The Illusion of ‘Like New’ in Restoration and the Value of Patina | HMSA Academy<\/title>\n <meta name=\"description\" content=\"An analysis of the over-restoration trap in architectural conservation, Alois Riegl\u2019s concept of age-value, and the vital importance of patina for building physics.\">\n <meta name=\"keywords\" content=\"restoration ethics, patina, Alois Riegl, age-value, architectural conservation, over-restoration, Venice Charter\">\n <meta name=\"author\" content=\"HMSA Academy\">\n\n \n <style>\n .hmsa-article-wrapper {\n font-family: 'Segoe UI', 'Helvetica Neue', Arial, sans-serif;\n max-width: 800px;\n margin: 40px auto;\n padding: 0 20px;\n color: #333;\n line-height: 1.6;\n }\n\n \/* Header Area *\/\n .hmsa-header-meta {\n font-size: 13px;\n color: #ba372a; \/* Red Theme *\/\n font-weight: 700;\n text-transform: uppercase;\n letter-spacing: 1px;\n margin-bottom: 10px;\n }\n\n .hmsa-main-title {\n font-size: 34px;\n font-weight: 800;\n color: #111;\n line-height: 1.3;\n margin: 0 0 20px 0;\n padding-bottom: 20px;\n border-bottom: 1px solid #eee;\n }\n\n .hmsa-author-info {\n font-size: 15px;\n color: #666;\n margin-bottom: 40px;\n font-style: italic;\n }\n .hmsa-author-info strong {\n color: #ba372a;\n font-style: normal;\n }\n\n \/* Summary \/ Intro Box *\/\n .hmsa-intro-box {\n background-color: #fcfcfc;\n border-left: 5px solid #ba372a;\n padding: 25px 30px;\n margin-bottom: 40px;\n border-radius: 0 4px 4px 0;\n }\n .hmsa-intro-title {\n font-size: 18px;\n font-weight: 800;\n color: #ba372a;\n margin-top: 0;\n margin-bottom: 15px;\n }\n .hmsa-intro-text {\n font-size: 16px;\n font-style: italic;\n color: #555;\n margin: 0;\n text-align: justify;\n }\n\n \/* Content Body *\/\n .hmsa-subhead {\n font-size: 24px;\n font-weight: 700;\n color: #ba372a;\n margin-top: 50px;\n margin-bottom: 20px;\n border-bottom: 1px solid #f0f0f0;\n padding-bottom: 10px;\n }\n\n .hmsa-paragraph {\n font-size: 18px;\n line-height: 1.8;\n color: #222;\n margin-bottom: 25px;\n text-align: justify;\n }\n\n .hmsa-list {\n list-style: disc;\n padding-left: 20px;\n margin: 20px 0 30px 40px;\n }\n .hmsa-list li {\n margin-bottom: 12px;\n font-size: 18px;\n line-height: 1.6;\n color: #333;\n text-align: justify;\n }\n\n \/* Glossary Box *\/\n .hmsa-glossary-section {\n background-color: #f4f4f4;\n padding: 30px;\n border-radius: 8px;\n margin: 40px 0;\n border-left: 5px solid #333;\n }\n .hmsa-glossary-title {\n display: block;\n font-size: 18px;\n font-weight: 800;\n color: #ba372a;\n margin-bottom: 15px;\n text-transform: uppercase;\n }\n .hmsa-glossary-item {\n margin-bottom: 10px;\n font-size: 16px;\n line-height: 1.5;\n }\n .hmsa-glossary-item strong {\n color: #000;\n }\n\n \/* References Section *\/\n .hmsa-ref-section {\n margin-top: 80px;\n padding: 40px;\n background-color: #f9f9f9;\n border-radius: 8px;\n border-top: 3px solid #eee;\n }\n .hmsa-ref-title {\n display: block;\n font-size: 20px;\n font-weight: 800;\n color: #333;\n margin-bottom: 20px;\n }\n .hmsa-ref-list {\n list-style: none;\n padding: 0;\n margin: 0;\n }\n .hmsa-ref-list li {\n font-size: 14px;\n color: #666;\n margin-bottom: 8px;\n line-height: 1.5;\n padding-left: 15px;\n text-indent: -15px;\n }\n\n \/* Mobile Compatibility *\/\n @media (max-width: 768px) {\n .hmsa-article-wrapper { padding: 0 15px; margin: 20px auto; }\n .hmsa-main-title { font-size: 26px; }\n .hmsa-subhead { font-size: 20px; margin-top: 30px; }\n .hmsa-paragraph { font-size: 16px; }\n .hmsa-intro-box { padding: 20px; }\n }\n <\/style>\n<\/head>\n<body data-rsssl=1>\n\n \n <div class=\"hmsa-article-wrapper\">\n \n \n <div class=\"hmsa-header-meta\">HMSA Academy: Architectural Conservation & Theory<\/div>\n <h1 class=\"hmsa-main-title\">The Illusion of ‘Like New’ in Restoration and the Value of Patina: A Theoretical Approach<\/h1>\n \n <div class=\"hmsa-author-info\">\n Author: <strong>M\u00fcge G\u00fcnel<\/strong> <span> \/\/ M.Arch & Restoration Specialist<\/span>\n <\/div>\n\n \n <div class=\"hmsa-intro-box\">\n <h3 class=\"hmsa-intro-title\">Abstract<\/h3>\n <p class=\"hmsa-intro-text\">\n In the practice of architectural conservation, the endeavor to return structures to their original day-one state often turns into an “over-restoration” trap that erases the building’s historical testimony. This article examines the distinction between patina\u2014as an aesthetic and protective trace of time\u2014and pathological pollution, through the lens of Alois Riegl\u2019s “age-value” concept.\n <\/p>\n <\/div>\n\n \n <h2 class=\"hmsa-subhead\">I. Introduction: The Fallacy of the Chronological Zero Point<\/h2>\n <p class=\"hmsa-paragraph\">\n Restoration is not an attempt to drag a building back to a chronological zero point; rather, it is the process of preserving the time it has passed through, the interventions it has undergone, and its inherent historical depth. The desire to make a building look <strong>“like new”<\/strong> erases its lived experience, reducing the structure to the level of a “replica.” In modern conservation theory, the priority is to protect the protective layer (patina) formed through a balanced relationship between the material and the external world, while eliminating external loads (pollution) that shorten the building’s life.\n <\/p>\n\n \n <h2 class=\"hmsa-subhead\">II. Patina: The Historical Epidermis of the Material<\/h2>\n <p class=\"hmsa-paragraph\">\n In material science, patina is the microscopic protective layer formed on the surface of stone, brick, or metal as a result of a slow and balanced chemical interaction with atmospheric components. Particularly in calcium carbonate-based stones, this natural layer partially balances the pores of the stone, developing a natural resistance mechanism against acid rain.\n <\/p>\n <p class=\"hmsa-paragraph\">\n <strong>Alois Riegl\u2019s<\/strong> “Age-Value” (<em>Alterswert<\/em>), defined in his work “The Modern Cult of Monuments,” lies at the very heart of patina. According to Riegl, color changes and natural wear marks on a structure are the strongest evidence that the work belongs to time, not to eternity. Erasing the patina weakens the architectural identity by eliminating the structure’s “documentary value.”\n <\/p>\n\n \n <h2 class=\"hmsa-subhead\">III. ‘Over-cleaning’ and Structural Risks<\/h2>\n <p class=\"hmsa-paragraph\">\n The reflex to achieve a “spotless” surface often leads to irreversible physical damage in restoration. Aggressive mechanical methods or uncontrolled chemicals destroy the protective hard shell of the stone, known as the <strong>epidermis<\/strong>. Once this shell is gone, the softer and more porous structure underneath is exposed; water absorption increases rapidly, and the material begins to crumble under freeze-thaw cycles.\n <\/p>\n\n \n <h2 class=\"hmsa-subhead\">IV. Pathology and the Limits of Cleaning<\/h2>\n <p class=\"hmsa-paragraph\">The decision to clean must be based on diagnosis, not aesthetics. While patina is preserved, pathological formations that harm the structure must be removed:<\/p>\n <ul class=\"hmsa-list\">\n <li><strong>Black Crusts:<\/strong> These layers, caused by sulfur dioxide, are not patina; they cause the material to dissolve from within by converting the calcium in the stone into gypsum.<\/li>\n <li><strong>Biological Colonization:<\/strong> Lichens and mosses chemically dissolve the mineral structure with the acids they secrete.<\/li>\n <\/ul>\n\n \n <h2 class=\"hmsa-subhead\">V. Conclusion: The Boundaries of Ethical Intervention<\/h2>\n <p class=\"hmsa-paragraph\">\n As stated in Article 12 of the Venice Charter (1964); <em>“Replacements of missing parts must integrate harmoniously with the whole, but at the same time must be distinguishable from the original.”<\/em> The fundamental principle in cleaning should be “minimal intervention” and “reversibility.” Patina is the soul and dignity of the building; pollution is a burden that harms the surface and must be removed.\n <\/p>\n <p class=\"hmsa-paragraph\">\n The restorer’s duty is to separate these two with the precision of a surgeon and rid the building only of its “burdens.” A successful conservation intervention is one that distinguishes patina from pollution and adopts the principle: <strong>“the less intervention, the more conservation.”<\/strong>\n <\/p>\n\n \n <div class=\"hmsa-glossary-section\">\n <span class=\"hmsa-glossary-title\">HMSA Glossary of Terms<\/span>\n <div class=\"hmsa-glossary-item\"><strong>Epidermis (Stone Shell):<\/strong> The natural protective layer formed on the surface due to interaction with the atmosphere.<\/div>\n <div class=\"hmsa-glossary-item\"><strong>Subflorescence:<\/strong> Pressure created by soluble salts crystallizing just below the material surface.<\/div>\n <div class=\"hmsa-glossary-item\"><strong>Hygroscopic Balance:<\/strong> The equilibrium established by the material absorbing and releasing water vapor according to ambient humidity.<\/div>\n <div class=\"hmsa-glossary-item\"><strong>Gypsification (Sulphation):<\/strong> The process where limestone expands by turning into gypsum under the influence of air pollution.<\/div>\n <\/div>\n\n \n <div class=\"hmsa-ref-section\">\n <span class=\"hmsa-ref-title\">References<\/span>\n <ul class=\"hmsa-ref-list\">\n <li>Riegl, A. (1903). Der moderne Denkmalkultus (The Modern Cult of Monuments). Vienna.<\/li>\n <li>Feilden, B. M. (2003). Conservation of Historic Buildings. Architectural Press.<\/li>\n <li>ICOMOS (1964). International Charter for the Conservation and Restoration of Monuments and Sites (Venice Charter).<\/li>\n <li>Torraca, G. (1988). Porous Building Materials: Materials Science for Architectural Conservation. ICCROM.<\/li>\n <\/ul>\n <\/div>\n\n <\/div>\n\n<\/body>\n<\/html>\n","protected":false},"excerpt":{"rendered":"<p>The Illusion of ‘Like New’ in Restoration and the Value of Patina | HMSA Academy HMSA Academy: Architectural Conservation &<\/p>\n","protected":false},"author":6,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-3196","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.letoon.com.tr\/eng\/wp-json\/wp\/v2\/pages\/3196","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.letoon.com.tr\/eng\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.letoon.com.tr\/eng\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.letoon.com.tr\/eng\/wp-json\/wp\/v2\/users\/6"}],"replies":[{"embeddable":true,"href":"https:\/\/www.letoon.com.tr\/eng\/wp-json\/wp\/v2\/comments?post=3196"}],"version-history":[{"count":0,"href":"https:\/\/www.letoon.com.tr\/eng\/wp-json\/wp\/v2\/pages\/3196\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.letoon.com.tr\/eng\/wp-json\/wp\/v2\/media?parent=3196"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}

{"id":3196,"date":"2026-03-18T11:39:46","date_gmt":"2026-03-18T08:39:46","guid":{"rendered":"https:\/\/www.letoon.com.tr\/eng\/?page_id=3196"},"modified":"2026-03-18T11:39:46","modified_gmt":"2026-03-18T08:39:46","slug":"the-illusion-of-like-new-in-restoration-and-the-value-of-patina-a-theoretical-approach","status":"publish","type":"page","link":"https:\/\/www.letoon.com.tr\/eng\/the-illusion-of-like-new-in-restoration-and-the-value-of-patina-a-theoretical-approach\/","title":{"rendered":"The Illusion of ‘Like New’ in Restoration and the Value of Patina: A Theoretical Approach"},"content":{"rendered":"\n\n\n\n \n \n \n \n The Illusion of ‘Like New’ in Restoration and the Value of Patina | HMSA Academy<\/title>\n <meta name=\"description\" content=\"An analysis of the over-restoration trap in architectural conservation, Alois Riegl\u2019s concept of age-value, and the vital importance of patina for building physics.\">\n <meta name=\"keywords\" content=\"restoration ethics, patina, Alois Riegl, age-value, architectural conservation, over-restoration, Venice Charter\">\n <meta name=\"author\" content=\"HMSA Academy\">\n\n \n <style>\n .hmsa-article-wrapper {\n font-family: 'Segoe UI', 'Helvetica Neue', Arial, sans-serif;\n max-width: 800px;\n margin: 40px auto;\n padding: 0 20px;\n color: #333;\n line-height: 1.6;\n }\n\n \/* Header Area *\/\n .hmsa-header-meta {\n font-size: 13px;\n color: #ba372a; \/* Red Theme *\/\n font-weight: 700;\n text-transform: uppercase;\n letter-spacing: 1px;\n margin-bottom: 10px;\n }\n\n .hmsa-main-title {\n font-size: 34px;\n font-weight: 800;\n color: #111;\n line-height: 1.3;\n margin: 0 0 20px 0;\n padding-bottom: 20px;\n border-bottom: 1px solid #eee;\n }\n\n .hmsa-author-info {\n font-size: 15px;\n color: #666;\n margin-bottom: 40px;\n font-style: italic;\n }\n .hmsa-author-info strong {\n color: #ba372a;\n font-style: normal;\n }\n\n \/* Summary \/ Intro Box *\/\n .hmsa-intro-box {\n background-color: #fcfcfc;\n border-left: 5px solid #ba372a;\n padding: 25px 30px;\n margin-bottom: 40px;\n border-radius: 0 4px 4px 0;\n }\n .hmsa-intro-title {\n font-size: 18px;\n font-weight: 800;\n color: #ba372a;\n margin-top: 0;\n margin-bottom: 15px;\n }\n .hmsa-intro-text {\n font-size: 16px;\n font-style: italic;\n color: #555;\n margin: 0;\n text-align: justify;\n }\n\n \/* Content Body *\/\n .hmsa-subhead {\n font-size: 24px;\n font-weight: 700;\n color: #ba372a;\n margin-top: 50px;\n margin-bottom: 20px;\n border-bottom: 1px solid #f0f0f0;\n padding-bottom: 10px;\n }\n\n .hmsa-paragraph {\n font-size: 18px;\n line-height: 1.8;\n color: #222;\n margin-bottom: 25px;\n text-align: justify;\n }\n\n .hmsa-list {\n list-style: disc;\n padding-left: 20px;\n margin: 20px 0 30px 40px;\n }\n .hmsa-list li {\n margin-bottom: 12px;\n font-size: 18px;\n line-height: 1.6;\n color: #333;\n text-align: justify;\n }\n\n \/* Glossary Box *\/\n .hmsa-glossary-section {\n background-color: #f4f4f4;\n padding: 30px;\n border-radius: 8px;\n margin: 40px 0;\n border-left: 5px solid #333;\n }\n .hmsa-glossary-title {\n display: block;\n font-size: 18px;\n font-weight: 800;\n color: #ba372a;\n margin-bottom: 15px;\n text-transform: uppercase;\n }\n .hmsa-glossary-item {\n margin-bottom: 10px;\n font-size: 16px;\n line-height: 1.5;\n }\n .hmsa-glossary-item strong {\n color: #000;\n }\n\n \/* References Section *\/\n .hmsa-ref-section {\n margin-top: 80px;\n padding: 40px;\n background-color: #f9f9f9;\n border-radius: 8px;\n border-top: 3px solid #eee;\n }\n .hmsa-ref-title {\n display: block;\n font-size: 20px;\n font-weight: 800;\n color: #333;\n margin-bottom: 20px;\n }\n .hmsa-ref-list {\n list-style: none;\n padding: 0;\n margin: 0;\n }\n .hmsa-ref-list li {\n font-size: 14px;\n color: #666;\n margin-bottom: 8px;\n line-height: 1.5;\n padding-left: 15px;\n text-indent: -15px;\n }\n\n \/* Mobile Compatibility *\/\n @media (max-width: 768px) {\n .hmsa-article-wrapper { padding: 0 15px; margin: 20px auto; }\n .hmsa-main-title { font-size: 26px; }\n .hmsa-subhead { font-size: 20px; margin-top: 30px; }\n .hmsa-paragraph { font-size: 16px; }\n .hmsa-intro-box { padding: 20px; }\n }\n <\/style>\n<\/head>\n<body data-rsssl=1>\n\n \n <div class=\"hmsa-article-wrapper\">\n \n \n <div class=\"hmsa-header-meta\">HMSA Academy: Architectural Conservation & Theory<\/div>\n <h1 class=\"hmsa-main-title\">The Illusion of ‘Like New’ in Restoration and the Value of Patina: A Theoretical Approach<\/h1>\n \n <div class=\"hmsa-author-info\">\n Author: <strong>M\u00fcge G\u00fcnel<\/strong> <span> \/\/ M.Arch & Restoration Specialist<\/span>\n <\/div>\n\n \n <div class=\"hmsa-intro-box\">\n <h3 class=\"hmsa-intro-title\">Abstract<\/h3>\n <p class=\"hmsa-intro-text\">\n In the practice of architectural conservation, the endeavor to return structures to their original day-one state often turns into an “over-restoration” trap that erases the building’s historical testimony. This article examines the distinction between patina\u2014as an aesthetic and protective trace of time\u2014and pathological pollution, through the lens of Alois Riegl\u2019s “age-value” concept.\n <\/p>\n <\/div>\n\n \n <h2 class=\"hmsa-subhead\">I. Introduction: The Fallacy of the Chronological Zero Point<\/h2>\n <p class=\"hmsa-paragraph\">\n Restoration is not an attempt to drag a building back to a chronological zero point; rather, it is the process of preserving the time it has passed through, the interventions it has undergone, and its inherent historical depth. The desire to make a building look <strong>“like new”<\/strong> erases its lived experience, reducing the structure to the level of a “replica.” In modern conservation theory, the priority is to protect the protective layer (patina) formed through a balanced relationship between the material and the external world, while eliminating external loads (pollution) that shorten the building’s life.\n <\/p>\n\n \n <h2 class=\"hmsa-subhead\">II. Patina: The Historical Epidermis of the Material<\/h2>\n <p class=\"hmsa-paragraph\">\n In material science, patina is the microscopic protective layer formed on the surface of stone, brick, or metal as a result of a slow and balanced chemical interaction with atmospheric components. Particularly in calcium carbonate-based stones, this natural layer partially balances the pores of the stone, developing a natural resistance mechanism against acid rain.\n <\/p>\n <p class=\"hmsa-paragraph\">\n <strong>Alois Riegl\u2019s<\/strong> “Age-Value” (<em>Alterswert<\/em>), defined in his work “The Modern Cult of Monuments,” lies at the very heart of patina. According to Riegl, color changes and natural wear marks on a structure are the strongest evidence that the work belongs to time, not to eternity. Erasing the patina weakens the architectural identity by eliminating the structure’s “documentary value.”\n <\/p>\n\n \n <h2 class=\"hmsa-subhead\">III. ‘Over-cleaning’ and Structural Risks<\/h2>\n <p class=\"hmsa-paragraph\">\n The reflex to achieve a “spotless” surface often leads to irreversible physical damage in restoration. Aggressive mechanical methods or uncontrolled chemicals destroy the protective hard shell of the stone, known as the <strong>epidermis<\/strong>. Once this shell is gone, the softer and more porous structure underneath is exposed; water absorption increases rapidly, and the material begins to crumble under freeze-thaw cycles.\n <\/p>\n\n \n <h2 class=\"hmsa-subhead\">IV. Pathology and the Limits of Cleaning<\/h2>\n <p class=\"hmsa-paragraph\">The decision to clean must be based on diagnosis, not aesthetics. While patina is preserved, pathological formations that harm the structure must be removed:<\/p>\n <ul class=\"hmsa-list\">\n <li><strong>Black Crusts:<\/strong> These layers, caused by sulfur dioxide, are not patina; they cause the material to dissolve from within by converting the calcium in the stone into gypsum.<\/li>\n <li><strong>Biological Colonization:<\/strong> Lichens and mosses chemically dissolve the mineral structure with the acids they secrete.<\/li>\n <\/ul>\n\n \n <h2 class=\"hmsa-subhead\">V. Conclusion: The Boundaries of Ethical Intervention<\/h2>\n <p class=\"hmsa-paragraph\">\n As stated in Article 12 of the Venice Charter (1964); <em>“Replacements of missing parts must integrate harmoniously with the whole, but at the same time must be distinguishable from the original.”<\/em> The fundamental principle in cleaning should be “minimal intervention” and “reversibility.” Patina is the soul and dignity of the building; pollution is a burden that harms the surface and must be removed.\n <\/p>\n <p class=\"hmsa-paragraph\">\n The restorer’s duty is to separate these two with the precision of a surgeon and rid the building only of its “burdens.” A successful conservation intervention is one that distinguishes patina from pollution and adopts the principle: <strong>“the less intervention, the more conservation.”<\/strong>\n <\/p>\n\n \n <div class=\"hmsa-glossary-section\">\n <span class=\"hmsa-glossary-title\">HMSA Glossary of Terms<\/span>\n <div class=\"hmsa-glossary-item\"><strong>Epidermis (Stone Shell):<\/strong> The natural protective layer formed on the surface due to interaction with the atmosphere.<\/div>\n <div class=\"hmsa-glossary-item\"><strong>Subflorescence:<\/strong> Pressure created by soluble salts crystallizing just below the material surface.<\/div>\n <div class=\"hmsa-glossary-item\"><strong>Hygroscopic Balance:<\/strong> The equilibrium established by the material absorbing and releasing water vapor according to ambient humidity.<\/div>\n <div class=\"hmsa-glossary-item\"><strong>Gypsification (Sulphation):<\/strong> The process where limestone expands by turning into gypsum under the influence of air pollution.<\/div>\n <\/div>\n\n \n <div class=\"hmsa-ref-section\">\n <span class=\"hmsa-ref-title\">References<\/span>\n <ul class=\"hmsa-ref-list\">\n <li>Riegl, A. (1903). Der moderne Denkmalkultus (The Modern Cult of Monuments). Vienna.<\/li>\n <li>Feilden, B. M. (2003). Conservation of Historic Buildings. Architectural Press.<\/li>\n <li>ICOMOS (1964). International Charter for the Conservation and Restoration of Monuments and Sites (Venice Charter).<\/li>\n <li>Torraca, G. (1988). Porous Building Materials: Materials Science for Architectural Conservation. ICCROM.<\/li>\n <\/ul>\n <\/div>\n\n <\/div>\n\n<\/body>\n<\/html>\n","protected":false},"excerpt":{"rendered":"<p>The Illusion of ‘Like New’ in Restoration and the Value of Patina | HMSA Academy HMSA Academy: Architectural Conservation &<\/p>\n","protected":false},"author":6,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-3196","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.letoon.com.tr\/eng\/wp-json\/wp\/v2\/pages\/3196","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.letoon.com.tr\/eng\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.letoon.com.tr\/eng\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.letoon.com.tr\/eng\/wp-json\/wp\/v2\/users\/6"}],"replies":[{"embeddable":true,"href":"https:\/\/www.letoon.com.tr\/eng\/wp-json\/wp\/v2\/comments?post=3196"}],"version-history":[{"count":0,"href":"https:\/\/www.letoon.com.tr\/eng\/wp-json\/wp\/v2\/pages\/3196\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.letoon.com.tr\/eng\/wp-json\/wp\/v2\/media?parent=3196"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}