Designing the Modern City

Beginning from 1947 on here a new understanding was developing in America. In this new definition, urban design has started to be structured. The thoughts of urban design has started to be determined by the understanding of city-center language and cities-centrism. These cities; San Francisco, New York, Chicago and North America Cities. In his book City The City Eli, published by Eliel Saarien, he proposes konu organic decentrazation ine to American cities. One of the dense clusters of busines, educational. One of the the dense clusters of businesses,educational and industrial activities would be dispersed across the auto-scale metropolitan areas then emerging. The central pedestrian square to be designed in this context is inspired by the San Marco square in Venice. San Marco Plaza would have a range of housing types within walking distance.The square and the living areas are within walking distance; it leads to pedestrian roads without vehicles and naturally without traffic.The fact that social and commercial needs are within walking distance makes pedestrian squares a supporting factor. According to this, each of these dense, decentralized urban units would be surrounded by greenbelts. There is a spesific example of greenbelts which Eliel Saarien’s Helsinki Plan.

San Marco Plaza

San Marco Plaza is one of the main public square of Venice. From the Midlle Age, that square and other squares which surround of the San Marco Plaza became censters of the all city. All other urban areas in the city (except Piazzetta and Piazzale Roma) are called camps (“fields”). Piazzetta (“small Piazza / Square”) is an extension towards the Piazza San Marco basin. The two spaces together form the social, religious and political center of Venice and are jointly accepted together. This article is with both.


Sert emphasized that the use of the enclosed courtyard (patio) form at various scale levels could give an “underlying coherence” to each city plan. These scales ranged from the house to the neighborhood to individual public buildings to the
monumental city center; the last could be composed of a “series of gigantic piazzas (or big patios) that form places of outdoor assembly for all citizens.”

Also Lluis Sert had a thoughts about the urban idea. According to the The Human Scale in Urban Planning which wrote by Sert, he combining with elements of the Plan of London. He extended and developed direction beyond what Saarien had begun at Cranbook, putting new emphasis on existing pedestrian cities as cities sities for new housing for income levels, as well as places for new industrial facilities. With these ideas of urban design, Sert was attempting to retain the main values of CIAM. Sert also saw the pedestrian interaction issue in the cities. According to Sert such spaces were the only places where a civic culture could continue. He thought that its possible to resist centralizing of urban design.

Sert’s idea about the public individual spaces(big or small spaces like piazzas). That way also about the human scale in city which inspired by Le Corbusier. He emphasized that the use of closed courtyard (patio) form as various scale levels could an underlying coherence to each city plan. These scales ranged from the house to the neighborhoods to induvidual public building to the monumental city center. When we think that Sert’s approach we figure out typical American streets in now is contrasted his urban idea.

Beyza Horozaloğlu’s Final Jury | Report

About Beyza Horozaloğlu’s Project

The final jury is behind us. I took notes to pass on the jury’s comments to her. The main objective of the project is to define the center of the library and a courtyard that can serve the entire city. For this reason, many accents were designed in the courtyard. At the same time, it is important to provide visual and physical access to the given land and roads and to the given high-rise building. The plans were resolved in a horizontal direction, the activities were defined accordingly. At the same time, the Rama is involved in the working ramps.


Jury:  “Did you mention where the reference to the courtyard came from/which building?”

Beyza: ” Bibliothèque Nationale building, I received a reference from the idea of the courtyard. The building consists of 4 blocks and the hunting of these blocks. There are many entrances to the courtyard through stairs and ramp.I have two separate buildings in my project, and they have a courtyard. There is a ramp that surrounds this courtyard and provides access.

“The jury said it worked to make the building circulate and the courtyard entrances in different axes.

Later, Beyza mentioned the site information previously provided in the project. He talked about the presence of a high building in the eastern direction of topography and said that he was trying to establish a visual relationship between the people living in this building and the people in the courtyard.

At this point the jury: “Why did you choose a high building?” quoth. Beyza said that this information has been given before and that it is not her choice. The jury’s interpretation of the high-rise building was as follows.

Jury: “The high-rise area of the topography should be located in the building, this could be more accurate in terms of topography use. ”

The discussions stemmed from the location of the high-rise building and its impact on the project continued.

Jury: “it is possible to read the continuity of two of the three entrances in the project, but the continuity of the high-rise building is harder to read because of its relation with topography.”

Later, the project’s relation to the external space and topography was replaced by discussions in interior design. About the atrium in the building.

The jury asked: “What can you tell us about the light condition of the place here? Why did you design such a dark mean?

Beyza: “Actually, I intended to make that place a dim place. “Jury:” I think a room so dark should be lightened a little more. Maybe you could use a little clearance from the roof.”

After this discussion, another jury said: ” You have completely mastered the front northwest of the building. Is there any specific reason for that? We can’t get any light on this front.” quoth.

Beyza:” There is no specific reason.” quoth.

Jury: “There are openings in some parts of the model, why?” quoth.

Beyza:” I wanted to maximize the light condition and the visual relationship between the courtyard and buildings.” quoth.

Members of the jury made general comments at the end of the discussions.

Jury: “maybe you should have used more references and worked, and also the ladder drawings in their plans have to be technically improved.” quoth.


Sooo the end of the semester for Beyza 🙂


Architectural Experience | Ankara Tenis Klubü


This month, I attended a workshop with Lale Özgenel, a faculty member of the Faculty of Architecture at METU. Ankara Tenis Klübü is one of the architectural examples of the early republican period. The building, designed by Reha Ortaçlı in 1954, became a complex in 1957. It appears as an important step in the design of urbanization and social spaces.

The building was placed as a whole mass parallel to the courts in front of it and the architectural elements forming both the mass and the structure were obtained in a spatial fiction defined by different angles. The entrance façade from the 19th of May Stadium is ramped up, and this ramp reflects the trail of the inner ramp. All elements are part of a holistic design (sunscreens, white-green color, bean windows …) The most striking feature of the building is its broken roof. This roof provides the originality of the building.


Front Façade

The console in the console staircase system is large, thus increasing the viewing area for the viewers. It was wanted to increase the relationship between the wide transparent facade and the interior.


Internal ramps, large windows and large staircases allow for competition monitoring. The inner ramp creates a gallery space and the gallery space following the ramp is in an organic form. The gallery floor builds a strong relationship with the outdoor façade.

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A Woman Genius | Mihri Müşfik


Who she is?

Mihri Müşfik Hanım is a member of an aristocratic family. His father, Mehmet Rasim Paşa, the minister of medicine, teaches and serves as a dean in the medical school. Bezm-i Alem Sultan, a mother of Sultan Abdülmecid, becomes Mihri Hanım’s maternal aunt. The wife of Sultan Abdülmecid, Verdicenan Kadınefendi is Mihri Hanım’s own aunt. She has both the last period of the Ottoman Empire and the first period of the Republic. A part of her life, living in America and Europe, leads some movements and people here. In fact, we can call she a feminist artist who resists her art.

Her some works;


Mihri Hanım’s success in opening up a higher education in the field of female students after another important success, the first naked female model is to use the girl’s workshop. Besides the achievements of Mihri Hanım, the fact that she brings the organizations such as competition and exhibition to the school also gives students motivation to work. Mihri Hanım encourages her students to paint in the open air, from model to work, and to open a collective exhibition for the first time. When Mihri Hanım could not find a model to pose for the students, she brought the ancient statues, the old women gathered from the baths, the White Russians coming to Istanbul after 1917, the school janitor Ali Efendi and the one-hundred-year-old Zaro Aga as the model. Many women have contributed to the education of the painter: Nazlı Ecevit, Aliye Berger, Fahrelnissa Zeid.


Leyla Turgut, one of our first female architects, studied the orange face with the baby portrait, the baby’s face and hands were studied with a photographic reality, the baby’s face with a peaceful expression on her face, and the white and healthy skin tones were successfully handled. The baby’s basket bed and blanket are left with white scan lines.




Mihri Hanım, after the Greek army into the sea in 1922, makes a portrait of Mustafa Kemal standing up with his marshals uniform, makes a portrait about 3 meters high and presents it to the Çankaya Presidential Palace. This is the first Atatürk portrait made by a Turkish painter after the proclamation of the Republic.

And there are some photos that I took her works.

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Trip |Masumiyet Müzesi

The Museum of Innocence is the museum formed by Orhan Pamuk based on his work of the same name. The 19th-century house in Istanbul was converted into a museum by the author. The museum is the first museum created based on the fictional universe of a novel. The museum is a place where every detail and even more (space and memories) are designed in your mind as you read the novel. It is possible to see the life of the characters mentioned in Rome. An abstract concept turns into concrete spaces.

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In addition; Writers Also Makes Drawing! Here are some of the drawings that Orhan Pamuk drew when he created his book.