In the West-oriented educational setting of the 1920s, as part of the Ministry of Education’s initiative to send successful students abroad to help them gain […]
Upon his return to the Academy of Fine Arts in 1932, Yenal found himself in the midst of an important reform process. Once the Republic […]
In 1917, as World War I on full swing, the towers and roof of Haydarpaşa Train Station were burned and considerably damaged due to a […]
In his final year at the school of architecture in 1925, Nazimî Yaver won his first victory outside the school at a competition entitled, “single […]
As in the case of Yenal’s drawings, the type of architecture that remains unconstructed, or more precisely, not intended for construction and thus severing its ties entirely with the objective of implementation attains the character of “paper architecture.” In the absence of determinants associating architecture with its primary function of construction, such as scale, structure, employer, and budget, what remains is works on paper with an intimate discourse on architecture, the borders of which become vague through painting. Putting the function of the designed building in the background, paper architecture places architectural drawings at the heart of its narrative and focuses on presentation, representation, and idea. The term paper architecture was first proposed in the 1930s in Soviet Russia led by Josef Stalin with an official ideology defending socialist realism to criticize and slander the avant-garde Russian architects of the 1920s producing abstract works. However, the term gained prestige throughout the 20th century and transformed itself to distinguish an independent architectural practice. Among the dynamics that impact Yenal’s position as a paper architect were not only his inner world as an individual, but his persona as an architect-author of the early Republic, a civil servant for the state, which left him no choice other than being a public servant.
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