Akseki İlvat Köyleri ve Çevresindeki Geleneksel Türk Evlerinden Örnekler

Yıl 2012, Sayı: 27, 119 - 127, 01.02.2012

Necla Dursun

Öz

Konut insanoğlunun barınma, korunma vb. gibi fiziksel ihtiyaçlarının karşılandığımekân olmasının yanısıra sosyal, kültürel ve duygusal ihtiyaçlarının da karşılandığısoyut anlamlar içeren bir yapıdır. İnsanoğlunun binlerce yıllık tarihi içinde en önemli uğraşlarından birisi yaşadığıdoğal çevreyi ihtiyaçlarına göre düzenlemesidir. Doğadaki tüm canlılar gibi insanoğlu da yaşadığıdoğanın ağır şartlarından ve zorluklarından korunmak için çaba sarfetmiş, ilk önce kayalara oyup barınmak haline getirerek hayatınıidame ettirmiştir. Türklerin Orta Asya’dan getirmişolduklarıkonut kültürü, Osmanlıdönemi konutlarında yaşatılmışve bu dönemde Türk Konut Mimarisinin en güzel örnekleri ortaya konulmuştur. Konut mimarisi Osmanlı İmparatorluğunun geç döneminde bazıyabancıüslupların süsleme anlayışıyla yeni bir boyut kazanmıştır. Başkent üslubunun etkilerini taşıyan taşra mimarisi ve süslemesi bugüne kadar yeterince incelenmemiştir. Halk mimarisi özgün bir konu olarak günümüze kadar gelmiştir. Akseki İlvat Köyleri ve çevresindeki eski Türk evlerini içine alan bu çalışmamız, Büyük İlvat, Belen İlvat, Bucak İlvat ve Sarıhacılar köyleri evlerini kapsamaktadır. Araştırmamızda yer alan evler malzeme, yapım tekniği, plan özellikleri ve süsleme özellikleri dikkate alınarak değerlendirilmiştir. Genellikle çok sade ve özensiz yapılan taşra evlerine nazaran İlvat evleri çok süslü ve özenli yapılmışlardır. Bu evler halk mimarisi ürünleri olmasına rağmen plan tipleri, cephe düzenleri, ihtişam ve süslemeleriyle başkent üslubunu yansıtırlar. Bunun temel sebebi ev sahiplerinin maddi gücü ve statüleridir. Bölgede yaşayan halkın içinde yetişen ve başkent üslubunu tecrübe eden yerli ustalar da bu sentez mimarinin şekillenmesinde büyük rol oynamaktadırlar. Bu çalışmayla ilk defa araştırılıp değerlendirilen ve daha çok geleneksel özellikler taşıyan bölge evleri, halk mimarisinin en güzel örneklerinin sergilendiği eserler olarak karşımıza çıkmaktadır. Bu çalışma ile Akseki İlvat Köyleri ve çevresindeki evlerin incelenerek bilim dünyasına tanıtılmasıamaçlanmaktadır. Restore edilen birkaç evin dışında, içinde insan yaşamayan diğer evler doğanın ağır şartlarına terk edilmişdurumdadır.

Anahtar Kelimeler

Geleneksel Ev Mimarisi, Konut, Türk Evi, Akseki Evleri

Examples From Traditional Turkish Houses In and Around Akseki İlvat Villages

Öz

The residance is rather than a space that meets the physical needs of human being, but also an envoirement which consists abstract meanings of social, cultural and emotional needs have been met. In the history of thousand of years human beings, one of the most important objectives of is constructing the natural habitation based on their needs. Just like all the living things in nature, mankind also effort a lot to protect themselves from the natural envoirement conditions. In the history of residence which originated with the humanitarian history, starting from the dwellings carved into the rocks, the residence culture brought from Central Asia survived at the residence of Ottoman era and the very best samples of Turkish Residence Architecture builted during this age. Residental Architecture in late period of Ottaman Empire has gained a new dimension with the foreign decoration style. The traditional identity shaped by the cultural values brought from Central Asia that are melted togetwer with the several cultures in Anatolia as well as the the influence of Islam. The urban architecture and ornamentation effected by the provincial capital style has never been studied so far. The folk architecture has survived as a matter of distictive subject. Our study of Old Turkish Houses covers Ilvat and neighborhood villages also consist of the village houses in Buyuk Ilvat, Belen Ilvat, Bucak Ilvat and Sarihacilar. The regional houses ,feature more traditional characteristic, are explored and evaluated for the first time with this study emerged as the best samples of folk architectured displayed. The houses in our study evaluated by taking into considerataion the material, construction technique, project and ornament styles. The main raw material in the construction of these regional housed are stone and timber. Metals as raw metarial is not common. Metals can be seen on window fences, door knobs, lock and hinges. Brick almost never used at any houses explored. The top cover of the houses are Turkish Style roof tiles. The plaster used in coating the oven and the fixture of illuminant. The soil only used in grout which is no longer available. The building structures constructed by the matarials widely available in the region. While all the walls in the house builted with the groutless dry wall technique that is wooden beams mounted between the rubble stones and compressed peşdunavs, in the resort part of the houses wooden curtain walls can be seen. The upper cover of the house is pitched roof and coated with Turkish Style roof tiles. Carriers such as console units, hands in hips and wooden pillars used in the ascent, eaves, restrooms and summerhouses. Soil and Stone furnishings can be seen in the courtyard and ground floor of the house whereas the upper floors completely made of timber. Almost all the doors of the houses in the region made of wooden. The courtyard and main entences doors are double-winged, room doors are single and multilayer.The sighseeing windows of the regional houses are latticed inside and shuttered outside. The room Windows ar evice versa latticed outside and shuttered inside . The connection between the floors done by the wooden stairways. The houses in Akseki Ilvat and Sarihacilar village can be classified into three groups according to project types. As well as the climate and natural conditions the influential folk architecture has a great effect on formation of the project types. The basic spaces form the project are hall and the rooms. The first type houses are the most comman ones with outer hall. Those houses are also divided into 2 groups as ouetr hall with eyvan and outer hall without eyvan. Ouetr hall with eyvan project type houses are generally constructed by highly welfared individuals and regulated for crowded families. Compared to the other houses the number of rooms and the ornamentary increased. Second type houses are the ones with iner halls. Third types are the ones with middle hall. The last two types are not comman in practice in the region. The execution of those two project types are seen only in one sample. Generally the basic element forms the front-line in the region is the overhangs. These overhangs are embodied according the direction of the halls. Can be grouped as overhangs on the right, overhangs on the left and overhangs in the middle acording to the location of the averhangs based on the enterence door. The overhangs are carried by wooden pillars and hand in hips. The cover of the overhangs are laid with tiles regardless of the roof. The windows of the overhangs are generally latticed with outer shutter. The windows of the overhangs decareted with lattices are distinguished with different types of lattices. Some lattices divided into four trays and an observation window is built. Some lattices are built complete and there are skylight windows above. Room windows are rectangular lattice form and shuttered inside. The double-wing and multilayer enterence door of the houses placed under the overhangs. Eaves of the houses is made of timber and the outside ornaments are plain. One of the important element in the front-line is the chimneys. The chimneys are squared stone masonry and conical hat. The summerhouses is another element that activates the front-line. The summerhouses are open air places that are carried by wooden pillars. In the explored houses the interior decoration has wider application area, the outside ornament is more modest. The outer ornament is concentrated on overhangs and windows, the interior ornament can be seen on pavilion, room doors, ceilings, cupboards and wardrobes as an accurate samples. Almost every room of the regional houses has a cupboard closet. Generally the top of the cupboard and closets are divided by timber trays and the inside of the trays left blank. The bigger houses constructed by higher income individuals the timber trays of cupborad and closet are filled with herbal charesteristic decorative motives. In interior decoration specifically the room doors has accurate ornament features. These single-wing doors are divided by timber trays on top. The insdie of the timber trays are decorated by geometric and herbal forms ornament motives. Just like in the cupboards there is timber tray ornament in the open cabinets in the top of the rooms. The inside of the trays are sometimes kept blank and sometimes decorated with rose motifs and four leaf clover. One of the most important areas in the ornament of the room is ceilings. The room ceilings in the regional houses are generally flat timber with lower hammerset. A hub in the shape of eight or rarely six armed star form placed in the middle of the ceiling which is perpendicularly divided to squares by timber laths. In the middle of the hub there are motives of eight armed star narrowing throught the center, branch and rarely stylized tulip. In the center heaven fruit pomegranate, the symbol of abundance and blessing, appliquied as embossed. It can be seen ellips and round ceilings in some houses, howevere the comman ones are the flat ceilings hubbed with eight armed star. Round ceilings generally filled with timber strips in a shape of sun disc motive. When compared to plain and sloppy constructed urban houses, the regional houses built highly ornate and elaborate. Althought the regional houses are a product of folk architecture, refletcs the capital fashion in project type, front line allignment, glamorious and ornaments. The main reason is because of the finacial power and the status of the owners. The local craftsmen ,lived in the region and experinced the capital fashion, had a great role in evolving this synthesis architecture. Houses mostly constructed in early 20. Centuryare being restored along with the Akseki-Ibradi Disctrict Development Plan. The restored housed are really in good conditions. Only the repairs done by the owners do not resulted succesfully. Those repiars cause the loss of originality. Nowadays, those houses, especially the non resident ones, which have great importance in Traditional Resident Architecture are abandoned to the wild circumtances of nature

Anahtar Kelimeler

Traditional House Architecture, Housing, Turkish House, Akseki Houses

Kaynakça

• ANONİM. Antalya İl Yıllığı, Antalya, 1967, Ajans Türk Yayınları.
• AKKAYA, Necla (2005). Akseki İlvat Köyleri ve Çevresindeki Geleneksel Türk Evlerinin Mimari ve Süslemesi, Yayımlanmamış yüksek lisans tezi, Selçuk Üniversitesi Sosyal Bilimler Enstitüsü Sanat Tarihi Ana Bilim Dalı.
• BAKIR, İbrahim (1990). “Toroslar’da Göçebe Mimarisi”, Türk Halk Mimarisi Sempozyumu Bildirileri, Konya, Kültür Bakanlığı Yayınları.
• BARIŞTA, H.Örcün (1996). “Alanya’daki Bazı Evlerde Gözlenen Taş İşçiliği”, IV. Alanya Tarih ve Kültür Seminerleri, Alanya, Alsav Yayınları, 161–168
• BARIŞTA, H.Örcün (1996). “Alanya Evlerinde Görülen Ağaç İşleri Üzerine”, IV. Alanya Tarih ve Kültür Seminerleri, Alanya, Alsav Yayınları, s. 393–398
• BİLİM, Cahit (2004). “Arşiv Belgelerinde ve Salnamelerde Alanya”, Alanya Tarih ve Kültür Seminerleri, cilt: VII, Alanya, s.197-198
• DEMİR, Mustafa (2004). “Selçuklu Tarih Kayıtlarında Alanya’nın Fethi”, Alanya Tarih ve Kültür Seminerleri, Cilt: X, Alanya, s.541
• ELDEM, S.Hakkı. Türk Evi Plan Tipleri, İstanbul, 1995, İTÜ Mimarlık Fakültesi Yayınları
• ENHOŞ, Mustafa. Bütün Yönleriyle Akseki ve Aksekililer, İstanbul, 1974.
• ERCENK, Giray (1992). “Pamphylia Bölgesi ve Çevresi Eski Yol Sistemi”, Belleten, sayı: LVI/ 216, Ankara, TTK Yayınları, s. 362
• ESENGİL, Recep (2000). “Neden Akseki?”,Sanatsal Çekül-Mozaik, sayı:35, İstanbul, 46–50
• ESENGİL, Recep (2003). “Kuruduvar Şenliği”, Focus, sayı: 112414, İstanbul, s. 80–85
• KARPUZ, Haşim (1992). “Eski Antalya Evlerinde Süsleme”, Antalya IV. Selçuklu Semineri, Antalya, s. 50–69
• KOÇAK, E.Cimrin (1996). “Alanya’da Geleneksel Yayla Evleri”, VI. Alanya Tarih ve Kültür Seminerleri, Alanya, Alsav Yayınları, s. 53–57
• KUNDURACI, Osman (1995). Batı Toroslarda Bulunan Geleneksel Konutlar, Basılmamış Doktora Tezi, Selçuk Üniversitesi Sosyal Bilimler Enstitüsü Sanat Tarihi Ana Bilim Dalı.
• KUNDURACI, Osman (1997). “Alanya Evlerinden Örnekler”, Alanya 7. Tarih ve Kültür Semineri, Alsav Yayınları, Alanya, s. 261-267
• KUNDURACI, Osman (1998). “Alanya Köy Evlerinden Örnekler”, Alanya 8. Tarih ve Kültür Semineri, Alsav Yayınları, Alanya, s. 345-353
• KUNDURACI, Osman. (2002). “Batı Toroslarda Bulunan Geç Dönem Türk Evlerinde Ahşap Süsleme”, Türk Tarihi Ansiklopedisi,18, Ankara, 265-272
• ÖZKAYNAK, Kemal. Akseki Kazası, Ankara, 1954, Akgün Yayınevi
• ÖZSAİT, Mehmet. İlkçağ Tarihinde Pisidya, İstanbul, 1980, İÜEF Yayınları
• RAMSAY, William.M. Anadolu’nun Tarihi Coğrafyası, İstanbul, 1960, Milli Eğitim Yayınları
• UMAR, Bilge. Türkiye’deki Tarihsel Adlar, İstanbul, 1993
• YARAR, Sibel (2001). Geleneksel Akseki Evlerinde Tavan Süslemeleri, Basılmamış Yüksek Lisans Tezi, Gazi Üniversitesi Sosyal Bilimler Enstitüsü Sanat Tarihi Ana Bilim Dalı.
• YILDIZ, Hülya (2000). “Akseki Kent Merkezi”, Sanatsal Çekül-Mozaik, İstanbul, s. 35-56