The ‘Good as New’ Illusion in Restoration and the Value of Patina | HMSA Academy<\/title>\n <meta name=\"description\" content=\"Technical analysis on the 'good as new' illusion in architectural conservation, Alois Riegl's concept of age value, and the limits of cleaning.\">\n <meta name=\"keywords\" content=\"patina, restoration, good as new illusion, Alois Riegl, age value, black crust, over-cleaning, stone conservation, HMSA Academy\">\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 \/* Abstract \/ 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 Area *\/\n .hmsa-glossary-section {\n background-color: #f4f4f4;\n padding: 30px;\n border-radius: 8px;\n margin: 40px 0;\n }\n .hmsa-glossary-item {\n margin-bottom: 15px;\n font-size: 16px;\n }\n .hmsa-glossary-item strong {\n color: #ba372a;\n }\n\n \/* References Area *\/\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 Responsiveness *\/\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 data-rsssl=1>\n\n \n <div class=\"hmsa-article-wrapper\">\n \n \n <div class=\"hmsa-header-meta\">HMSA Academy: Restoration Techniques & Materials Science<\/div>\n <h1 class=\"hmsa-main-title\">The ‘Good as New’ Illusion in Restoration and the Value of Patina<\/h1>\n \n <div class=\"hmsa-author-info\">\n Author: <strong>M\u00fcge G\u00fcnel<\/strong> <span> \/\/ MSc. Architect & 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 architectural conservation practice, the effort to return structures to their original, day-one condition often turns into an “over-restoration” trap that destroys the historical testimony of the building. This article examines the ontological difference between patina, which is an aesthetic and protective trace of time, and pathological soiling, which damages the structure. Through Alois Riegl’s concept of “age value”, the critical importance of preserving patina in terms of building physics and conservation ethics is discussed.\n <\/p>\n <\/div>\n\n \n <h2 class=\"hmsa-subhead\">1. Introduction: The Chronological Zero Point Fallacy<\/h2>\n <p class=\"hmsa-paragraph\">\n Restoration is not an attempt to pull a building back to a chronological zero point; it is the process of preserving the time it has passed through, the interventions it has been exposed to, and its historical depth. The desire to make a building “good as new” erases its lived experience, reducing the structure to the level of a “replica”. \n <\/p>\n <p class=\"hmsa-paragraph\">\n What is essential in modern conservation theory is to preserve the protective layer (patina) formed as a result of a balanced relationship the material establishes with the outside world, while eliminating the external burdens (soiling\/pollution) that shorten the life of the building.\n <\/p>\n\n \n <h2 class=\"hmsa-subhead\">2. Patina: The Historical Epidermis of the Material<\/h2>\n <p class=\"hmsa-paragraph\">\n In materials science, patina is the microscopic protective layer formed on the surface as a result of a slow and balanced chemical interaction of stone, brick, or metal with atmospheric components. Especially in calcium carbonate-based stones, this natural layer partially balances the pores of the stone, developing a natural defense mechanism against acid rain.\n <\/p>\n <p class=\"hmsa-paragraph\">\n <strong>“Age Value” (Alterswert)<\/strong>, defined by Alois Riegl in his “Modern Cult of Monuments”, is at the very center of patina. According to Riegl, the color changes and natural wear marks on the structure are the strongest proof that the monument belongs to time, not eternity. Erasing the patina eliminates the “documentary value” of the building, weakening its architectural identity.\n <\/p>\n\n \n <h2 class=\"hmsa-subhead\">3. ‘Over-cleaning’ and Structural Risks<\/h2>\n <p class=\"hmsa-paragraph\">\n The reflex to obtain a “spotless” surface often leads to irreversible physical damage in restoration. Aggressive mechanical methods or uncontrolled chemicals destroy the protective hard crust of the stone, known as the epidermis. Once this crust is gone, the softer and more porous structure underneath is exposed; water absorption increases rapidly, and the material quickly begins to crumble during freeze-thaw cycles.\n <\/p>\n\n \n <h2 class=\"hmsa-subhead\">4. Pathology and the Limit of Cleaning<\/h2>\n <p class=\"hmsa-paragraph\">\n The cleaning decision must be diagnostic, not aesthetic. While patina is preserved, pathological formations that harm the structure must absolutely be removed:\n <\/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 melt from the inside out by converting the calcium within 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\">5. Conclusion: The Limit 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 basic principle in cleaning should be “minimal intervention” and “reversibility”. \n <\/p>\n <p class=\"hmsa-paragraph\">\n Patina is the soul and dignity of the building; soiling is a burden that damages the surface and must be removed. The duty of the conservator is to separate these two with the precision of a surgeon and to rid the building only of its “burdens”. A successful conservation intervention is an approach that can distinguish patina from pollution, respects the original character of the material, and adopts the principle of “the less intervention, the more conservation”.\n <\/p>\n <p class=\"hmsa-paragraph\">\n <strong>It should not be forgotten that; erasing the traces of history means erasing the soul of the building.<\/strong>\n <\/p>\n\n \n <div class=\"hmsa-glossary-section\">\n <h3 style=\"margin-top:0; color:#ba372a; font-size:20px;\">HMSA Glossary of Terms<\/h3>\n <div class=\"hmsa-glossary-item\"><strong>Epidermis (Stone Crust):<\/strong> The natural protective layer formed on the surface as a result of the stone’s interaction with the external atmosphere, which is denser and harder than the inner parts.<\/div>\n <div class=\"hmsa-glossary-item\"><strong>Subflorescence:<\/strong> The explosive pressure created by soluble salts crystallizing inside the pores of the material, just below the surface.<\/div>\n <div class=\"hmsa-glossary-item\"><strong>Hygroscopic Balance:<\/strong> The ability of a material to establish its own balance by absorbing and releasing water vapor according to the humidity level of the environment.<\/div>\n <div class=\"hmsa-glossary-item\"><strong>Gypsification:<\/strong> The process of limestone transforming into gypsum under the influence of air pollution, resulting in volumetric expansion and spalling.<\/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>1. Riegl, A. (1903). Der moderne Denkmalkultus (Modern Cult of Monuments). Vienna.<\/li>\n <li>2. Feilden, B. M. (2003). Conservation of Historic Buildings. Architectural Press.<\/li>\n <li>3. ICOMOS (1964). The Venice Charter: International Charter for the Conservation and Restoration of Monuments and Sites.<\/li>\n <li>4. 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 ‘Good as New’ Illusion in Restoration and the Value of Patina | HMSA Academy HMSA Academy: Restoration Techniques &<\/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-3201","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.letoon.com.tr\/eng\/wp-json\/wp\/v2\/pages\/3201","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=3201"}],"version-history":[{"count":0,"href":"https:\/\/www.letoon.com.tr\/eng\/wp-json\/wp\/v2\/pages\/3201\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.letoon.com.tr\/eng\/wp-json\/wp\/v2\/media?parent=3201"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}

{"id":3201,"date":"2026-04-13T12:04:14","date_gmt":"2026-04-13T09:04:14","guid":{"rendered":"https:\/\/www.letoon.com.tr\/eng\/?page_id=3201"},"modified":"2026-04-13T12:04:18","modified_gmt":"2026-04-13T09:04:18","slug":"the-good-as-new-illusion-in-restoration-and-the-value-of-patina","status":"publish","type":"page","link":"https:\/\/www.letoon.com.tr\/eng\/the-good-as-new-illusion-in-restoration-and-the-value-of-patina\/","title":{"rendered":"The ‘Good as New’ Illusion in Restoration and the Value of Patina"},"content":{"rendered":"\n\n\n\n \n \n \n \n The ‘Good as New’ Illusion in Restoration and the Value of Patina | HMSA Academy<\/title>\n <meta name=\"description\" content=\"Technical analysis on the 'good as new' illusion in architectural conservation, Alois Riegl's concept of age value, and the limits of cleaning.\">\n <meta name=\"keywords\" content=\"patina, restoration, good as new illusion, Alois Riegl, age value, black crust, over-cleaning, stone conservation, HMSA Academy\">\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 \/* Abstract \/ 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 Area *\/\n .hmsa-glossary-section {\n background-color: #f4f4f4;\n padding: 30px;\n border-radius: 8px;\n margin: 40px 0;\n }\n .hmsa-glossary-item {\n margin-bottom: 15px;\n font-size: 16px;\n }\n .hmsa-glossary-item strong {\n color: #ba372a;\n }\n\n \/* References Area *\/\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 Responsiveness *\/\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 data-rsssl=1>\n\n \n <div class=\"hmsa-article-wrapper\">\n \n \n <div class=\"hmsa-header-meta\">HMSA Academy: Restoration Techniques & Materials Science<\/div>\n <h1 class=\"hmsa-main-title\">The ‘Good as New’ Illusion in Restoration and the Value of Patina<\/h1>\n \n <div class=\"hmsa-author-info\">\n Author: <strong>M\u00fcge G\u00fcnel<\/strong> <span> \/\/ MSc. Architect & 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 architectural conservation practice, the effort to return structures to their original, day-one condition often turns into an “over-restoration” trap that destroys the historical testimony of the building. This article examines the ontological difference between patina, which is an aesthetic and protective trace of time, and pathological soiling, which damages the structure. Through Alois Riegl’s concept of “age value”, the critical importance of preserving patina in terms of building physics and conservation ethics is discussed.\n <\/p>\n <\/div>\n\n \n <h2 class=\"hmsa-subhead\">1. Introduction: The Chronological Zero Point Fallacy<\/h2>\n <p class=\"hmsa-paragraph\">\n Restoration is not an attempt to pull a building back to a chronological zero point; it is the process of preserving the time it has passed through, the interventions it has been exposed to, and its historical depth. The desire to make a building “good as new” erases its lived experience, reducing the structure to the level of a “replica”. \n <\/p>\n <p class=\"hmsa-paragraph\">\n What is essential in modern conservation theory is to preserve the protective layer (patina) formed as a result of a balanced relationship the material establishes with the outside world, while eliminating the external burdens (soiling\/pollution) that shorten the life of the building.\n <\/p>\n\n \n <h2 class=\"hmsa-subhead\">2. Patina: The Historical Epidermis of the Material<\/h2>\n <p class=\"hmsa-paragraph\">\n In materials science, patina is the microscopic protective layer formed on the surface as a result of a slow and balanced chemical interaction of stone, brick, or metal with atmospheric components. Especially in calcium carbonate-based stones, this natural layer partially balances the pores of the stone, developing a natural defense mechanism against acid rain.\n <\/p>\n <p class=\"hmsa-paragraph\">\n <strong>“Age Value” (Alterswert)<\/strong>, defined by Alois Riegl in his “Modern Cult of Monuments”, is at the very center of patina. According to Riegl, the color changes and natural wear marks on the structure are the strongest proof that the monument belongs to time, not eternity. Erasing the patina eliminates the “documentary value” of the building, weakening its architectural identity.\n <\/p>\n\n \n <h2 class=\"hmsa-subhead\">3. ‘Over-cleaning’ and Structural Risks<\/h2>\n <p class=\"hmsa-paragraph\">\n The reflex to obtain a “spotless” surface often leads to irreversible physical damage in restoration. Aggressive mechanical methods or uncontrolled chemicals destroy the protective hard crust of the stone, known as the epidermis. Once this crust is gone, the softer and more porous structure underneath is exposed; water absorption increases rapidly, and the material quickly begins to crumble during freeze-thaw cycles.\n <\/p>\n\n \n <h2 class=\"hmsa-subhead\">4. Pathology and the Limit of Cleaning<\/h2>\n <p class=\"hmsa-paragraph\">\n The cleaning decision must be diagnostic, not aesthetic. While patina is preserved, pathological formations that harm the structure must absolutely be removed:\n <\/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 melt from the inside out by converting the calcium within 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\">5. Conclusion: The Limit 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 basic principle in cleaning should be “minimal intervention” and “reversibility”. \n <\/p>\n <p class=\"hmsa-paragraph\">\n Patina is the soul and dignity of the building; soiling is a burden that damages the surface and must be removed. The duty of the conservator is to separate these two with the precision of a surgeon and to rid the building only of its “burdens”. A successful conservation intervention is an approach that can distinguish patina from pollution, respects the original character of the material, and adopts the principle of “the less intervention, the more conservation”.\n <\/p>\n <p class=\"hmsa-paragraph\">\n <strong>It should not be forgotten that; erasing the traces of history means erasing the soul of the building.<\/strong>\n <\/p>\n\n \n <div class=\"hmsa-glossary-section\">\n <h3 style=\"margin-top:0; color:#ba372a; font-size:20px;\">HMSA Glossary of Terms<\/h3>\n <div class=\"hmsa-glossary-item\"><strong>Epidermis (Stone Crust):<\/strong> The natural protective layer formed on the surface as a result of the stone’s interaction with the external atmosphere, which is denser and harder than the inner parts.<\/div>\n <div class=\"hmsa-glossary-item\"><strong>Subflorescence:<\/strong> The explosive pressure created by soluble salts crystallizing inside the pores of the material, just below the surface.<\/div>\n <div class=\"hmsa-glossary-item\"><strong>Hygroscopic Balance:<\/strong> The ability of a material to establish its own balance by absorbing and releasing water vapor according to the humidity level of the environment.<\/div>\n <div class=\"hmsa-glossary-item\"><strong>Gypsification:<\/strong> The process of limestone transforming into gypsum under the influence of air pollution, resulting in volumetric expansion and spalling.<\/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>1. Riegl, A. (1903). Der moderne Denkmalkultus (Modern Cult of Monuments). Vienna.<\/li>\n <li>2. Feilden, B. M. (2003). Conservation of Historic Buildings. Architectural Press.<\/li>\n <li>3. ICOMOS (1964). The Venice Charter: International Charter for the Conservation and Restoration of Monuments and Sites.<\/li>\n <li>4. 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 ‘Good as New’ Illusion in Restoration and the Value of Patina | HMSA Academy HMSA Academy: Restoration Techniques &<\/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-3201","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.letoon.com.tr\/eng\/wp-json\/wp\/v2\/pages\/3201","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=3201"}],"version-history":[{"count":0,"href":"https:\/\/www.letoon.com.tr\/eng\/wp-json\/wp\/v2\/pages\/3201\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.letoon.com.tr\/eng\/wp-json\/wp\/v2\/media?parent=3201"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}