Although Antalya may display traces of some of her cultural past, she is one of the cities that have lost most of that past. Earthquakes and time are among the natural factors, but certainly the biggest of them all is the cultures that have settled in the city uninterruptedly and been shaped under different religious beliefs. Each of the many social cultural concepts that formed in the course of this process was either denied or altered by the succeeding one and thus many of such concepts disappeared. In this process, concepts regarding construction materials, motifs, forms and techniques, which are not part of the social and modifiable culture, have survived to the present. Although it is not possible to identify the constructional past of Antalya to a great extent, careful observations and scientific studies on Kaleiçi, the focal point of the settlement and environs, will shed some light on this darkness. Our study has developed in this direction and concentrated on an important detail on the façade of a 19th century Rum mansion on Kocatepe Street today but which faced a small square known as Kuyu Önü originally. The building studied here does not have the modern reinforced concrete construction or the traditional timber skeleton architecture; the juxtaposition of clamps and dowels in the walls, the facing blocks on the façade and particularly the characteristics of its doors and windows on both façades indicate that some structural, decorative, technical and static elements arising from construction materials of Antiquity were transferred until the beginning of the 20th century. The relieving systems observed above a door on the main façade are worth noting for its wide use in the ancient city centre of Antalya and nearby ancient cities. What is even more important is that this technical property has been used in Kaleiçi until recently and its presence has also been attested on Hıdırlık Tower which was built in the Early Roman period. This technical detail continued in use during the Byzantine, Seljuq and Ottoman periods as seen on Kesik Minare, İmaret Madrasa and Tekelioğlu Mehmet Pasha Mosque, and it is not limited to the door and windows of the mansion studied here but rather was preferred to a certain extent on some other 19th and 20th century buildings both inside and outside the Kaleiçi, thus extending through every cultural phase of the city.