ISSN: 1302-2636 | E-ISSN: 2757-668X
Academy of Fine Arts Architectural Department’s Drawing Hall: Taut Studio (1938) [Tasarım Kuram]
Tasarım Kuram. 2022; 18(37): 1-12 | DOI: 10.14744/tasarimkuram.2022.28190

Academy of Fine Arts Architectural Department’s Drawing Hall: Taut Studio (1938)

Nezih R Aysel
Nezih Aysel Mimar Sinan Fine Arts University, Department of Architecture, Istanbul, Türkiye

The settlement of Sanayi-i Nefise School in Fındıklı Twin Palace (1926) and the change of its name to Academy of Fine Arts (1927) and its restructuring heralded a series of reforms. The renewal movement in architectural education, which first started with the introduction of Prof. Ernst A. Egli to the Architecture Branch (1927-36), assumed a different meaning after the wellknown German architect Bruno Taut undertook this task (1936-38). The reform carried out by Ernst A. Egli under the influence of Technische Hochshules in Central Europe, considering the positive aspects of the Sanayi-i Nefise School architectural workshops modelled on Paris Beaux Arts architectural education, was developed with the valuable contribution of Bruno Taut and a training program specific to the country conditions and the institution was created in the Academy of Fine Arts Architecture Department. In the Taut period, which creates a developmental opportunity for all departments of the academy, the idea of establishing a relationship between the curriculum and space is clearly followed. It is known that a contemporary drawing workshop, which could not be created in the palace structure, became a reality as a complement to Taut’s educational idea in this period. This short article tries to follow the traces of the drawing hall known as the ‘Taut Studio’, which was added to the main space for the first classes of the Academy Architecture Department, through Bruno Taut’s Istanbul Journal (10.11.1936 - 13.12.1938).
After Egli period, in addition to the problems that Taut needs to solve regarding the curriculum and staff, a frequently encountered and important issue in the diary is the necessity of making space arrangements in accordance with the renewed curriculum within the Fine Arts Academy Building. The first arrangements made in accordance with the existing curriculum in the wing of the building used by the Department of Architecture must have been made during the Egli period before it. The three-staged planning of the architecture program as preparation, project studios and diploma concourse necessitated a new arrangement in the use of space. The large drawing workshop, which was probably established for the first classes by combining the head sofa with the rooms around, is the first spatial traces of reformist thoughts. Taut imagined the workshop of the first classes in the idea of a modern workshop as an addition to the main building in the harem garden of the palace. He assigns Erich Zimmermann to do this. The drawings that Zimmermann prepared in a very short time are an indication of how important the workshop is for education. The Drawing Hall of the Architecture Branch, known as the Taut Atelier, is built as a rectangular planned addition to the harem garden by the Academy of Fine Arts, leaning against the high wall separating the harem gardens between the Academy of Fine Arts (Cemile Sultan Palace) and the Faculty of Letters (Münire Sultan Palace). The additional workshop, most likely opened in March or April 1938, houses several of the Academy’s exhibitions due to its feature of a large hall. The first exhibition to be opened was the painting exhibition of Leopold Levy. In the hall, the works of Bruno Taut and the student works of the Department of Sculpture under the direction of Rudolf Belling are exhibited at short intervals. Training continued in this period in the Taut Studio (Hall), which was not damaged in the great fire of 1948. The 1948 Diploma Projects Exhibition was opened in the Taut Hall, which can be reached by the roads opened inside the burning building. In the renovation of the building after the fire, the Taut Workshop was preserved and used as a training place until 1970. After the transfer of the Münire Sultan Palace, one of the double palace buildings, to the Academy, a project combining the two buildings was made by Sedad Hakkı Eldem, and during the implementation of the project, the structure known as Taut Workshop was demolished. Today, there is the main library building on the site of the workshop.
Taut, who came to our country in 1936 and brought a new architectural perspective to the Ministry of National Education with his educational building projects in the two years he was in office until his death in 1938, played an important role in the architectural program of the Academy of Fine Arts in this short period of time gaining its unique identity that has survived to the present day with small changes. Taut Workshop, which is the result of the idea of integrating the relationship between space and curriculum, is intellectually transferred to the present day with the large Sofa Hall space referred to as ‘Orta Hol’ in the renovation of Sedad H. Eldem. Although the hall has lost its space, it preserves its place in the memory of the institution and its active role in education as a drawing workshop of the first classes today.

Keywords: Taut’s Studio, architectural education, sketch, drawing hall, educational reform.

Güzel Sanatlar Akademisi Mimari Şubesi Çizim Salonu: Taut Atölyesi (1938)

Nezih R Aysel
Nezih Aysel Mimar Sinan Güzel Sanatlar Üniversitesi, Mimarlık Bölümü, İstanbul, Türkiye

Sanayi-i Nefise Mektebi’nin Fındıklı Çiftesarayı’na yerleşmesi (1926) ile adının Güzel Sanatlar Akademisi olarak değişmesi (1927) ve yeniden yapılanması gerçekleşecek bir dizi reformun habercisidir. Mimarlık Şubesi’ne ilk olarak Prof. Ernst A. Egli’nin getirilmesi ile (1927-36) başlayan mimarlık eğitiminde yenilenme hareketi, tanınmış Alman mimar Bruno Taut’un bu görevi üstlenmesiyle (1936-38) ayrı bir anlam kazanmıştır. Ernst A. Egli’nin Paris Beaux Arts mimarlık eğitimini model alan Sanayi-i Nefise Mektebi mimarlık atölyelerinin olumlu yönlerini dikkate alarak Orta Avrupa’daki Technische Hochshulelerin etkisinde gerçekleştirdiği reform, Bruno Taut’un değerli katkısı ile geliştirilmiş ve GSA Yüksek Mimarlık Bölümü’nde ülke koşullarına ve kuruma özgü bir eğitim programı oluşturulmuştur. Akademi’nin tüm bölümleri için bir gelişme imkânı yaratan Taut döneminde, müfredat ile mekân ilişkisinin kurulması düşüncesi açıkça izlenir. Bu dönemde saray yapısı içinde oluşturulamayacak niteliklerde çağdaş bir çizim atölyesinin, Taut’un eğitim düşüncesinin bir tamamlayıcısı olarak gerçeğe dönüştüğü bilinmektedir. Bu kısa yazı, Akademi Mimarlık Şubesi ilk sınıfları için ana mekâna eklenen ve ‘Taut Atölyesi’ olarak bilinen çizim salonunun izlerini, Bruno Taut’un İstanbul Günlüğü (10.11.1936 - 13.12.1938) üzerinden okumaya çalışıyor.

Anahtar Kelimeler: Taut Atölyesi, mimarlık eğitimi, eskiz, çizim salonu, eğitim reformu.

Nezih R Aysel. Academy of Fine Arts Architectural Department’s Drawing Hall: Taut Studio (1938). Tasarım Kuram. 2022; 18(37): 1-12

Corresponding Author: Nezih R Aysel, Türkiye
Manuscript Language: Turkish
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