenest buildings, meeting the government's green architecture goals. The project of a vast eco-district in the capital, called "Bio Istanbul", is part of this desire to combine architecture and sustainable development. Blending perfectly into the urban fabric thanks to a transparent structure and terraces offering superb views of the Bosphorus, the Zorlu shopping center, with its gardens, is a fine example of sustainable commercial architecture. Designed by the Turkish architect Emre Arolat, it also offers a re-reading of the classical buildings centered around a courtyard. This dialogue with tradition is part of a process of protection and preservation of heritage that is increasingly developing in Turkey.
