Samples for the Safranbolu Houses
Samples
for the Safranbolu Houses
The Dağdelen Mosque
in Akçasu. The distances between the hills enables one to perceive the whole
of the settlement and yet discern its details. The bouses situated on a slope
do not hinder one another’s view. It is possible to detect each and every one
of them form the facing slope. The rocky cliffs framing the background shield
the houses from severe winds in winter.
The Karaosmanoğulları
şehir house has been formed with great mastery as a corner house at the junction
of two streets on undulating land. The stonebuilt ground floor carries the top
floors while performing the function of a retaining wall. The top floor extends
both sideways and upwards with projections, opening onto the street stage. The
entrance door placed in the corner, the skillful organization of the windows
on the middle and top floors in regard to their proportions and intervals; the
triangular gable wall emphasizing the central axis with its incription in the
form of an imperial monogram, all contribute to making this an extraordinary
façade. Unfortunately however, this façade is now partly altered.
The ground floor
wall which is the continuation of the garden wall follows the street line.
The other floors are organized independently. The ultimate layout is achieved
on the top floor. With the exactitude of its proportions the Taşatarlar house
exhibits a very balanced architectural approach (Akçasu).
The wooden panelling
of the hayat, extending to the middle floor conceals the brackets supporting
the upper floor. This creates a striking illusion; the huge white mass seems
to be rising out of deep shadows.
The ground floor
layout is the continuation of the ground floor, while the top floor has projections
on all sides. Brackets of differing lengths break the symmetry. The massire
form is softened with the projections and the rhythm of recurring windows. The
hall of the middle floor is exposed to the outside with wooden lattices without
any glass windows (Gökçüoğlu summer house).
Made of vertical
planks the double-winged entrance doors have a plain appearence. The large capped
mails function as decorative elements while securing the laths behind the door.
The astragal is decorated in the classical style (Kayyumlar, şehir house).
The coved ceiling
of the entrance is lower than that of the room. The balustrades have been made
by turning. Closets and cupboards can be seen at the back. The use of modern
furniture has spoilt the appearance of the room (Saraçlar şehir house).
The most significant
characteristic of the Turkish room is its multiple use as a living unit. It
is possible to sit, eat, sleep, pray and even wash in every room. The mobility
of the furniture used is one of the main factors rendering this possible. Furniture
is brought out when necessary and stored away as soon as there is no more use
for it. Apart from the fitted storage space and sitting platforms the centre
of the room is left completely empty for this purpose. This room, one of the
prominent examples of the traditional rooms is still preserved with high esteem
by its owner. Nezihe Aycan (Emirhocazade Ahmet bey house).
There can be divans
on either side of the hearth.
Another chambered
projection with arched windows (Keçeciler şehir house).
A double-levelled
ceiling of walnut and pine decorated with lath tablets (Paçacılar summer house).
Another lath-decorated
ceiling and medallion (Gökçüoğlu house).
A very rare example
in respect of the build-up of the mass. On one side of the façade the coinciding
rooms of succeeding floors give a sense of unity, while the other side balances
the mass in a completely different manner, with bracketed projections of the
top floor (Müsellimler şehir house).
An intricately
designed wooden cupboard door with its chiselled astragal and small niches (Emirzade
Ahmet Bey summer house).
The same cupboard,
with its doors open, gives a better idea about the construction of the doors.
There are bundled clothes and linen on the shelves.
A hooded fireplace.
The shelf continues over the bood. Ornamental arm rests protect the divan spreads
from sparks (Emirhocazade Ahmet Bey summer house).
The exterior of
the Mektepçiler house is decorated with low-relief stucco, mostly using floral
and animal patterus. These stylised forms are reminiscent of very ancient motifs.
A ceiling with
borders moulded using the lath-and-plaster technique and its painted decorations,
done at a later date (Memişoğulları summer house).
Ceilings, too,
are decorated. The most frequently used technique is that of using thin strips
of wood (laths) to produce the required pattern. Wooden surfaces are generally
not painted. This is one exception where although paint has been used the texture
of the wood beneath is visible. This is because no putly has been used (Emirhocazade
Ahmet Bey summer house).
These pages are prepared with information from the book "Tradition of
the Turkish House and Safranbolu Houses" by Reha Günay.