ABSTRACT

This article focuses on the Chamber of Crown Princes (Veliaht Dairesi) located in the residential part (Harem) of the Topkapı Palace, the Ottoman imperial seat in Istanbul (Turkey), where the removal of later additions was discussed during its restoration in the 1960s. Based on the archival documents of Mualla Eyüboğlu, the architect responsible for the restoration of the Topkapı Palace between 1961 and 1969, and the resolutions of the High Board of Antiquities and Monuments, this study reveals a stimulating debate on the balancing of the preservation of historic document value versus aesthetic value. Ambitious to present the building in its original function and use of the space as a part of the imperial residence, Eyüboğlu decided to liberate the original building of all the later additions and tried to reinstate the building to its initial seventeenth-century state. The removal of historical layers was disapproved by some of her contemporaries, while others appreciated her aesthetic concern. The case is reviewed at a broader scale, opening up to and integrating similar discussions in European preservation theory in the 1960s.

摘要

本文重点介绍位于托普卡匹皇宫住宅区（后宫）的王储厅 (Veliaht Dairesi)，这是伊斯坦布尔（土耳其）的奥斯曼帝国皇宫，在 1960 年代修复期间讨论了拆除后来添加的部分. 根据负责 1961 年至 1969 年间修复托普卡匹皇宫的建筑师穆阿拉·埃尤博格鲁 (Mualla Eyüboğlu) 的档案文件，以及古物和古迹高级委员会的决议，这项研究揭示了一场关于平衡历史遗迹保护的激动人心的辩论文件价值与审美价值。雄心勃勃地展示建筑的原始功能和空间用途，作为皇家住所的一部分，Eyüboğlu 决定解放所有后来添加的原始建筑，并试图将建筑恢复到其最初的 17 世纪状态。一些同时代的人不赞成去除历史层次，而其他人则赞赏她的审美关注。该案例在更广泛的范围内进行审查，向 1960 年代欧洲保护理论中的类似讨论开放和整合。