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Salar Salah Muhy Al-Din * Department
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Journal of Contemporary Urban Affairs
2017, Volume 1, Number 1, pages 10– 23
The influence of Mediterranean modernist

movement of architecture in Lefkoşa:
The first and early second half of 20th century
Ph.D. Candidate Salar Salah Muhy Al-Din *
Department of Architecture, Faculty of Engineering, Bharati Vydiapeeth University, Pune, Maharashtra- India
E mail: [email protected]
A R T I C L E I N F O: ABSTRACT
Article history: The twentieth century modern architectures in Lefkosia in North Cyprus are
Received 20 October 2016 changing especially in residential building. This change is occurs based on the
Received in revised form 5 client’s orders or because of the dilapidated condition of the buildings.
December 2016 Identify the characteristics of modernist architectural movement will help in
Accepted 25 December 2016
identifying these buildings and recognize the changes applied on them. The
Available online 2 January
2017 paper aims to reach the rationale understanding about the norms of modern
Keywords: architecture in Lefkoşa in the twentieth century. The methodology is based
Modern Architecture; on analyzing the residential buildings designed by local architects and
Mediterranean “Ahmet Vural Bahaeddin” selected as one of the famous modernist architect
modernist architect; in the twentieth century in North Cyprus. Residential buildings from Milan and
Vernacular Rome in Italy, as well as Baecelina in Spain selected for analysis. The paper
architecture; tries to demonstrate the presence of vernacular elements in modern
Cyprus. architecture in Lefkoşa. Two vernacular elements were studied, i) the patio
(outside and inside interrelation), and ii) the façade materials (exposed stone)
as vernacular elements in “Mediterranean modernist architecture”. The paper
This work is licensed under a
Creative Commons Attribution -
delineated the influence of the “Mediterranean modernist movement” on
NonCommercial - NoDerivs 4.0. modern architecture in Lefkoşa in the 20th century. The findings show that there
"CC-BY-NC-ND" is influence by Modernist movement of architecture in other Mediterranean
cities in Italy and Espain on the modern architecture in Lefkoşa. The results
contribute evidence to promote our understanding regarding the modernist
architecture in Lefkoşa.
JOURNAL OF CONTEMPORARY URBAN AFFAIRS (2017) 1(1), 10-23.
https://doi.org/10.25034/1761.1(1)10-23
www.ijcua.com
Copyright © 2017 Journal of Contemporary Urban Affairs. All rights reserved.
differences in opinions that had developed

1. Introduction during the 1920s between the architects of the
“Mediterranean Modernism movement” in North and the South of Europe toward the role
architecture was one of the dialects between of technology and tradition continued to define
the presumed universalism of modernist postwar production. “Mediterranean modernist
architecture and the privacies of distinct places. movement” in architecture came out as
It considered the vernacular building traditions modernist architectural philosophy in south of
of the Mediterranean region as a source for Europe. Vernacular architecture started to be
modernism in architecture in this region. This
notion crystallized after the discourses between *Corresponding Author:
north and south of Europe about the modernism Department of Architecture, Faculty of Engineering, Bharati
Vydiapeeth University, Pune, Maharashtra, India
in architecture in the beginning of the last
E-mail address: [email protected]
century (Lejeune, and Sabatino, 2010). The
JOURNAL OF CONTEMPORARY URBAN AFFAIRS, 1(1), 10-23 / 2017
discussed as a source of modernism in the new movement became international after

“Mediterranean modernism philosophy”. For World War I, where consist the development of
example James Stirling’s mentioned in his essay simple geometric figures and simple facades
on Regionalism and Modern Architecture (1957) free from ornaments released from any historical
that: “The most visually stimulating chapters of references. Buildings were to be “machines for
Kidder Smith’s recent book Italy Builds were not living,” reflecting the industrial revolution age
those on Italian Modern and Italian (Le Corbusier, 1931). Consequently, Modernist
Renaissance, but that on the anonymous movement in architecture had been crystallized
architecture of Italy”(Sabatino, 2010). as real movement. The best known of this
Hence, Vernacular elements considered as the movement were, between many, Walter
primary sources of modern architecture in the Gropius, Le Corbusier in France, and Mies Van
southern Mediterranean. The influence of this der Rohe in Germany. Gropius was the founders
philosophy could be observed in modern of the ‘Bauhaus’ (1919-1933) were established in
residential buildings in the first and early second Dessau focused on philosophy of modernism in
half of 20th century in Lefkoşa, in North Cyprus. architecture (Magdalena, 2002).
The designs have been held some vernacular Gropius in ‘Bauhaus’ wanted to show a new
elements in the modern buildings specially the consideration for technique and craft in all
stone facades and in the interrelation between artistic world, and asked for re-assessment for art
inside and outside of the buildings (Patio). The and craft characteristic of the medieval age,
paper tries to answer following questions; before art and manufacturing had diverted
whether or not the Cypriot modernist away. The Bauhaus was considering
architecture was influenced by “Mediterranean rationalization in design as well (Evans, and
modernism philosophy” in first half of 20th Jeffery, 2005). After World War II, this movement
century? Whether or not, other external factors became more present in plain facade of high
affected the modernism in the architectural rise buildings with curtain walls in large houses.
design of residential buildings in that period?
The paper aims to define the character of 2.1.1. General characteristic of Modernism in
modern architecture houses between first and Architecture
second half of 20th century in Lefkoşa. The study Le Corbusier, one of Modern Architecture’s
tries to demonstrate the similarity between pioneers in 1926 pointed his five points for new
Ahmet Vural Bahaedden’s design as North Architecture. One of the points was "free plan”,
Cypriot pioneer in modern architecture and which focus on continuity, transparency of
other Italian and Spanish design in the same place. This point is one of the important points
periods. The paper hypothesize that if the for theory of Modern Architecture. He pointed
“Mediterranean modernism” were influencing "free façade" as complementary to free plan
the architectural style in Lefkoşa after the first and took in consideration interaction between
half of 20th century, then the introduction of interior and exterior, and their relation to nature
vernacular elements in the residential buildings as well. Those two points were very crucial in
designed by ‘Ahmet Vural Bahaeddin’ is new idea of architecture. The other three points
partially or totally result of that influence. of new architecture, which Le Corbusier
described, were: the "pilotis" which means the
2. Literature review columns in French language, where allowing
2.1. Modernist movement of Architecture the garden to creep under the building and "the
With the end of nineteenth century and the horizontal window “and "the roof garden"
beginning of twentieth century, because of (Benton, 2007).
Modern Movement in the societies of west
Europe, architects started to leave past styles
and began to work on a new form of
architecture (Evans and Jeffery, 2005).
Modernism in architecture focuses on Sullivan’s
saying that “form follows function”, based on
functional concerns. In this study the modern
movements of architecture will be delineated to
the first half of twentieth century. The first
decade or so after the ‘World War I’ was a
crucial and innovative time for architecture. The
Salar Salah Muhy Al-Din 11

above the windows and louvers for human

thermal comfort is another character for
modern architecture (Jones, 2011).
The characteristic of Modernist architecture
depend on the time periods of the design,
where some time emphasizes on some elements
more than others. Another factor is the location
and climatic zones, where the advantages of
climatic characteristics affect the design.
2.2. Mediterranean area

According to Gravagnuolo, B. (2010) “When we
say Mediterranean we mean above all the solar
stupor that generates the panic stricken myth
Figure 1. The five points of Le Corbusier and the metaphysical immobility.”
(Monteaguda, 2013). Mediterranean word has come from the Latin
meaning "in the middle of the land" (Medius,
refers to "middle" and terra, refers to "land"). It is
Generally Modern Architecture is characterized
an almost close sea between the European,
by some recognized elements as; refuse the
African and Asian continents as shown in the
past traditional and historical styles as a source
figure ‘2’. The total area of Mediterranean area
for the architectural forms. Modern architecture
estimated by 2.5 million km2, it is connected to
is characterized by lack of ornament unless
the Atlantic with only 14 km wide through ‘Strait
shows the functionality in the building. It focuses
of Gibraltar- Narrow’ (Calcerano, and Cecchini,
on the rectangular forms and horizontal and
2014).
vertical lines. A Simple and smooth form in the
design eliminates the excessive detail. Shapes of
the buildings based on boxes, or connected
boxes (Jones, 2011). Usage the modern
materials, such as steel columns, and new
masonry unites, by new construction systems,
and emphasizing on exposed structural
elements, such as beams and columns, with flat
roofs. Construction of the buildings by using
reinforced concrete or steel structure system.
Later on the facade characterized by plain Figure 1. Mediterranean basin Area (Calcerano
glass ‘curtain walls’ and ‘honor façade’ and Cecchini, 2014).
exposed concrete texture façade with getting
rid of bearing wall in the facades became the Because of the diversity in geography and its
evident of international modernist style. extension on large area, the architecture of
Stonework and bricks are unadorned, and used the Mediterranean has its own impression and
in rectilinear masses and planes (Monteaguda, own character. Several cities known as
2013). The relationship between inside and Mediterranean cities such as; ‘Barcelona’ in
outside of the buildings is one of the important Spain; ‘Aix en Provence’ in France; ‘Rome,
elements in modernist architecture. That Sicily, Palermo’ in Italy, ‘Dubrovnik’ in Croatia,
relation achieves through usage of large ‘Athens and Crete’ in Greece, ‘Istanbul and
expanses of glasses which brings the building’s Antalya’ in Turkey; and ‘Nicosia or Lefkoşa’ in
site into the building, taking advantage of wide Cyprus, etc. The diversity could be imagined
view to surrounded landscape. Consequence, in these cities. Thereby the architectural
large windows from floors to ceilings introducing character of these cities will be diverse
natural light and penetrate it deep into the through their history, culture, socio-politics,
interior space of the buildings. Achievements of tradition and religion in one side and
the maximum efficiency through apply a good topography and microclimatic conditions in
orientation to take advantage of nature’s forces another side. However, the similar language
to provide passive solar heating and cooling in of architecture could be perceived
different seasons. Hence, using the overhangs (Calcerano, and Cecchini, 2014).

2.2.1. Cyprus and ‘Lefkoşa’ fireplace. Kitchen is widely used in the winter,
Cyprus historically had been returns to whereas the terraces and patio or outdoor
approximately 10000 BC. In the Mediterranean spaces prepared to stay during the day in shady
Sea after Sicily and Sardinia, Cyprus is the third areas or to sleep at night (Zoranic’, 2012). The
biggest island. Cyprus is located in a north- use of local materials, mainly earth and stone, is
eastern corner of Mediterranean Sea. Cyprus one of the characters of vernacular
was divided into north part & south part in 1974. architecture and adapted to regional climate,
North Cyprus area is around 3,355 km2, shares a see figure ‘4’. A good U-Value (Heat transfer
maritime border with Syria to the east, and coefficient value) for the building materials
Turkey to the north. ‘Lefkoşa’ or Nicosia was moderate the indoor temperature ‘keep inner
started to be a capital city, since 600 AD. The space cool in the morning and warm in the
walled city in Lefkoşa surrounded by 8-10 meters night’ (Fernandes, et al., 2014).
high stone walls which were built between 1489 Vernacular architecture reflects the spirit of
and 1571 by Venetian to provided safety local people and the real response to local
(Mesda, 2012). Today, Lefkoşa is the environment, their culture and history. It identify
government center and main business center by the regional characteristics. In general
on the island. It is the last divided capital city in vernacular buildings may not meet, in many
the world and this division gave to it a special cases, with today standards of life style or
character comfort, but could give some advises about
strategies to mitigate the use of non-renewable
2.3. Vernacular Architecture in Mediterranean energy.
area
In the countries of Mediterranean area the sun
is desirable in the winter while in the summertime
sun should be blocked and the cooling and
ventilation are necessary. Clustered
agglomeration houses because of the natural
environment of the Mediterranean climate, is a
part of the landscape. Clustered settlements
are defendable and climatic responded
through creating shades and protection from
harsh winds with green plantation cover around
the buildings extended on agricultural land, Figure 3. Mediterranean vernacular house
(Fernandes, et al., 2014). See figure ‘3’. shows local stones in façade and patio.
2.4. Mediterranean Modernist architecture

“Mediterranean modernism of architecture”
can be known as a modern architecture that
adopts vernacular buildings as a resource in
order to harmonize material and space with
context and culture (Zoranic’, 2012). During his
travels through Italy, 1907, Turkey and Greece
1911, and later Spain as well as the Western
Balkans, Le Corbusier showed his interest for
vernacular architecture (Vidal, 2008). This was
the beginning of dichotomy between North
Figure 2. ‘Santorini’in Greece.
Europe and south Europe to determine the
concept of modernism in architecture and
Climatic characteristics of Mediterranean area
appearance of Mediterranean modernist
allow staying outdoors during all year; affect the
architecture. The vernacular of the southern
organization of the houses courtyards, patio,
Mediterranean started to be discussed as a
terraces and gardens as essential elements of
source of modernism. The differences in opinions
residential units. Vernacular or traditional house
that had developed during the 1920s between
in the Mediterranean region has a summer and
the architects of the North and the South toward
winter portions the upper level used in the
the role of technology and tradition continued
summer and ground floor in the winter with
to define postwar production (Lejeune and
Sabatino, 2010). In addition to the diversity of the The houses ostensibly have the elements of
Mediterranean area and its climate character modernist movement in architecture which
and interest for classical and vernacular includes; absence of classical architectural
environment, many other events after the World adornment and elongated or large-pane
War I stimulate to develop this opinion (Vidal, windows. The horizontal surfaces and strong
2008). rectilinear geometry is generally seen in the
Le Corbusier was more than any other modernist modernist houses and architectural elements
interested in the Mediterranean classical and precisely rendered, typically white. Columns,
vernacular environment. Le Corbusier attribute beams and cantilevered parts (roof overhangs,
was reaction for many events. Globally louvers and balconies) often are seen in the
because of the great economic depression in buildings. Steel or reinforced concrete used in
1930s and critique of industrial the construction. Free plan and focuses on
capitalism in, empower the right wing in continuity, transparency of place (Fricker, J. and
Germany etc. in other hand finally the Flicker, D., 2010).
consequences of his loss at the ‘Palais des Figure 5, shows ‘Villa Savoye’ the manifesto of
Nations competition’ in Geneva.His tendency modernist residential houses, which designed by
shifted from an arts and crafts, which was clear ‘Le Corbusier’ and built (1929-1931) in ‘Poissy-sur-
in the first projects in “La Chauxde Fonds” and Seine’, France, (Morrissey, 2010).
his machine oriented Modernism of the
mid1920s (Plan Voisin, 1925) conveyed to a
southern version. The main events were the
great economic crisis and the industrial
capitalism criticism in the 1930s, the rise of
German rightwing parties and the rise of
National Socialism that let Le Corbusier’s in crisis,
which made modernist arguments in the north
difficult. Consequence was his loss at the Palais
des Nations competition in Geneva. These
events coincided with Le Corbusier’s first
meeting with ‘Josep Lluis Sert’ a Spanish
architect in Barcelona and the other journeys to Figure 4. Villa Savoye, Le Corbusier (Morrissey,
Athens as part of the fourth CIAM (International 2010).
Congresses of Modern Architecture) meeting at
which witnessed poor attendance of German Although the concentration on the modernist
architects (Lejeune and Sabatino, 2010). architecture elements could be changed from
The modernity of the North that crystallized in region to other based on climate, culture and
Germany was conceptualized around society. But generally modernist residential
‘Industriekultur’, incorporate art and industry. In buildings consist of the majority of those
Southern Europe like Italy, Spain, Greece, and mentioned characters.
Southern France as the Mediterranean region
include modernity, was shaped less strict in 2.5.1 Mediterranean modernist residents
adherence to technology. In one hand they simulates Patio and Local stone façade
adopted innovation, through Italian Rationalists Patio means "Inner courtyard", that space of
like ‘Luigi Figini and Gino Pollini, and Adalberto house which use for sitting and dining or other
Libera’ as Mediterranean modernists, in other types of outdoor home activities (Anarjani,
hand tended to employ both new materials and 2013). Patio is related with a garden that is
building technologies and traditional ones. depending of the culture, protected from
outside view. The patio creates a comfortable
2.5. Modern Residential Architecture environment if adapted with perfected use of
Residential place is a basic need since the origin water evaporation. It incorporates the external
of humanity. The functions and form of primitive with internal to alleviates the shiny and hot
dwellings changed to new form and functions outside and conveys it to shaded and pleasant
which in modern dwelling. Human always tries to interior. In warmer climates, patios are
improve the quality of his dwelling and update extensions of interiors that can double the living
it according to upgrading life styles standards spaces, and giving to the home penetration in
and according his private needs.

the nature around the house. (Anarjani, 2013). Figini and Pollini were designing their buildings
Despite patio is an vernacular architectural through pure geometric forms and ideal
element, but it demonstrate its functionality in proportions, and applying aesthetic principles of
modern residences, and recall the traditional rationalism. Villa studio for an artist (1933) and
Mediterranean life style which used to spend “Environment with living room and terrace”
part of the day in houses outdoors. Many Italian (1936) are two works of Figini & Pollini during their
architects in the 1930s expressed their interest in partnership. Villa studio for an artist designed by
the Mediterranean patio house, which used to Luigi Figini and Gino Pollini for the Fifth Milan
practice with the typology of patio house Triennale in 1933 was one of modern
according to Mediterranean tradition with new architecture showing a local, Italian declension.
outcomes. Figini and Pollini mixed the modern building
elements and technology with traditional
2.5.1.1. Villa studio for an artist designed by Luigi elements in the patio house, see figure ‘6’. ‘Villa
Figini and Gino Pollini 1933 Studio’ design with one-story, and flat roof,
Luigi Figini is Italian architect he born in 1903 several open air courtyards applied in the
and died in 1984. He was one of the building which give the opportunity to enjoy
considered Italian Rationalist. They were external spaces as extensions of the interiors. The
considered Italian Rationalist. Gino Pollini, design is not symmetrical, the architects gave
(1903–1991) Born in Milan, in 1926 Pollini joined the occupants transparency to outdoor spaces.
Gruppo 7, and from 1929 he worked with his White surfaces on the exterior elevation are
partner Luigi Figini (Blakely, 2011) incorporate with exposed brick, see figure ‘7’,
(Sabatino, 2010).
Figure 6. Villa studio for an artist Facades.

(Costanzo, 2015)
After three years, the Figini & Pollini designed

an “Environment with living room and terrace”
(1936), which they described dialect between
Figure 5. (Villa studio for an artist), Milan, V the organic (vernacular) and the machine age
Triennale, 1933. Luigi Figini and Gino Pollini. aesthetic through the concept of the patio(
(Lejeune, 2010) Evilien, 2015). See figure ‘8’.
They had partnership since 1926 and they were

between the founders of Gruppo 7 and then
members o M.I.A.R. (Italian Movement for
Rational Architecture) to promote the
research to renew architecture they designed
and extended the Olivetti Factory, Ivrea,
where Modern Movement principles applied.
Moreover, they involved to design Church of
the Madonna dei Poveri (1952–1954), Milan (A
Dictionary of Architecture and Landscape
Architecture).

but are arranged following a geometrically

controlled and repetitive pattern.
Fig 9, illustrates that the courtyard has L-Shape
with interior opening system, means all the main
rooms opening to the internal patios. Each four
houses interlocked together and arranged in
groups following vernacular concepts through
cluster the houses in groups to promote the
safety. In the same time the houses touching the
walls of each other to promote thermal comfort
Figure 7. Casa Dei Giornalisti Milano in different climates, emphasize on the opening
“Environment with living room and terrace” by of the rooms toward the courtyard. Three of the
Figini & Pollini. (Costanzo, 2015). houses facing the same interior L- Shape open
space and the fourth one is opened towards
2.5.1.2. Adalberto Libera‘s “Unità orizzontale” outside, as shown in figure ‘10’. In this context
(Horizontal Unit) in the Tuscolano neighborhood the design formulating open space ‘Patio’ to
in Rome 1950-1954 each one of the houses. Each group of four
Adalberto Libera (1903 -1963) was born in 16th of houses is included between two ‘pedestrian
July 1903 in Villa Lagarina (Trento). streets’ with 2.70 m large which are irradiated
He is a great modern architect, one of the from the main central open space (Fabrizi,
inviters to revive the architecture in Italy 2014).
(Rovereto, 2013). He was one of the announcers
to the movement for modern architecture in
Italy. In 1927, he joined the Gruppo 7,
established in 1926 in the Politecnico di Milano
by Luigi Figini, Gino Pollini, Guido Frette,
Giuseppe Terragni, Sebastiano Larco, Carlo
Enrico Rava, and Ubaldo Castagnoli. He was
responsible in 1930s, for many public projects in
Rome, like Palazzo postale all’Ostiense of 1933
(with Mario De Renzi) and the Palazzo dei
Ricevimenti e dei Congressi of 1937. During the
2nd World War, he stopped his professional
activity and starts to think about the new
fundamental themes of architecture. He
returned to Rome in 1947 and started to
collaborate with Ina-casa as director of the Figure 8. L- Shape patio ‘Courtyard’ Sources:
architecture section, and started his project Fabrizi, M. (2014)
‘Unità di abitazione orizzontale’ (‘Horizontal
residential unit’) at ‘Tuscolano’ in Rome in 1954.
In March 1963, he died suddenly (Rovereto,
2013). Adalberto Libera‘s “Unità orizzontale”
(Horizontal Unit) in the ‘Tuscolano’
neighborhood in Rome is an neighborhood built
in the capital of Italy just after WWII. It consists of
200 houses for 800-1000 people, with three
categories: the one-floor courtyard houses, the
multi-storey building with accesses from
balconies, and the services block. The study will
concentrate on the first category which is one
floor courtyard houses. The courtyard houses
tissue responds to an isolation logic where the Figure 9. Opened towards outside ‘Patio’
room, the patio, the house and the whole toward pedestrians streets ( Fabrizi, 2014).
neighborhood are all inter-dependent elements
through the frontage patio and the corridors or Figure ‘11’ shows using exposed stone in the
accesses ways as in vernacular architecture, façade by ‘Adalberto Libera’ as one of the

characters for ”Mediterranean modernist

architecture”.
Figure 11. Week End house in ‘Garraf

Barcelona’.
Figure 10. Roma, (Horizontal Unit) in the
Tuscolano neighborhood in Rome 1950-1954.
2.5.1.3. Jose Luis Sert and J. Torres Clave. House

“WeekEnd,” type A, Costas de Garraf,
Barcelona, 1935
José Luis Sert, was a Spanish Architect, born in
July 1, 1902, in Barcelona and died March 15,
1983, Barcelona (José Luis Sert: American
architect, 2003). He worked with Le Corbusier
and Pierre Jeanneret in Paris between 1929- Figure 12. Plan of Week end house Garraf-
1937, after his graduation from School of Barcelona.
Architecture (Barcelona). The work of that
period produced many projects like, weekend
2.6. Modernist architecture in Cyprus
houses in Garraf with Torres Clavé , apartment
With industrialization and the following
houses in Barcelona, , and a master plan for the
Modernist Movement in architecture in north
city of Barcelona. Later he had his own office in
Europe and south Europe, the local architecture
Barcelona, (José Luis Sert: American architect,
in Cyprus has also been affected. Cypriot
2003). Josep Torres Clavé, (1906-1939) is an
architects in that period gave many good
architect, designer and town planner. He studied
examples of modern architecture on the Island.
architecture at Barcelona graduating in 1929
Nicosia General Hospital by Polis Michaelides
from the School of Architecture. He is one of the
between (1936-1939), which faced many
Spanish avant-garde artistic and modernist
changes in the 1950s, represents one of the
names in the 30s. In 1929 he became a founding
examples of the international style of modernist
member of GATCPAC (Group of Catalan
movement in architecture and its influences on
Architects and Technicians for Architectural
Michaelides from his experience in the office of
Progress). After one year gave rise to the
Le Corbusier in the years 1930-32.(Kiessel, 2014).
establishment of the GATEPAC, to be on a state
Ahmed Vural Bahaeddin, Neoptolemos
level. He worked with Sert in many projects
Michaelides, Abdullah Onar and Ayar Kashief
(Josep Torres Clavé: Barcelona, 1906 – 1939.
are significant names of local Cypriot modernist
(n.d.). The Week End house in ‘Garraf Barcelona,
architecture.
1935), was One of the manifesto style of
Mediterranean modernist architecture by Jose’
3. Methodology
Loius Sert with Torres Clave’. The building shows
3.1. Research Design
the usage of the stone in the facades, as well as
This paper approaches the qualitative and
presence of patio, recall the “Mediterranean
descriptive method, following to the theoretical
vernacular architecture”. See figure ’12 & 13’
part. The theoretical analysis has been
developed for assessment on case study’s
examples. Interview carried out with one of the
pioneers in Modern architecture in north Cyprus

‘Ayer Kashif’ who graduated from Faculty of

Architecture in Turkey after four years from his
colleagues ‘Bahaeddin’ regarding the subject.
The Analysis, which has been applied, consists of
three main parts:
1. Through literature review we tried to identify
key information that could help in identifying the
influence of Cypriot modernist architecture by
Mediterranean Modernist movement in south
Europe which started in the end of 20s from the
last century. Theoretical analysis applied
through analyzing several works done for South
European Modern architects, like ‘Luigi Figini
and Gino Pollini, and Adalberto Libera’ as in
other to investigate the vernacular elements
interference in their design; first is the naked
stone walls and second is the patio (outside and
inside interrelation), as characteristic of
Mediterranean modernist architecture.
2. The presence of patio and exposed stone Figure 13. Methodology Framework (Developed
walls in the modernist building design in Cyprus by Author).
in 50s , 60s and beginning of 70s from twentieth
century, as a vernacular elements and one of 3.2. Case Studies
the characteristic of Mediterranean modernist Two case studies selected in Lefkoşa to be
architecture, as elucidated in literature review. analyzed. The case studies selected based on
This was implemented through The Case Study’s several considerations, which are; i) selected
examples are two residential buildings for the buildings are both residential houses, ii) both
north Cypriot modernist architect Ahmet Vural buildings have been design by Architect ‘
Bahaeddin. He was one of pioneers who Ahmet Vural Bahaeddin’, iii) the buildings
adopted modernist architecture in his works in classified as modernist architecture holding the
the North part of Cyprus. He is worth of special characteristic of Modern architecture in the first
attention to focus on his works as one of the half of twentieth century or after that by few
oldest ‘Modernist’ architects. Bahaeddin born in years.
1927, he graduated from Faculty of
Architectural Engineering, Istanbul Technical 3.2.1. Efruz Houses (1962-1976)
University. He started his career between the Efruz Mass Houses or Müdüroğlu Houses are
years 1955-1993. His works were mainly private designed between, 1962-1976 at Kumsal
residences, except few educational buildings Quarther in Lefkosia by Ahmet Vural Behaeddin.
and office buildings, such as building of ‘Turkish These houses are considered one of the
Lyceum’ in Lefkoşa, built in 1962. In his early distinctive mass housing construction in Lefkosia.
professional life, he was a modernist who The construction company was Efruz Company,
focused on importance of function. Later, he one of the famous construction companies in
tended to “Organic Architecture” (Celik and North Cyprus. The houses designed for high
Erturk, 2007). income householders. Typology of the houses is
3. The interview with architect ‘Kashif’ consist the two storey row houses. The total area of one
following question; house is 200 meter square; the plan of the
- Either or not he thinks that his colleague houses consists of two stories. The ground floor
‘Bahaeddin’ was affected by has an entrance, family lounge or living room,
Mediterranean movement in architecture, kitchen, toilet, laundry, garage and back
which arose in south Europe in the beginning courtyard and forecourt. The first floor consists of
of twentieth century? three bedrooms (one of them master bedroom),
Methodology frame work has been developed bathroom with toilet and transition space
by author to reach the answer about the study corridor to other spaces on the first floor
questions assigned in the introduction of the (Esentepe, 2013). See figure ‘15’.
study, as shown in figure ‘14’.

Figure 14. Plan of Ground and first floor Figure 17. Exposed stone facades in Efrus
(Developed by Author). Houses.
There are three different plans for ‘Efruz’ Houses Using the white color to paint the façade and
but all the types have courtyards (forecourt and envelope of the building could be also one of
backyard) of houses. Those backyards and the vernacular characteristic in ‘Bahaeddin’
forecourts can be associated to the patio in designs. Hence the design of these houses holds
vernacular architecture, which is one of the more than one character of the vernacular
main resources to Mediterranean modernist in architecture. It approaches the “Mediterranean
architecture. See figure ‘16’. modernist architecture” in the first half of
twentieth century in south Europe; these
examples could be detected in Spain and Italy
as well as other Mediterranean countries.
3.2.2. Sömek House and Clinic (1957-1959)

‘Somek House’ is another design for ‘Ahmet
Vural Bahaeddin’ the first registered architect of
Cyprus Chamber of Architects in TRNC. The
house was built in the years (1957-1959) in Lefke
(Celik, 2005). Lefke is a small town belongs to
Lefkoşa, located on the northern slopes of the
‘Troodos Mountains’. American company with
Mining Company of Cyprus (CMC) was quite
developing that place because copper
deposits were discovered in 1912. They built the
Figure 15. The Patio in the Efruz houses between
town theater building which exists until today,
two rows of building and forecourts in the
post office, municipal building, and workers’
frontage of each house.
housing. The building stands as one of the early
applications of modernist architecture. It
formed according to the principles of modern
architecture in a new housing concept, with the
beginning form of modern life in North Cyprus.
Sömek House, designed considering the
environmental conditions, socio-cultural
Figure 16. Facade of the buildings (Esentepe, characteristic and the needs of modern life
2013). besides being an architectural product. The
building holds (Celik, 2005).
In other hand the façade of ‘Efruz’ houses is
covered partially by exposed local stones, see
figure ’17 & 18’, which is another characteristic
of the Mediterranean Modernist.

Figure 18. Somek house exposed stone facades,

Plan and Façade. (Celik, 2005)
Figure 20. Relation between inside and outside.
Free open space and introducing inside to

outside, moreover, using iron columns in the
building characterize the plan of the house. It is
also shows the mix with local and vernacular
strategies, through transparency between
inside and outside, as well as using local pebbles
as exposed stone in the façade (Hera, 2010).
See figure ‘22’. Hence once again ‘Bahaeddin’
Figure 19. Details on plan and elevation demonstrate his trends to introduce the
(Developed by Author) vernacular elements in his modernist works.
‘Sömek’ house and clinical spaces is located in

four acres of gardens, including the farms of
orange and flowers garden outside the
courtyard and terraces are enriched with
intense green. Clinical façade is covered with
large pebbles collected from local area. The
building is divided into two parts; one is clinic
and other part is the house. See figure 19& 20. Figure 21. Using Iron forks in the right and
After passing through the courtyard, to the large exposed stone facade in the left (Hera, 2010)
garage, it will lead to into the house on the left.
Central hall facing terrace and courtyard 3.3. Interview
directly and it is opposite the entrance, and During the meeting face to face with Architect
lounge terrace separated by glazing door. See ‘Ayar Kashif’ based on invitation from lecture of
figure 21. The building demonstrates modernist “Advance Research in Modern Architecture”
elements, such as perpendicular horizontal and Dr. Valentina Dona, the meeting held in Girne
vertical surfaces with big windows provided by American University on 25th of March 2016.
louvers. Architect “Ayar Kashif” who is the pioneer in
establishing department of Architecture in Girne
American University, since 1994 and he
graduated from Turkey was one of the earliest
modernist architects in North Cyprus with his
colleague ‘Ahmet Vural Bahaeddin’. The author
asked him the following question;
- Either or not he thinks that the works of his
colleague ‘Bahaeddin’ had something in
common with the movement of architecture
in other Mediterranean countries which arose
in south Europe in the beginning of twentieth
century?

- His answer was that “ He cannot aver that design “the Patio and exposed stone facades’,
‘Bahaeddin’ have been influenced by the as shown in table 2.
Mediterranean movement of architecture in
that period, but as architects we were, and Table 2. Shows the vernacular resources in
even ‘Bahaeddin’, respecting the client’s Modern architecture design of ‘Bahaeddin’
opinion which was affecting the decision of buildings in Lefkosia developed by author.
the design deeply”.
4. Discussion
Several samples of modern architecture
(residential buildings) from south Europe
between 1900s-1950s have been showed in the
literature review. Italy and Spain were the main
sources of “Mediterranean modernist
movement” in architecture. Theoretical analysis
applied on four buildings, three of them were in Hence, the case studies as modernist
Italy designed by Italian architects like Figini & architecture in North Cyprus, designed by one
Pollini as well as Adalberto Libera. The fourth of the earliest modernists on the island
building was in Spain designed by Jose Luis Sert demonstrate the similarity to Mediterranean
& Torres Clave’. The analysis focused on the modernist architecture characteristic.
simulation or existence of two main vernacular Moreover, architect ‘Bahaeddin’ represent one
elements ‘Patio and exposed stone façade’ in of the pioneers in the modern architecture
modern design of the buildings which is movement in North Cyprus. Thus, his influence to
concerned in this study. The results Mediterranean modernist movement will
demonstrate that all the projects have the influence other modernist architects to follow
sources of vernacular architecture, three of him. Therefore based on the findings above, the
them combined both elements ‘ Patio & study shows that the modernist architecture in
Exposed stone facades’ and only one of them north Cyprus was influenced by the
has only ‘patio’ elements as vernacular source Mediterranean movement in south Europe. The
in the modern design (See table 1). opinion of ‘Ayar Kashif” who was one of the
modernist architects in that period, clarifies one
Table 1. Vernacular resources in Modern important fact. The fact is that the architects
architecture design in south Europe (Developed were affected by clients opinion, hence that
by author). could be one of the reasons to let architects
follow the needs of the indigenous people on
the island. Indigenous people affected until
today by the vernacular elements in their
houses, which exposed stone facades and
house Patio are part of it. That led us to think the
modernist architects and ‘Ahmet Vural
Bahaeddin’ one of them were influenced by
two main factors. One of them is the
“movement of Mediterranean modernism” in
Mediterranean countries. They were aware
about it, because they studied outside of the
island and had a connection abroad. Another
one is the intendancy of local people who likes
to keep the vernacular elements even in their
The two case studies for the modernist Cypriot modern houses as we see until today. Those
architect ‘Ahmet Vural Bahaeddin’, ‘Efruz results supports hypothesis of the paper, which
House & Somek House’ have been analyzed. Hypothesize that the vernacular elements in the
Both considered as modernist architecture in modern residential buildings designed by
North Cyprus and had been designed later of ‘Ahmet Vural Bahaeddin’ and modernist
the previous bu ildings in South Europe. The architecture generally is somehow affected by
findings demonstrated that both of ‘Bahaeddin’ “Mediterranean modernism movement” in the
houses had the vernacular elements in their first half of last century.
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e-Luis-Sert

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"He is in earnest," said Louise mentally, in answer to this. "He wants to help
them; he doesn't quite see how. But if he is willing to be enough in earnest his
Master can teach him." Then, before there was opportunity for the half-dozen
other things that she wanted to say, they were summoned to the tea-table.
John was there in his Sunday coat and his hair brushed carefully; it was more
than could have been expected. Moreover, almost immediately, by one of
those chance remarks that seem of no importance, an item of political news
was started for discussion, and behold the father and Lewis were stanchly on
one side, and the minister and John on the other. John, roused by a
nettlesome speech of his brother, gave bold utterance to opposing views, and
was strongly approved and supported by Mr. Butler. The interest deepened
and the arguers waxed earnest; but all the while there was in Farmer
Morgan's face, veiled to any but a close observer, such as Louise was that
day, a sense of surprised satisfaction over the fact that his boy John had such
clear views of things, and could talk as well as the minister; and the minister,
whether he was to win souls or not, surely knew one step of the way—he was
winning hearts. They went, all of them together, to the bright parlour again,
and when presently the discussion calmed, and the subject changed to the
delights of corn-popping and apples roasted in the ashes, Mr. Butler said with
zest,—
"John, let's try some. Suppose you get the apples and superintend the
roasting; and, Miss Dorothy, can't you and I pop some corn?"
Dorothy's cheeks were aflame; but the corn was brought, and the evening
waned before even Nellie knew it was late. "He's a good deal likelier chap
than I thought from his sermons," was Farmer Morgan heard to remark to his
wife when the minister had finally bade them good-evening and departed.
"O Lewis," said Louise, when they were alone again, "if he had only asked to
read a few verses in the Bible and offered prayer before he went. I certainly
thought he would do it; isn't it strange that he did not?"
"Why, yes," said Lewis. "As a minister it would have been entirely in keeping. I
wonder he did not suggest it."
"Why didn't you suggest it, Lewis? I was hoping you would; that was what I
meant by all those telegraphic communications I was trying to make."
"My dear Louise," said her husband, "that was my father's place, not mine."
CHAPTER XIV.
DUST AND DOUBT.
THE scheme to visit the dingy church on Wednesday afternoon, and

contribute somewhat to its attractiveness, was carried out to the very letter.
Mrs. Morgan, senior, made sundry dry remarks about not being aware that
any of her family had been hired to put the church in order; but Farmer
Morgan declared that it certainly needed it as much as any place he ever saw
—that he would be ashamed to have a barn look as that did; and John
declared that he had promised to stop the squeak in that old organ, and he
meant to do it, hired or not hired.
Louise, who had not heard him promise, and who had felt much anxiety lest
he would refuse to perform, was so elated over this declaration that, with her
husband's help, she parried her mother-in-law's thrusts with the utmost good-
humour, helped by the fact that, whatever she might say, that strange woman
actually felt glad over the thought of her young people going off together like
other folks.
The efforts of Mrs. Morgan's life had been spent in keeping her children from
being "like other folks," and yet, with strange inconsistency, she liked to see
these approaches to other people's ways of doing things.
If she could have explained what her sore and disappointed heart had meant,
it would have revealed the fact that she intended her children to be superior
to; not isolated from, the society around them.
Wednesday afternoon proved a real gala time to Dorothy. She entered with
zest into the lamp-cleaning, and after a few lessons from Louise, developed a
remarkable talent for making the chimneys glitter in the sunlight. The surprised
and smiling sexton had done his share, and the dust from the long unswept
room lay thick on pulpit and seat-rail. The room was comparatively warm too,
which, if Louise had but known it, was a rare thing on Wednesday evening.
John swung the old organ around in a business-like manner, and applied a
drop of oil here and another there, then gave himself to the mending of one of
the stops; while Lewis tacked on the new binding for the desk, and whistled
softly an old tune. Altogether, Louise's plans were working royally. She had
managed a difficult bit of business in the shape of a lunch, which had been
smuggled into the buggy with them.
"What on earth do you want of that!" had Mrs. Morgan exclaimed in

astonishment, when she had been appealed to. "You don't expect to work so
hard that you will get hungry before supper, do you?"
"Why, we want it for our supper," said Louise. "You know we shall not have
time to come back before prayer-meeting, and that will make us late for
supper."
"Prayer-meeting!" No words on paper can express to you the surprise in the

questioner's voice. "Are you going to stay to prayer-meeting?"
"Why, certainly; we want to see whether the lamps are improved. If Dorrie
leaves lint on the glass it will show splendidly when they are lighted. Besides, I
want to hear how that organ will sound when it doesn't squeak."
"And what is going to become of John-while you are staying to meeting?"
Mrs. Morgan's face had taken on a deeper cloud of disapprobation, and her
voice was glumness intensified.
"Why, John will stay to meeting with us, of course."
This from Louise, in positive tone, albeit she was painfully uncertain about that
very thing; certain only of this, that if John would not stay, the rest would not. It
was no part of her plan to carry him down to the village, simply to be tempted
of Satan, as he always was, at the street corners.
"Humph!" said Mrs. Morgan, senior, and she went her way, giving no sign of
relief or approval, save that the lunch she prepared and packed for their
united suppers was bountiful and inviting.
So Louise dusted and advised as to lamps and pulpit, and prayed heartily
meanwhile. How was she to prevail on John to stay to prayer-meeting? Was it
a foolish scheme? Would it be better to abandon it and go home? What if, at
the last moment, he should rebel, and go away and spend the evening in that
horrid corner grocery? Recent though her introduction into the family was, she
had already learned how they dreaded the influence of that corner grocery.
She lingered near her husband and consulted.
"Lewis, how can we prevail on John to be willing to stay to-night until after the
meeting?"
"Oh, he'll be willing enough; no danger of him. He hasn't had an opportunity to

visit his friends at the corner for some time; he will catch at the chance."
"Oh, but we mustn't have that kind of staying. I mean how can we coax him to
stay here at the prayer-meeting?"
Her husband regarded her curiously. "I don't believe even you can accomplish
such a result as that," he said at last; "and I am willing to admit that you do
accomplish some very extraordinary things."
"Lewis, why do you speak in that way, as though I were trying to do anything
wonderful? Can any work be simpler than to seek to get one interested in
prayer-meetings who has no natural interest in such things? I want you to ask
him to stay. You said yesterday that you had never invited him to attend. Tell
him we have a nice lunch, and want him to stay with us and enjoy the
meeting. Perhaps all he is waiting for is an invitation."
"Louise clear, you don't know John. He would have no enjoyment from this
meeting, even if he stayed, which he will not do; and now, in all sincerity, I
believe he would be much less likely to stay if I were to ask him than he would
under almost any other circumstances. It is a humiliating fact that he doesn't
care to do anything to please me."
Louise turned away with a sigh. Her work was growing complicated. Meantime
the dusting and cleansing went steadily on, and when all was accomplished
the church was certainly improved.
A somewhat weary but gay little company gather under one of the renovated
lamps just at nightfall, and having made their toilets by folding away large
aprons and sweeping-caps and donning hats and shawls again, sat down to
eat the generous lunch.
"Queer way of having a picnic," said John. "I've always supposed the woods
was the place for such gatherings. We might as well go home for all I can see;
our work is about done."
Lewis glanced significantly at his wife. Her face expressed doubt and anxiety.
Certainly it would be better for them all to go home at once rather than that
John should spend his evening at the corners. Just what should she say at
this juncture? She hesitated but a moment, then said quickly,—
"Why, we are going to stay to prayer-meeting; don't you suppose we want to
see the effect of these improvements on the people?"
"To prayer-meeting!" echoed John; then, beyond a low, suddenly suppressed

whistle, he said no more.
Their departure for the church had been delayed, and the work there had
taken longer than had been anticipated, so that as the short winter day drew
rapidly to its close, the lunch had finally to be disposed of in haste, in order
that two or three unfinished matters might be accomplished before the hour for
prayer-meeting. With very little idea as to what she should say, or whether it
would be wise to say anything, Louise followed John to the organ corner,
while he struggled to make the organist's broken seat less objectionable.
"The idea of allowing a church to run into shabbiness in this fashion!" he said
with energy, a sneer in his voice; "shows how interested the people are in it."
"Why doesn't the sexton light the lamps on the other side?" questioned
Louise, unwilling to enter into a discussion concerning the inconsistencies of
the church, and really curious to understand the movements of that worthy the
sexton.
"More than I know. They are all filled and trimmed, I am sure; perhaps he
doesn't know that. He probably economizes by using the lamps on one side
until they are empty, and then taking the other row."
"No," said Louise; "I see what it is done for—to compel the people to sit close
together, and not spread over the entire church. It is a good idea, too."
"Yes," said John; "shows how many they expect!"
What strange power John had to throw meaning into a few words. This simple
sentence started Louise; she glanced over the large church. What a very
small corner of it was lighted and made habitable. Yet she felt her own faith
was equal to even less than that amount of room; she struggled for some
satisfying explanation.
"But, John, you know this room has to be large enough for the entire
congregation; and a great many of them are in the country, and could hardly
be expected, I suppose, to attend prayer-meeting."
"I know it," said John; "twice as far down to the village on Wednesday evening
as it is on Saturday. On Saturday evenings the stores have to be kept open
until eleven o'clock, so many country people are in town; but none of them are
affected in that way on Wednesday."
"Well," said Louise, trying to speak lightly, "our party will count four more than
are usually here; that is one comfort."
John regarded her furtively from under lowering eyebrows.
"Have you any kind of a notion that I intend to stay to this meeting?" he asked
at last, a curious mixture of sarcasm and sneer in his tones. There was
something in John's voice that was constantly reminding one of sneers.
A sudden reaction of feeling swept over Louise, or rather the feeling that she
had held in check rose to the surface. A vision of John at the corner, playing
cards, smoking, drinking beer; of the mother at home, sick at heart, when she
saw him and smelled his breath; of the father's anger and Lewis's gravity,
appeared before her, and her voice faltered and her eyes were full of tears as
she answered, from a full heart—
"No, I am afraid you are not going to; and I am so disappointed about it that I
feel as though I could hardly—"
Here the words stopped, and the tears actually dropped—one of them on
John's hand, that was outstretched just at the moment to grasp the hammer
lying beside her. He withdrew it suddenly, a strange expression crossing his
face; he looked at his hand doubtfully, gravely, then looked back at Louise.
"Why in the name of common sense do you care whether I stay to prayer-
meeting or where I go?"
"I care," said Louise, brushing away the treacherous tears and raising earnest
eyes to his face, "a great deal more than I can explain to you. I never had a
brother; I have always wanted one, and I looked forward to having pleasant
times together with my brother John. But you won't do anything to please me."
"How do you know I won't?" His voice was gruff now, gruffer than it had been
during the day, and he seized the hammer and pounded so vigorously that
she could neither speak nor hear. She turned from him in doubt and anxiety
still, and immediately joined her husband, who had come to say that the
pounding must cease—the people were beginning to come to prayer-meeting.
Nevertheless the pounding did not cease until two more nails were in place.
Then did John, without any effort at quiet, stalk down the uncarpeted aisle and
seat himself in the Morgan pew, Dorothy edging along for the purpose, and
looking her undisguised astonishment.
Louise tried to feel triumphant; but as the hour dragged its slow length along
her heart was very heavy. What a strange meeting it was—strange, at least, to
her who had been used to better things. In the first place, the number, all told,
counting the four who filled the Morgan pew, amounted to twenty-three. Now,
when twenty-three people are placed in a room designed for the
accommodation of three hundred, the effect, to say the least, is not social.
Then these twenty-three seemed to have made a study of seating themselves
in as widespread a manner as the conditions of light and darkness would
admit. Dorothy saw this, and lost herself in trying to plan where the
congregation would have been likely to sit had the other lamps been lighted.
That condition of inability to sing, which seems to be the chronic state of many
prayer-meetings, was in full force here. Mr. Butler announced a hymn, read it,
and earnestly invited a leader; but none responded. Louise felt her cheeks
flushing in sympathy with the minister's embarrassment, and never more
earnestly wished that she could sing. Even Dorothy, conscious that she could
sing, was so far roused by sympathy that she felt the bumpings of her
frightened heart, caused by the courageous question, "What if I should?" Not
that she had the least idea of doing so, but the bare thought made her blood
race through her veins at lightning speed. At last a quavering voice took up
the cross, and made a cross for every one who tried to join in the unknown
and uninviting melody.
This prayer-meeting does not need a lengthy description; there are, alas! too
many like it:—Two long prayers, called for by the pastor, between two
silences, which waited for some one to "occupy the time." A few dreary
sentences from Deacon Jones, who is always in every meeting, detailing his
weary story of how things used to be when Mr. Somebody Else was our
pastor. Another attempt at a song of praise, which made John's lip curl more
emphatically than the first one had; and then the pastor arose to make some
remarks. How interesting he could be at the supper-table; how bright and
pleasant he could be when roasting apples and popping corn! These things
the Morgans knew; so did nearly every one of the other nineteen.
Why was he so uninteresting in the prayer-meeting? Louise tried to analyze it.

What he said was true and good; why did it fall like empty bubbles on her
heart or vanish away? His theme was prayer. Did he mean the words he was
repeating, "If ye shall ask anything in my name, I will do it"? Did he understand
what those words meant? If so, why did not he explain them to others?
Dorothy wondered at this; she had not gotten so far as to doubt them—that is,
she knew they were Bible words; she saw Mr. Butler open his Bible and read
them from it; but, of course, it didn't mean what it said. "If it did," said poor
Dorothy to herself, "I would ask—oh, I would ask for ever so many things."
And then her mind went off in a dream of what it would ask for, if only those
words meant what they said! And Mr. Butler talked, generalized, told
wonderful and blessed, ay, and solemn truths, much as a boy might tell over
the words of his spelling lesson. Did the pastor feel those words? Did he
realize their meaning? Had he been asking? If so, for what? Had he received
it? If he had not received, and still believed the words he read, why did not he
set himself to find the reason for the delay? Poor Louise! Her mind roved
almost as badly as Dorothy's, only over more solemn ground. As for John, his
face told, to a close observer, just what he thought: he did not believe a word,
not a word, of what had been read, nor of what was being said. More than
that, he did not believe that the minister believed it. Was there any good in
getting John to stay to prayer-meeting?
CHAPTER XV.
OPPORTUNITIES.
A CHURCH social had been one of the places against which the senior
Morgans had set their faces like flints. Not that there had been much occasion
for peremptory decisions. John, when he arrived at the proper age for
attending, had grown away from the church into a lower circle, and Dorothy
was frightened at the mere thought of going anywhere alone. So occasional
sharp criticisms as to the proceedings, reports of which floated to them from
time to time, was the extent of their interference. But Louise had weighed the
matter carefully, and was bent on an attendance at the church social. Had she
taken time to notice it, she might have been amused over the various forms of
objection that met her plans.
"I'm afraid they will think the Morgan family have turned out en masse," had
her husband said when he listened to the scheme. "I'm in favour of our going,
because I think the people will like to meet you, and you will like some of them
very well; but wouldn't it be better to get acquainted with them ourselves
before getting Dorothy into society? She will be frightened and awkward, and
will be very far from enjoying it. John won't go, of course."
"Lewis," his wife said impressively, "I believe John will go; I am very anxious to
have him, and I feel impressed with the belief that God will put it into his
heart." The curious look on her husband's face emboldened her to ask a
question which had been troubling her. "Lewis, you sometimes act almost as
though you didn't believe such matters were subjects of prayer at all. Are
these things too small for His notice, when he himself refers us to the fading
wild flowers for lessons?"
Lewis studied his answer carefully; he admitted that, of course, we had a right
to pray about everything; but then—well, the truth was, she certainly had a
way of attaching importance to matters which seemed to him trivial. Take, for
instance, that tea: he had not understood then, did not now, why she should
have been so anxious about it; and as for this matter, what particular good
was it going to do to take John to the church social?
"Don't you see," his wife asked earnestly, "that we must get John into a
different circle, if we would draw him away from the one he has fallen into?"
Yes, he admitted that; in fact, he admitted everything that she could possibly
desire, and yet she knew he went away feeling that it was, after all, of
exceeding little consequence whether John went or stayed.
Nevertheless her desire for the accomplishment of this matter remained firm.
She studied many ways for winning John's consent to the plan, seeking
counsel on her knees, and wondering much that no way opened to her, until
she discovered, on the day in question, that there was no need for an
opening. John, for reasons best known to himself, had settled the matter, and
himself broached the subject by inquiring whether she still believed that the
pleasantest thing she could do was to walk.
"Walk where?" questioned the mother, and the subject was before them.
"Why, to the social this evening," explained Louise quickly. "I propose a walk.
The evenings are perfect now, and I'm a first-class walker; I feel anxious to
show my skill in that line."
"To the church fiddlestick!" said Father Morgan, with more than usual asperity;
and Mother Morgan added—
"I wonder if you and Lewis are going to countenance those gatherings?"
"Why," said innocent Louise, "of course we must sustain the social gatherings
of our church; I think them very important aids."
"Aids to what, I'd like to know? They are just dancing parties, and nothing
else. I'm not a church member, to be sure, but I know what church members
ought to be; and to see them standing up for the world in that way, and helping
it along, is sickening, to say the least." This from Farmer Morgan.
Then Mrs. Morgan, senior—
"They stay until near morning, and dress, and gossip, and giggle, and dance;
if that is sustaining the church, the less it is sustained the better, according to
my notion."
Then Louise—
"May not part of the trouble be that those who do not approve of such
management stand aloof and let Satan manage it his own way, and lead the
young people whither he will?"
"Humph!" said Farmer Morgan (and there is hardly in our language one
syllable more expressive than that in the mouths of some people). "The
minister goes."
"I know, but he cannot do much alone."
"In my opinion," said Mrs. Morgan firmly, "he enjoys it all too well to want to do
anything." Her firm lips and eyes said as plainly as words could have done:
"You will do as you like, no doubt, but you won't get my Dorothy to help to
sustain any such thing."
"Well, mother, we are going to-night, to see what we can do toward sustaining,
or something else. I hardly know what we are going for, I'm sure; but I know
this much, we are going."
Perhaps of all the group no one was more surprised than Louise at this
statement from John's lips.
She hesitated, and her heart beat high with anxiety and doubt. John meant to
go, then; but ought he to speak so to his mother? And ought she to seem to
approve of such speaking? Only a second of thought, then she said—
"O John, we wouldn't go if mother disapproved, would we? Lewis says he
always minds his mother, and I'm sure I always minded mine."
This sentence, half-laughing, yet inwardly wholly earnest, was sent forth in
much anxiety, the speaker remembering the fifth commandment, even though
she wished most earnestly, just then, that it were not made so difficult a duty
by the mother in question.
But a change had suddenly come over that mother. To have the boy John
even at a church social, disreputable as she believed those places to be, was
much better than to have him at the corner grocery, or in any of his favourite
haunts. The moment there dawned upon her the idea that he really meant to
go, her objections softened.
"Oh, I don't want to keep any of you from going, sure. Go if you want to, of
course. A church gathering ought to be a nice place, and if it isn't what it ought
to be; it isn't your fault, I suppose. I shan't make any objections."
Which was a remarkable concession when we consider the woman who made
it. So they went to the social; also they walked—Lewis and Louise stepping
briskly along together over the moon-lighted earth, and enjoying every step of
the way, as only those can who have little opportunity for long, quiet walks
together, even though they are bound by the closest ties.
The large modern farmhouse where the gathering was held was a surprise to
Louise; unconsciously she had gauged all farmhouses by her father-in-law's.
But here she was introduced to one of those fair country homes with which our
land abounds—bright and tasteful, and, in its free and easy, home-like way,
beautiful. The large rooms were carefully arranged, and little works of art and
souvenirs of celebrated spots and scenes were freely scattered, and the
books, displayed lavishly, spoke of cultured tastes and leisure for their
indulgence. A large company was gathered, and the scene was social in the
extreme. The new-comers were very heartily greeted, it being evident to all
but herself that Mrs. Lewis Morgan was looked upon as an acquisition to the
society much to be desired. As for that lady, she was so engrossed in making
Dorothy feel at home and have a good time, and so anxious that John should
not slip away in disgust before the evening was over, that she forgot her
position as a stranger, and, with an end in view, made acquaintances eagerly
and searchingly, looking everywhere for the helpers that she hoped to find in
these young people.
Meantime she studied the actual scene, trying to fit it to the reports which had
come to her. The company was very merry. They talked a good deal of
nonsense, no doubt, and it was possible that a sort of giggly, good-natured
gossip came in for its share; and they were, at least the younger portion, too
much dressed for a church social; but though the evening was advancing, she
had as yet seen no indications of the amusement which Father and Mother
Morgan found so objectionable.
During a moment's leisure Mr. Butler came over to her. He had been among
the young people all the evening, the favourite centre of the merriest circles. It
was evident that these young people enjoyed their pastor at a church social,
whatever opinion they might have of him elsewhere.
"I am so glad you came out to our gathering," he said to her cordially. "It was
very kind in you to overlook our lack of courtesy in the matter of calls and
come at once. Our ladies will call on you promptly enough now. Some of them
had the impression that you might not care to make new acquaintances."
"I wonder why?" said Louise in surprise. "My old friends are too far-away to be
made available. Mr. Butler, what a great company of young people! Do these
all belong to your congregation Where were they on Wednesday night?"
"Well," said Mr. Butler, "the plain and painful truth is, that wherever they are on
Wednesday evenings, at one place they are not, and that is the prayer-
meeting. Some of them are church members, but it never seems to be
convenient for country people to come to town on Wednesdays, nor to be out
so late as is necessary in order to attendance at prayer-meeting."
"Yet they come to the church socials?"
"Oh yes, indeed. That is another matter; they have no objection to being
social."
"Then, what a pity it is that we couldn't have our prayer-meeting social, isn't
it?"
Mr. Butler laughed, then grew grave.
"Well, but, Mrs. Morgan, you do not suppose it is possible to make prayer-
meetings into places where those who have no love for Christ will like to
come?"
"Perhaps not; though more might be done for even that class, I suspect, than
is. But some of these young people belong to Christ, do they not?"
He shook his head.
"Very few. I never knew a church with such a large class of indifferent young
people in it. Oh, some of them are members, to be sure; but the large majority
of those here to-night, the young ones, have no sympathy with the church,
except in its socials."
"Then what a doubly important opportunity this church social is," said Louise,
with kindling eyes. "This is really almost your only chance with the young
people, then, save in calls. How do you manage the work? Or is that too close
a question to answer?"
The bright eyes of the young minister dropped before her. He felt, in truth, that
the question was too close, though not in the sense that she meant it. He
wished, in his truthful heart, that he could just leave her to think that his ways
of working were too intermingled to be explained; but whatever faults he may
have had, deception was not one of them.
He hesitated and flushed, then met her gaze squarely, as he said—
"The simple truth is, Mrs. Morgan, I am doing just nothing with these young
people, and I don't know what to do."
"I know," she said quickly; "the work is immense, and little patient efforts
sometimes seem like 'just nothing.' But, after all, how can you tell? The
earnest words dropped here and there, even in such soil as this, may spring
up and bear fruit; so long as you meet your people in this way, once a week,
and can gather them about you as you do, I shouldn't allow myself to get
discouraged."
Evidently she did not understand him. He was leaving her to suppose that he
was moving quietly around among them dropping seed, when, in reality, he
had been chatting with them about the skating and the sleighing, and the
coming festival, and the recent party, and had dropped no earnest, honest
seed of any sort. His honest heart shrank from bearing unmerited approval.
"I am literal in my statement," he said earnestly, "though you are kind enough
to translate it figuratively. I do not feel that I am saying anything to help these
young people, save as I am helping them to have a pleasant evening. I don't
know how that is going to tell for the future, and I don't know what I can do to
tell toward that. I cannot get one into a corner and preach a sermon to him at
such a time as this; now, can I?"
"I shouldn't think it would be a good place in which to read sermons," said
Louise, with smiling eyes and grave mouth. "But, then, we who never preach
at all will not allow you to profess that the sermon is the only way of seed-
sowing."
"I did not mean literal preaching, of course," he said, a trifle annoyed; "but
what I mean is, there is no opportunity here for personal effort of any sort. I
am always afraid to attempt anything of the kind, lest I may prejudice people
against the whole subject. Don't you think there is danger of that?"
"Well, I don't know," Louise said thoughtfully. "If I were to talk with one of my
friends who is not acquainted with you, and tell her how kind you were, and
how interested in all young people, and how pleasant and helpful you were, it
doesn't seem to me that I should prejudice that friend against you. Why should
I feel afraid of prejudicing them against my Saviour?"
He looked at her doubtfully.
"Don't you think that young people look upon this question with different eyes
from that which they give to any other? Aren't they more afraid of hearing it
talked about?"
"Aren't they more unaccustomed to hearing it talked about?" was Louise's

earnest answer. "Have we, as Christians, tried the experiment fully of talking
freely, brightly, socially about this matter, about our joys and hopes and
prospects? What do you suppose the effect would be? Suppose, for instance,
Mr. Butler, you and I were in the midst of that circle across from us where
there is just now a lull in the conversation, and you should say to me: 'Mrs.
Morgan, what have you found to-day that affects our plans?' and I should
answer: 'Why, I found that our Father loves us even better than I had
supposed. I found to-day that he says he blots out our transgressions for his
own sake!' I did find that to-day, Mr. Butler, and it is as news to me. He really
loves us so much that, for his own sake, he forgives us. What if I should say
that to you in the presence of these others?"
"They would consider us a couple of fanatics," said Mr. Butler quickly.
"Well," said Louise, with bright eyes and smiling mouth, "that, certainly,
wouldn't hurt us. But why should we be called fanatics? I heard you telling
what Professor Proctor says he has recently decided in regard to a scientific
matter, and the young men about you listened and questioned, and didn't act
as though you were a fanatic at all."
CHAPTER XVI.
THE REASON OF THINGS.
JOHN came over to her, speaking abruptly, recognizing the presence of the
pastor only by a nod:—
"They want to know whether you dance."
The minister flushed over the question, as though it had been personal; but
Louise laughed.
"Can't you tell them, John?"
"How should I know?" given in his gruffest tones.
"Now, John! didn't you tell me only a few days ago what you expected of me in
that regard? Do you think I want to disappoint your expectations?"
"Well, then, what is the reason that you don't?"
"Mr. Butler, think of my being called upon to answer such an immense

question as that at a church social. John, you will have to be my champion,
and explain, if you are hard pressed, that the reasons are too numerous to be
given now and here. Meantime, you may vouch for me that I have excellent
ones."
John turned away, a grim smile on his face. Louise, looking after him, feeling
much less bright and undisturbed than she appeared, saw that he was not
displeased with her answers, but wondered uneasily what he might be
enduring, in the way of banter, for her sake. She had grown to have that
degree of confidence in him; she believed that he would endure something for
her sake. She need not have been disturbed; there had been no bantering;
Mrs. Lewis Morgan was at present held in too great respect for that. Still, John
had been surprised into some abrupt admissions, which he had felt obliged to
have corroborated by her.
"Does your sister dance?" had been asked him abruptly by one of the pretty
visions in curls whom his eyes had been following half the evening. He had
given a confused little start, and glanced instinctively at the corner where
Dorothy sat, being kindly talked to by a nice old lady.
"Dorothy!" he exclaimed, a surprise note in his voice. How absurd it seemed to

suppose such a thing! "No; she never dances."
"Oh, I don't mean Dorothy," and the pretty vision echoed his surprise in her
voice; "I mean your brother's wife."
Then did John turn and look at her as she stood a little at one side, conversing
animatedly with the minister. How pretty she was; how unlike any one that he
knew! What a strange sound it had to him, that sentence, "your sister," when
he applied it to this fair young woman! She was his acknowledged sister, then,
in the eyes of all his people. He had not realized it before—to be sure she had
called him her brother, and it had pleased him; but, at the same time, the idea
that other people so spoke had not before occurred to him. It certainly was by
no means an unpleasant idea. He was in danger of wandering off over the
strangeness of this relation and its possible pleasantness, unmindful of the
small questioner who waited.
"Well," she said inquiringly, a little laugh closing the word, "are you trying to
decide the momentous question?"
"No," he said with emphasis, "she doesn't dance."
"Never!"
"Of course not."
"Dear me! Why 'of course'? You speak as if it were the unpardonable sin!" The
very words that John had used in speaking of this very subject, yet he disliked
this speaker for these words which slipped so smoothly from her pretty lips. All
unconscious of this, however, she continued: "I shall be greatly surprised if
you are not mistaken. She is from the city, and in cities all the young people
dance; the old country ideas on that subject are thought to be absurd. I
believe she would like a little refreshment from this dulness, and really I think
she looks too sensible to have any such silly notions as some of our deacons
indulge. I don't suppose you ever asked her point-blank, did you?"
John did not choose to tell how nearly he had done just this, did not choose to
be catechised longer, so he turned from her with this parting sentence—
"If you are anxious about the matter, it is easy enough to ask her; she can
speak for herself." And his mental addition was, with a curling lip—"She is one
of their Christians!" Though why John Morgan should have any right to pass
judgment upon her for disgracing a profession in which he did not believe is
more than I can understand. This, however, I know—they nearly all do it.
No sooner was he left to himself than it occurred to him that he had been very
emphatic; after all, what ground had he for his positive statements? He
recalled the brief conversation which he had held with Louise on the subject;
what had she said? Not much besides asking him a question or two. He did
not believe that she ever joined in that amusement; he felt positive about it; at
the same time he could not have told why he felt so. Suppose he should be
mistaken? Suppose they should get up a dance here and now, and she
should join them? He grew hot over the thought. "She needn't try to cajole me
into her prayer-meetings or organ-mendings after that," he told himself in
indignation. But then, John Morgan, why not? You believe in dancing; you
know you have sneered at your mother for her views on this subject.
Never mind; whatever he believed, he assuredly did not believe in having this
new sister of his take such a position before this public. A desire to have the
proof of her own words, added to his feelings, sent him across the room to
interrupt that conversation between her and the minister. And though she
certainly did not say much, he had turned from her satisfied that "city lady
though she was, that pert little yellow-curled girl would find herself mistaken."
Meantime Mr. Butler regarded the lady with a curious blending of amusement
and anxiety on his face.
"Your brother has evidently assumed your defence," he said lightly; and then,
as if with a sudden resolution to be earnest, he added; "I could find it in my
heart to repeat and press the question that has just been asked you if I
thought you were willing to enter into the discussion with me. Not—" he
added, with a slightly flushing face, as she turned surprised eyes on him, "not
as to why you do not dance, for of course your position and mine are answer
enough to this question, but as to what reasons you give to others for taking
such views of the question. I confess to you frankly that it puzzles me beyond
almost any other that I meet, how to explain to those bright young girls and
pleasant-faced boys, who gather in this congregational capacity every two
weeks, and who are well acquainted with each other, that there is any harm in
having a promenade together, for really that is all that the sort of dancing in
which they indulge amounts to. Positively, when they say to me, 'What is the
harm?' I am nonplussed. I feel the inconsistency, but am at an utter loss how
to explain it. Now, may I ask you what you do with such questions when they
are asked you?"
"Well," said Louise thoughtfully, "it depends upon the standpoint from which I
am to talk; by which I mean there are various presentations of the subject. You
do not expect to influence one who has no love for Christ with the same
motives that you do an earnest Christian, you know."
"Certainly not; but it is from a Christian standpoint that I want you to speak
now. I have some young Christians here who say to me, 'Now, Mr. Butler, what
harm can there be in our dancing together occasionally, we boys and girls who
know each other so well? We don't go to balls or large parties, but when we
meet in this way, please tell us the harm?' And while it may be a very
humiliating confession, I have never been able to answer them satisfactorily to
myself. Suppose that a young girl who professed to belong to Christ should
ask you the question, what would you say?"
"I should say, 'Whether, therefore, ye eat or drink, or whatsoever ye do, do all
to the glory of God.' And then I should ask her to tell me how dancing could be
made subservient to his glory."
"But, Mrs. Morgan, isn't that very high ground?"
"Certainly it is; is it higher than a follower of Christ ought to take?"
"Well, but the difficulty with such reasoning is that it condemns so many things
which we consider innocent; for instance, that corn which Miss Dorothy and I
popped the other evening, would it be possible to fit that to God's glory?"
"I find it by no means difficult," Louise said, giving him a bright smile. "I am not
sure but that, while the corn popped, avenues were opened in the family
which may lead to hearts, and make a road for you to lead them to your
Master. I assure you that I believe even such trivialities as kernels of corn may
tend to his glory. But then, if we became, as a family, infatuated with corn-
popping, so that we spent our evenings away into the midnight, if not away
beyond it, in popping corn, and unfitted ourselves for the next day's duties;
and if some people, or occasionally one person, had been led by the popping
of corn into temptation and danger and death, I should feel that you ought to
use your influence against our amusement in that direction. And this world is
in such a cranky state of mind that in order to use your influence against my
excesses, you would have to refrain from ever popping one single kernel.
Now, wouldn't you?"
"I might say," he answered, laughing, "that if you were so extremely foolish as
to be led astray by such an innocent amusement as that, it was your own fault,
and I was not responsible."
"And I should ask, 'Shall the weak sister perish for whom Christ died?'"
"But, Mrs. Morgan, seriously, many of our young people, or at least some of
them, have so slight a knowledge of the world that they really cannot realize
the possibility of persons being led astray by such causes; and where they
have not wise mothers and tender fathers to influence them, in whose
superior wisdom they can trust, how can I reach such?"
"There is one line of argument that ought to reach all such, I think. Take, for
instance, my brother John; isn't it evident, Mr. Butler, that he doesn't consider
dancing consistent with a Christian profession?"
"Oh, of course," said Mr. Butler promptly; "there is hardly an unconverted man
or woman in the world who does. We are sure to find sneerers among that
class, but I had always supposed that was rather because they had caught
the impression from some advanced Christians, and, being always ready to
sneer, were glad to have this to sneer about."
"Now, we might go off on a side issue, and try to discover where these
advanced Christians got their views. But suppose we do not; suppose we
grant that such is the case, what then? Have I, as a Christian, any right to
indulge in that which is not in itself a duty, and which may cause me to be a
stumbling-block in the way of another? Why, the argument is very old: 'By
meat destroy not the work of God.' If I may not do it for meat, can I possibly
see a right to do it for amusement?"
"Well," said Mr. Butler, after a long pause, "I see the line of argument; it is
capable of covering very broad ground. What do you say to an unconverted
person on this subject?"
"Various things," said Louise, smiling; "among others I try to persuade them to
love the Lord Jesus, and then when he makes it plain to them that there are
greater pleasures in store than these can give, they will be enabled even to
give up dancing for his sake! If the Christian world were a unit on this
question, do you really think it would give us much trouble, Mr. Butler?"
"No," said Mr. Butler gravely; "the trouble grows out of a divided host. Yet
there are arguments against dancing on the side of morals and propriety, but it
is exceedingly difficult to make pure-hearted young girls understand this."
"I know, and herein lies so much of the mischief; because, Mr. Butler, young
men like my brother John know only too well the arguments which might be
advanced in that direction.—Now, tell me, please, who is that young man who
seems to stand aloof? I have noticed him several times this evening; he
appears like a stranger; he is standing now, near the sitting-room door, quite
alone."
"I don't know who he is," said Mr. Butler; "I have noticed him at the socials
once or twice before, but I don't know his name, and can't imagine where he
belongs."
"Won't you please find out for me, if you can, and introduce us?"
Thus commissioned, the minister turned away with heightened colour. Not a
word had Mrs. Morgan said as to the strangeness of having a young man
appear in his church socials two or three times without discovering who he
was. Nevertheless an uncomfortable sense of having appeared indifferent to
his flock haunted the minister as he looked about for ways and means of
making the acquaintance of the stranger.
"That?" said Deacon Shirley's son, to whom he appealed. "Oh, that is young
Martyn; he is a farm hand in summer, and a—well, anything he can find to be
in winter. He is doing odd jobs for Mr. Capron now, on the farm, working for his
board, I believe, and attending the school in the village. I don't know him.
Keeps himself to himself."
"Hasn't he been to our socials before?"
"Oh yes; twice, I think. Jennie Capron has to depend on him for an escort; and
so he comes in the line of his work, just as he does everything else. He
doesn't seem to enjoy them much."
"Suppose you introduce me?" said the minister; and young Shirley, much
amazed, complied.
Meantime, while they were making their way to his side, little Minnie Capron,
who had been standing near them, sped away to the young man, who was a
friend of hers, and whispered—

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The influence of Mediterranean

modernist movement of architecture in

The Presence of Modernist Architecture in Government s

A Lesson from Vernacular Architecture in Nigeria 1st

The Influence of Globalization on Distracting

The Transformation of Aesthetics in Architecture from

The Role of Advance Composite material In Contemporary

Adaptive Reuse of the Industrial Building: A case of

An agenda for the Management of contemporary

Islamic Palace Architecture in the Western

The influence of Mediterranean modernist

differences in opinions that had developed

discussed as a source of modernism in the new movement became international after

Salar Salah Muhy Al-Din 11

above the windows and louvers for human

2.2. Mediterranean area

Salar Salah Muhy Al-Din 12

2.4. Mediterranean Modernist architecture

Salar Salah Muhy Al-Din 14

Figure 6. Villa studio for an artist Facades.

After three years, the Figini & Pollini designed

They had partnership since 1926 and they were

Salar Salah Muhy Al-Din 15

but are arranged following a geometrically

Salar Salah Muhy Al-Din 16

characters for ”Mediterranean modernist

Figure 11. Week End house in ‘Garraf

2.5.1.3. Jose Luis Sert and J. Torres Clave. House

Salar Salah Muhy Al-Din 17

‘Ayer Kashif’ who graduated from Faculty of

Salar Salah Muhy Al-Din 18

3.2.2. Sömek House and Clinic (1957-1959)

Salar Salah Muhy Al-Din 19

Figure 18. Somek house exposed stone facades,

Figure 20. Relation between inside and outside.

Free open space and introducing inside to

‘Sömek’ house and clinical spaces is located in

Salar Salah Muhy Al-Din 20

Evans, C. and Jeffery, R. B. (2005) Architecture

Salar Salah Muhy Al-Din 22

Kiessel, M. (2014, December 10-13) Direct and

Salar Salah Muhy Al-Din 23

THE scheme to visit the dingy church on Wednesday afternoon, and

"What on earth do you want of that!" had Mrs. Morgan exclaimed in

"Prayer-meeting!" No words on paper can express to you the surprise in the

"And what is going to become of John-while you are staying to meeting?"

"Why, John will stay to meeting with us, of course."

"Oh, he'll be willing enough; no danger of him. He hasn't had an opportunity to

"To prayer-meeting!" echoed John; then, beyond a low, suddenly suppressed

"Yes," said John; "shows how many they expect!"

John regarded her furtively from under lowering eyebrows.

Why was he so uninteresting in the prayer-meeting? Louise tried to analyze it.

Then Mrs. Morgan, senior—

"I know, but he cannot do much alone."

"Yet they come to the church socials?"

Mr. Butler laughed, then grew grave.

He hesitated and flushed, then met her gaze squarely, as he said—

He looked at her doubtfully.

"Aren't they more unaccustomed to hearing it talked about?" was Louise's