Category: Culture/Art

  • How Do You Dress a Turkish Wrestler? In Olive Oil and Leather Britches

    How Do You Dress a Turkish Wrestler? In Olive Oil and Leather Britches

    KirkpinarOld Sport’s New Rules Are Too Slick to Some; ‘You Have to Know How to Grab the Kispet’

    EDIRNE, Turkey—Turkish oil wrestling is all about the leather britches.

    For three days this weekend, some 1,500 men—from 11-year-old striplings to improbably muscled Goliaths—donned long, thick, black pants made of water-buffalo and cowhide. Then, they doused themselves in olive oil from head to toe and strode into a grassy gladiatorial arena.

    It’s the annual Kirkpinar oil-wrestling tournament, which has been staged here for 650 years. To the uninitiated, it seems little more than an open field of oily mayhem. Not so to the appreciative crowd, which roars with excitement at sudden throws or clever holds—”belly sees the sky” being a particular winner—as executed by their oil-wrestling favorites.

    “Oh my, I feel like I’ll die of my excitement…the sweat-stained grass smells of oil,” says the Kirkpinar anthem, sung in the procession to open the tournament. In the past, bouts between two men could last for hours and continue the next day.

    This year, however, a new fight has come to a head: Traditionalists are furious because a points system has been imposed that is designed to shorten matches. It’s a slippery slope, oil-wrestling traditionalists say.

    “It’s in the founding spirit of the Kirkpinar that you [fight] until the end,” says Ahmet Tasci, a legend of the sport who has claimed the Kirkpinar title nine times. His statue stands outside the wrestling grounds. “Can there be anything greater than a history of 650 years?” Mr. Tasci asks. “Can we change the rules? We don’t have the right.”

    Seyfettin Selim sees things differently. He prefers an absolute time limit. When Turkey’s president, Abdullah Gul, came to the event, “he got bored because the bouts took so long,” says Mr. Selim, smoking a fat cigar in the grandstand. A spokesman for the president couldn’t be reached Sunday.

    Mr. Selim is a big fan of Kirkpinar. But he’s more than that. On Sunday, he paid around $140,000 to buy a ram in a symbolic auction that gave him the title of Aga, or Lord, of the next Kirkpinar. It’s the fourth time he has bought the sheep, giving him the right to co-host the entire event again next year, and also wear the traditional Ottoman Aga costume of brocaded jacket, cummerbund and colorful fez hat.

    Kirkpinar isn’t like the wrestling at the Olympics or on the U.S. professional circuit. There’s no mat; there are no ropes. There is, however, a 40-piece Ottoman-style drum band pounding away, all day long, in the arena.

    The arena itself is a grassy field about an acre in size dubbed the Field of the Brave. Matches take place simultaneously. Pairs of oil-covered wrestlers square off into the distance.

    Referees watch every move. When a match finishes, a new group takes its place. The fighters swing their arms in a ritual swagger, and stoop together in a prayer-like motion. After three days the grass is slick underfoot.

    And then there are the britches, known as kispet. Because the oil makes it so tough to grip an opponent, wrestlers try to stick their hands inside each other’s kispet to gain leverage and to grab hold of the cuffs below the knees. To make it harder for opponents to grip their kispet, wrestlers pour oil inside and out.

    “You have to know how to grab the kispet,” said Mehmet Yesilyesil, who won the Kirkpinar for the past two years. In 2006 he was also European champion and world bronze medalist in non-oily, Olympic-style wrestling.

    Mr. Yesilyesil brings his own olive oil to the Kirkpinar, “extra virgin pressed,” he says. This year it didn’t help him. He was knocked out before the finals.

    The core rules are simple—”No punching, hitting, biting or wounding.” If you pin your opponent, or bind him with the “belly sees the sky” move (opponent on back, belly facing upward), you win.

    If your opponent manages to successfully perform a move called paca kazik, or “fool’s cuff,” you lose. That’s when your pants get pulled down or torn.

    The roots of oil wrestling go deep into ancient Persian, Greek and possibly Egyptian history, according to historical accounts. But the Turks have made the sport their own.

    The story goes that in the mid-14th century, an Ottoman commander kept his troops busy during lulls in battle by having them oil wrestle. Legend tells of one particularly gruelling match between two brothers who were so evenly matched that they wrestled for two days, before dying of exhaustion.

    As recently as 20 years ago bouts at Kirkpinar still could go on for three or four hours, and if evening fell they would continue the next day. The new points system stipulates that wrestlers wrestle for 30 minutes, and then can win on points in 15 minutes of overtime, or thereafter on a so-called “golden point,” when the first to score, wins. Critics say it makes the wrestlers cautious and lazy, because they know they can win on points if they can make it through the first half-hour.

    Bekir Ceker, President of the Turkish Wrestling Federation, promises a rule change for next year that he says will address some of the complaints. But he said points and limits are necessary because there are simply too many contestants. Lack of time limits would mean the tournament could drag on for five or six days, he said.

    As this year’s three-day tournament progressed, the fighters, as familiar to the crowd as home-team NFL quarterbacks, began to thin out. When one of the semi-finalists seemed to be trapped on the ground—but then suddenly flipped his opponent in the air so his “belly sees the sky”—the crowd went nuts.

    By Saturday, Mr. Yesilyesil was eliminated, which meant he missed the chanced to keep the champion’s 14-carat gold belt by winning three times. His challenger from last year’s two-hour-long championship match, Recep Kara, did manage to slip into this year’s final bout. But in the end, another wrestler, Ali Gurbuz, claimed the title in the 650th annual Kirkpinar oil-wrestling tournament. He won on points.

    The Wall Street Journal

     

     

     

  • PSU student wins Fulbright award to teach in Turkey

    PSU student wins Fulbright award to teach in Turkey

    News release issued by Pittsburg State University

    Gregory Campbell, a recent Pittsburg State University graduate from St. Louis, Mo., will be teaching English this fall and also building bridges between his home and Turkey.

    15060994 BG1

    Campbell, who received a master’s degree in music in May, is a recipient of a Fulbright English Teaching Assistantship through the U.S. Department of State’s Bureau of Educational and Cultural Affairs. The Fulbright Program, established in 1946, is designed to increase mutual understanding between the people of the U.S. and the people of other countries.

    “It is indeed a fantastic achievement and a great honor for Gregory to be chosen in this highly selective program,” said Dr. Selim Giray, Campbell’s adviser at PSU and himself a native of Turkey.

    Giray said Campbell will teach at the Istanbul Technical University Centre for Advanced Studies in Music (MIAM).

    Campbell said it was his relationship with Giray that first got him thinking about teaching in Turkey.

    “My adviser and several of my colleagues are from Turkey and we have had in-depth conversations about the educational system, the political climate and the culture,” Gregory wrote in his application. “After our frequent talks, I had a strong desire to go to Turkey.”

    As a graduate assistant at PSU, Campbell not only taught courses, but also mentored international undergraduate students and helped them with their English. He also volunteered with the orchestra program at Pittsburg High School.

    “Gregory has an amazing gift to relate to any person, whether they have a similar or dissimilar background,” Giray said. “He is always eager and excited to learn a new culture. I cannot imagine a better person to represent our country.”

    Campbell, who taught in the Kansas City (Mo.) School District before coming to PSU, said he is eager to take what he has learned about English education to classrooms in Turkey, but he added that the learning goes both ways.

    “It is my hope that while I am teaching English in Turkey, that I can learn from my students as much as possible…I not only want to see what’s different about Turkish students, but I also want to draw parallels with American students.”

    While in Turkey, Campbell also hopes to travel and to learn more about Turkish music and culture.

    “I believe that not one second of the time I spend in Turkey should be wasted,” he said.

    Campbell said he expects his Fulbright experience in Turkey to make him a better teacher when he returns to the U.S.

    “I plan to take my experiences from Turkey back to the U.S. classrooms,” Campbell said. “I believe that this experience and experiences like these help me to creatively and effectively educate American children.”

    Campbell is the first PSU student to win a Fulbright award since 2000. Competition for 2012-13 awards is now open. The application deadline at PSU is Sept. 15. For additional information about the program, interested persons may contact the PSU Office of International Programs and Services at 620-235-4680.

    via PSU student wins Fulbright award to teach in Turkey – KOAM TV 7 Joplin and Pittsburg.

  • Museum of Troy at Çanakkale / RTA-Office with DOME Partners

    Museum of Troy at Çanakkale / RTA-Office with DOME Partners

    By Christopher Henry

    The design of the Museum of Troy at Çanakkale has been carried out by the atelier RTA-Office, led by Santiago Parramón with offices in Barcelona and Shanghai, in collaboration with the Turkish atelier DOME Partners (Istanbul). The aim is that the building rises in the Turkish area of Çanakkale but aspires to be a global focus through its expression and display of the culture of a civilization. A project that will act as a generator for social activity, research and culture.

     

    rendering

    Both RTA-Office and Dome Partners agreed to design the building in such a way that it would become an event generator, that a centre for cultural expression would become an international lure. A work that would launch an area with the objective of re-evaluating and re-establishing the immense worth that this civilization had at a global level.

    The strategy consists in the design of a unique piece, a jewel, that on the one hand will complement the ruins of Troy, and on the other be valued in its own right. The starting point is to recapture with the utmost sensitivity the magnificence of this civilization that in its golden era created the most beautiful objects, full of splendor and creativity.

    The Museum stands in nature as a work delicately crafted by the hands of artisans. A piece that stands out from the land but at the same time respects the dignity of the natural environment. Its lines are reminiscent of the geometry of Troy; its strained curves, planes and intersections that cut suddenly, the meetings between concave and convex. Movement is captured in the building’s surfaces, where one detects the influence of the artist Boccioni in the interaction of an object in movement with the space around it, through the intuitive search for a single form that creates a continuous space.

    rendering

    A venue of experience
    A space that enables everything from a contemplative walk to group activity. A well organized ensemble that advances a system and multiplicity in its possibilities and activities. A place that proposes we “live Troy” as an experience, not somewhere merely informative This experience begins on arrival when, after parking in the car park, well away from the main road, the visitor is directed to the building via a deliberate trip through olive groves that provide shade, cool and texture, and through which one discovers the building.

    Beneath an imposing wooden “umbrella” one finds the building events program. In the interior is a space of dynamic and changing perceptions, an open, obstacle-free area, a continuation of nature. A great square, open to the exterior like a receiver and distributor of activity from which one accesses the bar-buffet and children’s play area. In front of this one finds the commercial zone and the amenities, and to the west the ticket sales.

    Through this low area, appearing to have been excavated, giving the feeling of entering an archaeological site, is the control area and the main entrance to the Museum. This is where the perception of space changes radically; one is once again under the truly massive structural cover of the building and, in front, there is a ramp, following the original topography of the land, which leads to the exhibition areas. At the end is the archaeological research zone in an area excavated from the ground, three metres below the access level to the permanent exhibition space. Thus visitors can see the pieces that are being worked on and researched in the field.

    The restaurant has a great exterior terrace over a large platform of water in which the adjacent olive groves and recreation areas are reflected. At the end of the permanent and temporary exhibition spaces, as an end to the journey, are the auditorium and a bar. It is the foyer that creates the connection between these two purposes and facilitates the use of the bar and foyer for events, conferences and congresses. Following the visit to the museum space one descends towards the great hall down some splendid ramps.

    The building also is also full of daily activity with the management offices, the commissary and the researchers situated in the west wing where the topography rises some four metres over the access zone to the main hall. Continuous interior and exterior spaces inter-communicate and transport the natural light that penetrates the skin of the building with the aim of producing an agreeable and comfortable atmosphere.

    model

    Creation of space
    The principal characteristic of the Museum of Troy is the creation of space versus the creation of form. The result is a single volume configured as a unitary whole. An elegant body of refined and sinuous, interlocking lines that surround and allow one to traverse. A unique building, a “Great Museum”, an expression of an era and a great vision of the future. Poetry and technology for the human condition.

    The strong material expression is achieved by using a single material, wood, which has been specially chosen, both for the structure and the skin of this building, for its elegant and evocative texture, its comfort and because it pertains to nature and to the location. It is also the only material that could provide the building with zero CO2 emissions.

    Sustainability and energy efficiency
    A fusion between the latest modeling technology and the construction of space in three dimensions, a highly refined exercise in the harmonious integration of the countryside and a strong commitment to sustainability in energy efficiency and the fitting out of the building.

    The aim is that the building is environmentally responsible, profitable and healthy, so as to be able to live and work in it with a good quality of life. To this end synergies between disciplines and technologies have been established. The RTA-Office and Dome Partners proposal seeks to make use of the best practices in the design and construction phase to reduce significantly or eliminate any negative impact of the building on the environment and thus achieve Leadership in Energy & Environmental Design (LEED™) so that the building be certified “green” by the Green Building Council (WorldGBC), New York. A new global benchmark in this field. The aim of the energy efficiency in the new building is an energy saving of about 70% and the maximum energy efficiency rating “A”. This is based on three fundamental pillars: economy, sustainability and quality of life.

    Architect: RTA-Office, DOME Partners
    Location: Çanakkale, Turkey

    museum

  • Gulf Photo Plus to hold photo tour of Istanbul

    Gulf Photo Plus to hold photo tour of Istanbul

    PhotoGulf Photo Plus (GPP), a leading photography event organiser, will offer an opportunity to produce stunning travel portraits and photographs of the natural and urban landscape of Istanbul in an upcoming photo tour.

    The new five-day Gulf Photo Plus “Faces & Places” photo tour of Istanbul will be hosted from November 8 to 12 by visiting international photography gurus Bobbi Lane and David Nightingale.

    “We received tremendous feedback on the first photo tour to Muscat. The interest in other destinations in the region was overwhelming, so we decided to push ahead and take Faces and Places to Istanbul,” said Mohamed Somji, director, Gulf Photo Plus.

    “The photo tours offer a wonderful opportunity for keen photographers to combine a holiday with a learning experience designed to refine their existing skills with expert guidance, develop new techniques based on critiques and feedback from Bobbi and David.”

    The photo tour is a fully planned and scheduled travel photography trip including portraits, street scenes, landscape and night photography with instruction from world-class instructors to improve shooting, composition and observation techniques.

    The instructors Bobbi Lane and David Nightingale are regulars in Dubai, having been involved with Gulf Photo Plus for several years.

    Lane is a commercial photographer specializing in creative portraits in studio and on location. She is a dedicated photo-educator and brings more than 30 years of technical experience and innovative artistic interpretation to her fun-filled workshops.

    Nightingale is a published author and creative director of Chromasia, a fine arts and commercial photography company, who works with the intelligent application of photo enhancing techniques.

    “We want the participants to be able to tell a story through their photography and learn tips and tricks to get that postcard-perfect ‘best’ shot and that’s where the instructors come in. They’ll encourage individuals to get out of their comfort zone and try something new, to look at composition in a different way, and explore creativity,” said Mohamed.

    Each participant in the Gulf Photo Plus Faces & Places Istanbul photo tour is guaranteed to come away with a varied portfolio of shots, comprising street photography, incredible landscapes and expressive portraits, a statement said.

    Students will be encouraged to complete their learning experience with the valuable exercise of producing a photo essay of their trip to Istanbul, which will later be exhibited by Gulf Photo Plus. – TradeArabia News Service

     

  • A German amateur sleuth and a Turkish police inspector

    A German amateur sleuth and a Turkish police inspector

    This year, the Turkish Olympiads, which have just come to a glittering conclusion, can hardly fail to have been noticed around the country.

    book

    In previous years, the gathering together of children and youth from around the world to compete in various events that demonstrate their mastery of the Turkish language seemed to be a more shy affair, with only those close to the events knowing anything about it.

    But this year there were posters all over İstanbul showing smiling faces from around the world with the Turkish strapline “Come, let’s get to know each other.” The contestants were also involved in an amazing tour around the country, performing in cultural activities in many cities in Anatolia, giving the whole of Turkey an opportunity to see children of many colors speaking Turkish, singing and reciting poems (sometimes better than many children who have Turkish citizenship!).

    English may be the international language of business, and Chinese may be the most spoken language in the world, but many would say that the universal language that brings the world together is the language of love. By focusing on children and youth and celebrating different cultures too — at most of the shows the children were dressed in their stunning national costumes — the winners at the Turkish Olympiads were not just the kids who got medals, but the Turkish language and also the ideals of love and understanding between cultures.

    Particularly striking was the report in Today’s Zaman of a young Korean girl who presented her medal to a Turkish veteran hero of the Korean War.

    Any project that aims to share culture plays its part in promoting racial harmony and peace and understanding. Concepts that in our modern multicultural societies must move from being far-off ideals to being daily realities if inner-city violence, rioting and racially motivated crime are to be driven off our streets. I grew up in South London and was in middle school during the time of the Brixton riots, so I experienced this first hand as a young teenager.

    The Turkish Ministry of Culture and Tourism has a number of important projects aimed at widening the knowledge and understanding of Turkey and Turkish culture across Europe. One is the TEDA Project — a fund to assist in the translation of Turkish literature. Since the project started in 2005, 51 publishers have received funding for some 900 books to be translated and published.

    Opening the front cover of “Hotel Bosphorus,” the first of three Kati Hirschel murder mysteries by Esmahan Aykol, I saw that it had been translated and published with the help of the Arts Council (which also sponsored the massively successful film “The King’s Speech”) and the TEDA Project. That set me thinking; I wonder what the criteria are for choosing a book to represent Turkish literature in the international arena.

    I guess each of the young people chosen to represent their country in the Turkish Olympiads went through some sort of selection process to make sure they were the best in their field. Googling Turkish Olympiads I discovered a whole host of regional and national competitions (from southwest US to Xinjiang in China) that must have been part of the selection, a bit like the Miss World competition, where each of the beauties had previously won their own national competition.

    I was reminded of the sad story my nephew told me about one of his friends who is an amazing swimmer. At just 20, he now no longer goes in a pool. He is disillusioned and disappointed that after devoting his teenage years to getting up at the crack of dawn every day to train hard before school, every year he just missed qualifying for the national squad. If they took 10 swimmers, he would rank as the 11th best in the country. If they were accepting eight, he would be the ninth best. Continually missing out on selection by a whisker this young lad, who could swim twice as fast as his school friends, viewed himself as a failure.

    “Hotel Bosphorus,” although certainly not the best book written in Turkish, certainly is a great choice for TEDA funding. It has commercial appeal. Firstly, it is immensely readable. Published in Turkish under the title “The Bookshop,” it is a lively murder mystery in the traditional genre. Hirschel has a boutique bookstore in the Küledibi area of Galata, selling just detective fiction. When her old school buddy comes to İstanbul to star in a film, and the German co-director is murdered, Kati’s German friend is the chief suspect. Who better than a lover of detective fiction to turn amateur sleuth to clear her friend’s name?

    Secondly, Aykol is a well-known name in Germany. Born in Edirne, she divides her time between Berlin and İstanbul. In actual fact, English is the eighth language that Kati’s adventures have been translated into. The book was a popular seller in Germany.

    Thirdly, with its heroine being a German living in İstanbul, the story is packed full of 101 small insights into Turkish and German culture. Every İstanbul resident will smile at Kati’s frustration on the very first page as she tries unsuccessfully to find a parking space in Küledibi. The Turkish penchant for gossip, a Turk’s inability to live for more than a few minutes away from their cell phone, their prejudices that Germans are all cold and unsmiling are sprinkled throughout the book in between observations on German meticulousness, loud behavior in a bar and Kati’s brother’s total unconcern that his elderly mother has broken an ankle. “You’ve lived over there too long,” he tells Kati when she insists on flying over to see how her mom is.

    “Hotel Bosphorus” is narrated in the first person, so we get inside Kati’s mind, and what a chatty mind she has! It is as if we have joined her for her weekly rendezvous with Yılmaz at a local café on Saturday morning, and she is telling us the story in all its details, sparing us no opinion or comment that would enliven the telling of it. “After reviewing all of these possibilities [which took about a page and a half] I came to the conclusion that my thought processes were getting me nowhere.”

    There is some tension in Petra, the film star, like she has lost something. But as Kati begins to get involved romantically with homicide detective Batuhan from the Ortaköy Police Station she discovers that the Turkish co-director had been released from jail in a recent amnesty. This gangland boss has a brother who looks after the drug side of the business. Also a friend of the victim is the number two name in the German Liberal Democrats and is a former defense minister. Could there be a political motive?

    It turns out the Turkish drug mafioso is also looking for the murderer, and Kati finds herself in his undesirable company, too. As Aykol places Kati in the path of many people who may have had a motive and has her uncover these secrets, I was left thinking that, unlike traditional detective novels, very little focus is placed on the crime scene and interviewing witnesses. It seems there were none. “Whatever the motive it’s a murder without clues,” says one of the film stars on page 194, voicing my thought exactly.

    Hirschel is a likeable heroine, one who loves İstanbul and lives life to the fullest, holding the city in her heart. She does eventually discover the secret of the film director murdered by the tossing of a hair-dryer into his bath. But whether her maverick methods stem more from her German nationality or her adaptation to İstanbul life, I leave it for you to decide.

    “Hotel Bosphorus,” by Esmahan Aykol, published by Bitter Lemon Press (2011) 8.99 pounds in paperback ISBN: 978-190473868-8

    BUY THIS BOOK AT TURKISH FORUM SHOP

  • When is a ‘köşk’ not a ‘konak,’ ‘yalı’ or ‘kasır?’

    When is a ‘köşk’ not a ‘konak,’ ‘yalı’ or ‘kasır?’

    NIKI GAMM

    What’s in a name? A summary tour of Istanbul reveals a wide array of ‘köşks,’ ‘yalıs,’ ‘kasırs’ and ‘konaks’ that often appear fairly similar to one another.Each, however, possesses some unique characteristics

    The Istanbul Provincial Administration handled the restoration work of Mirgün Köşkü, which is named after artist Ahmet Mirgün.
    The Istanbul Provincial Administration handled the restoration work of Mirgün Köşkü, which is named after artist Ahmet Mirgün.

    Workers recently completed the renovation of Mirgün Köşkü, one of the latest old Ottoman buildings to undergo refurbishment.

    This three-story structure was constructed about 150 years ago by the architect Alexandre Vallaury, who was also responsible for the Istanbul Archaeological Museum.

    The building was not erected at the behest of the governor of Egypt, Khedive Ismail Paşa and was registered in 1932 as belonging to his grandson Mehmet Tahir Paşa.

    This is hardly surprising when one thinks of all the building that the Egyptian rulers constructed on the Bosphorus from the old Egyptian consulate in Bebek and the Sakıp Sabancı Museum in Emirgan to the Mısır Apartments in Beyoğlu and the Hidiv Kasrı in Çubuklu. Mirgün Köşkü is named after artist Ahmet Mirgün who resided there in the 1900s and donated it to Istanbul University in 1985.

    The Istanbul Provincial Administration handled the restoration work which began last September and cost more than 1 million dollars. But what makes this building a “köşk?” We’ve adopted the word into English as

    kiosk and what comes to mind is a small temporary stall that sells newspapers and cigarettes and other small items. In Turkish, a kiosk is basically a small, one-story pavilion where one might serve a

    feast or live for a short period of time. One thinks immediately of the Tile Köşk, a part of the

    Istanbul Archaeology Museums complex, or the many köşks at Topkapı Palace itself.

    Summer residences

    The Ottomans took köşks one step further by using them suitable as summer residences along the shores of the Bosphorus. As time went by, the simple köşk became larger and larger but would never have been large enough to have been designated a palace. Like the Mirgün Köşkü, these places were built with wood and decorated with delicately carved banisters, balconies and eaves.

    It may be that the original building on this site was a single-storey summer residence and the larger building later used its name.

    It has long been a source of confusion as to what the differences between and characteristics of “konaks,” “yalıs” and “kasırs” are.

    A konak is a different type of housing unit, intended for year-long use and usually translated into English as “mansion.” Today the use of the word in the names of hotels and restaurants is misleading. The word konak was applied to large buildings used as the offices of provincial governors during the Ottoman period. The basement would be made of stone or brick and the upper stories would be wooden.

    The ground and second floors would contain rooms devoted to various aspects of governmental business. The term was used for larger homes where the ground floor was used for storage, servants’ rooms, the kitchen and toilet facilities. One large room on the first floor would serve as a public reception area (selamlık), while private rooms (haremlik) opened off of it or were found on a second floor, accessed from an outside stairway.

    A yalı, on the other hand, was not just a waterside mansion. It was a structure literally built on top of the Bosphorus, with a covered entrance for boats so that one could embark and disembark inside the house itself.

    Some examples of these yalıs still exist along the European and Asian shores. One can see that it juts out over the water and has large glass windows on the waterside, from which one could watch the passing maritime traffic – including garbage.

    The large central living area usually ran the entire length of the building while a divan covered with pillows ran around the perimeter wall beneath the windows, with carpets covering the floor.

    ‘Kasır’

    And then there’s the kasır, which architect Doğan Hasol compares with a chateau – although it’s not usually translated that way in English. He also describes it as a defensible imperial palace or large köşk. These buildings started life as small summer palaces in large garden settings and were particularly popular in the 19th century, when the wooden structure was replaced with a two- or three-story stone structure. The sultan would receive guests in the selamlık area, but space was also planned for members of his harem and servants.

    via When is a ‘köşk’ not a ‘konak,’ ‘yalı’ or ‘kasır?’ – Hurriyet Daily News.