Samples for the Safranbolu Houses

Samples for the Safranbolu Houses

The Dağdelen Mosque in Akçasu. The distances between the hills enables one to perceive the whole of the settlement and yet discern its details. The bouses situated on a slope do not hinder one another’s view. It is possible to detect each and every one of them form the facing slope. The rocky cliffs framing the background shield the houses from severe winds in winter.

The Karaosmanoğulları şehir house has been formed with great mastery as a corner house at the junction of two streets on undulating land. The stonebuilt ground floor carries the top floors while performing the function of a retaining wall. The top floor extends both sideways and upwards with projections, opening onto the street stage. The entrance door placed in the corner, the skillful organization of the windows on the middle and top floors in regard to their proportions and intervals; the triangular gable wall emphasizing the central axis with its incription in the form of an imperial monogram, all contribute to making this an extraordinary façade. Unfortunately however, this façade is now partly altered.

The ground floor wall which is the continuation of the garden wall follows the street line. The other floors are organized independently. The ultimate layout is achieved on the top floor. With the exactitude of its proportions the Taşatarlar house exhibits a very balanced architectural approach (Akçasu).

The wooden panelling of the hayat, extending to the middle floor conceals the brackets supporting the upper floor. This creates a striking illusion; the huge white mass seems to be rising out of deep shadows. 

The ground floor layout is the continuation of the ground floor, while the top floor has projections on all sides. Brackets of differing lengths break the symmetry. The massire form is softened with the projections and the rhythm of recurring windows. The hall of the middle floor is exposed to the outside with wooden lattices without any glass windows (Gökçüoğlu summer house).

Made of vertical planks the double-winged entrance doors have a plain appearence. The large capped mails function as decorative elements while securing the laths behind the door. The astragal is decorated in the classical style (Kayyumlar, şehir house).

The coved ceiling of the entrance is lower than that of the room. The balustrades have been made by turning. Closets and cupboards can be seen at the back. The use of modern furniture has spoilt the appearance of the room (Saraçlar şehir house).

The most significant characteristic of the Turkish room is its multiple use as a living unit. It is possible to sit, eat, sleep, pray and even wash in every room. The mobility of the furniture used is one of the main factors rendering this possible. Furniture is brought out when necessary and stored away as soon as there is no more use for it. Apart from the fitted storage space and sitting platforms the centre of the room is left completely empty for this purpose. This room, one of the prominent examples of the traditional rooms is still preserved with high esteem by its owner. Nezihe Aycan (Emirhocazade Ahmet bey house).

There can be divans on either side of the hearth.

Another chambered projection with arched windows (Keçeciler şehir house).

A double-levelled ceiling of walnut and pine decorated with lath tablets (Paçacılar summer house).

Another lath-decorated ceiling and medallion (Gökçüoğlu house).

A very rare example in respect of the build-up of the mass. On one side of the façade the coinciding rooms of succeeding floors give a sense of unity, while the other side balances the mass in a completely different manner, with bracketed projections of the top floor (Müsellimler şehir house).

An intricately designed wooden cupboard door with its chiselled astragal and small niches (Emirzade Ahmet Bey summer house).

The same cupboard, with its doors open, gives a better idea about the construction of the doors. There are bundled clothes and linen on the shelves.

A hooded fireplace. The shelf continues over the bood. Ornamental arm rests protect the divan spreads from sparks (Emirhocazade Ahmet Bey summer house).

The exterior of the Mektepçiler house is decorated with low-relief stucco, mostly using floral and animal patterus. These stylised forms are reminiscent of very ancient motifs.

A ceiling with borders moulded using the lath-and-plaster technique and its painted decorations, done at a later date (Memişoğulları summer house).

Ceilings, too, are decorated. The most frequently used technique is that of using thin strips of wood (laths) to produce the required pattern. Wooden surfaces are generally not painted. This is one exception where although paint has been used the texture of the wood beneath is visible. This is because no putly has been used (Emirhocazade Ahmet Bey summer house).


These pages are prepared with information from the book "Tradition of the Turkish House and Safranbolu Houses" by Reha Günay.