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TOPKAPI, PALACE OF FELICITY
(Grup Çalışması), Ertug & Kölük, 1991, İstanbul
TOPKAPI
THE PALACE OF FELICITY
Published by Ertuğ & Kölük, İstanbul
Concept and photography: Ahmet Ertuğ
Editors for the Turkish text: Dr. Filiz Çağman- Dr. Engin Yenal
Editor for the English text: Robert Bragner
Contributors: Prof. Feridun Akozan
Prof. Önder Küçükerman
Alparslan Ataman
İlban Oz
Deniz Esemenli
Architectural drawings after Prof. Dr. Sedad Hakkı Eldem and Prof. Feridun Akozan
Design: Yüksel Çetin
Color separations, printing and binding in Italy by Amilcare Pizzi, S.p.a.
TABLE OF CONTENTS
FOREWORD, 6
INTRODUGTION, 9
'BIRUN' THE OUTER PALACE, 21
THE FIRST COURTYARD 'ALAY MEYDANI', 21
THE SECOND COURTYARD 'DIVAN MEYDANI', 23
'ENDERUN' THE INNER PALACE, 45
THE FOURTH PLACE THE IMPERIAL KIOSKS, 78
THE 'HAREM' THE FORBIDDEN ENCLAVE, 107
COURTYARD OF THE BLACK EUNUCHS, 112
THE WOMEN'S COMPOUNDS, 131
THE APARTMENTS OF THE SULTANS AND PRINCES, 163
EPILOGUE, 228
APPENDICES
APPENDIX I: THE USE OF MODULAR TURKISH HOUSE COMPONENTS IN TOPKAPI PALACE, 230
APPENDIX II: THE PALACE GARDENS, 232
APPENDIX III THE OTTOMAN SULTANS, 240
APPENDIX IV KEY TO THE PLAN OF TOPKAPI PALACE, 241
APPENDIX V THE PROJECT'S COLLABORATORS, 242
APPENDIX VI BIBLIOGRAPHY, 243
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FOREWORD
Set amidst the background of İstanbul, a focal point of international Interest for millennia, Topkapı Palace displays the centuries of technology and artistic power of the Ottoman Empire. In this respect, the palace is especially important as a sort of 'museum of sempiternity'; an extraordinary setting for extraordinary works of art, each one of which bears perfect yet silent witness to its own times.
Topkapı Palace was instrumental in carrying on Anatolian traditions thousands of years old in the identity of a new state. Quietly yet insistently the palace maintained this identity through its skillful exploitation of technology that ensured that record of it would survive throughout history. When one looks at Topkapı from the standpoint of architecture and layout the question that comes to the fore is what its builders had in mind in designing stages. An appraisal made on the basis of original sources is vital when clearly revealing the fundamental architectural philosophy inherer so diverse a building complex as this for at virtually every stage of such an appraisal, one frequently encounters the deep traces of traditional Turkish dwelling and spatial concepts that are centuries old.
Without question, the everlasting quality of the harmonic unity that was created in Topkapı Palace has survived as the product of a tradition that is in balance with a mode of thought that is programmed to look at mat; within a general perspective and is open-ended with respect to time.
Furthermore tucked away amidst the cloistered shadows of Topkapı's countless chambers, passageways, and courtyards, there lie other questions as well. Who were the ones, for example, who was it who made it possible the palace's 'modular concept' to survive even to the present day? How was so important a decision arrived at? How was it possible for build traditions to be developed continuously while remaining faithful to the complex's identity?
Another question concerns the identities - still largely unknown - of the skillful masters of centuries ago who struggled, in a climate of multidimensional and international competition, to overcome extraordinary diffıculties and strained their technological abilities to the utmost turn their projects into individual masterpieces.
Most important of all perhaps is how it was that such a tradition could have heen preserved for so many centuries, growing and developing within the sheltering walls of Topkapı Palace while at the same time influencing architecture outside the palace confınes and creating so strong a state image.
Here then is Topkapı Palace, imbued with the identity of the Ottoman Empire, an integrated system of architecture and design created by nameless hands; here too are the priceless and matchless works of art it shelters and the settings of events of glory, power, tragedy, and despair that hegan almost half a millennium ago.
The goal of this hook is to acquaint its readers with its importance not just in terms of Ottoman Turkish art to universal art and aesthetics. It is our hope that the cultural and architectural heritage that we have inherited in Topkapı Palace will continue to serve as an inexhaustihle source of inspiration for artists and for art and that this book will open yet anothey door for the protection of the assets of universal human culture.
The Puhlishers
Ahmet Ertuğ - İhrahim Kölük
IN APPRECIATION
OF
SEDAD HAKKI ELDEM
(1908-1988)
WHOSE LOVE AND DEDICATION FOR
THE PALACE ARE
AN INEXHAUSTIBLE
SOURCE OF INSPIRATION
FOR US ALL
THE PROJECT'S COLLABORATORS
Alluring as the centuries-old history of Topkapı Palace may be, the team that contributed to and participated in the production of this book took as its point of reference the continuous evolution and change that this important complex has undergone since its original construction down to the present day. Our object was not to relate the events of blood and glory that took place within the confınes of this palace but rather to discern the outlines and sources of the design considerations that led, successively over the centuries, to the what we see today
In that context, we should also note that the detailed photographs that appear in this book were also intended to reveal another dimension of the same aim: The photographs were taken with the precise framing and focus of a designer seeking to synchronize his own thoughts with those of the buildings' originators.
The same philosophy pervades the drawings and text, which were also prepared to serve the book's design goals. The text is the result of the work of specialists in different fıelds whose individually contributions have been carefully integrated so as to preserve in harmony and balance the polyphony of their insights and views.
To conclude, the aim of team of experts that put together this book is to convey to the reader the unbroken chain of design and implementation that constitutes Topkapı Palace from a broad and original point of view. They have done so by turning the strong and critical spotlight of a designer on the rich accumulation of five centuries of continuous habitation and use. In that way is it possible to expose what lies concealed in the depths of the thoughts of Topkapı's creators.
Ahmet Ertuğ, Architect
Studied at the Architectural Association Schc Architecture, London. Practiced in England, Iran, Turkey. Received the Japan Foundation professional fellowship award and did research into traditional Japanese architecture. Worked as an associate of Prof. Dr. Sedad Hakkı Eldem on various projects in Istanbul. Published books on Turkish architecture. His photographic works has been exhibited in leading galleries in Europe, Japan, Canada.
Dr. Filiz Çağman, Art Historian
Graduate of Istanbul University's Department o History. Chief of the Manuscript Section of Topkapı Palace Museum. Author of various publications on Islamic and Turkish miniatures. An internationally-recognised specialist in her field.
Dr. Engin Yenal, Architect Planner
Has done extensive research and lectured on the history of Turkish architecture and urban forms. Presently engages in private practice in Istanbul and also teaches part-time including in the Aga Khan program at M.I.T
Prof. Feridun Akozan, Architect
Specialist on historical buildings and author of the architectural survey carried out at Topkapı Palace together with Prof. Dr. Sedad Hakkı Eldem. Member Istanbul Council of Antiquities.
Prof. Önder Küçükerman, Interior Architect and Industiral Designer
Dean of the Faculty of Architecture, Mimar University, Istanbul. Author of various books on Turkish houses and traditional Turkish crafts.
Alparslan Ataman, Architect
Practiced in the USA, England, and Istanbul. Has in extensive research on Turkish houses and Ottoman architecture. Worked with Prof. Dr. Sedad Hakkı Eldem, whose publications on Turkish houses he coordinated.
Ilban Oz, Architect
Architect responsible for the restoration activities in progress at Topkapı Palace. Member of the Istanbul Council of Antiquities. Visiting professor at the Faculty of Architecture, Mimar Sinan University, Istanbul.
Deniz Esemenli, Art Historian
Section chief at Topkapı Palace responsible for the Harem. Researcher on the historical development of the Harem.
Robert Bragner, Historian, Translator, and Editor
Lives and works in Istanbul as a free-lance translator and editor. Has translated numerous works on Turkish and Ottoman art, architecture, and history.