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Beylerbeyi Sarayı, Üsküdar ilçesinde aynı adla anılan semtte bulunan bir sahil saray ile bağlı yapılar ve köşklerdenoluşan saray kompleksidir. Saray, Boğaz su yolunun coğrafyasına katılan ve onun benzersizliğini bütünleyen mimari yapıtlarınen önemlilerinden biridir. Sahil Sarayı’nın kıyıdan başlayıp setler üzerinde devam eden yerleşim modeli, ona, sahiledizilen örneklerden farklı bir perspektif sağlar.İlk Beylerbeyi Sarayı, II. Mahmud tarafından Krikor Amira Balyan’a, daha önce burada bulunan III. Murad dönemiBeylerbeyi Mehmed Paşa’nın yalısının yerine yaptırılmıştır (1826-1832). Yanan ilk sarayın (1851) yerine inşa edilen yeniBeylerbeyi Sarayı, Sultan Abdülaziz’in görevlendirdiği Sarkis Balyan ile kardeşi hassa mimarı Agop Balyan tarafındantasarlanıp gerçekleştirilmiştir. Sarayın yapımı 1864’te tamamlanmış; eşyasının seçimi, yapımı ve yerleştirilmesi 1865 yılınıbulmuştur. Saray, günümüzde Mermer Köşk, Sarı Köşk, Has Ahır ile birlikte bazı müştemilat yapılarını içermektedir. KadınEfendiler Daireleri (Sahilhaneleri) günümüze ulaşmamıştır.Beylerbeyi Sarayı, tekil mimari nitelikleri ile değil, peyzaj içindeki konumu ile de önemli olan bir yapıttır ve bu bağlamdada sahil saray kavramının seçkin örneklerinden biridir.

Following the 1894 earthquake, the Ottoman government decided to provide a new housing for the imperial observatory, the Rasathane­i Amire. Sismological instruments were provided and a commission including Aristidis Coumbary Efendi (director of the observatory), Emile Lacoine (technical advisor), the architect Raimondo D’Aronco, G. Agamennone and an officerwere appointed to undertake the construction. According to the daily newspaper Moniteur Ottoman, the observatory would be built in Üsküdar. It seems that eventually the gardens of the Silahhane, the armory at Maçka, was considered more appropriate for such a project. This paper will introduce thearchitectural projects of 1895 for the construction of a new observatory in Istanbul.

Tez (Doktora) -- İstanbul Teknik Üniversitesi, Fen Bilimleri Enstitüsü, 2015, Thesis (PhD) -- İstanbul Technical University, Institute of Science and Technology, 2015, 19. yüzyılda sağlıklı bir kentsel altyapıya kavuşma arayışları, bu dönemde ticaret akslarında bulunan pek çok başkentte olduğu gibi İstanbul’da da karşılık bulmuştur. Ayrıcalıklı bir konuma sahip olan Galata ve Pera’da, bu yoldaki kentsel dönüşüm, burada ilk defa kurulacak olan belediye kurumu 6. Daire-i Belediyye ve iktidar ile yakın ilişki içerisindeki pek çok aktörün katılımı ile gerçekleşir. Bu esnada dönüşümün bir ekonomik kalkınma aracı haline gelmesi kaçınılmaz olurken, süreç kentsel mekânın kendisinin de bir sermaye aracına dönüşmesine yol açar. 6. Daire-i Belediyye’nin 19. yüzyıldaki kuruluşu ve icraatlarının bütünü İstanbul’daki sistemli kentsel dönüşümlerin ilki olarak kabul edilebilir. Dönemindeki ve günümüz kentinde şahit olduğumuz dönüşümleri daha iyi anlayabilmek adına, bu dönemde kente ve yönetimine ilişkin nasıl bir değişikliğe gidildiğini değerlendirmeye çalışmak önemlidir. Bu sistemli dönüşümde, dönemin uluslararası etkileri yadsınamaz. Ancak, temelde yatan itici kuvvet, sıklıkla yazılageldiği üzere salt bir batılılaşma arzusu değil bölgenin ihtiyaçlarına cevap verme arayışıdır. Öte yandan, kapitalizmin güçlendiği bu dönemde, kent peyderpey bir yatırım aracı haline gelmekte ve bu esnada bölgede yerleşik ve mülk sahibi olan kesimin yaklaşımları, süreci doğal olarak şekillendirmektedir. Öte yandan, bu dönemde, özellikle yabancı dilde basılan gazetelerde kent yapısının dönüşümünün arzu ediliyor olduğu, bunun yanı sıra, dönüşümün olanaklı kılınabilmesine ilişkin öneriler okunmaktadır. Bunlar arasında, örneğin bir ipotek yasasının çıkartılması ihtiyacı, müstakil evlerden ziyade apartmanların inşa edilmesi gereksinimi veya Pera Caddesi’nin düzenlenmesi sırasında cepheleri kat edilecek binaların mal sahipleri ile nasıl bir anlaşmaya gidilebileceği hakkında öneriler mevcuttur. Tez kapsamında yapılması arzu edilen bu değerlendirmenin sağlıklı biçimde ele alınması, üçlü bir sistemin parçaları arasındaki etkileşimi ele almak ile mümkün gözükmektedir. Bunlar, 19. yüzyılda İstanbul’da ve Beyoğlu’nda kent yapısını oluşturacak olan Değerler, Aktörler ve Üretimler’dir. Değerler, aktörlerin kurgu ve kararlarına etki etmiş olan dönem içerisindeki algıları ve olguları yansıtır. Bunlar, Osmanlı’da merkeziyetçiliğin varoluş biçimidir, dönüşümün baş itici gücü yangın’dır, modern hayatın ihtiyacı olan hıfzısıhhanın sağlandığı bir steril kent’in yaratılma arzusudur ve belki de bunların içerisinde en güçlü olan ancak aleni olarak en az dillendirilen nicelin yükselişi ve onunla ilintili olarak gelişen faydacılıktır. Aktörler, kentsel üretimlerin yönetmenleri olarak bireyleri ve kararları kapsar. Her modern toplumda olduğu üzere, siyasi iktidarın ilgili uzantıları, yani burada Belediye çatısı, kanun ve tüzükleri, yapı üreticileri, varlık sahipleri ile kamuoyu ve basın yukarıda bahsi geçen değerler içerisindeki aktörlerdir ve bu aktörler arasında girift bir ilişki vardır. Her aktör birden fazla koltuğa sahiptir; örneğin bir varlık sahibi hem belediye meclis üyesi, hem yatırımcı, hem padişahın başdanışmanı olabilir. Üretimler ise, değerlerin ve uygulayıcıların kente dair var ettikleridir. Kent, yeni bir temsiliyet aracı olarak yeniden inşa edilirken, mevzi planların ve istimlâkların oluşturulmasındaki süreç şüphesiz çok önemlidir. Bu dönemde, Beyoğlu’nda farklı tarihlerde gerçekleşen Galata Surları’nın yıkımı, Tepebaşı Mezarlığı’nın bir kent parkına dönüşümü ve Taksim Kışla Yeri ve Talim Yeri Apartmanları projesi üçlemesi 19. yüzyılın ikinci yarısından 20. yüzyılın başına Beyoğlu’nun geçirmiş olduğu sürece ilişkin izler taşır. Bu dönüşümlerden her birinde, kamusal alanın özel yönetimlerin tasarruflarına teslimi söz konusudur ve faydacı ahlâk ön plana geçmiş gözükür. Dönüşüm süreci içerisinde, dönüşümü gerçekçi ve malsahiplerinin gözünde olanaklı kılabilmek adına yapı stoğu hacmininin arttırılmasına yönelik çıkartılan nizamnameler, bu tarihlerden sonraki dönemlerde çıkartılacak olanlara benzer şekilde, yapı stoğunu kendi dönemlerinin en yoğun seviyesine taşımış ve “boşluk”u miras bırakmak konusunda cimri davranmış gözükür. Tüm zamanlar için esas mesele, yeniden inşa edilirken azalarak değerlenen arsanın malsahibine benzer kullanım alanını nasıl sunabileceğidir... Tezde, kapitalizmin gözetildiği bir dönemde, ekonomik anlamda bir ödünün söz konusu olduğu durumlarda kent mekanının dönüştürülemez hale geldiği vurgulanırken, kentin yenilenme modelinin de zaman içerisinde döngüsel şekilde tekrarlandığına dikkat çekilmektedir. Değerler, Aktörler ve Üretimler üçlemesinin, bu anlamda bir model olduğu, insan eliyle üretilen kentsel mekanın oluşumunun incelenmesinde, tüm zamanlar için kullanılabileceği ve bir döngüselliğe sahip olduğu abul edilmektedir. Böylelikle,. tüm üretimler geleceğin değerler’ini oluşturmaktadır., Like many other commercial hubs of the 19th century, also Istanbul strived to reach a healthy urban infrastructure. In that respect, the urban regeneration of the prestigious Galata and Pera neighborhoods witnessed the foundation of the first municipality, the 6. Daire-i Belediyye. Numerous actors in and around the 6. Daire-i Belediyye, mostly with close ties to the ruling powers, contributed immensely to these changes. Leading to purely economic interests, the urban landscape itself turned into an investment tool. The foundation and the activities lead by the 6. Daire-i Belediyye in the 19th century can be assumed as the first systematic change of Istanbul’s urban landscape. In order to understand this period - moreover, to even gain a better understanding of today’s urban change - it seems to be highly beneficial to analyze the changes that were effected in the city and its management in that period. Certainly, it would be unfair to neglect international influences of the period. Equally, the long-proclaimed, romantic assumption that changes in the urban landscape were primarily and solely triggered by the desire to “Westernize” would also be misleading. It is a fact that exactly during this period, capitalism got widely accepted and obtained a strong foothold, eventually turning the city itself into a feasible tool for investment. On the other hand, many articles asking for a change in the urban landscape are written; mainly in newspapers publishing in foreign languages. Not only are these thoughts and wishes; in contrary, different ideas on the realization of these ideas are presented to the general public. There are practical ideas on mortgage laws, calls to prefer apartments to single-family houses or ways on how to deal with expropriations during the re-development of the Pera Avenue. Having the objective of analyzing these facts, this thesis is built around three pillars and their respective relationships: Values, Actors and Productions of the urban landscape of 19thcentury Istanbul and Beyoğlu. Values reflect impressions and facts that influenced the setup and decisions of actors. These are the centralist fundamentals of the Ottoman Empire; the fire being the major influencing power of the change; the need for a sterile city in order to lead the desired modern life; last, but not least, probably the most influential (but yet not widely proclaimed) fact is the increased importance of the utilitarianist attitude and the raw opportunism that follows this very mind-set. Actors are defined as the directors and the decisions around the urban production. As in all modern societies, these stakeholders are far-reaching hands of the ruling forces within the municipality, who are influencing laws and decrees; other stakeholders are constructors, landlords and property owners, as well as the general population and the media. Relationships between these actors are naturally very complex. Each actor owns more than one position; e.g. one real estate owner can easily be a member of the municipality, be an investor and also be a first consultant to the Sultan. Capitalism being the driving force and time being of essence, different actors pressuring other actors result in an ever faster turning pace. For example, architecture, focusing until very recently on highest quality and esthetics turns more into construction supervisory. “Special certifications” in hygiene is an interesting trend and practice available to modern architects. Productions are the changes that the Values and Executors have effected in the city. The idea of transforming the city into a new representation media, with all related partial plans and expropriations are certainly very important. Several historical happenings between the second half of the 19th century and the first half of the 20th century do show major traits of these facts: The demolishment of the Galata Walls, the formation of the Tepebaşı Cemetary into a new city park and the Apartments of the Taksim Kışla and Talim Yeri. Each of these changes show how public spaces are transferred to private owners, benefitting individuals. Galata Walls and their corresponding ditches were demolished and parceled to be sold to investors; funds were used by the 6. Daire-i Belediyye to pay back debts. Tepebaşı Cemetary was used as a plot where excess soil extracted from the Tünel construction was piled. In later stages, the slowly vanishing cemetery turned into a point of discussion in the public with regards to hygiene fears. Finally, these factors led to the foundation of a public park on the grounds of the old cemetery. In contrast to the cemetery, the transformation of the Taksim Kışla and Talim Yeri into residential areas was far more radical and evident to the public. Not used by the military, different forces lead to the decision of turning this space into private, residential areas; rather than a public space. Special regulations were called into life in order to increase real estate stocks. In fact, similar approaches are still in use today. Real estate starts becoming very concentrated, empty spaces are hardly available. The struggle of the 19th century still prevails today in the 21st century: How to provide the landlord equal space and/or asset while decreasing the usable space per unit and hereby increasing its value? In terms of Foucault’s theory: As long as the exchange-value of the space surpasses its use-value, actors will most certainly continue to define the building as an investment tool. In the thesis, special emphasis is given to the idea that change without economic benefit was (and still is…) not possible. Therefore, an almost routine cycle runs through the metropolis, touching regularly on real estate that yet needs to be turned into an economic source. The Taksim Kışlası is probably one of the most evident and recent example on this subject: To be turned into a residential area in the 19th century, this economic undertaking did not materialize. Serving the public as a park for more than half a century, discussions today are centered on the idea of turning the park into privately owned real estates. Should this idea materialize, the economic cycle will indeed be closed. In that respect, the Trilogy of Values, Actors and Productions is showcasing a cyclical model of the man-made, urban landscape. By that, all productions in fact do constitute the future values. Emphasizing the existence of such a cycle, the thesis aims also to take attention to the repetitive timeless pattern created with this trilogy, and recalls the possibility of making different researches on urban planning in history or today., Doktora, PhD

19. yüzyılda sağlıklı bir kentsel altyapıya kavuşma arayışları, bu dönemde ticaret akslarında bulunan pek çok başkentte olduğu gibi İstanbul'da da karşılık bulmuştur. Ayrıcalıklı bir konuma sahip olan Galata ve Pera'da, bu yoldaki kentsel dönüşüm, burada ilk defa kurulacak olan belediye kurumu 6. Daire-i Belediyye ve iktidar ile yakın ilişki içerisindeki pek çok aktörün katılımı ile gerçekleşir. Bu esnada dönüşümün bir ekonomik kalkınma aracı haline gelmesi kaçınılmaz olurken, süreç kentsel mekânın kendisinin de bir sermaye aracına dönüşmesine yol açar.6. Daire-i Belediyye'nin 19. yüzyıldaki kuruluşu ve icraatlarının bütünü İstanbul'daki sistemli kentsel dönüşümlerin ilki olarak kabul edilebilir. Dönemindeki ve günümüz kentinde şahit olduğumuz dönüşümleri daha iyi anlayabilmek adına, bu dönemde kente ve yönetimine ilişkin nasıl bir değişikliğe gidildiğini değerlendirmeye çalışmak önemlidir.Bu sistemli dönüşümde, dönemin uluslararası etkileri yadsınamaz. Ancak, temelde yatan itici kuvvet, sıklıkla yazılageldiği üzere salt bir batılılaşma arzusu değil bölgenin ihtiyaçlarına cevap verme arayışıdır. Öte yandan, kapitalizmin güçlendiği bu dönemde, kent peyderpey bir yatırım aracı haline gelmekte ve bu esnada bölgede yerleşik ve mülk sahibi olan kesimin yaklaşımları, süreci doğal olarak şekillendirmektedir. Öte yandan, bu dönemde, özellikle yabancı dilde basılan gazetelerde kent yapısının dönüşümünün arzu ediliyor olduğu, bunun yanı sıra, dönüşümün olanaklı kılınabilmesine ilişkin öneriler okunmaktadır. Bunlar arasında, örneğin bir ipotek yasasının çıkartılması ihtiyacı, müstakil evlerden ziyade apartmanların inşa edilmesi gereksinimi veya Pera Caddesi'nin düzenlenmesi sırasında cepheleri kat edilecek binaların mal sahipleri ile nasıl bir anlaşmaya gidilebileceği hakkında öneriler mevcuttur.Tez kapsamında yapılması arzu edilen bu değerlendirmenin sağlıklı biçimde ele alınması, üçlü bir sistemin parçaları arasındaki etkileşimi ele almak ile mümkün gözükmektedir. Bunlar, 19. yüzyılda İstanbul'da ve Beyoğlu'nda kent yapısını oluşturacak olan Değerler, Aktörler ve Üretimler'dir. Değerler, aktörlerin kurgu ve kararlarına etki etmiş olan dönem içerisindeki algıları ve olguları yansıtır. Bunlar, Osmanlı'da merkeziyetçiliğin varoluş biçimidir, dönüşümün baş itici gücü yangın'dır, modern hayatın ihtiyacı olan hıfzısıhhanın sağlandığı bir steril kent'in yaratılma arzusudur ve belki de bunların içerisinde en güçlü olan ancak aleni olarak en az dillendirilen nicelin yükselişi ve onunla ilintili olarak gelişen faydacılıktır.Aktörler, kentsel üretimlerin yönetmenleri olarak bireyleri ve kararları kapsar. Her modern toplumda olduğu üzere, siyasi iktidarın ilgili uzantıları, yani burada Belediye çatısı, kanun ve tüzükleri, yapı üreticileri, varlık sahipleri ile kamuoyu ve basın yukarıda bahsi geçen değerler içerisindeki aktörlerdir ve bu aktörler arasında girift bir ilişki vardır. Her aktör birden fazla koltuğa sahiptir; örneğin bir varlık sahibi hem belediye meclis üyesi, hem yatırımcı, hem padişahın başdanışmanı olabilir. Üretimler ise, değerlerin ve uygulayıcıların kente dair var ettikleridir. Kent, yeni bir temsiliyet aracı olarak yeniden inşa edilirken, mevzi planların ve istimlâkların oluşturulmasındaki süreç şüphesiz çok önemlidir. Bu dönemde, Beyoğlu'nda farklı tarihlerde gerçekleşen Galata Surları'nın yıkımı, Tepebaşı Mezarlığı'nın bir kent parkına dönüşümü ve Taksim Kışla Yeri ve Talim Yeri Apartmanları projesi üçlemesi 19. yüzyılın ikinci yarısından 20. yüzyılın başına Beyoğlu'nun geçirmiş olduğu sürece ilişkin izler taşır. Bu dönüşümlerden her birinde, kamusal alanın özel yönetimlerin tasarruflarına teslimi söz konusudur ve faydacı ahlâk ön plana geçmiş gözükür.Dönüşüm süreci içerisinde, dönüşümü gerçekçi ve malsahiplerinin gözünde olanaklı kılabilmek adına yapı stoğu hacmininin arttırılmasına yönelik çıkartılan nizamnameler, bu tarihlerden sonraki dönemlerde çıkartılacak olanlara benzer şekilde, yapı stoğunu kendi dönemlerinin en yoğun seviyesine taşımış ve `boşluk`u miras bırakmak konusunda cimri davranmış gözükür. Tüm zamanlar için esas mesele, yeniden inşa edilirken azalarak değerlenen arsanın malsahibine benzer kullanım alanını nasıl sunabileceğidir...Tezde, kapitalizmin gözetildiği bir dönemde, ekonomik anlamda bir ödünün söz konusu olduğu durumlarda kent mekanının dönüştürülemez hale geldiği vurgulanırken, kentin yenilenme modelinin de zaman içerisinde döngüsel şekilde tekrarlandığına dikkat çekilmektedir. Değerler, Aktörler ve Üretimler üçlemesinin, bu anlamda bir model olduğu, insan eliyle üretilen kentsel mekanın oluşumunun incelenmesinde, tüm zamanlar için kullanılabileceği ve bir döngüselliğe sahip olduğu abul edilmektedir. Böylelikle,. tüm üretimler geleceğin değerler'ini oluşturmaktadır. Like many other commercial hubs of the 19th century, also Istanbul strived to reach a healthy urban infrastructure. In that respect, the urban regeneration of the prestigious Galata and Pera neighborhoods witnessed the foundation of the first municipality, the 6. Daire-i Belediyye. Numerous actors in and around the 6. Daire-i Belediyye, mostly with close ties to the ruling powers, contributed immensely to these changes. Leading to purely economic interests, the urban landscape itself turned into an investment tool.The foundation and the activities lead by the 6. Daire-i Belediyye in the 19th century can be assumed as the first systematic change of Istanbul's urban landscape. In order to understand this period - moreover, to even gain a better understanding of today's urban change - it seems to be highly beneficial to analyze the changes that were effected in the city and its management in that period. Certainly, it would be unfair to neglect international influences of the period. Equally, the long-proclaimed, romantic assumption that changes in the urban landscape were primarily and solely triggered by the desire to `Westernize` would also be misleading. It is a fact that exactly during this period, capitalism got widely accepted and obtained a strong foothold, eventually turning the city itself into a feasible tool for investment.On the other hand, many articles asking for a change in the urban landscape are written; mainly in newspapers publishing in foreign languages. Not only are these thoughts and wishes; in contrary, different ideas on the realization of these ideas are presented to the general public. There are practical ideas on mortgage laws, calls to prefer apartments to single-family houses or ways on how to deal with expropriations during the re-development of the Pera Avenue.Having the objective of analyzing these facts, this thesis is built around three pillars and their respective relationships: Values, Actors and Productions of the urban landscape of 19thcentury Istanbul and Beyoğlu. Values reflect impressions and facts that influenced the setup and decisions of actors. These are the centralist fundamentals of the Ottoman Empire; the fire being the major influencing power of the change; the need for a sterile city in order to lead the desired modern life; last, but not least, probably the most influential (but yet not widely proclaimed) fact is the increased importance of the utilitarianist attitude and the raw opportunism that follows this very mind-set. Actors are defined as the directors and the decisions around the urban production. As in all modern societies, these stakeholders are far-reaching hands of the ruling forces within the municipality, who are influencing laws and decrees; other stakeholders are constructors, landlords and property owners, as well as the general population and the media. Relationships between these actors are naturally very complex. Each actor owns more than one position; e.g. one real estate owner can easily be a member of the municipality, be an investor and also be a first consultant to the Sultan. Capitalism being the driving force and time being of essence, different actors pressuring other actors result in an ever faster turning pace. For example, architecture, focusing until very recently on highest quality and esthetics turns more into construction supervisory. `Special certifications` in hygiene is an interesting trend and practice available to modern architects.Productions are the changes that the Values and Executors have effected in the city. The idea of transforming the city into a new representation media, with all related partial plans and expropriations are certainly very important. Several historical happenings between the second half of the 19th century and the first half of the 20th century do show major traits of these facts: The demolishment of the Galata Walls, the formation of the Tepebaşı Cemetary into a new city park and the Apartments of the Taksim Kışla and Talim Yeri. Each of these changes show how public spaces are transferred to private owners, benefitting individuals. Galata Walls and their corresponding ditches were demolished and parceled to be sold to investors; funds were used by the 6. Daire-i Belediyye to pay back debts. Tepebaşı Cemetary was used as a plot where excess soil extracted from the Tünel construction was piled. In later stages, the slowly vanishing cemetery turned into a point of discussion in the public with regards to hygiene fears. Finally, these factors led to the foundation of a public park on the grounds of the old cemetery. In contrast to the cemetery, the transformation of the Taksim Kışla and Talim Yeri into residential areas was far more radical and evident to the public. Not used by the military, different forces lead to the decision of turning this space into private, residential areas; rather than a public space. Special regulations were called into life in order to increase real estate stocks. In fact, similar approaches are still in use today. Real estate starts becoming very concentrated, empty spaces are hardly available. The struggle of the 19th century still prevails today in the 21st century: How to provide the landlord equal space and/or asset while decreasing the usable space per unit and hereby increasing its value? In terms of Foucault's theory: As long as the exchange-value of the space surpasses its use-value, actors will most certainly continue to define the building as an investment tool.In the thesis, special emphasis is given to the idea that change without economic benefit was (and still is…) not possible. Therefore, an almost routine cycle runs through the metropolis, touching regularly on real estate that yet needs to be turned into an economic source. The Taksim Kışlası is probably one of the most evident and recent example on this subject: To be turned into a residential area in the 19th century, this economic undertaking did not materialize. Serving the public as a park for more than half a century, discussions today are centered on the idea of turning the park into privately owned real estates. Should this idea materialize, the economic cycle will indeed be closed. In that respect, the Trilogy of Values, Actors and Productions is showcasing a cyclical model of the man-made, urban landscape. By that, all productions in fact do constitute the future values. Emphasizing the existence of such a cycle, the thesis aims also to take attention to the repetitive timeless pattern created with this trilogy, and recalls the possibility of making different researches on urban planning in history or today. 200

Tez (Doktora) -- İstanbul Teknik Üniversitesi, Fen Bilimleri Enstitüsü, 2014, Thesis (PhD) -- İstanbul Technical University, Institute of Science and Technology, 2014, Ondokuzuncu yüzyıl sonu Osmanlı mimarlığının önemli bir figürü olan mimar Alexandre Vallaury (1850-1921), günümüze dek sınırlı sayıda bilimsel araştırmaya konu olmuştur. Halen kullanımda olan çok sayıda prestijli yapının mimarı olan Vallaury, Osmanlı Devleti'nin son yıllarında, özellikle başkent İstanbul'da, azımsanmayacak nitelik ve nicelikte mimari üretim yapmıştır. Ülkenin formel anlamda ilk mimarlık ve sanat okulu olan "Sanayi-i Nefise Mektebi"'nin kurucu eğitimci kadrosunda yer alarak uzun yıllar burada mimarlık eğitimi veren mimar, bu çok yönlü kariyerinin yanısıra aile kökeni ve uluslararası ilişkileriyle de araştırmaya değer ilginç bir karakterdir. Vallaury'nin aktif mesleki kariyerini sürdürdüğü iki Meşrutiyet arası yaklaşık otuz yıl, Türk mimarlığında ve özellikle başkent İstanbul'da çok farklı mimari akımların denenip uygulanabildiği ve gerek kentsel yaşam gerekse mimari uygulamalar anlamında çoğulcu ve liberal bir atmosferin hakim olduğu bir geçiş dönemidir. Bu süreç aynı zamanda, yeni yapı teknolojileri, yeni yapı programları ve yapı sektöründe uzman işgücüne büyük talebin olduğu yoğun bir imar ve kentsel gelişim dönemi olmasıyla da farklıdır. Vallaury bu dönemde aktif mesleki ve eğitimci kariyeriyle ülke mimarlığını etkileyen ve özellikle eğitimci rolüyle bir sonraki döneme geçişi hazırlayan figürlerden biri olarak dikkati çekmektedir. Vallaury'i bu role hazırlayan eğitim ve çevresel etkilere bakıldığında ise ilk gençliğinin on yılını geçirdiği Paris ve ciddi bir eğitim aldığı dönemin dünya çapında etkin bir kuruluşu olan École des Beaux Arts öne çıkmaktadır. Paris bu dönemde önemli kentsel dönüşümlere, büyük dünya sergilerine ve yeni teknoloji uygulamalarına sahne olmaktaydı. École des Beaux Arts ise 1830'larda ülkedeki gelişime paralel olarak geçirdiği çalkantılar ve sonrasında okul bünyesinden çıkan güçlü kuramcıların diskurlarına sahip çıkarak Avrupa ve dünya mimarlığının yönlendirilmesinde söz sahibi olmaya devam etmekte ve özellikle Vallaury'nin öğrenciliği döneminde eklektizmi benimseyen bir kuruluş olarak ortaya çıkmaktadır. On yıldan fazla süren Beaux Arts eğitimi, Paris görgüsü ve özellikle politik tutum, teknik yeterlik ve tarihsel referans saçayağında uzlaşmacı çözümler hedefleyen eklektizm diskurunun etkisi, Vallaury'nin mimar altyapısını oluşturmasında sn derece önemli rol oynamıştır. Mimar, az sayıda Beaux Arts referanslı mimardan biri ve bu altyapıya ve uzlaşmacı eklektizm anlayışına sahip bir uzman kişi olarak İstanbul'a dönüşünde, kısa sürede Osmanlılık-Türklük idealine uygun olarak toplumsal anlamda kapsayıcı ve kavrayıcı kültür politikalarını oluşturmaya çalışan Osman Hamdi Bey ekibinde kendine yer bulmuştur. Entelektüel anlamda güçlü bir söyleme sahip olan Osman Hamdi Bey, gerek Sanayi-i Nefise Mektebi'nin Beaux Arts modeline göre kuruluşunda yaptıkları işbirliği, gerekse almasına vesile olduğu kamu ve özel kişi ve kuruluşlara ait yapı projeleri bağlamında Vallaury'nin mesleki kariyerinde ikinci en önemli etki olmuş olmalıdır. Bu şekilde başlayan itibarlı kariyeri boyunca çok sayıda projeye imza atan ve çok sayıda öğrenci yetiştiren Vallaury, Osmanlı-Türk mimarlığında Beaux Arts Okulu'nun bellibaşlı temsilcisi olmuştur. Ülke mimarlığının bu önemli geçiş döneminde sözkonusu Beaux Arts altyapısıyla hem mimarlık pratiği hem de eğitimine dikkate değer katkı ve etkiler yapmıştır. Bu nedenle bu çalışmada Vallaury'nin kariyeri ve tasarım anlayışının, bir Beaux Arts okulu temsilcisi olarak Osmanlı-Türk mimarlığına yaptığı katkılar ve etkiler yönünden ele alınması benimsenmiştir. Bu amaçla, öncelikle Vallaury'nin tasarım anlayışını oluşturan bileşenler, etkileyen faktörler ortaya konmuştur. Bu çerçevede öncelikle, mimarın aile kökeni, tabiyeti, ilişkileri, devlet görevleri gibi biyografik veriler incelenmiştir. Sonrasında, dönemin mimari faaliyet üzerinde etkili olan sosyo-ekonomik şartları ile Osman Hamdi Bey - Vallaury ilişkisi irdelenmiş ve mimarın yetişmesinde en önemli ve sistemli etken olarak o dönemde geçerli olan Beaux Arts Okulu mimari tasarım ilkeleri ayrıntılı şekilde incelenerek mimarın tasarım davranışı için değerlendirme ölçütleri oluşturacak şekilde maddeler halinde ortaya konulmuştur. Bu amaçla gerek yerli ve yabancı literatür taraması, gerekse arşiv araştırmalarından faydalanılmış; aynı zamanda Paris'te Ecole des Beaux Arts kampüsü ve dönem binalarında saha çalışması yapılmıştır. Sonraki adımda yine önceki bilimsel çalışmalar, arşiv taramaları ve literatür taramaları yoluyla belirlenen Vallaury yapılarından karşılaştırma ve analize baz oluşturacak bir seçki oluşturulmuştur. Bu seçki dahilindeki yapılar için gerek sahada gerekse arşivlerde yoğun çalışmalar yapılarak binalar Beaux Arts tasarım ilkelerine göre analiz edilmiş ve her biri için Vallaury'nin tasarımsal tercihleri de tespit edilmeye çalışılmıştır. Nihayetinde ayrı ayrı sonuçlar bir araya getirilerek Vallaury'nin tasarım davranışı, Beaux Arts ilkelerinin sonuç ürünlerindeki ağırlığı değerlendirilmiş ayrıca mimarın kariyeri boyunca oluşturduğu ve farklı tarihsel referansların ağırlıkta olduğu tasarım sözlüğü bina analizler yoluyla derlenmeye çalışılmıştır. Vallaury'nin ülke mimarlığına katkısının bir başka ve önemli boyutu olan Sanayi-i Nefise Mektebi mimarlık eğitimi de ayrı bir başlık altında incelenerek, ulaşılabilen kısıtlı kaynaklar çerçevesinde mimarın uyguladığı eğitimin niteliği ve sonuçları, okul müfredat ve kuralları, yapılan projelerin konuları, ilk mezunların mimari faaliyetler çerçevesinde ortaya konulmaya çalışılmıştır., Architect Alexandre Vallaury (1850-1921), an important figure of late nineteenth century Ottoman architecture, has so far been subject of a limited number of scientific researches. He had carried out a significant number of outstanding projects, authored numerous prestigious buildings in late Ottoman cities, mainly in Istanbul. The already impressive number of known Vallaury buildings increases continually, as new archive documents are being unearthed. He also had been among the founder professors of Imperial School of Fine Arts, a pioneering Ottoman academy, which introduced the country the formal education in architecture and fine arts. Vallaury taught here for twenty-five years, graduating many young architects who responded to the growing demand for expert workforce in architecture with many projects. Apart from this multi faceted career, Vallaury who is an Ottoman levantine born in Istanbul, is an interesting character with intricate family roots and international relations. As is, the thirty active years of Vallaury's career between 1879-1909 correspond with the intermediate period between the two Ottoman constitutions. In terms of urban life and architecture, especially in Istanbul, it was a interval of transition when a pluralist, tolerant, liberal atmosphere reigned and many different styles were implemented. Moreover it was a time when urban development was at its peak in Istanbul and other port cities, with a soaring demand for new building technology, materials and programmes as well as architectural and engineering expertise. Vallaury, who carried out a very active professional and academic career in this period stands out as an architecture in key positions contributing greatly to the country's architectural activities and owing to his professorship one who provided guidance to new architects for transition to the new century. Not surprisingly, the background that had prepared Vallaury for this role included familial and environmental impacts on his life as well as his architectural education, where the name of École des Beaux Arts stands out as the most renowned and successful school of arts and architecture of its time. The education of Vallaury correspond to a time when the school, having overcome the chaotic times and disputes of 1830s with reforms and strong architectural discourses impacting European and world architecture, enjoyed a worldwide success and reputation. Sticking partly to its traditional values and the composition concept developed to perfection over many years, the school then mostly favored eclecticism, the trend of the era that compromised political, technical and historical concerns of users. These years also saw Paris transforming greatly due to Haussman's urban operations and witnessing the latest developments in building technology and material owing to world exhibitions. As such Vallaury's more than a decade long education in École des Beaux Arts and his visual experiences of Paris, as well as the strong impact of eclecticism were the factors that shaped his architectural identity. Being among the few to have completed his education in École des Beaux Arts, and as a professional equipped with the comprimising culture of eclecticism, he swiftly found a place in the team of Osman Hamdi Bey, who had been working on building up comprehensive and all-embracing cultural policies that would favor the Ottoman-Turkish nationalistic ideal. Osman Hamdi Bey, also an old student of École des Beaux Arts, was no wonder an intellectual with an influential discours, not to overlook the fact that he introduced Vallaury to influential circles of the Ottoman bureaucracy. Hence , keeping in mind the cooperation they performed in founding the Ottoman Imperial School of Fine Arts modelled according to École des Beaux Arts , as well as the commissions Vallaury received and finalised owing to Osman Hamdi Bey's references, he must have been the second most important impact next to Beaux Arts education in building up a architectural identity. Following, Vallaury, having thus led such a honorable career, during which he authored many successful projects and graduated many architects, was the foremost representative of École des Beaux Arts in Ottoman-Turkish architecture. In this respect, his performance as a practicing architect and a professor must have reflected his Beaux Arts background, that is his contribution to Ottoman-Turkish architecture must have been shaped by the concepts and principles he acquired all along his long Beaux Arts experience. Therefore this thesis aims to assess and analyse Vallaury's contribution to Ottoman-Turkish architecture in terms of Beaux Arts design concepts and principles and as the most important representative of this school in Turkey. With this objective, this study first focuses on the components, factors that must have shaped Vallaury's notion of design. In this context, biographical data such as his familial roots and relations, nationalistic affiliations, work positions, memberships, etc were first brought to light. In parallel, the socio-economical conditions that probably played an important role on his career as well as the details of his relation with Osman Hamdi Bey were assessed. This part of the analysis depends mainly on primary sources such as official records and correspondence. In this step, the very rigorous archival research was complemented by a fortunate meeting with a close relative of Vallaury, who provided this research with valuable concrete data, especially about his life after 1909. Hence here, as unbiased as possible a picture of the underlying factors shaping Vallaury's career, was drawn. This picture finally enables us to pinpoint his affiliations, tendencies and goals in life. As for the late nineteenth century conditions creating the demand for architecture, normally a research subject on its own, they were andled and focused upon according to the degree they interfered with Vallaury's activities. This evaluation is based upon some primary archival sources as well as several literature survey. Apparently the both the fast development of port cities and the fast development of building technologies determined at the time the setting for most eastern mediterranean urban activity, alongside some indigenous factors specific to country. A brief evaluation of these conditions determining architectural and urban activity in Ottoman Turkey are presented in forth chapter of this thesis. Last but not least, and with the aid of both primary sources and numerous former relevant scientific researches, were analysed the history and design principles of École des Beaux Arts. In this quest of analysing such a longlasting and dynamic design school, the efforts were focused on the post-1830 period, which naturally had set the valid atmosphere for Vallaury's education. The archival research and literature survey was also accompanied by onsite building analyses as well. Regarding Beaux Arts design concepts and principles as the most systematic factor behind Vallaury's design behaviour demanded the creation of a set of criteria against which Vallaury buildings could be assessed. Hence the thorough analysis of Beaux Arts architecture was finalised by producing a concrete itemised list of Beaux Arts design concepts and principles valid for last half of the nineteenth century. This list contained both general Beaux Arts concepts, as well as principles of Labrouste, le-Duc and Garnier discourses, as well as those of eclecticism, since these were to shape Beaux Arts education in late nineteenth century. The study treats visual experience of Paris as part of Beaux Arts education, so this part of the study is complemented by the general characteristics and major buildings of urban transformations in Paris at this time. The creation of École des Beaux Arts campus is also treated with seperate attention as it was a model for the Imperial School of Fine Arts in Istanbul. Next step is the formation of a list of Vallaury buildings that is to be subject of assessment based on the itemised Beaux Arts criteria set prepared. The full list of Vallaury buildings is provided as an annex. This list for comparison is drawn from among this comprehensive table, to include those buildings whose authorship by Vallaury can be verified. The buildings were also chosen to evenly span his career and buildings of different function were preferred for analysis. This list, sorted by date, includes : 1.The Imperial School of Fine Arts and the Museum, in the garden of the Topkapı Palace in Istanbul 2.Cercle d'Orient Social Club, on Istiklal Street in Pera or Beyoğlu, Istanbul 3.The Headquarters of Ottoman Bank and Tobacco Régie, on Voyvoda Street , the finance center of Galata, Istanbul 4.Pera Palas Hotel, at Tepebaşı quarter of Pera/Beyoğlu. 5.The Headquarters of Administration of Public Debts, at Cağaloğlu, near the Istanbul Prefecture. 6.Prinkipo Palas Hotel, 7.The Imperial School of Medicine at Haydarpaşa, on Asian side of ıstanbul, between the Selimiye barracks and the Haydarpaşa port and railway station 8.The Customs Houses of Thessaloniki and Eminönü, on the ports of Thessaloniki and Eminönü respectively. The first item in this list treats the two buildings as a unity as they comprise the cultural campus created based on the model of École des Beaux Arts in Paris.As for the last item, it includes "sister" customs house buildings designed after probably similar concerns and one in Thessaloniki is the only Vallaury building outside Istanbul to be analysed by this study. The understanding of these eight items, called for on-site analysis and archival research in parallel. The data compiled for each building was evaluated according to Beaux Arts design principles seperately and also individual design preferences by Vallaury were also noted down for each building. The seperate works done for each building were then compared to find out common and differing characteristics and to determine to which degree Vallaury adopted Beaux Arts principles along different stages of his career. These seperate analyses were then combined to a single report that was to reflect all this findings in order. As is, Vallaury's design behaviour is accompanied by his effort to compile or create his own, characteristic vocabulary of architectural elements, especially with historical references. So the findings from the analyses of this list were collected to form a table of Vallaury's design vocabulary which is presented also as an annex. Vallaury's professorship in Imperial School of Fine Arts is no wonder another important dimension of his career. The efforts to analyse these years were accompanied by heavy archival research.This thesis also aimed to unearth the first twentyfive years' course schedule, student projects, names of students and their works after graduation. At this point archival records proved to be partially inaccessible, as most were either destroyed by fires or not allowed to researchers. So though one objective was to put forward how and with which subjects the design studios were carried out in Imperial School of Fine Arts, very few findings were unearthened to be commented on. Similarly the matching of graduate names with realised buildings proved to be a strenuous task as most official records did not include surnames, however quite a number of graduates and their works could be found out. These findings and their assessments are included in the seventh chapter of this work. Conclusively, this work analyses the impact of Beaux Arts education in Vallaury's works and attempts to put forward how his design behaviour evolved under this influence. Vallaury being a most prominent figure in late nineteenth century Ottoman architecture, this study treating this major aspect of his career and productions also vises to put forward clues as to which direction and under which influences Ottoman-Turkish architecture proceeded in the coming twentieth century. No wonder, the revelation of new archival documents, as well as buildings by Vallaury or his students would help make further comments on the subject. This would also shed further light on how architecural education was shaped in Turkey. The treatment of this period's architecture as being influenced by Beaux Arts principles calls for other new areas of research which could not be handled in the limited time schedule of this thesis. These new research areas could include comparison of Beaux Arts graduates and implementations in neighboring old world centers such as Egypt, Greece or Persia as compared to those in Istanbul. The parallel execution of architectural and archaeological studies in Ottoman Turkey would also be a concern for further research, considering the École des Beaux Arts model and the combined function of museum and school in Imperial School of Fine Arts., Doktora, PhD

Ondokuzuncu yüzyıl sonu Osmanlı mimarlığının önemli bir figürü olan mimar Alexandre Vallaury (1850-1921), günümüze dek sınırlı sayıda bilimsel araştırmaya konu olmuştur. Halen kullanımda olan çok sayıda prestijli yapının mimarı olan Vallaury, Osmanlı Devleti'nin son yıllarında, özellikle başkent İstanbul'da, azımsanmayacak nitelik ve nicelikte mimari üretim yapmıştır. Ülkenin formel anlamda ilk mimarlık ve sanat okulu olan `Sanayi-i Nefise Mektebi`'nin kurucu eğitimci kadrosunda yer alarak uzun yıllar burada mimarlık eğitimi veren mimar, bu çok yönlü kariyerinin yanısıra aile kökeni ve uluslararası ilişkileriyle de araştırmaya değer ilginç bir karakterdir. Vallaury'nin aktif mesleki kariyerini sürdürdüğü iki Meşrutiyet arası yaklaşık otuz yıl, Türk mimarlığında ve özellikle başkent İstanbul'da çok farklı mimari akımların denenip uygulanabildiği ve gerek kentsel yaşam gerekse mimari uygulamalar anlamında çoğulcu ve liberal bir atmosferin hakim olduğu bir geçiş dönemidir. Bu süreç aynı zamanda, yeni yapı teknolojileri, yeni yapı programları ve yapı sektöründe uzman işgücüne büyük talebin olduğu yoğun bir imar ve kentsel gelişim dönemi olmasıyla da farklıdır. Vallaury bu dönemde aktif mesleki ve eğitimci kariyeriyle ülke mimarlığını etkileyen ve özellikle eğitimci rolüyle bir sonraki döneme geçişi hazırlayan figürlerden biri olarak dikkati çekmektedir.Vallaury'i bu role hazırlayan eğitim ve çevresel etkilere bakıldığında ise ilk gençliğinin on yılını geçirdiği Paris ve ciddi bir eğitim aldığı dönemin dünya çapında etkin bir kuruluşu olan École des Beaux Arts öne çıkmaktadır. Paris bu dönemde önemli kentsel dönüşümlere, büyük dünya sergilerine ve yeni teknoloji uygulamalarına sahne olmaktaydı. École des Beaux Arts ise 1830'larda ülkedeki gelişime paralel olarak geçirdiği çalkantılar ve sonrasında okul bünyesinden çıkan güçlü kuramcıların diskurlarına sahip çıkarak Avrupa ve dünya mimarlığının yönlendirilmesinde söz sahibi olmaya devam etmekte ve özellikle Vallaury'nin öğrenciliği döneminde eklektizmi benimseyen bir kuruluş olarak ortaya çıkmaktadır. On yıldan fazla süren Beaux Arts eğitimi, Paris görgüsü ve özellikle politik tutum, teknik yeterlik ve tarihsel referans saçayağında uzlaşmacı çözümler hedefleyen eklektizm diskurunun etkisi, Vallaury'nin mimar altyapısını oluşturmasında sn derece önemli rol oynamıştır. Mimar, az sayıda Beaux Arts referanslı mimardan biri ve bu altyapıya ve uzlaşmacı eklektizm anlayışına sahip bir uzman kişi olarak İstanbul'a dönüşünde, kısa sürede Osmanlılık-Türklük idealine uygun olarak toplumsal anlamda kapsayıcı ve kavrayıcı kültür politikalarını oluşturmaya çalışan Osman Hamdi Bey ekibinde kendine yer bulmuştur. Entelektüel anlamda güçlü bir söyleme sahip olan Osman Hamdi Bey, gerek Sanayi-i Nefise Mektebi'nin Beaux Arts modeline göre kuruluşunda yaptıkları işbirliği, gerekse almasına vesile olduğu kamu ve özel kişi ve kuruluşlara ait yapı projeleri bağlamında Vallaury'nin mesleki kariyerinde ikinci en önemli etki olmuş olmalıdır. Bu şekilde başlayan itibarlı kariyeri boyunca çok sayıda projeye imza atan ve çok sayıda öğrenci yetiştiren Vallaury, Osmanlı-Türk mimarlığında Beaux Arts Okulu'nun bellibaşlı temsilcisi olmuştur. Ülke mimarlığının bu önemli geçiş döneminde sözkonusu Beaux Arts altyapısıyla hem mimarlık pratiği hem de eğitimine dikkate değer katkı ve etkiler yapmıştır. Bu nedenle bu çalışmada Vallaury'nin kariyeri ve tasarım anlayışının, bir Beaux Arts okulu temsilcisi olarak Osmanlı-Türk mimarlığına yaptığı katkılar ve etkiler yönünden ele alınması benimsenmiştir. Bu amaçla, öncelikle Vallaury'nin tasarım anlayışını oluşturan bileşenler, etkileyen faktörler ortaya konmuştur. Bu çerçevede öncelikle, mimarın aile kökeni, tabiyeti, ilişkileri, devlet görevleri gibi biyografik veriler incelenmiştir. Sonrasında, dönemin mimari faaliyet üzerinde etkili olan sosyo-ekonomik şartları ile Osman Hamdi Bey - Vallaury ilişkisi irdelenmiş ve mimarın yetişmesinde en önemli ve sistemli etken olarak o dönemde geçerli olan Beaux Arts Okulu mimari tasarım ilkeleri ayrıntılı şekilde incelenerek mimarın tasarım davranışı için değerlendirme ölçütleri oluşturacak şekilde maddeler halinde ortaya konulmuştur. Bu amaçla gerek yerli ve yabancı literatür taraması, gerekse arşiv araştırmalarından faydalanılmış; aynı zamanda Paris'te Ecole des Beaux Arts kampüsü ve dönem binalarında saha çalışması yapılmıştır.Sonraki adımda yine önceki bilimsel çalışmalar, arşiv taramaları ve literatür taramaları yoluyla belirlenen Vallaury yapılarından karşılaştırma ve analize baz oluşturacak bir seçki oluşturulmuştur. Bu seçki dahilindeki yapılar için gerek sahada gerekse arşivlerde yoğun çalışmalar yapılarak binalar Beaux Arts tasarım ilkelerine göre analiz edilmiş ve her biri için Vallaury'nin tasarımsal tercihleri de tespit edilmeye çalışılmıştır. Nihayetinde ayrı ayrı sonuçlar bir araya getirilerek Vallaury'nin tasarım davranışı, Beaux Arts ilkelerinin sonuç ürünlerindeki ağırlığı değerlendirilmiş ayrıca mimarın kariyeri boyunca oluşturduğu ve farklı tarihsel referansların ağırlıkta olduğu tasarım sözlüğü bina analizler yoluyla derlenmeye çalışılmıştır. Vallaury'nin ülke mimarlığına katkısının bir başka ve önemli boyutu olan Sanayi-i Nefise Mektebi mimarlık eğitimi de ayrı bir başlık altında incelenerek, ulaşılabilen kısıtlı kaynaklar çerçevesinde mimarın uyguladığı eğitimin niteliği ve sonuçları, okul müfredat ve kuralları, yapılan projelerin konuları, ilk mezunların mimari faaliyetler çerçevesinde ortaya konulmaya çalışılmıştır. Architect Alexandre Vallaury (1850-1921), an important figure of late nineteenth century Ottoman architecture, has so far been subject of a limited number of scientific researches. He had carried out a significant number of outstanding projects, authored numerous prestigious buildings in late Ottoman cities, mainly in Istanbul. The already impressive number of known Vallaury buildings increases continually, as new archive documents are being unearthed. He also had been among the founder professors of Imperial School of Fine Arts, a pioneering Ottoman academy, which introduced the country the formal education in architecture and fine arts. Vallaury taught here for twenty-five years, graduating many young architects who responded to the growing demand for expert workforce in architecture with many projects. Apart from this multi faceted career, Vallaury who is an Ottoman levantine born in Istanbul, is an interesting character with intricate family roots and international relations.As is, the thirty active years of Vallaury's career between 1879-1909 correspond with the intermediate period between the two Ottoman constitutions. In terms of urban life and architecture, especially in Istanbul, it was a interval of transition when a pluralist, tolerant, liberal atmosphere reigned and many different styles were implemented. Moreover it was a time when urban development was at its peak in Istanbul and other port cities, with a soaring demand for new building technology, materials and programmes as well as architectural and engineering expertise. Vallaury, who carried out a very active professional and academic career in this period stands out as an architecture in key positions contributing greatly to the country's architectural activities and owing to his professorship one who provided guidance to new architects for transition to the new century. Not surprisingly, the background that had prepared Vallaury for this role included familial and environmental impacts on his life as well as his architectural education, where the name of École des Beaux Arts stands out as the most renowned and successful school of arts and architecture of its time. The education of Vallaury correspond to a time when the school, having overcome the chaotic times and disputes of 1830s with reforms and strong architectural discourses impacting European and world architecture, enjoyed a worldwide success and reputation. Sticking partly to its traditional values and the composition concept developed to perfection over many years, the school then mostly favored eclecticism, the trend of the era that compromised political, technical and historical concerns of users. These years also saw Paris transforming greatly due to Haussman's urban operations and witnessing the latest developments in building technology and material owing to world exhibitions. As such Vallaury's more than a decade long education in École des Beaux Arts and his visual experiences of Paris, as well as the strong impact of eclecticism were the factors that shaped his architectural identity. Being among the few to have completed his education in École des Beaux Arts, and as a professional equipped with the comprimising culture of eclecticism, he swiftly found a place in the team of Osman Hamdi Bey, who had been working on building up comprehensive and all-embracing cultural policies that would favor the Ottoman-Turkish nationalistic ideal. Osman Hamdi Bey, also an old student of École des Beaux Arts, was no wonder an intellectual with an influential discours, not to overlook the fact that he introduced Vallaury to influential circles of the Ottoman bureaucracy. Hence , keeping in mind the cooperation they performed in founding the Ottoman Imperial School of Fine Arts modelled according to École des Beaux Arts , as well as the commissions Vallaury received and finalised owing to Osman Hamdi Bey's references, he must have been the second most important impact next to Beaux Arts education in building up a architectural identity.Following, Vallaury, having thus led such a honorable career, during which he authored many successful projects and graduated many architects, was the foremost representative of École des Beaux Arts in Ottoman-Turkish architecture. In this respect, his performance as a practicing architect and a professor must have reflected his Beaux Arts background, that is his contribution to Ottoman-Turkish architecture must have been shaped by the concepts and principles he acquired all along his long Beaux Arts experience. Therefore this thesis aims to assess and analyse Vallaury's contribution to Ottoman-Turkish architecture in terms of Beaux Arts design concepts and principles and as the most important representative of this school in Turkey.With this objective, this study first focuses on the components, factors that must have shaped Vallaury's notion of design. In this context, biographical data such as his familial roots and relations, nationalistic affiliations, work positions, memberships, etc were first brought to light. In parallel, the socio-economical conditions that probably played an important role on his career as well as the details of his relation with Osman Hamdi Bey were assessed. This part of the analysis depends mainly on primary sources such as official records and correspondence. In this step, the very rigorous archival research was complemented by a fortunate meeting with a close relative of Vallaury, who provided this research with valuable concrete data, especially about his life after 1909. Hence here, as unbiased as possible a picture of the underlying factors shaping Vallaury's career, was drawn. This picture finally enables us to pinpoint his affiliations, tendencies and goals in life. As for the late nineteenth century conditions creating the demand for architecture, normally a research subject on its own, they were andled and focused upon according to the degree they interfered with Vallaury's activities. This evaluation is based upon some primary archival sources as well as several literature survey. Apparently the both the fast development of port cities and the fast development of building technologies determined at the time the setting for most eastern mediterranean urban activity, alongside some indigenous factors specific to country. A brief evaluation of these conditions determining architectural and urban activity in Ottoman Turkey are presented in forth chapter of this thesis.Last but not least, and with the aid of both primary sources and numerous former relevant scientific researches, were analysed the history and design principles of École des Beaux Arts. In this quest of analysing such a longlasting and dynamic design school, the efforts were focused on the post-1830 period, which naturally had set the valid atmosphere for Vallaury's education. The archival research and literature survey was also accompanied by onsite building analyses as well. Regarding Beaux Arts design concepts and principles as the most systematic factor behind Vallaury's design behaviour demanded the creation of a set of criteria against which Vallaury buildings could be assessed. Hence the thorough analysis of Beaux Arts architecture was finalised by producing a concrete itemised list of Beaux Arts design concepts and principles valid for last half of the nineteenth century. This list contained both general Beaux Arts concepts, as well as principles of Labrouste, le-Duc and Garnier discourses, as well as those of eclecticism, since these were to shape Beaux Arts education in late nineteenth century. The study treats visual experience of Paris as part of Beaux Arts education, so this part of the study is complemented by the general characteristics and major buildings of urban transformations in Paris at this time. The creation of École des Beaux Arts campus is also treated with seperate attention as it was a model for the Imperial School of Fine Arts in Istanbul.Next step is the formation of a list of Vallaury buildings that is to be subject of assessment based on the itemised Beaux Arts criteria set prepared. The full list of Vallaury buildings is provided as an annex. This list for comparison is drawn from among this comprehensive table, to include those buildings whose authorship by Vallaury can be verified. The buildings were also chosen to evenly span his career and buildings of different function were preferred for analysis.This list, sorted by date, includes : 1.The Imperial School of Fine Arts and the Museum, in the garden of the Topkapı Palace in Istanbul2.Cercle d'Orient Social Club, on Istiklal Street in Pera or Beyoğlu, Istanbul3.The Headquarters of Ottoman Bank and Tobacco Régie, on Voyvoda Street , the finance center of Galata, Istanbul4.Pera Palas Hotel, at Tepebaşı quarter of Pera/Beyoğlu.5.The Headquarters of Administration of Public Debts, at Cağaloğlu, near the Istanbul Prefecture.6.Prinkipo Palas Hotel, 7.The Imperial School of Medicine at Haydarpaşa, on Asian side of ıstanbul, between the Selimiye barracks and the Haydarpaşa port and railway station8.The Customs Houses of Thessaloniki and Eminönü, on the ports of Thessaloniki and Eminönü respectively.The first item in this list treats the two buildings as a unity as they comprise the cultural campus created based on the model of École des Beaux Arts in Paris.As for the last item, it includes `sister` customs house buildings designed after probably similar concerns and one in Thessaloniki is the only Vallaury building outside Istanbul to be analysed by this study.The understanding of these eight items, called for on-site analysis and archival research in parallel. The data compiled for each building was evaluated according to Beaux Arts design principles seperately and also individual design preferences by Vallaury were also noted down for each building. The seperate works done for each building were then compared to find out common and differing characteristics and to determine to which degree Vallaury adopted Beaux Arts principles along different stages of his career. These seperate analyses were then combined to a single report that was to reflect all this findings in order. As is, Vallaury's design behaviour is accompanied by his effort to compile or create his own, characteristic vocabulary of architectural elements, especially with historical references. So the findings from the analyses of this list were collected to form a table of Vallaury's design vocabulary which is presented also as an annex.Vallaury's professorship in Imperial School of Fine Arts is no wonder another important dimension of his career. The efforts to analyse these years were accompanied by heavy archival research.This thesis also aimed to unearth the first twentyfive years' course schedule, student projects, names of students and their works after graduation. At this point archival records proved to be partially inaccessible, as most were either destroyed by fires or not allowed to researchers. So though one objective was to put forward how and with which subjects the design studios were carried out in Imperial School of Fine Arts, very few findings were unearthened to be commented on. Similarly the matching of graduate names with realised buildings proved to be a strenuous task as most official records did not include surnames, however quite a number of graduates and their works could be found out. These findings and their assessments are included in the seventh chapter of this work. Conclusively, this work analyses the impact of Beaux Arts education in Vallaury's works and attempts to put forward how his design behaviour evolved under this influence. Vallaury being a most prominent figure in late nineteenth century Ottoman architecture, this study treating this major aspect of his career and productions also vises to put forward clues as to which direction and under which influences Ottoman-Turkish architecture proceeded in the coming twentieth century. No wonder, the revelation of new archival documents, as well as buildings by Vallaury or his students would help make further comments on the subject. This would also shed further light on how architecural education was shaped in Turkey. The treatment of this period's architecture as being influenced by Beaux Arts principles calls for other new areas of research which could not be handled in the limited time schedule of this thesis. These new research areas could include comparison of Beaux Arts graduates and implementations in neighboring old world centers such as Egypt, Greece or Persia as compared to those in Istanbul. The parallel execution of architectural and archaeological studies in Ottoman Turkey would also be a concern for further research, considering the École des Beaux Arts model and the combined function of museum and school in Imperial School of Fine Arts. 490

Kurtuluş savaşının etkileri devam ettiği yıllarda Yunan ordusu İzmir'den henüz denize dökülmüş ve 1922 yılında gerçekleşen İzmir yangını, İzmir'de fiziki bir tahribatın yanı sıra sosyal, ekonomik ve kültürel bir çöküntü oluşturmuştur. Yangın sonrası oluşan bu süreçte kentin her anlamda yeniden yapılandırılması zorunlu bir hale gelmiştir. Tamamen yıkılmış olan yangın bölgesinin imarı ve planlı bir şekilde yapılandırılması, fiziksel görüntü ve mimari açıdan önemli olduğu gibi sosyal, ekonomik ve kültürel altyapının oluşturulmasında da önemli bir etken olduğundan değerlendirmeye alınmıştır.Cumhuriyet döneminde ve 1950'li yılların sonuna kadar geçen dönemde Türkiye ve İzmir'deki sosyo-ekonomik, kültürel ve ekonomik yapı, mimari gelişmeler hakkında değerlendirme yapıldıktan sonra Y. Mimar Rıza Aşkan'ın biyogrofisi hakkında bilgi verilmiştir.Genç Türkiye Cumhuriyeti'nin kuruluş sürecine denk gelen bu dönemde, İzmir'in yeniden imarı için kısıtlı imkanlar olmasına rağmen birçok yabancı şehir plancısı ile görüşmeler yapılmıştır. 1924 yılında Henri Prost'un danışmanlığında Fransız Danger kardeşler ile başlayan planlama süreci, 1930'lu yıllarda, İzmir Belediye Başkanı Behçet Uz'un üstün çabaları sonucu gelişerek sonuç vermeye başlamıştır. Danger kardeşlerin planı ekonomik olmadığı geekçesi ile eştirilere uğrar ve Başknet Ankara'nın plancısı Hermann Jansen'in görüşleri alınır. Jansen'in önerileri dikkate alınsa da uygulanabilir bulunmaz ve İzmir Belediyesi, İzmir Enternasyonel Fuarı'nda başladığı temizleme çalışmalarına hızla devam ederek bu yapılanmayı yangın bölgesi başta olmak üzere tüm İzmir'e yaymayı başarır.Cumhuriyetin ilanıyla birlikte her alanda yaşanan reformlar kamusal alanlarda da planlı park kavramını ortaya çıkarmıştır. Hermann Jansen Ankara'nın kentsel planlamasından sorumlu olduğu dönemde, 1932-1936 yılları arasında Ankara Gençlik parkını tasarlamıştır. İzmir Enternasyonel Fuarı'nın kuruluşuna denk gelen bu yıllar aynı zamanda Herman Jansen'in Yangın alanı ile ilgili çalışmalarını sunduğu yıllardır. Bu da Jansen'in fuarın planlamasında katkısı olup olmadığını akla getirmektedir. Ankara Gençlik parkı ve İzmir Enternasyonel Fuarı detaylı olarak incelendiğinde, bir çok yönden benzerlikler dikkat çekse de Jansen'in etkisinin olduğunu gösteren herhangi somut bir bulguya rastlanmamıştır.Kentin planlaması için 1939 yılında Le Corbusier ile başlayan görüşmeler, plancının 1948 yılında İzmir'e gelmesi ile sonuçlanır. 1940 yılından itibaren İzmir Belediyesi'nde görevli Rıza Aşkan Le Corbusier'nin ziyareti ile birlikte, İzmir'in planlanmasında etkin bir rol almıştır. Her ne kadar Le Corbusier'nin önerileri uygulanamaz bulunsa da bu çizimler 1951 yılında İzmir'in planlanması için açılan Uluslararası yarışmada, yarışmacılara fikir vermesi amacı ile dağıtılmıştır.Aşkan'ın bu süreçteki en önemli rolü uygulanamaz denen ve eleştirilen Le Corbusier planınında şehrin genişlemesi öngörülerek varyant bağlantı yolunun yapılması ile birlikte Eşrefpaşa ve Hatay yönüne doğru yapılaşmanın temellerini atması olmuştur. 1955 yılında Doğan Tekeli, Sami Sisa ve Gündüz Özdeş tarafından kazanılan Konak sitesi mevzi kentsel tasarım yarışmasında Juri üyesi olan Aşkan, İmar müdürü olduğu bu yıllarda Richard Neutra, Prof. Düdok gibi yabancı mimar ve şehircilerin yanı sıra Sedat Hakkı Eldem'in de görüşlerini de alarak Konak Meydanı'nın şekillenmesinde önemli bir rol oynamıştır. 1954-1957 yılları arasında Eşrefpaşa bölgesindeki meydan düzenlemesi, yapılaşma ve kentsel planlama, bu dönemdeki sosyo-ekonomik yapının kurulması açısından büyük önem taşımaktadır ve Aşkan, İzmir İmar Müdürü olarakbu süreçte önemli bir rol oynamıştır.İzmir Enternasyonel Fuarı 1930 yılından itibaren, Behçet Uz'un belediye başkanı olması ile birlikte temizlenerek planlı bir şekilde yeniden yapılanır. Bu süreçte örnek alınan Moskova'daki Gorki parkı hakkında detaylı bilgi verilmektedir.Fuar fiziksel olarak planlanmasının yanında aynı zamanda genç Türkiye Cumhuriyeti'ni Uluslararası alanda ekonomik, kültürel ve sosyal açıdan temsil eden, modern bir hareketin sonucu olarak ortaya çıkmıştır. Fuar'ın kurulduğu 1936 yılından 1960'lı yıllara kadar geçen süreçte Rıza Aşkan'ın bu alandaki katkıları büyüktür ve son bölümde Rıza Aşkan'ın yapılarının bir kısmı kronolojik olarak değerlendirmeye alınmıştır. As the effects of the independence war continuing, the Greek Army was beaten and the major fire occurred in 1922 has ruined not only the physical appearance of Izmir but the social, economical and cultural structure as well. In the process after the major fire ruined the city, the restructuring became a must for Izmir from all directions. Urban planning and development of the ruined fire area is evaluated not only because it is important in architectural basis but it is also highly important while developing the social, economic and cultural infrastructure.After making an evaluation of the social, economical, cultural and architectural structure of Izmir between the first years Turkish Republic was founded until the end of 1950?s, information is given about the biography of Rıza Aşkan. Even the lack of sources in the foundation period of young Turkish Republic, Izmir Municipality contacted a series of foreign urban planners.The urban planning process had started with Danger brothers with the consultancy of Henri Post in 1924 and developed with the great effort of Behçet Uz, chief magistrate of Izmir municipality in 1930?s. The plan of Danger brothers was criticized due to high cost and the German Hermann Jansen, who was the planner of the capital city Ankara, was asked to be responsible of urban planning of Izmir. Herman Jansen?s design was not a plan to be applied directly. However, Jansen?s proposals were taken under consideration to reduce the costs and Izmir Municipality continued to develop the fire zone and branched out to whole Izmir in a short period of time.By the time Turkish Republic was founded, the reforms that occurred in multiple areas composed the idea of planned parks in public areas.Hermann Jansen planned Ankara Gençlik Park between the years 1932-1936 in the period he was responsible of urban planning of Ankara. The planning of Ankara Gençlik park, Jansen?s proposal for Izmir and Izmir International fair was planned in the same period which brings the probability of Jansen?s possible contribution in the design of Izmir International Fair. Ankara Gençlik Park and Izmir International Fair has a lot of common design parameters when evaluated in detail. However there is no concrete evidence showingHermann Jansen?s affect.The negotiations started with the urban planner Le Corbusier in 1939 to plan the city and lasted in 1948 as he arrived in Izmir. Rıza Aşkan, who was an employee as an architect in Izmir Municipality since 1940, played an effective role in the urban planning process of Izmir. Although Le Corbusier?s proposal was not found reasonable, his drawings dispatched to the competitors in the International competition which was announced in 1951 for the urban planning of Izmir.Aşkan?s most effective role in this process was to put the Le Corbusier?s idea into action. The idea was to connect Konak with Hatay region through Eşrefpaşa with a connection road varyant which would help the city to expand in that direction.Rıza Aşkan continued his effectiveness as a jury member in the competition which was opened to design Konak that was won by Doğan Tekeli, Sami Sisa ve Gündüz Özdeş in 1951. Aşkan who was in charge of development in İzmir Municipality invited foreign architects and urban planners such as Richard Neutra, Prof. Dudok as well as Sedat Hakkı Eldem to take their decisions in the plannig process of Konak region.The planning of Eşrefpaşa region between the years 1954-1957 is important in terms of urban planning, development of the social and economical structure and Aşkan has played a great role in this planning stage as the head of development in Izmir Municipality.Izmir International Fair is cleaned of the wreckage and developed after Behçet Uz became the head of Izmir Municipality in 1930. Information is given about the Gorky Park in Moscow which came out to be a model for the Izmir International Fair. Izmir International Fair came out as a result of a modernity movement which represents the Turkish Republic in International area in economical, cultural and social basis. Rıza Aşkan contributed the planning and development of Izmir International Fair between 1936 until 1960?s therefore iIn the final stage, buildings that is designed by Aşkan and his awarded projects are evaluated chronologically. 375

Tez (Yüksek Lisans) -- İstanbul Teknik Üniversitesi, Fen Bilimleri Enstitüsü, 2011, Thesis (M.Sc.) -- İstanbul Technical University, Institute of Science and Technology, 2011, Tez kapsamında gerçekleştirilen çalışma, Türkiye’nin Cumhuriyet sonrası mimari gelişimine ve üretimine katkıda bulunan öncü mimarlardan biri olan Arif Hikmet Holtay’ın bu güne kadar kapsamlı bir şekilde ele alınmamış hayatını, mimarlığını ve akademik kimliğini, Türkiye’de 1930-1950 yılları arasında değişen ülke koşullarına, mimari eğilimlere ve eğitim alt yapısına bağlı olarak anlamak ve konumlandırmak amacını taşımaktadır. Çalışmada, Türkiye’nin 1930-1950 yılları arasındaki mimari eğilimleri, Arif Hikmet Holtay’ın yaşamı, akademisyenliği ve mimarlığı üzerinden farklı bir perspektif oluşturularak ele alınmak istenmiştir. Cumhuriyet’in ilanının ardından, aydın ve çağdaş bir toplum seviyesine ulaşma yolunda her alanda gerçekleştirilen devrimler kapsamında mimaride de Cumhuriyet’in yeni ifade biçimi oluşturma yolunda değişimler gerçekleşmiştir. 1930’lu yılların başında etkili olmaya başlayan “yeni mimarlık” anlayışı Atatürk devrimleri paralelinde, Osmanlı Revivalizminin aksine; Batılı uygulamaları örnek alarak çağdaş mimarlık düşüncesi seviyesini yakalamayı amaçlamıştır. Bu kritik dönemde Almanya’da Stuttgart Teknik Okulu’ndaki mimarlık eğitimini tamamlayıp Türkiye’ye dönen Arif Hikmet Holtay ise mesleki ve akademik kariyerine başladığı 1930 yılında, gerçekleşen bu radikal değişim içinde rol alan mimarlardan biri olmuştur. Almanya’da aldığı eğitimi ve edindiği deneyimleri ile diğer meslektaşlarına göre farklı bir mimari profil çizen Holtay, mimarlık ortamında gerçekleşen değişimlerin yanı sıra, göreve başladığı Güzel Sanatlar Akademisi’nde, yabancı hocaların önderliğinde gerçekleştirilen eğitim reformunun da yürütücülerinden olmuştur. Alman kültürüne yakınlığı ile bilinen Holtay, bu dönemde çoğu Almanya’dan gelmiş olan yabancı mimarlar ile olan ilişkileriyle de kilit bir noktada görev almıştır. Otuz bir yıl sürdürdüğü görevinde akademik çalışmaları ve buna paralel olarak yürüttüğü uygulamaları ile Türkiye’deki mimari değişimleri yakından takip eden Holtay, Almanya’daki eğitiminin oluşturduğu alt yapıyla önce 1930’lu yıllardaki modernist “yeni mimari” üslubunun takipçisi, 1940’lı yıllarda ise milliyetçilik düşünceleri ile gelişen yerel yaklaşımların takipçisi olmuştur. 1930-1950 yılları arasında Türk mimarlığına yön veren iki farklı mimari dönemi, bu süreçte mimarideki ideolojik, düşünsel ve biçimsel değişimi yansıtan yapıları ve eğitimci kimliği ile öne çıkan Arif Hikmet Holtay, mimarlık formasyonunu etkileyen etmenler ve Cumhuriyet dönemi mimarlık düşüncesinin gelişimine bağlı olarak değerlendirilmeye alınan mimari uygulamaları ile tez kapsamında ele alınmaktadır. Holtay’ın Türkiye’deki mimari ve akademik yaklaşımlarının alt yapısını anlamak adına, Almanya’nın 1920’lerdeki mimarlık ortamı ile Holtay’ın Almanya’daki eğitimi ve ilk mimarlık deneyimleri ele alınarak mimarlık formasyonunu etkileyen etmenler incelenmiştir. Güzel Sanatlar Akademisi Mimarlık Bölümü’nde 1930-1950 yılları arasında eğitimin alt yapısını oluşturan iki önemli gelişmenin de dikkate alındığı çalışmada; 1930’lu yıllarda modernist eğilimlerin etkisinde ve yabancı hocaların öncülüğünde değişen mimarlık eğitimi ile 1940’lı yıllarda milliyetçi düşüncelerin etkisinde gelişen yerel yaklaşımların bir yansıması olarak “Milli Mimari Seminerleri”nin etkinliği belirleyici olarak ele alınmıştır. Arif Hikmet Holtay’ın Mimarlık Bölümü’ndeki akademik çalışmaları ve eğitimci kimliği ise bir diğer etmen olarak ele alınmıştır. Çalışmada, Türkiye’de 1930-1950 yılları arasında etkili olan iki mimari yaklaşım, dönemin ülke koşulları da göz önünde bulundurularak incelenmiştir. İlk olarak, 1930-1940 yılları arasında etkili olan, Cumhuriyet’in yeni mimari biçimi modern yaklaşımlar ele alınmıştır. İcelenen diğer dönem ise 1940-1950 yılları arasında etkili olan milliyetçi düşünceler paralelinde gelişen yerel ve ulusal yaklaşımlar olmuştur. Bu incelemeler doğrultusunda, Holtay’ın bugün halen ayakta olan İstanbul Üniversitesi Gözlemevi, Esplanad Apartmanı, Mersin İş Bankası ve Bursa İş Bankası binaları mimari özellikleri bakımından değerlendirilmiştir. Diğer tüm mimari projeleri ve uygulamaları da katalog oluşturularak belgelenmiştir. Tez kapsamında, Holtay’ın mimarlık formasyonunun oluşumunu etkileyen etmenler dahilinde mimari ve eğitimci kimliğinin kendine özgü yanları ortaya konmuş, yapıları mimari alt yapısına ve değişen mimari tutumuna paralel olarak değerlendirilmiştir. Diğer yandan da Holtay’ın yaşamı, mesleki çalışmaları ve mimari uygulamaları ile ilgili edinilen bilgiler derlenerek, biyografik niteliklere sahip bir çalışma gerçekleştirilmek istenmiştir., This piece of thesis focuses on the personal and academic identity of the architect Arif Hikmet Holtay who has contributed to the production and improvement of the architectural art and work, in the light of the varying conditions, architectural approaches and educational backgrounds in Turkey between the years 1930-1950. Particularly, the thesis, by way of introducing Mr. Holtay’s personal and academic life and his architectural works, aims to create a different perspective on varying architectural approaches between the years 1930-1950. The period commencing with the foundation of the Republic initiated the formation of the reforms for a democratic and contemporary society, and in this context, the architecture also changed to form a new perspective of the state. Contrary to the Ottoman Revivalism, in the beginning of 1930s, the architecture was dominated by a concept called “new architecture” which was influenced by the Western architecture in line with the Republican reforms. During this critical period, having completed his architectural education at the Stuttgart Technical College, Arif Hikmet Holtay returned to Turkey where he started to build his academic and professional experience and appeared at the middle of the aforementioned radical changes as a role architect. His experiences and educational background in Germany made him to be unique in comparison with his colleagues. In addition, he did not only influence the changes in the architecture during those years, but also led the educational reforms at Academy of Fine Arts, together with the foreign lecturers. Also, during this period, Mr. Holtay took an important role in his relationships with the foreign architects, most with the German ones in line with his sympathy to German ecole. During his thirty one year academic and architectural life, he always followed the developments in the architecture. Particularly, followed modernist “new architecture” in 1930s as an outcome of his educational background in Germany and then approached to the local approaches developed as a result of nationalist opinions. Between the years 1930-1950 which were two different architectural periods, Mr. Holtay appeared to be the one reflecting the ideological, intellectual and formal changes in architecture, supported with his architectural practices and high academic background. In this regard, in this thesis, the factors affecting the formation of his architectural and academic works in the light of the architectural approaches during these years will be analyzed. In order to understand Mr. Holtay’s background of architectural and academic approaches in Turkey, his education in Germany and factors affecting his architectural formation during his early architectural career have been analyzed. At this part, in which two important events that formed the background of the education at the Academy have been taken into consideration; the architectural education that has been changed under the influence of the modernist approaches of 1930s and foreign teachers, and the effectiveness of the “National Architectural Seminars” as a reflection of national approaches that have been developed under the influence of nationalist ideas during 1940s. In thesis, the two architectural approaches which were effective between the years 1930-1950, have been analyzed with also considering the current condition of the country back then. First of all, the new architectural form of the Republic, the modern approach, which was effective between the years 1930-1940 is taken into consideration. Another period which has been analyzed with in this scope is the national approach, developed parallel with the nationalistic ideas effective between the years 1940-1950. In the light of these analysis, Mr. Holtay’s four buildings have been examined. These buildings which still exist are as follows; Observatory of Istanbul University (İstanbul Üniversitesi Gözlemevi), Esplanad Apartment (Esplanad Apartmanı), Is Bank in Mersin (Mersin İş Bankası), and Is Bank in Bursa (Bursa İş Bankasi). Apart from the forgoing buildings, Mr. Holtay’s remaining architectural studies and designs are presented in the catalog. With in the context of the thesis, Mr. Holtay’s unique part of identity as an architect and teacher has been presented with in the scope of the factors effecting his architectural formation. And his buildings have been analyzed according to his architectural background and changing architectural approach. Consequently, it is aimed to compose a study which has biographic qualities by gathering informations about Mr. Holtay’s life, his vocational works and architectural applications., Yüksek Lisans, M.Sc.

Birinci Dünya Savaşı'ndan sonra dağılan Osmanlı İmparatorluğu'nun yerine kurulan Türkiye Cumhuriyeti devleti, cumhuriyetten sonra yüzünü Batı'nın modern kimliğine döndürmüştür. Osmanlı'nın eski toplumsal düzeninden koparak, yerine çağdaş batılı modellere uygun bir düzen getiren yeni Türk devleti, 1920'lerde ülkede yoğun bir yapılandırma programı başlatmıştır. Genç hükümetin, mimarlık da dahil her alanda ?modernleşme?yi hedefleyen bu politikası, Türk toplumsal yaşantısında önemli bir dönüm noktası kabul edilen Atatürk Devrimleri ile de desteklenmiştir.1930'dan sonra tüm dünyayı etkileyen ekonomik buhrandan Türkiye de nasibini almıştır. Türkiye'deki iç ticaret dengelerinin bozulması, ülkenin en önemli gelir kaynağı olan tarımsal ihracatın azalması ve hükümetin gelirlerinin düşmesi gibi krizin sebep olduğu etkiler sonucunda, sanayileşme fikri ülke çapında giderek daha cazip hale gelmeye başlamıştır. Özel sektörün endüstrileşme yolundaki sorunları çözme konusunda yetersiz kalması nedeniyle, sanayileşme, ekonomik ve politik olarak devletin kontrolüne geçmiştir. Devletçi sanayi politikaları bünyesinde hazırlanan Birinci Sanayi Planı ile ülkenin dört bir yanında büyük ölçekli sanayi kompleksleri kurulmuş ve bu kompleksler demiryolu ağları ile kentlere bağlanmıştır.Bunların bir örneği de İstanbul'un hafif sanayi bölgesi olan Paşabahçe'de yer alan Rakı ve İspirto Fabrikası'dır. Fabrikanın arazisinde daha önceden yer alan Modiano Cam Fabrikası 1922'de kapatılmış, bununla beraber arazide yer alan ispermeçet mumu fabrikasının ise sahibi ölmüştür. Hazineye devredilen ispermeçet mumu fabrikasını 1923 yılında Hasan Hulki Bey satın almış, 1926 yılında da Polonyalı bir şirkete devretmiştir. Şirketin bir yıl sonra iflas etmesi üzerine fabrika Hasan Hulki Bey tarafından tekrar satın alınmıştır. 1930 yılında Müskirat (Tekel) İnhisarı İdaresi bünyesine dahil edilen bu yerleşkeye, 1937 yılında, üretim kapasitesini iki kat artıracak olan ve İnhisarlar Umum Müdürlüğü İnşaat Fen Heyeti çalışanı mimar Ahsen Yapanar tarafından tasarlanan bir rakı fabrikası yapılmasına karar verilmiştir. 1939 yılında kullanıma açılmış olan bu fabrika, günümüzde hala ayaktadır fakat üretim yapmamaktadır. Paşabahçe Rakı ve İspirto Fabrikası, erken cumhuriyet dönemi modernizmine ait rasyonel ve fonsksiyonalist mimarinin izlerini taşıyan bir yapı olması açısından büyük önem taşımaktadır. The new Turkish Republic founded after World War I following the collapse of Ottoman Empire has turned its face to the modern identity of the West. The newborn republic, which has broken off from the old Ottoman structure of society and has established an order in harmony with modern western models, started an intensive restructurization program in 1920s. This policy aiming the ?modernization? in almost every field including architecture has been supported by Ataturk?s Reforms, which is accepted as central point in Turkish social life.After 1930, Turkey was affected severely as well from the Great Depression. As a result of the effects of the Depression such as changing domestic trade balance, decreasing the agricultural exports, which was the most important income source of the country, and the decline of government revenues; the notion of industrilization has began to be favorable throughout the country.Because of the incompetency of the private sector in resolving the issues on the way of business and commerce, the government took the control of industrilization economically and politically. With the First Industry Plan prepared within the Statist industrilization Policies, large scale industry complexes were set up and connected to the cities with railroad webs.A sample of these complexes is the Raki and Ispirto Factory located in Istanbul?s light industrial zone, Pasabahce. Along with the closure of the Modiano Glass Factory based in the Factory?s territory in 1922, the owner of the spermaceti wax factory died. The spermaceti factory, which is transferred to the treasury was purchased by Hasan Hulki Bey, who sold it to a Polish company. After the disclosure of this company, Hasan Hulki Bey re-purchased the factory. The campus was included into Müskirat (Tekel) Inhisari Idaresi in 1930. In 1937, it has been decided to build a Raki Factory designed by Ahsen Yapanar, an employee of Inhisarlar Umum Mudurlugu Insaat Fen Heyeti, which would double the production capacity. The factory began production in 1939 and still stands today but not functioning. Pasabahce Raki ve Ispirto (ethyl alcohol) has a great importance in the sense that it is a building bearing the marks of rational and functional architecture of early republican modernism. 137

Tez (Yüksek Lisans) -- İstanbul Teknik Üniversitesi, Fen Bilimleri Enstitüsü, 2011, Thesis (M.Sc.) -- İstanbul Technical University, Institute of Science and Technology, 2011, Kurtuluş savaşının etkileri devam ettiği yıllarda Yunan ordusu İzmir’den henüz denize dökülmüş ve 1922 yılında gerçekleşen İzmir yangını, İzmir’de fiziki bir tahribatın yanı sıra sosyal, ekonomik ve kültürel bir çöküntü oluşturmuştur. Yangın sonrası oluşan bu süreçte kentin her anlamda yeniden yapılandırılması zorunlu bir hale gelmiştir. Tamamen yıkılmış olan yangın bölgesinin imarı ve planlı bir şekilde yapılandırılması, fiziksel görüntü ve mimari açıdan önemli olduğu gibi sosyal, ekonomik ve kültürel altyapının oluşturulmasında da önemli bir etken olduğundan değerlendirmeye alınmıştır. Cumhuriyet döneminde ve 1950’li yılların sonuna kadar geçen dönemde Türkiye ve İzmir’deki sosyo-ekonomik, kültürel ve ekonomik yapı, mimari gelişmeler hakkında değerlendirme yapıldıktan sonra Y. Mimar Rıza Aşkan’ın biyogrofisi hakkında bilgi verilmiştir. Genç Türkiye Cumhuriyeti’nin kuruluş sürecine denk gelen bu dönemde, İzmir’in yeniden imarı için kısıtlı imkanlar olmasına rağmen birçok yabancı şehir plancısı ile görüşmeler yapılmıştır. 1924 yılında Henri Prost’un danışmanlığında Fransız Danger kardeşler ile başlayan planlama süreci, 1930’lu yıllarda, İzmir Belediye Başkanı Behçet Uz’un üstün çabaları sonucu gelişerek sonuç vermeye başlamıştır. Danger kardeşlerin planı ekonomik olmadığı geekçesi ile eştirilere uğrar ve Başknet Ankara’nın plancısı Hermann Jansen’in görüşleri alınır. Jansen’in önerileri dikkate alınsa da uygulanabilir bulunmaz ve İzmir Belediyesi, İzmir Enternasyonel Fuarı’nda başladığı temizleme çalışmalarına hızla devam ederek bu yapılanmayı yangın bölgesi başta olmak üzere tüm İzmir’e yaymayı başarır. Cumhuriyetin ilanıyla birlikte her alanda yaşanan reformlar kamusal alanlarda da planlı park kavramını ortaya çıkarmıştır. Hermann Jansen Ankara’nın kentsel planlamasından sorumlu olduğu dönemde, 1932-1936 yılları arasında Ankara Gençlik parkını tasarlamıştır. İzmir Enternasyonel Fuarı’nın kuruluşuna denk gelen bu yıllar aynı zamanda Herman Jansen’in Yangın alanı ile ilgili çalışmalarını sunduğu yıllardır. Bu da Jansen’in fuarın planlamasında katkısı olup olmadığını akla getirmektedir. Ankara Gençlik parkı ve İzmir Enternasyonel Fuarı detaylı olarak incelendiğinde, bir çok yönden benzerlikler dikkat çekse de Jansen’in etkisinin olduğunu gösteren herhangi somut bir bulguya rastlanmamıştır. Kentin planlaması için 1939 yılında Le Corbusier ile başlayan görüşmeler, plancının 1948 yılında İzmir’e gelmesi ile sonuçlanır. 1940 yılından itibaren İzmir Belediyesi’nde görevli Rıza Aşkan Le Corbusier’nin ziyareti ile birlikte, İzmir’in planlanmasında etkin bir rol almıştır. Her ne kadar Le Corbusier’nin önerileri uygulanamaz bulunsa da bu çizimler 1951 yılında İzmir’in planlanması için açılan Uluslararası yarışmada, yarışmacılara fikir vermesi amacı ile dağıtılmıştır. Aşkan’ın bu süreçteki en önemli rolü uygulanamaz denen ve eleştirilen Le Corbusier planınında şehrin genişlemesi öngörülerek varyant bağlantı yolunun yapılması ile birlikte Eşrefpaşa ve Hatay yönüne doğru yapılaşmanın temellerini atması olmuştur. 1955 yılında Doğan Tekeli, Sami Sisa ve Gündüz Özdeş tarafından kazanılan Konak sitesi mevzi kentsel tasarım yarışmasında Juri üyesi olan Aşkan, İmar müdürü olduğu bu yıllarda Richard Neutra, Prof. Düdok gibi yabancı mimar ve şehircilerin yanı sıra Sedat Hakkı Eldem’in de görüşlerini de alarak Konak Meydanı’nın şekillenmesinde önemli bir rol oynamıştır. 1954-1957 yılları arasında Eşrefpaşa bölgesindeki meydan düzenlemesi, yapılaşma ve kentsel planlama, bu dönemdeki sosyo-ekonomik yapının kurulması açısından büyük önem taşımaktadır ve Aşkan, İzmir İmar Müdürü olarakbu süreçte önemli bir rol oynamıştır. İzmir Enternasyonel Fuarı 1930 yılından itibaren, Behçet Uz’un belediye başkanı olması ile birlikte temizlenerek planlı bir şekilde yeniden yapılanır. Bu süreçte örnek alınan Moskova’daki Gorki parkı hakkında detaylı bilgi verilmektedir. Fuar fiziksel olarak planlanmasının yanında aynı zamanda genç Türkiye Cumhuriyeti’ni Uluslararası alanda ekonomik, kültürel ve sosyal açıdan temsil eden, modern bir hareketin sonucu olarak ortaya çıkmıştır. Fuar’ın kurulduğu 1936 yılından 1960’lı yıllara kadar geçen süreçte Rıza Aşkan’ın bu alandaki katkıları büyüktür ve son bölümde Rıza Aşkan’ın yapılarının bir kısmı kronolojik olarak değerlendirmeye alınmıştır., As the effects of the independence war continuing, the Greek Army was beaten and the major fire occurred in 1922 has ruined not only the physical appearance of Izmir but the social, economical and cultural structure as well. In the process after the major fire ruined the city, the restructuring became a must for Izmir from all directions. Urban planning and development of the ruined fire area is evaluated not only because it is important in architectural basis but it is also highly important while developing the social, economic and cultural infrastructure. After making an evaluation of the social, economical, cultural and architectural structure of Izmir between the first years Turkish Republic was founded until the end of 1950’s, information is given about the biography of Rıza Aşkan. Even the lack of sources in the foundation period of young Turkish Republic, Izmir Municipality contacted a series of foreign urban planners. The urban planning process had started with Danger brothers with the consultancy of Henri Post in 1924 and developed with the great effort of Behçet Uz, chief magistrate of Izmir municipality in 1930’s. The plan of Danger brothers was criticized due to high cost and the German Hermann Jansen, who was the planner of the capital city Ankara, was asked to be responsible of urban planning of Izmir. Herman Jansen’s design was not a plan to be applied directly. However, Jansen’s proposals were taken under consideration to reduce the costs and Izmir Municipality continued to develop the fire zone and branched out to whole Izmir in a short period of time. By the time Turkish Republic was founded, the reforms that occurred in multiple areas composed the idea of planned parks in public areas. Hermann Jansen planned Ankara Gençlik Park between the years 1932-1936 in the period he was responsible of urban planning of Ankara. The planning of Ankara Gençlik park, Jansen’s proposal for Izmir and Izmir International fair was planned in the same period which brings the probability of Jansen’s possible contribution in the design of Izmir International Fair. Ankara Gençlik Park and Izmir International Fair has a lot of common design parameters when evaluated in detail. However there is no concrete evidence showing Hermann Jansen’s affect. The negotiations started with the urban planner Le Corbusier in 1939 to plan the city and lasted in 1948 as he arrived in Izmir. Rıza Aşkan, who was an employee as an architect in Izmir Municipality since 1940, played an effective role in the urban planning process of Izmir. Although Le Corbusier’s proposal was not found reasonable, his drawings dispatched to the competitors in the International competition which was announced in 1951 for the urban planning of Izmir. Aşkan’s most effective role in this process was to put the Le Corbusier’s idea into action. The idea was to connect Konak with Hatay region through Eşrefpaşa with a connection road varyant which would help the city to expand in that direction. Rıza Aşkan continued his effectiveness as a jury member in the competition which was opened to design Konak that was won by Doğan Tekeli, Sami Sisa ve Gündüz Özdeş in 1951. Aşkan who was in charge of development in İzmir Municipality invited foreign architects and urban planners such as Richard Neutra, Prof. Dudok as well as Sedat Hakkı Eldem to take their decisions in the plannig process of Konak region. The planning of Eşrefpaşa region between the years 1954-1957 is important in terms of urban planning, development of the social and economical structure and Aşkan has played a great role in this planning stage as the head of development in Izmir Municipality. Izmir International Fair is cleaned of the wreckage and developed after Behçet Uz became the head of Izmir Municipality in 1930. Information is given about the Gorky Park in Moscow which came out to be a model for the Izmir International Fair. Izmir International Fair came out as a result of a modernity movement which represents the Turkish Republic in International area in economical, cultural and social basis. Rıza Aşkan contributed the planning and development of Izmir International Fair between 1936 until 1960’s therefore iIn the final stage, buildings that is designed by Aşkan and his awarded projects are evaluated chronologically., Yüksek Lisans, M.Sc.

Tez (Yüksek Lisans) -- İstanbul Teknik Üniversitesi, Fen Bilimleri Enstitüsü, 2011, Thesis (M.Sc.) -- İstanbul Technical University, Institute of Science and Technology, 2011, Kurtuluş Savaşı’ndan sonra Osmanlı’nın eski toplumsal düzeninden koparak, yerine çağdaş batılı modellere uygun bir düzen getiren yeni Türk devleti, 1920’lerde ülkede yoğun bir çağdaşlaşma programı başlatmıştır. 1930’dan sonra tüm dünyayı etkileyen ekonomik buhrandan Türkiye de büyük ölçüde etkilenmiş, ülkedeki iç ticaret dengelerinin bozulması, ülkenin en önemli gelir kaynağı olan tarımsal ihracatın azalması ve hükümetin gelirlerinin düşmesi gibi krizin sebep olduğu etkiler sonucunda, sanayileşme fikri gündeme gelmiştir. Özel sektörün endüstrileşme yolundaki sorunları çözme konusunda yetersiz kalması nedeniyle, sanayileşme, ekonomik ve politik olarak devletin kontrolüne geçmiştir. Birinci Sanayi Planı ile ülkenin dört bir yanında büyük ölçekli sanayi kompleksleri kurulmuş ve bu kompleksler demiryolu ağları ile kentlere bağlanmıştır. Bunların bir örneği de İstanbul’un hafif sanayi bölgesi olan Paşabahçe’de yer alan Rakı ve İspirto Fabrikası’dır. 1937 yılında, mimar Ahsen Yapanar tarafından tasarlanan bu rakı fabrikası günümüzde hala ayaktadır fakat üretim yapmamaktadır. Paşabahçe Rakı ve İspirto Fabrikası, erken cumhuriyet dönemi modernizmine ait rasyonel ve fonsksiyonalist mimarinin izlerini taşıyan bir yapı olması açısından büyük önem taşımaktadır., After the Turkish War of Independence, the newborn republic, which has broken off from the old Ottoman structure of society and has established an order in harmony with modern western models, started an intensive modernization program in 1920s. After 1930, Turkey was affected severely as well from the Great Depression and as a result of the effects of the Depression like changing domestic trade balance, decreasing the agricultural exports, which was the most important income source of the country, and the decline of government revenues; the notion of industrilization has become a current issue. Because of the incompetency of the private sector in resolving the issues on the way of business and commerce, the government took the control of industrilization economically and politically. With the First Industry Plan prepared within the Statist industrilization Policies, large scale industry complexes were set up and connected to the cities with railroad webs. A sample of these complexes is the Raki and Ispirto Factory located in Istanbul’s light industrial zone, Pasabahce. In 1937, it has been decided to build a Raki Factory which still stands today but not functioning had been designed by Ahsen Yapanar, the architect. Pasabahce Raki ve Ispirto (ethyl alcohol) has a great importance in the sense that it is a building bearing the marks of rational and functional architecture of early republican modernism., Yüksek Lisans, M.Sc.

Tez (Yüksek Lisans) -- İstanbul Teknik Üniversitesi, Fen Bilimleri Enstitüsü, 2010, Thesis (M.Sc.) -- İstanbul Technical University, Institute of Science and Technology, 2010, Osmanlı İmparatorluğunda XIX. yüzyıl mimarisi geçmiş klasik dönem yapılarından çok farklı türde ve farklı mimari üsluplarda yapıların inşa edildiği bir dönemdir. Batılılaşma hareketleri dediğimiz değişim süreci I. Mahmut, III. Selim ve II. Mahmut dönemlerinde ivmelenerek devam etmiş, bu değişim hareketleri sosyal hayata olduğu kadar mimaride de etkilerini göstermiştir. İstanbul daha önce olmadığı kadar yoğun bir mimari hareketlilikle yeni bir çehreye kavuşacak, Osmanlı yapı tipolojisi içinde daha önce yer almayan kışla binaları, hastaneler ve devlet daireleri inşa edilecekti. Sultan Ahmet ve Süleymaniye gibi merkezde, büyük ölçekli cami külliyeleri yapılmayacak bunların yerini şehrin farklı yerleşim yerlerine dağılmış , küçük ölçekli, tek kubbeli yapılar almıştır. Cami mimarisinde de klasik osmanlı cami plan şemasının dışında tek kubbeli, küçük ölçekli camiler inşa edilmiştir. Bu camiler plan şeması olarak çok büyük yenilik getirmemekle birlikte mimari üslup olarak farklı karakteristik yapılar olmuşlardır. Bu yüzyıl cami mimarisinin ortaya koyduğu en büyük yenilik ise cami ile bütünleşen, aynı mimari plan içinde düşünülmüş hünkâr kasırlarının inşa edilmiş olmasıdır. Bu yapılardan biri de İstanbul avrupa yakasınında, Dolmabahçe sarayının hemen yanına Sultan Abdülmecit’in annesi Bezm-i Âlem Valide Sultan tarafından inşa edilmiş. İsmini hem banisinden hem de yanına inşa edildiği saraydan alarak Dolmabahçe yada Bezmialem Valide Sultan Camisi olarak bilinen cami hem farklı mimari üslubu hem de Osmanlı cami mimarisi için bir yenilik olan hünkâr kasrının cami tipolojisi içindeki önemli uygulamalarından biri olarak karşımıza çıkmaktadır. İlk inşa edildiğinde avlu duvarı ile çevrili olan caminin avlu duvarı tamamen yıkılmış, muvakkithanesi şimdiki yerine alınmıştır. Caminin iç mekanında kullanılan süslemeleri stuk sıva dekorasyonu ile yapılmıştır, stuk sıva dekorasyonunun en yoğun uygulandığı örneklerdendir bu bakımdandadöneminin önemli yapılardan biridir., XIXth century architecture, in Ottoman Empire, is a period where different kind of structures were build in styles drastically diversing from past classical era. The westernisation process continued, accelerating, through the reings of Mahmud I, Selim III and Mahmud II with effects on daily life and architecture. Istanbul, as intense as it is never seen before, would get a new appearance, barracks, hostpitals and government buildings would be built that did not belong to Ottoman architectural typology before. Rather than establishments in the centre -like Blue Mosque or Sulaimaniya- large-scale mosque complexes, single-domed small-scale structres were built scatered around the city. Again in mosque architecture, breaking away from traditional outline, single-domed small-sclaed mosques were built. Although these mosques did not bring out greate deal of innovation to the outline, they characteristically stand as structures different in architectural style. The most significant innovation introduced by the mosque architecture of this century is the construction of pavilons that are integrated with the mosque and considered in the layout. One of those constructions was built, at the european side of Istanbul, next to the Dolmabahce palace by the mohter of Abdulmecid I, Bezmialem Valide Sultan. Known as Dolmabahce or Bezm-i Âlem Valide Sultan Mosque, inheriting its name both from its establisher and the palace next to it, the mosque appears both as a different archtichtural style and as one of the most important applications of pavilions within the mosque typoligy which was an innovation in Ottoman architecture. The mosque was surrounded by courtyard walls when it was first built. However, the walls were demolished later and the observatory is moved its actual location today. Stuccowork plaster is used for the interior decoration of the mosque. This is one of the instances of the most intense application of stuccowork, hence the mosque is oneof the most important buildings fo its period., Yüksek Lisans, M.Sc.

Tez (Yüksek Lisans) -- İstanbul Teknik Üniversitesi, Fen Bilimleri Enstitüsü, 2010, Thesis (M.Sc.) -- İstanbul Technical University, Institute of Science and Technology, 2010, Erken Cumhuriyet Dönemi Türkiyesi’nde kırsalı dönüştürme hedefi ile gerçekleştirlen girişimlerin ifadesi üzerinden şekillenen bu tez, 1930-1945 yılları arasında Anadolu’nun ideolojik projeler çerçevesinde hem düşünsel hem de fiziksel yönden inşasını tartışmaktadır. Erken Cumhuriyet Dönemi’nin (1923-1950) dinamikleri incelendğinde Anadolu sözcüğünün temsil ettiği anlam siyasal söylemin en büyük dayanağını oluşturmaktadır. Bu sebeple, öncelikle dönemin fikir ve eylem ortamının Anadolu kırsalını nasıl ifade ettiği ve onu nasıl bir çerçeve içinde değerlendirdiği en temel bakış açısı olarak ele alınmıştır. Çalışmada tariflenen zaman aralığı içindeki çoğul tipolojilerden yararlanarak bu bakış açısı genişletilmiş, farklı eksenlerde iz sürülmüştür. Tezde Erken Cumhuriyet Dönemi’nin kırsala yönelik hareketini irdelemek için iki ana strüktür oluşturulmuş, bu eksenler üzerinde teorik çalışmalar ve onları destekleyecek örnekler ortaya çıkarılmıştır. Erken Cumhuriyet Dönemi Türkiyesi’nde, en radikal toplumsal değişimlerin yaşandığı ortamda, inşa eylemi çerçevesinde kentlerdeki mimari farklılaşma birçok çalışmaya konu olmuştur. Ancak dönemin dinamikleri değerlendirildiğinde Anadolu şehirlerine değen modernleştirici elin Anadolu kırsalında bıraktığı iz de gözler önüne serilmelidir. Bu izin bütüncül bir kurgu içerisinde okunur hale getirilmesi ile biçimlenen tez, demiryoları ve köprüler alt teması ile sınırlanırken, konu alanındaki diğer çalışmalara eklenerek Erken Cumhuriyet Dönemi mimarisi arşivine katkıda bulunmayı hedeflemektedir., This dissertation, shaped after the efforts of rural reform in Republican Era, argues and exemplifies the physical and theoretical construction of the ‘’Anatolia’’ idea/myth in the period of 1930-45 within the framework of ideological projects. Dynamics of the Early Republican Era (1923-1950), upon a closer look, imposes a great importance on the meaning indicated by the word ‘Anatolia’, as the political discourse is founded mainly upon it. Primarily, the consideration focuses on how the ideologic movement expressed Anatolian rural and how it was taken into consideration. In the defined time period, multiple typologies have been followed, expanding the research in differing paths. In the dissertation, a dual structure has been intended and in each of the main axes, theoretical framework and supporting examples are given. In Early Republican Turkey, in a period renowned for its radical sociological reforms, the architectural urban differentiation has been a question for many studies. But as the dynamics of the period is evaluated, it must be noted the modernizing hand of ideology that shaped Anatolian cities also had a significant impact on Anatolian agrarian. The dissertation, following that impact’s trace and aiming to present it in a visible and coherent whole, is limited with sub-theme of railways and bridges, hoping to integrate into the bibliography on the era and contribute to the Early Republican Era Architectural archive., Yüksek Lisans, M.Sc.

Tez (Yüksek Lisans) -- İstanbul Teknik Üniversitesi, Fen Bilimleri Enstitüsü, 2007, Thesis (M.Sc.) -- İstanbul Technical University, Institute of Science and Technology, 2007, Bu çalışmada, erken dönem Osmanlı mimarisindeki eğrisel örtüye geçiş sistemleri, hamam yapıları üzerinden incelenmiştir. Eğrisel örtü, örtüye geçiş ve örtüyle ilişkili aydınlatma ögeleri için terminolojik bir çalışma yapılarak bu ögelerin biçimsel ve yapısal özellikleri için bir biçim kataloğu hazırlamıştır. Biçim kataloğunda yer alan ögelerin, hamam yapılarında kullanımını belgelemek için bir envanter formu oluşturulmuştur. Yerinde ve arşiv çalışması ile incelenen 51 hamam yapısından elde edilen örtüye ilişkin bilgiler envanter formlarına işlenerek bir veri tabanı haline getirilmiştir. Ayrıca her bir hamam yapısı için derlenen yazılı ve görsel malzemeden birer envanter dosyası hazırlanmıştır. Tüm bu çalışmalara paralel olarak hamam yapılarının tarih içindeki gelişimi ile ilgili ve Osmanlı mimarlığının erken dönemdeki özellikleri ile ilgili arşiv ve kitaplık çalışması da sürdürülmüştür. Sonuçta ulaşılan somut veriler, veri modelinin yardımıyla sayısal değerlere ve grafiklere dökülerek, Osmanlı mimarlığının erken döneminde kullanılan örtü sistemlerinin zamana göre değişen niteliği tartışılmıştır., This study carries out an analysis of spherical superstructure systems in early Ottoman architecture, through bathhouse examples. An initial terminological survey for spherical superstructures, along with their transition and lighting elements was concluded in a “Catalogue of Forms”, that covers their formal, structural and material properties. A detailed “inventory form” was designed, based on the entries in this catalogue, so that the application of superstructural elements in bathhouses could be systematically documented. This infrastructural work was followed by on-site and archival analysis of 51 early Ottoman bathhouses, whose superstructural properties were recorded on inventory forms, which consequently resulted in an inventory database and a data model. An inventory dossier for each bathhouse was also assembled out of several written and visual materials compiled. In parallel, was carried out a library study, concerning the general properties of bathhouses throughout history, as well as the general properties of early Ottoman architecture. Finally, a tabulation of all the concrete data in our data model let us produce numerical values and graphics, against which was discussed the changing character of early Ottoman superstructures in time., Yüksek Lisans, M.Sc.

Bu çalışmada, erken dönem Osmanlı mimarisindeki eğrisel örtüye geçiş sistemleri,hamam yapıları üzerinden incelenmiştir. Eğrisel örtü, örtüye geçiş ve örtüyle ilişkiliaydınlatma ögeleri için terminolojik bir çalışma yapılarak bu ögelerin biçimsel veyapısal özellikleri için bir biçim kataloğu hazırlamıştır. Biçim kataloğunda yer alanögelerin, hamam yapılarında kullanımını belgelemek için bir envanter formuoluşturulmuştur. Yerinde ve arşiv çalışması ile incelenen 51 hamam yapısından eldeedilen örtüye ilişkin bilgiler envanter formlarına işlenerek bir veri tabanı halinegetirilmiştir. Ayrıca her bir hamam yapısı için derlenen yazılı ve görsel malzemedenbirer envanter dosyası hazırlanmıştır. Tüm bu çalışmalara paralel olarak hamamyapılarının tarih içindeki gelişimi ile ilgili ve Osmanlı mimarlığının erken dönemdekiözellikleri ile ilgili arşiv ve kitaplık çalışması da sürdürülmüştür. Sonuçta ulaşılan somutveriler, veri modelinin yardımıyla sayısal değerlere ve grafiklere dökülerek, Osmanlımimarlığının erken döneminde kullanılan örtü sistemlerinin zamana göre değişenniteliği tartışılmıştır.Anahtar Kelimeler: Erken Osmanlı mimarisi, örtüye geçiş ögesi, hamam, kubbe, tonoz,tromp, pandantif, üçgen, mukarnas, kubbe feneri, filgözü, envanter modeli, biçimkataloğu This study carries out an analysis of spherical superstructure systems in early Ottomanarchitecture, through bathhouse examples. An initial terminological survey for sphericalsuperstructures, along with their transition and lighting elements was concluded in a?Catalogue of Forms?, that covers their formal, structural and material properties. Adetailed ?inventory form? was designed, based on the entries in this catalogue, so thatthe application of superstructural elements in bathhouses could be systematicallydocumented. This infrastructural work was followed by on-site and archival analysis of51 early Ottoman bathhouses, whose superstructural properties were recorded oninventory forms, which consequently resulted in an inventory database and a datamodel. An inventory dossier for each bathhouse was also assembled out of severalwritten and visual materials compiled. In parallel, was carried out a library study,concerning the general properties of bathhouses throughout history, as well as thegeneral properties of early Ottoman architecture. Finally, a tabulation of all theconcrete data in our data model let us produce numerical values and graphics, againstwhich was discussed the changing character of early Ottoman superstructures in time.Keywords: Early Ottoman architecture, transition elements for superstructure,bathhouse, dome, vault, pendentive, squinch, triangle, muqarnas, lantern, oculus,inventory model, catalogue of forms 458

Çalışma, `19. yüzyıl, Batıya açılma politikası içinde, Beyoğlu bölgesi örnek alınarak, kapıların tipolojik gelişimini ele almaktadır. Batıya açılmış bir Beyoğlu'nda, değişimin kapı öğesi üzerinden giderek nasıl bir anlam ve biçim kazandığı incelenmiştir. Çalışma içinde, `Kapı` öğesinin biçimlenmesine, tarih içindeki biçimsel ve işlevsel değişimine ve anlamına değinilmiş; `Kapı ve Giriş Mekanlarını` hem kavramsal olarak tanımlamaya hem de oluşumunu etkileyen kültürel, sosyal, psikolojik ve fiziksel faktörlerin önemine değinilmeye çalışılmıştır. Çalışma, yedi ana bölüm altoda toplanmıştır. Birinci bölüm, giriş bölümüdür ve iki başlıktan oluşmaktadır. İlk alt başlıkta, çalışmanın kapsamı ve amacı, ikinci alt başlıkta, yapılan çalışmada izlenen yöntemden bahsedilmektedir. İkinci bölümde, kapı ve giriş mekanlarının anlamı genel planda ele alınmaktadır. Bu bölüm iki alt başlıktan oluşmaktadır. Birinci alt başlıkta, kapı ve giriş mekanlarının kuramsal ve sembolik anlamlan incelenmiş, ikinci alt başlıkta, kapı ve giriş mekanlarının tasarlanmasına ve yapımına değinilmiştir. Burada, kapıların tasarlama ve malzeme sorunları iki ayn başlıkta değerlendirilmiştir. Üçüncü bölümde, kapı ve giriş mekanlarının tarihsel gelişimi ele alınmaktadır. Bu bölüm, kapıya ihtiyaç duyulduğu ve ortaya çıktığı Prehistorik dönemden başlayarak, Antik Mısır, Antik Yunan, Roma, Ortaçağ ve Modern kültürlerde kapının gelişimi, altı alt başlık çerçevesinde ele alınmıştır. Ortaçağ Mimarlığı alt başlığı, kendi içinde Avrupa ve Anadolu mimarlığında kapı ve girişler olarak iki bölümden oluşmaktadır. Bizans, Selçuklu ve Osmanlı dönemlerini içermek üzere Anadolu mimarlığında `kapı ve giriş mekanlarının`, biçimlenişi ve gelişimi, iki alt başlıkta toplanmıştır. Dördünce bölümde, Beyoğlu bölgesinin; Bizans, Ceneviz ve Osmanlı İmparatorluğu dönemleri içinde geçirdiği tarihi süreç, Tanzimat öncesi ve Tanzimat sonrası olarak iki alt başlık altında incelenmektedir. Beşinci bölümde, seçili örnekler, konutlara ait kapı ve girişler ile kamuya açık kullanıma ait kapı ve girişler olmak üzere iki ana başlıkta toplanmıştır. Bölüm, 90 yapıya ait, kapıların envanter fişleri, metin yazılan ve fotoğraf albümünden oluşmaktadır. Envanter fişleri, kapılann 1 -İşlev, 2-TipoIoji, 3-Malzeme, 4-Bezeme, 5- Konum ve 6-Yapılanmalan hakkında bilgi vermektedir. Aynca, kapılann Auto- Cad çizimleri hazırlanmış ve çalışma içerisinde fotoğraflar ile birlikte sunulmuştur. Metin yazılannda ise, daha çok kapının yapıya ilişkin özellikleri, anlam ve üslup ele alınarak verilmiştir. Altıncı bölümde, seçili örneklerin verilerine dayanarak, Beyoğlu bölgesi içinde kapı ve giriş mekanlarının, 19. yüzyılda, nasıl tasarlandığı ve yapıldığı anlatılmaya çalışılmıştır. Bu bilgiler, dört alt başlıkta toplanmıştır. Bunlar sırayla, mimari ve tasarlama, kullanılan malzeme, uygulanan bezemeler ve bölgede çalışan mimarlan kapsamaktadır. Genel olarak, kapılar hakkında, az da olsa kimi çalışmalara rastlanmasına karşın, Beyoğlu bölgesi kapılan hakkında toplu bir araştırma vekaynak bulunmamaktadır. Bu sebeple, bozulmamış ya da az bozulmuş olan örnekleri belgelemeye ve incelemeye çalıştık. Yedinci bölümde, çalışmada varılan sonuç ve bir değerlendirme yer almakta ve bu, gerektiğinde örneklenerek açıklanmaya çalışılmaktadır. Avrupa kaynaklı bir mimariye ve tasarıma sahip olan çalışma alanı, kendi içinde tekrarlanan tasarım ve bezemeler ile 19. yüzyıl İstanbul mimarisi içinde farklı ve yeni bir mimari dokuyu taşımaktadır. Geleneksel mimariden farklı şekillenen bölge, yabancı ve yabancı kökenli mimarların da tasarımlarıyla, İstanbul'un göbeğinde küçük bir Avrupa yaratmıştır. Sonuç olarak, ayrıca geçen zaman içinde, yanlış koruma politikaları ve değerlendirme kriterleri yüzünden tamamen yok olma tehlikesi ile karşı karşıya olan kapı ve giriş mekanlarının, İstanbul içindeki, kendine özgülüğünün, yapılan bu tipolojik çalışma ile korunması gerektiğine dikkat çekilmeye çalışılmaktadır. Kapı, mekan olmadan var olamaz. Kapı, mekanın varlığını, mekan da ona açılan kapının niteliğini etkiler. Kullanıcı ise doğrudan kapı ve mekandan etkilenir ve etkiler. xı This work handles the typological development of the doors within the westernization policy in 19th century at Beyoğlu district. It was studied that how the changes take a meaning and form by the way of `door` in Beyoğlu, within this study, it was pointed out the structural and functional change, meaning and formation of `door` during history. I was tried to to define the `door and entrance` conceptionally and to stres the importance of the cultural, social, psychological and physical factors that affected the formation of them. This study is in seven parts. The first part is the introduction part and involves two under headings. The content of this study is in the first under heading, the methhod of this study is in the second under heading. In the second part the meaning of the `door and entrance` is handled in a general way. This part involves two underheadings. the theoretical and symbolic meanings of `door and entrance` are studied within the first undeheading. The design and formation of the `door and entrance` is in the second undeheading. Have the problems in desig and materal of the doors are studied. In the third part the development of the `door and entrance` within history is studied. In it the development of the door during the Ancient Egypt, Ancient Grek, Rome, Medieval and Modern cultures beginning with the Prehistoric period is handled under six headings. Medieval architecture includes three headings: l-`door and entrance` in European architecure, 2- `door and entrance` in Byzantion architecure, 3 --`door and entrance` in Ottoman architecure, In the fourth part, the historical period that Beyoğlu district witressed during Byzantine, Geneose and Otoman times is studied under two headings; before Tanzimat, after Tanzimat. In the fifth part, there are two headings: `door and entrance` of residences and `door and entrance` of public buildings. The samples are studied under these headings this part consists of the texts, invantory papers and photo album of 90 buildings. Moreover, the Auto-cad drawings of them are prepared and included in this study. In the sixty part, by means of the data about the samples how the door and entrance within Beyoğlu district in 19th century is designed and made is handled. These data is under four headings. These are; architecture and design, material used, applied ornaments and the architects that worked in that area. In general, there are rarely studies on doors but about Beyoğlu district these is no study or resource on doors. So, we tried to study on the non-deformed or less deformed samples. In the seventh part, there are the conclusion and evalvation parts of this study and they are explained with examples when needed. The studied place has European- based architecture annd design. It carries out a different and new architectural texture within Istanbul in 19th centry, thugs it has a repeating design and ornaments. The district took its shape different from the traditional architecture. It created a small Europe in the middle of Istanbul with its foreign or originally foreign architects designs. xnIn conclusion, because of the wrong policies of protection and evalvation criteria the `door and entrance` is faced with a hazard of being vanish. The stres in this typological study is on the essentiality of protecting these buildings originality. Door can't exist without a building. Door affect the existance of the place and place affects the qualifications of the door. The user is directly affected by the door and the place and he/she affects it, too. xin 562

Tez (Yüksek Lisans) -- İstanbul Teknik Üniversitesi, Fen Bilimleri Enstitüsü, 2004, Thesis (M.Sc.) -- İstanbul Technical University, Institute of Science and Technology, 2004, “Batı’ ya açılma politikası” içinde 19.yy yapılarına ait kapı ve giriş mekanlarının Beyoğlu-Pera bölgesi esas alınarak incelenmesidir. Batıya açılmış kentlerde değişimin kapı öğesi üzerinden giderek nasıl bir anlam ve biçim edindiğini gözlemeye çalıştım. “Kapı” öğesinin biçimlenmesine, tarih içindeki biçimsel ve işlevsel değişimine ve anlamına değindim. Çalışmam içinde “Kapı ve Giriş mekanlarının” hem kavramsal olarak tanımlamaya hem de oluşumunu etkileyen kültürel, sosyal, psikolojik ve fiziksel faktörlerin önemine değinilmiştir. Çalışma fotoğraf ve çizimlerle desteklenmiş, örnekler üzerinde envanter çalışması yapılmıştır. Kapı, mekanın varlığını, mekan da ona açılan kapının niteliğini etkiler. Kullanıcı ise doğrudan kapı ve mekandan etkilenir ve etkiler., The main topic of thesis is observing the 19th century buildings’ doors and doorways within the Beyoğlu-Pera location in the “westernization policy”. I tried to observe how did the changes in thewesternized cities gain a meaning and structure. I pointed out the structural and the functional changeand the meaning of the “door” within the history. Itried to define the “door and the doorways”conceptually and also streesed the cultural,social,pschological and the physical factors that affectedtheir formation. This studies caring photos, drawings and typologic work. Door effects the existence of the palce and place effects the features of the door that is opening into it. The users are directly effected by door and the place and also effect them., Yüksek Lisans, M.Sc.

Osmanlı İmparatorluğu, lö.yy.'da belirmeye başlayan siyasal, ekonomik ve yönetimsel aksaklıkların giderek artması sonucu Batı uygarlığını kabul ederek niteliksel bir değişim sürecine girmiştir. Her alanda olduğu gibi sanat alanında da değişimler başlamış ve aşamalı olarak gelişim göstermiştir. İmparatorluğun resim sanatında 18.yy'a kadar etkili olan minyatürden `Batı tarzında resim`e geçiş de Avrupaya açılma ile yavaş yavaş şekillenmiştir. Batıya açılma süreci ve imparatorluk içinde çalışan yabancı ressamlar sayesinde 18.yy'ın ikinci yarısından itibaren resim alanında geleneksel sanattan Batı biçimlerine geçilmiştir. Bu dönemde etkili olmaya başlayan duvar resimlerinin imparatorluk resim sanatı içinde ayrı bir yeri vardır. 19.yy. sonu yapılarından olan Şale Köşkünün duvar ve tavanlarında yer alan bezemeler ve manzara resimleri, Osmanlı resim sanatının lö.yy.'da başlayan değişim yolculuğunda 19.yy.'da nereye ulaştığım belgelemesi açısından önem taşımaktadır. Konusu `Yıldız Sarayı Şale Köşkü Duvar ve Tavan Bezemelerinde Manzara Resmi` olan bu tez beş bölümden ulumaktadır. İlk bölümde; tezin amacı, kapsamı ve çalışma yöntemi anlatılmıştır. İkinci bölümde; tezin konusu Şale Köşkü Duvar ve Tavan Bezemelerinde Manzara Resmi olması itibariyle duvar ve tavan bezemesinde manzara resimlerinin kısa tarihçesi, o dönem Avrupa' sında manzara resmi ve Osmanlı İmparatorluğunun batılılaşma sürecine girmesi ile her alanda olduğu gibi resim alanında da geçirdiği değişim süreci incelenmiştir. Üçüncü bölümde; ana tema olan Şale Köşkü'nün tarihçesi ve mimari özellikleri verilmiştir. Şale Köşkü Duvar ve Tavan Bezemelerinde Manzara Resmi/Katalog başlığı altında toplanılan dördüncü bölümde ise; köşk içerisinde belirli odalarda toplanmış manzara resimlerinin bulunduğu yerler ve konumları katalog halinde sunulmuştur. Beşinci ve son bölümde tüm çalışma aşamaları sonucunda bir değerlendirme yapılarak sonuçlar ve tartışmalar ortaya konmuştur. iv Ottoman Empire adopted Western Civilization and entered into a transition period after the gradual increase in the political, economical and authority problems which started in the 16th century, Like every field, Fine Arts has also been affected from this change. The Miniature that has been primary painting style until the 18th century has been replaced by Western Style painting. This Westernisation, and the foreign painters living in the Empire, helped the transition from Traditional Arts to Western form in painting. The ornaments and the landscape paintings on the walls of Sale Kiosk from the end of the 19th century is particularly important on documenting this change that started on the 16th century. This thesis named `Landscape Thema's in The Wall Painting of Sale Kiosk/Yıldız Palace` consists of five chapters. First chapter is about the goal, coverage and the method of the work. Second chapter is about the history of landscape painting on walls and the ceiling ornaments, contemporary landscape painting in Europe and the transformation process of painting on Westernisation course of Ottoman Empire. Third chapter is on the history and the architectural features of Sale Kiosk. Landscape Paintings on Ceiling and Wall Ornaments in Sale Kiosk/Catalogue is the fourth chapter, which presents the location and the position of the landscape paintings in particular rooms of the Kiosk. Fifth and the last chapter is the evaluation of the all research steps where results and discussions has been set forth. 127

`19. Yüzyıl İstanbul' unda Alman Mimari Etkinliği ` başlıklı çalışmanın, kuşkusuz önde gelen amacı, 19. yüzyıl İstanbul' unda Alman mimari etkinliğinin kapsamını saptamaktı. İkincil amaç, etkinliğin İstanbul' un mimari birikimine katkısını irdelemekti. Tanımlanan katkının niteliği sorgulanırken, gerisindeki tarihi arka planın rolü incelendi. Araştırma sırasında Alman Kolonisi' nin kuruluşunun, Osmanlı-Alman İmparatorlukları arasında ilişkilerden önceye rastladığı saptandı. Bu nedenle önce Alman Kolonisi' nin kuruluşu, sonra Osmanlı-Alman İmparatorlukları arasında ilişkilerin başlangıcı tanımlandı. İlişkinin ekonomik boyutlarını göstermesi açısından Bağdat Demiryolları projesi ve 19. yüzyılda İstanbul' da mevcut mimari durum, sıralaması ile tarihi çerçeve oluşturuldu. 19. yüzyılda mimarlık alanında en önemli değişim, eğitimde yeniden yapılanma arayışları, yeni yapı programları ve Batı etkisinde yeni mimari kavramlar ile gündeme geldi. Bu dönemde İstanbul mimarisine katkıları bilinen yabancı mimarların önemli bölümü, birkaç nesilden beri İstanbul' da yaşayan Levanten; bir bölümü ise Avrupa' nin çeşitli ülkelerinden gelen mimarlardı. Bu çalışmada daha önce Fransız, İtalyan ve İsviçreli meslektaşlarının gerisinde kalmış görünen Alman mimarlar incelendi. Çalışmanın sonunda, yapı ve mimar adları listeleri geliştirildi. Alman Birliği sağlanarak İmparatorluk kurulmadan; İstanbul' da Alman Kolonisi henüz oluşmadan ve Alman mimari etkinliğinden bahsedilemeyecek dönemde; İstanbul' a gelen ilk Alman mimar Anton Ignaz Melling' dir. Gezi amacı ile 1784' de Türkiye' ye gelen Melling, İstanbul' da saray hizmetinde 18 yıl geçirdi. İstanbul' dan sonra Paris' e gitmesi, gravürlerinin Fransızca yayınlanması ve hatta adını Antoine Ignace olarak değiştirmesi dikkat çekicidir. 1835' de birkaç aylığına geldiği İstanbul' da ve Türkiye' nin çeşitli yerlerinde, tam 4 yıl geçiren Helmuth von Moltke, imar planı ve diğer topografik araştırmalarının dışında, askeri alanda da kendinden sonra İstanbul' a gelen diğer Alman subaylarla birlikte görev yaptı. Moltke anılarında açık şekilde İstanbul' a gezi amacı ile geldiğini ifade etti. İstanbul' da Alman Kolonisi' nin kurulması 19. yüzyılın ortalarına rastladı. 14 Temmuz 1843' de Prusya Krallığı himayesinde Alman Protestan cemaati ve ertesi yıl cemaatin hayır derneği olan 'Evangelisches Asyl' resmen kuruldu. Cemaatin ilk hedefi olan hastane, 6 Nisan 1846' da Yüksekkaldırım' daki kiralık binada faaliyete başladı. Hastane 22 Mart 1851' de Sakızağacı' nda kiralık yapıya, 21 Temmuz 1853' de Telgraf Sokak' ta kendi mülkiyetindeki yapıya, 1877' de günümüze kalan yapıya geçti. Son yapının mimarları projeci Hubert Göbbels ve uygulayıcı Albert Kortum' dü. Koloninin 4 Nisan 1850' de okul kurmak için başlayan çabası, aynı yılın 12 Aralık günü Prusya Sefareti' nde Alman Protestan Okulu' nun faaliyete geçmesi ile XIVsonuçlandı. İstanbul' daki yurttaşları için, 1851' de Almanya' da yayınlanan dergilere verilen ilanlar yolu ile, koloni yapıları için para toplandı. Bu paralarla öncelikle okul yapısı inşa edildi. 1860' da aynı yapıya kat eklenerek, yapının kilise ve papaz evine dönüştürülmesi projesi üzerine, okul kiralık bir yere taşındı. 17 Ekim 1861' de tamamlanan kilise, günümüzde de Alman Protestan Kilisesi işlevini sürdüren, Giovanni Battista Barborini' nin yapısı idi. Kilisenin yenilemesinde Helmuth Cuno, Pfister, Imhoff, Herzog ve Heiss görev aldı. 1868' de yeni bir laik Alman okulu kuruldu. Değişime ayak uydurmaya direnen ve uzun süre özerk varlığını sürdürmeye çalışan Alman Protestan Okulu; 1873' de laiklikten ödün verilmeden, yeni okul ile birleşmeye razı oldu. Birleşen okullar aynı yıl, Galata Kulesi' ne yakın konumda, ilk kez kendi mülkiyetlerinde bir yapıya kavuştu. Günümüze ulaşamayan yapının mimarı M.F. Cumin idi. 1894 depreminde Galata Kulesi yakınındaki okul hasar görerek kullanılamaz duruma geldi. 1897' de satın alınan yeni arsa üzerinde, günümüzde de Alman Lisesi tarafından kullanılan yapı inşa edildi. 1901' de yapıya kız okulu ve öğretmen lojmanları eklendi. 1897' deki yapının tasarımcısı Otto Kapp von Gültstein, uygulayıcı mimarları H. Meissner ve Guglielmo Semprini idi. 1901' deki eklerin projesi, mimar Schwatlo(w) tarafından üstlenildi. 1847' de kurulan Teutonia Alman Klübü, çeşitli kiralık yapılarda faaliyetlerini sürdürdükten sonra, ilk kez kiralık bir arsa üzerinde 1872' de kendi mülkiyetinde bir yapıya kavuştu. Bir yangın sonrasında bina kül olunca, bir arsa satın alınarak; üzerinde 1875' de inşa edilen yapı da 1895' de yandı. Günümüze ulaşan Yüksekkaldırım üzerindeki Teutonia yapısı 1897' de tamamlandı. Sonradan yanan yapının projeci mimarı Hubert Göbbels ve uygulayıcı mimarları Giovanni Battista Barborini, Hirzel ve Franz Humann' di. Günümüze ulaşan binanın projecisi Otto Kapp von Gültstein ve uygulayıcısı Guglielmo Semprini idi. Kendine ait yapısı olan Teutonia Alman Klübü dışında, günümüze ulaşan sabit mekanı olmayan sosyal içerikli çeşitli kurumlar saptandı. Alman Postanesi' nin arşivde fotoğrafı bulunan yapısı, Bankalar Caddesi üzerinde günümüzde İş Bankası binası yerinde, 1905-1915 arası varlığı belgelenebilen Castro Han' dır. 1918' de yeni yapı inşa edilince postane, gene aynı cadde üzerinde Nişancıyan ( eski Kavafyan ) Han' a taşındı. Günümüzde adı geçen hanın yerinde, Vakıflar Bankası binası bulunur. İstanbul' da ölen Almanlar, koloninin kurulduğu ilk yıllarda, Taksim' deki eski mezarlığa gömülürdü. 29 Nisan 1857' den itibaren Padişah tarafından tahsis edilen Feriköy' deki mezarlık kullanılmaktadır. Tez kapsamındaki mimarlardan Göbbels ve Barborini burada gömülüdür. Alman İmparatorluğu kurulmadan önce 1864' den itibaren Prusya Krallığı, günümüzde Doğan Apartmanı' nin bulunduğu yerdeki bir köşkü elçilik yapısı olarak kullandı. Ahşap köşk yıpranınca yeni bir yapı inşa etmek üzere, devlet memuru mimar Hubert Göbbels 1870' de İstanbul' a yollandı. Eski yapının bulunduğu arsa ve çevre arsaların katılması ile daha büyük bir alan için, Göbbels tarafından iki farklı proje geliştirildi. 1871' de Alman Birliği ve Alman İmparatorluğu kurulunca, eski arsa ve yapı ile birlikte yeni Elçilik inşaatı projesi de, Prusya Krallığı' ndan Alman İmparatorluğu' na aktarıldı. Yeni kurulan İmparatorluk yurt dışındaki ilk temsilciliğini İstanbul' da inşa etti. İnşaata başlanacağı dönemde İstanbul' a atanan yeni elçi, Doğan Apartmanı arsasında inşaata başlanmasını engelledi. Elçinin gayretleri ile o dönem kaldırılan eski mezarlık alanlarından Ayazpaşa' daki yer satın alınarak, mevcut projelerden biri yeni arsaya uygulandı. XV1874' de inşaata başlandıktan birkaç ay sonra mimar Hubert Göbbels öldü. Yerine genç Albert Kortum atandı. Uygulamayı Kortum tamamladı. Göbbels' in inşaattan sorumlu olduğu dönemde kendisine mimar Suffrian yardımcı oldu. Elçilik Sarayı' nın ilk yenilemesinde, Elçi İstanbul' da bulunan mimar August Jasmund' un önerilerini aldı. Yapının 1894 depreminden sonraki büyük çaplı yenilemesini von Pelser- Behrensberg uyguladı. Birinci Dünya Savaşı sırasında tamamlanan ikinci büyük yenilemeyi Konrad Lehmann gerçekleştirdi. Tarabya' daki Alman Sefaret Yazlığı, arsa Padişah tarafından 1880' de armağan edildikten, tam yedi yıl sonra, ancak 1887' de tamamlandı. Genç İmparatorluk padişahın hediyesi ile, Osmanlı Devleti' nin gözünde Rusya, İngiltere ve Fransa' nın yanında bir dünya' gücü mertebesine erişmiş olmaktan, gurur duyuyordu. Yeni yapılanan İmparatorluk, söz konusu yapı için kaynak yaratmada güçlük çekti. Çözüm olarak eski elçiliğin bulunduğu Doğan Apartmanı arsası bir İngiliz inşaat şirketine devredilerek, bunun karşılığında aynı şirket tarafından inşaat gerçekleştirildi. Yapı için Sarkis Balyan' dan proje önerisi alınmasına rağmen, öneri yüksek maliyetli olduğu için daha ekonomik bir çözüme gidildi. Koloni kaynaklarında proje için Atina' daki Arkeoloji Enstitüsü' nde görevli mimar Wilhelm Dörpfeld' in İstanbul' a getirtildiği ifade edilir. Dörpfeld daha önce Cingria tarafından önerilen projeyi geliştirdi. Proje Armin Wegner tarafından uygulandı. Yapı ile ilgili olarak Giorgio Domenico Stampa ve Charles Garnier' in de adı geçer. Alman Çeşmesi, İmparator II. Wilhelm' in 1898' de İstanbul' u ikinci ziyaretinden sonra, Padişaha ve İstanbul halkına verdiği bir armağandır. 1901' de tamamlanarak Osmanlı Devleti' ne devredilmiştir. Sultanahmet Meydanı' nda bulunan yapının, tasarımcı mimarı Max Spitta ve uygulayıcı mimarı Scheele' dir. Yenilemeleri de Scheele gerçekleştirmiştir. Aynı yapının inşaatı ile ilgili olarak Carlitzik ve İtalyan mimar Joseph Antony' nin de adı geçer. İstanbul Asya ile Avrupa' nın buluştuğu bir noktada, Avrupa' dan ve Anadolu' dan gelen demiryollarının son istasyonlarının yer aldığı kenttir. Avrupa' dan gelen tarihi Orient Ekspres' in son durağı Sirkeci Garı' dır. August Jasmund tarafından 1888- 1890 yıllarında inşa edilen yapıda, mimar Avrupa' dan gelen misafirlere Doğu' ya geldiklerini hissettirmeye çalışarak, oryantalist bir üslup seçmiştir. Jasmund' un, Sirkeci Garı dışında Rumeli Hanı, Germina Han ve Ragıp Paşa köşkleri yapıları; mimarlık eğitimine ve mimar Kemalettin' e olan katkıları bilinmektedir. Anadolu' dan gelen trenin son durağı 1906-1909 arasında inşa edilen Haydarpaşa Garı ise, Batı' ya gelen yolcuları, tipik bir Avrupa istasyon yapısı karşılayacak şekilde tasarlanmıştır. Yapının mimarları Otto Ritter ve Helmuth Cuno' dur. 1850' lerde kurulan Alman Kolonisi kendi hastane, okul, kilise ve sosyal derneklerini oluşturduktan sonra; 1871' den başlayarak Alman İmparatorluğu da İstanbul' da yapılaştı. 20. yüzyılın başında ise, Almanya' nın doğu politikasında Bağdat Demiryolu gibi, önemli ekonomik projelerle birlikte; Alman dilini ve kültürünü yaygınlaştırma çabalan da arttı. Almanlar, Türkiye' de okul sayısını arttırma gayretlerinde, Fransızları kendilerine en büyük rakip olarak görüyorlardı. Okulların sayısını attırmak dışında, zaman içinde Alman Yüksekokulu kurma düşüncesi de ortaya çıktı. Tez kapsamında detaylı olarak aşamaları anlatılan Bağdat Demiryolu projesinin dışında; Galata Köprüsü, değirmen, tahıl depoları ve liman inşaatı örneğinde tanımlanmaya çalışılan şekilde; Osmanlı döneminde Türkiye' de Almanlar tarafından çeşitli alanlarda ve çeşitli işlevlerde bir çok yapı inşa edilmiştir. XVIOsmanlı-Alman ilişkileri, ilk başladığı yıllardan Birinci Dünya Savaşı' na dek hep gelişerek sürdü. Prusya Krallığı döneminde, askeri alanda başlayan yakınlaşma, politik ve ekonomik çalışmalarla gelişti. Yakınlaşmanın insani, sosyal ve kültürel boyutları da önemlidir. İmparator II. Wilhelm' in Osmanlı' ya duyduğu hayranlık, o dönem diğer Avrupa ülkelerinde de yaygın olduğu gibi, yalnızca politik ya da ekonomik temellere dayanmaz; gerçek dostluk nitelikleri de taşır. Osmanlı ve Alman İmparatorlukları' nın ortak düşmanları, iki İmparatorluğu birbirine yaklaştırmıştır. Birinci Dünya Savaşı' nda silah arkadaşı olan iki ülkenin 'Ortak Gelecek Sloganı' ( Unsere gemeinsame Zukunftlosung ), Alman Dostluk Yurdu' nun temel atma törenini takip eden konferans dizisinde Milletvekili D. Gottfried Traub tarafından 'Birlik ve İlerleme' ( Einigkeit und Fortschritt ) olarak tanımlandı. Dostluk Yurdu projesi iki İmparatorluk arasındaki kültürel ilişkilerin vardığı aşamayı simgelemesi bakımından önemlidir. 1870' de devlet memuru mimarı İstanbul' a yollayarak Elçilik inşa ettiren Almanlar; Dostluk Yurdu projesinde, ülkenin hatta o dönem belki dünyanın önde gelen mimarları arasında yarışma düzenleyecek kadar; İstanbul kentine ve Osmanlı ile olan kültürel ilişkilere önem vermiştir. Projesi ile yarışmayı kazanan German Bestelmeyer, aynı tarihlerde Berlin' deki Kraliyet Akademisi' nin 'Ustalar Sınıfı' nın başına getirilen, önemli bir mimardır. Birinci Dünya Savaşı' nın dost iki İmparatorluğun yenilgisi ile sonuçlanması, 1917' de temeli atılan yapının tamamlanmasını engellemiştir. Savaşın yitirilmesi sonucu oluşan yeni politik durum, iki İmparatorluğun ve Bağdat demiryolu Projesi' nin sonu oldu. Türkiye Cumhuriyeti ve Weimar Cumhuriyeti' nin kurulduğu dönemde, iki ülke arasında ilişkiler farklı mecrada hızla gelişti. Weimar Cumhuriyeti' nin inşa ettirdiği ilk Elçilik yapısı, yeni başkent Ankara' da idi. Yeni Türkiye' nin ve özellikle başkent Ankara' nın yapılaşmasında, Alman mimarların katkıları önemlidir. Dostluk Yurdu yarışmasına ve temel atma töreni sonrasındaki konferanslara katılan mimarlardan Peter Behrens, Paul Bonatz, Martin Elsaesser, Bruno Taut ve Hermann Jansen, politik nedenlerle Almanya' dan ayrıldıkları dönemde, Türkiye' ye gelerek burada çalışmışlardır. Günümüzde İstanbul' daki Alman varlığına Alman Çocuk Yuvası, Alman İlkokulu, Alman Yaşlılar Yurdu, Goethe Enstitüsü, Alman Arkeoloji Enstitüsü ve Orient Enstitüsü eklendi. Almanya' da yaşayan Türkler kadar büyük bir grup olmasa da İstanbul' da yaşayan Almanlar da, 100 yılı aşkın süredir ülkemizde tüm kurumları ile kök salmışlardır. The primary aim of the study `German Architectural Activity in 19th Century Istanbul` was no doubt the extent of such activity in the 19th Century. The secondary aim was to investigate the contribution of German architecture to the architectural realm of Istanbul. The historical background was also studied to discover the effects of the events of the period on architecture. During the study it was discovered that the establishment of the German Colony, dates back earlier than the establishment of relations between the Ottoman and German Empires. Consequently, first, the establishment of the German Colony was introduced, followed by the initiation of relations between the Ottoman and German Empires. The presentation of the Bagdad Railway Project was included to provide insight into the economic environment of the period. The historical picture was completed by a description of the architectural texture of Istanbul during the 19th Century. In the 19th Century Istanbul, the most important change in architecture emerged in the form of a quest for restructuring the education, starting new construction programs and introducing new architectural terminology from the West. Most of the architects known to have contributed to the architectural realm of Istanbul were those whose families had lived there for generations, while some were newcomers from all over Europe. This study focused on German architects, who, in previous studies, were neglected in favor of their French, Italian and Swiss colleagues. At the end of the study, a list of architecture and building names was developed. The first German architect to come to Istanbul, even before the establishment of the German Empire or the German Colony in Istanbul, was Anton Ignaz Melling. He came to Istanbul in 1784 on a tour and remained in service of the Palace for 18 years. It is noteworthy that, upon leaving Istanbul for Paris, he changed his name to Antoine Ignace and published his engravings in French. Helmuth von Moltke, who came to Istanbul in 1835 for a few months' visit but ended up spending 4 years there and in other Anatolian locations, not only made construction plans but also did topographic research. He also served in the military along with other German officers that came to Istanbul. In his memoirs, he openly declares that the original purpose of his visit to Istanbul was to tour the area. The establishment of the German Colony in Istanbul dates back to the mid-1 9th Century. The German Protestant Society was established on July 14, 1843, under the auspices of the Prussian Kingdom. 'Evangelisches Asyl', the charity organization of the Society was established the following year. The first task of the German Society, a hospital, was launched into activity on April 6, 1846, in the rented building in Yüksekkaldırım. The hospital was moved to the rented building in Sakızağacı on March 22, 1851, then to its own building in Telgraf xvuiStreet on July 21, 1853, and finally, to its present building in 1877. The architects of the present building are Hubert Göbbels for project design and Albert Kortum for implementer. On April 4, 1850, the Colony initiated a project to establish a school. The German Protestant School was launched into activity on December 12, 1850, at the Prussian Embassy. In 1851, through magazine advertisements, funds were raised from the German public for the buildings of their citizens in the Istanbul Colony. The first building to be funded by this money was the school building. In 1860, this building was expanded by the addition of one more storey and turned into a church and priest's quarters, and the school was moved to a rented building. Completed on October 17, 1861, the German Protestant Church that has lasted to our day is the work of Giovanni Battista Barboni. The first renovation was carried out by Helmuth Cuno, Pfister, Imhoff, Herzog and Heiss. A new secular German School was established in 1868. Having resented change and tried to remain independent for a long time, The German Protestant School finally succumbed to merging with the new school in 1873, with the provision that secularity was to be preserved. This expanded school was moved to its own building near the Galata Tower during the same year. This building, which has not made it to our day, was built by M.F. Cumin. This school building was damaged beyond repair in the Galata earthquake of 1894. In 1897, the present building of the German High School was built on land bought for this purpose. In 1901, the building was expanded by the addition of the Girls' School and teachers' living quarters. The project designer for the main building was Otto Kapp von Gültstein, while the implementers were H. Meissner and Guglielmo Semprini. The 1901 additions were drawn by Schwatlo(w). After carrying out its activities in various rented buildings for some time, the Teutonia German Club, which was established in 1847, succeeded in constructing its own building on rented land in 1872. When this building was burned down in a fire, land was bought and a new building was constructed in 1875. This building, the architects of which were project designer Hubert Göbbels and implementer Giovanni Battista, also burned down in 1895. The Teutonia building in Yüksekkaldırım that has lasted to our day was completed in 1897. The project designer of this last building was Otto Kapp von Gültstein and the implementer was Guglielmo Semprini. In addition to the Teutonia German Club, which had its own building, other social institutions which did not operate from permanent locations were discovered during this study. The German Post Office building seen in the archive photograph is the Castro Mall, whose existence in the Bankalar Street -where the İş Bankası Building stands today- can be documented between 1905-1915. Upon the construction of the new building in 1918, the Post Office was moved to the Nişanciyan (priorly known as Kavafyan) Mall in the same street. Today, the Vakıflar Bankası building stands where this mall used to stand. During the first few years of the Colony, German citizens who died in Istanbul were buried in the old cemetery in Taksim. Since April 29, 1857, the Feriköy Cemetery, granted by the Ottoman Emperor of the period, has been used. Two of the architects who constitute the framework of this study, Göbbels and Barborini have been buried there. xixBetween 1864 and the establishment of the German Empire, the Prussian Kingdom used a house where now the 'Doğan Apartmanı' stands as their embassy. When the original wooden building deteriorated in 1870, Hubert Göbbels, a state- employed architect was sent over to Istanbul to construct a new building. He developed two projects that involved, in addition to the original estate, some of the surrounding estates. Upon the establishment of the German Union and the German Empire in 1871, the new project was handed down from the Prussian Kingdom to the German Empire, along with the original building and estate. The new Empire built its first foreign embassy building in Istanbul. When the construction of the new building was about to start, the new Istanbul ambassador prevented the use of the original estate. With his efforts, land previously utilised as cemetery was bought in Ayazpaşa, and one of the existing projects was implemented there. In 1874 a few months after the construction started Göbbels passed away. The young Albert Kortum was appointed to replace him, and he completed the project. During his time, Göbbels was assisted by the architect Suffrian. In the first renovation of the Istanbul Embassy, the Ambassador is known to have referred to the advice of the architect August Jasmund, who was in Istanbul at the time. The major renovation of the building after the 1894 earthquake was carried out by von Pelser-Behrensberg. The secod renovation during World War I was carried out by Konrad Lehmann. The German Embassy Summer House was completed in 1887, seven years after it was granted by the Ottoman Emperor. The young German Empire was proud to have been elevated by this grant to the status of a major power, along with Russia, Britain and France. The fledgling Empire had difficulty raising funds to construct this building. As a solution, the original estate of the Embassy where now the 'Doğan Apartmanı' stands was handed over to a British construction company, who, in return, constructed the Embassy Summer House. Although Sarkis Balyan was contracted to draw the project for this building, his project turned out to be very expensive, and a less expensive alternative was implemented instead. Colony sources claim that Wilhelm Dörpfeld, an architect posted in the Athens Institute of Archeology, was brought to Istanbul. Dörpfeld developed a project originally proposed by Cingria. The Summer House was implemented by Armin Wegner. Two other architects also worked on the building are Giorgio Domenico Stampa ve Charles Gamier. The German Fountain is a gift of the German Emperor Wilhelm II to the Ottoman Emperor and the citizens of Istanbul upon his second visit to the city in 1898. Situated in the Sultanahmet Square, it was completed and handed over to the Ottoman Empire in 1901. Its project design architect is Max Spitta and the implementer is Scheele. The renovations have also been realised by Scheele. The names of Carlitzik and the Italian architect Joseph Anthony are also mentioned in connection with the project. Istanbul is situated in a location where Europe and Asia meet and the last train stations from both continents stand. The last stop of the Orient Express of Europe is the Sirkeci Train Station. This building was built in 1888-1890 by August Jasmund. The architect's orientalist style reflects his desire to make visitors feel that they are now in the East. In addition to this building, Jasmund is known to have xxbuilt the Rumeli Mall, the Germina Mall and the Ragıp Paşa Houses. He is also known to have contributed to the education in architecture as well as to the architect Mimar Kemalettin. The Haydarpaşa Train Station, the last stop of the trains from the east, has been designed to be the first typical European building that meets travelers bound west. Built in 1906-1909, the architects of the building were Otto Ritter and Helmuth Cuno. Following the establishment of the various societies of the German Colony between 1850-1870, beginning in 1871, the German Empire also started to establish its existence in Istanbul through buildings. As of the beginning of the 20th Century, the eastern politics of the German Empire was focused on prevailing the German language and culture in the east, as well as getting involved in important economic ventures such as the Bagdad Railway Project. The Germans considered the French their greatest rival in establishing schools in the Ottoman territory. In addition to establishing more schools, the idea of establishing a German Academy also was conceived. In addition to the Bagdad Railway Project which has been investigated in detail in this study, during the Ottoman reign, the Germans made a variety of buildings as exemplified in Galata Bridge, the cited mills, barns and port construction. From their early beginnings until World War I, German-Ottoman relations kept developing. The military relations initiated during the Prussian reign were later developed to include political and economic collaboration. The human, social and cultural aspects of the relations are also significant. Emperor Wilhelm II' s awe of the Ottoman Emperor, like that of the other European leaders at the time, stemmed not only from economic or political grounds, but also from a true feeling of friendship. The mutual enemies of both empires drew the two empires together. The 'Joint Future Slogan' (Unsere gemeinsame Zukunftlosung) of the two empires during World War I was later defined by legislator D. Gottfried Traub at the founding ceremony of the German Friendship Home as 'Union and Development' (Einigkeit und Fortschritt). The German Friendship Home project is significant in that it implies the degree of cultural relations between the two empires. By this time, the same Germans who in 1870 sent a state-employed architect to complete a building in Istanbul valued Istanbul and cultural relations with the Ottomans so much that, to select the architect of the German Friendship Home, they carried out a contest between the best architects of Germany, who were among the best in the world. The winner of the contest, German Bestelmeyer, was at the time the head of the 'Masters Class' in the Royal Academy of Berlin. The defeat of the two empires in World War I prevented the completion of this building, which was founded in 1917. The new political conjuncture that resulted from the defeat marked the end of the two empires and the Bagdad Railway Project. Upon the establishment of the Turkish Republic and the Weimar Republic, relations between the two countries quickly developed. The first embassy the Weimar Republic built was situated in Turkey's new capitol, Ankara. German contribution is significant in the construction of the new Turkey, and, especially, Ankara. Of the architects who participated in the German Friendship Home Contest and the ensuing founding ceremonies, Peter Behrens, Paul Bonatz, xxiMartin Elsaesser, Bruno Taut and Herman Janssen came to work in Turkey when they were forced to leave Germany for political reasons. The most recent additions to the German buildings in Istanbul are the German Kindergarten, German Elementary School, German Geriatric Home, Goethe Institute, German Archaeology Institute and the Orient Institute. Although not as large a group as the Turks who now live in Germany, German citizens who live in Istanbul are a well-established group with over 100 years of human and institutional existence. 424

Tez (Yüksek Lisans) -- İstanbul Teknik Üniversitesi, Fen Bilimleri Enstitüsü, 2002, Thesis (M.Sc.) -- İstanbul Technical University, Institute of Science and Technology, 2002, Bu çalışmada, İstanbul’da 19. yy.ın sonunda yabancı misyonlar tarafından yapılan hastahaneler incelenmiştir. Bu dönemde yapılmış olan ve bugün hâlâ hastane işlevini sürdüren yapılar esas alınmıştır. Tarihi hastahane binaları incelenirken dönemin siyasal ve sosyal koşulları da ele alınarak bu koşulların mimarideki belirleyicilikleri araştırılmıştır. Binaların yapıldıkları döneme ait bilgiler haritalar ve daha önce yapılmış çalışmalar taranarak derlenmiş, bugünkü durumları ise fotoğraflar ve yerinde yapılan tespitlerle ele alınmıştır. Yabancıların yaptığı hastahanelerin mimarları araştırılmış, mimarları bilinen binalar mimarın başka yapıları ya da dönemin benzer yapıları ile karşılaştırılmıştır. Çalışmanın amaçlarından biri de bu konuda ayrıntılı bir çalışma yapılabilmesi için farklı disiplinlerden nasıl faydalanılabilineceğini araştırmaktır., This study analyses the hospital buildings built by the foreign missionaries at the end of the nineteenth century in Istanbul. The buildings, which still function as hospitals, are the bases of the study. The study also considers the political and social conditions of the era, which might have influenced the buildings. The information and maps related to the era in which the hospitals were built, have been browsed and collected, while the present day situation has been analysed through fieldwork and photographs on the site. The architects of the foreign hospitals have been surveyed, and if the architects are known, they are compared to the other works of the architect, or to the similar buildings of the era. Another purpose of the study is an aim to use how cross-disciplinary work could be possible for an in-depth analysis of such topics., Yüksek Lisans, M.Sc.

ÖZET `Leon Parvillee: Osmanlı Modernleşmesinin Eşiğinde Bir Fransız Sanatçı` adlı bu tez, 19. yüzyılda hem Osmanlı İmparatorluğu'nda hem Fransa'da yaşamış Fransız sanatçı Leon Parvillee (1830-1885) üzerine yapılmış monografîk bir çalışmadır. Tezin başlıca iki amacı vardır: Birincisi, yalnızca bazı yapıtları bilinen Parvillee'nin hayatını daha kapsamlı bir şekilde ortaya çıkarmaktır. İkincisi ise, şimdiye kadar sınırlı konular üzerinde tartışılmış Parvillee'nin çalışmalarım, daha geniş bir perspektif içine değerlendirmektir. Birinci amacın tamamlanması için, hem İstanbul'da hem Fransa'da arşiv belgeleri araştırıp derlenmiştir. Sonuçta, özellikle Parvillee'nin İstanbul'daki etkinlikleri, çağdaş meslektaşları ve iş ortamı hakkında şimdiye kadar hiç bilinmeyen bazı bilgiler elde edildi. Tezin ikinci amacı olan yeni perspektifi kurmak üzere de, Osmanlı modernleşmesi ve modernliğinin yarattığı kategori kavramları üzerinde duruldu. Heykeltraş olarak yetişmiş Leon Parvillee, genç yaşta Osmanlı İmparatorluğu'na gelip İstanbul'da bir atölye sahibi olur. Özellikle 1867 Paris Evrensel Sergisi 'nde Osmanlı Pavyonu'nun inşaasmda edindiği deneyimle kendini mimar olarak tanımlamaya başlayan Parvillee, vefat ettiği zamanki belgelerde ise seramik sanatçısı olarak kayıdedilmiştir. Tek sözcükle ifade edilemeyen bu kişilik, `meslek` kavramınm sınırlarının belirsizleşleştiği dönem ile de ilgilidir. Parvillee'nin yaşadığı sınır durumu, sadece meslek alanları ile kalmamıştır. Bir Fransız olarak Osmanlı İmparatorluğu'nda yaşamış olan Parvillee, kültürel olarak da, iki farklı dünyanın arasında kalmıştır. Avrupalı tasarımlara yönelmiş olan Osmanlı İmparatorluğu'nda bir Parisli olarak bu gereksinmeyi karşılar ve Paris'e döndükten sonra da, deneyimli bir uzman olarak Türk mimarisi ve süslemesi hakkında bir kitap çıkartır ve Osmanlı çinilerinden esinlenerek seramikler üretmeye başlar. Modernleşmenin eşiğinde Osmanlı İmparatorluğu'nda uzun yıllar yaşayan Leon Parvillee, kimlik arayışı içinde bulunan tipik bir 19. yüzyıl sanatçısıdır. xı SUMMARY This thesis, entitled `Leon Parvillee: A French Artist on the Threshold of Ottoman Modernity` is a monographic research on Leon Parvillee (1830-1885), who lived both in the Ottoman Empire and France in 19th century. It has two fundamental objectives: the first is to illuminate various unknown aspects of Parvillee's life and work in a more comprehensive form. The second is to evaluate Parvillee's position in a broader perspective than the limited context in which so far it has been viewed and discussed. In order to reach the fisrt of the two goals, we have relied on archival material preserved both in Istanbul and in France. As a result, we could find information so far unknown especially on Parvillee's activitiy in Istanbul and on the milieu of his colleagues in that context. As for the second goal, the broader perspective we were concerned with, we have reflected on the categories and concepts inherent in the process of Ottoman modernization and modernity. Trained at first as a sculpter, Leon Parvillee traveled to Istanbul and here owned an atelier during his youth. After the experience of directing the construction of the Ottoman pavillion in the Paris Universal Exhibion of 1867, he began to gain a reputation as an architect. But in the documents regarding his death, he is mentioned a ceramic artist. The fact that his personality cannot be described with one single word, is a typical feature of a period in which professional boundaries began to overlap. The `frontier` situation experienced by Parvillee is not only a professional one. As a Frenchman who lived in the Ottoman Empire, his cultural location was also on the border between two worlds. As a Parisian artist he could respond to the increasing request of European designs in the Ottoman Empire. Reversely, after his return to Paris he could publish, as an expert on the topic, a book on Turkish architecture and decoration and begin to produce ceramic items inspired by the Ottoman tradition. Dwelling on the threshold of Ottoman modernity, Parvillee is a typical 19th century artist in search of identity. xu 226

Tez (Doktora) -- İstanbul Teknik Üniversitesi, Fen Bilimleri Enstitüsü, 2002, Thesis (PhD) -- İstanbul Technical University, Institute of Science and Technology, 2002, Çalışmada, 19. yüzyıl İstanbul’ unda Alman mimari etkinliğinin kapsamı saptandı, etkinliğin İstanbul’ un mimari birikimine katkısı irdelendi, nitelik sorgulanırken gerisindeki tarihi arka planın rolü incelendi. Alman Kolonisi’ nin kuruluşu, Osmanlı-Alman İmparatorlukları arasında ilişkiler, ekonomik açıdan Bağdat Demiryolları projesi ve 19. yüzyılda İstanbul’ da mevcut mimari durum tespiti ile tarihi çerçeve oluşturuldu. 19. yüzyıl İstanbul’ unda Alman mimari etkinliğine katkıda bulunan kişiler: Joseph Antony, Giovanni Battista Barborini, German Bestelmeyer, Carlitzik Cingria, M.F. Cumin, Helmuth Cuno, Wilhelm Dörpfeld, Charles Garnier, Hubert Göbbels, Heiss, Herzog, Hirzel, Franz Humann, Imhoff, August Jasmund, Otto Kapp von Gültstein, Albert Kortüm, Konrad Lehmann, H. Meissner, Anton Ignaz Melling, Helmuth von Moltke, von Pelser-Behrensberg, Pfister, Otto Ritter, Scheele, Schwatlo(w), Seefelder, Guglielmo Semprini, Max Spitta, Giorgio Domenico Stampa, Suffrian ve Armin Wegner olarak belirlendi. Çalışmaya konu olan mimari çalışmalar: Hatice Sultan Sarayı, Beşiktaş Sarayı, İstanbul İmar Planı, Alman Elçilik Sarayı, Alman Sefaret Yazlığı, Alman Çeşmesi, Alman Protestan Kilisesi, Alman Hastanesi, Alman Okulları, Teutonia Alman Klübü, Alman Postanesi, Sirkeci Garı, Haydarpaşa Garı, Rumeli Hanı, Germina Han, Ragıp Paşa Köşkleri, Galata Köprüsü, değirmenler-tahıl depoları ve Dostluk Yurdu projesidir., The aim of this study was the extent of such activity in the 19th Century, the contribution of German architecture to the architectural realm of Istanbul. The historical background was also studied to discover the effects of the events of the period on architecture. The establishment of the German Colony was introduced, followed by the initiation of relations between the Ottoman and German Empires. The presentation of the Bagdad Railway Project was included. The historical picture was completed by a description of the architectural texture during that period. The name list of the architects being part of the German activity in İstanbul in the 19th century: Joseph Antony, Giovanni Battista Barborini, German Bestelmeyer, Carlitzik Cingria, M.F. Cumin, Helmuth Cuno, Wilhelm Dörpfeld, Charles Garnier, Hubert Göbbels, Heiss, Herzog, Hirzel, Franz Humann, Imhoff, August Jasmund, Otto Kapp von Gültstein, Albert Kortüm, Konrad Lehmann, H. Meissner, Anton Ignaz Melling, Helmuth von Moltke, von Pelser-Behrensberg, Pfister, Otto Ritter, Scheele, Schwatlo(w), Seefelder, Guglielmo Semprini, Max Spitta, Giorgio Domenico Stampa, Suffrian ve Armin Wegner. These architects worked on Hatice Sultan Sarayı, Beşiktaş Sarayı, İstanbul Construction Plan, German Embassy, Embassy Summer House, German Fountain, German Protestan Church, German Hospital, German Scools, Teutonia German Club, German Post Office, Sirkeci Train Station, Haydarpaşa Train Station, Rumeli Mall, Germina Rumeli Mall, Ragıp Paşa Houses, Galata Bridge and the Frienship Home project., Doktora, PhD

Bu araştırmada Tanzimat' tan günümüze İstanbul Kadıköy ve Üsküdar' da açılmış yabancı ve azınlık okulları ele alınmıştır. Tanzimat' in ardından gelen süreçte değişen koşullara paralel olarak Osmanlı Devlet' inde yabancıların ve azınlıkların, kazandıkları sivil haklarla birlikte sosyal yapılanmalarında önemli değişimler olmuş; bu değişimler adeta doğrudan fiziksel çevrelerine yansımıştır. Tanzimat' la belirginleşip 19. Yüzyılın ikinci yarısında Batı' yla ilişkilerin de ivme kazanmasıyla, eğitim giderek daha çok önem kazanmış; Osmanlı Devleti' nde eğitim ve öğretim kurumları çağm gereklerini karşılayacak düzeye erişemediğinden, doğan boşluğu yabancı devletlerden destek alan misyoner okulları doldurmuştur. Kazanılan sivil haklarla birlikte azınlıklar da kendi okullarım açmışlardır. 19. yüzyılın sonlarına doğru başta yangınlar ve salgınlar olmak üzere çeşitli nedenlerle İstanbul' un değişik semtlerinden Asya kıyılarına kayan Ermeni, Rum, Yahudi Cemaatleri' nin yamsıra Levantenler, Kadıköy, Moda, Yeldeğirmeni ve Üsküdar' da, Avrupa tarafındaki Batılı anlamda kentsel gelişimle eşzamanlı olarak Batılı özellikler taşıyan mimari örnekler vermişlerdir. Misyoner örgütlerinin ve cemaatlerin inşa ettikleri yapıların, Kadıköy ve Üsküdar' daki kentsel gelişime etkisi ve katkısı büyüktür. Çağm yükselen değerleriyle doğru orantılı olarak yapı tipleri içinde Tanzimat' tan sonra eğitim yapılarının önem kazandığı ve toplumsal yapının kentsel biçimlenmeye yansımasında büyük rol oynadığı görülmektedir. Tanzimat' tan günümüze İstanbul Kadıköy ve Üsküdar' daki azınlık ve yabancı okulları, bu nedenle bu tezin konusu olarak seçilmiştir. Araştırma sırasında konuyla ilgili yazılı kaynaklar incelenmiş, ilgili kişi ve kuruluşlarla bağlantı kurulmuş, yerinde yapılan incelemelerle gerçekleştirilen mimari çözümlemeler, görsel malzemeyle desteklenmiştir. Sonuç olarak yabancı okulları ve cemaat okullarının kendilerine özgü, birbirlerinden ayırt edici ve yapılandıkları bölgelerde yenilik yaratan mimari özellikler taşıdığı, bu nitelikleriyle de ait oldukları dönemin özgün yaşam biçimini yansıttıkları; Kadıköy ve Üsküdar' da Tanzimat öncesi devirlere kıyasla, çağm değerlerine paralel biçimde farklı ve modern kentsel çevreler oluşmasına, dikkatle değerlendirilmesi gereken boyutta katkıda bulundukları görülmüştür. XII In this paper, the foreign and minority schools in İstanbul, Kadıköy and Üsküdar, from the Tanzimat period to the present are studied. Parallel to the changing state of affairs at the Ottoman Empire following the Tanzimat, the foreigners and minorities went through a social transformation period which reflected itself almost directly to the building environment. The relations with the Western countries which was increased and intensified rapidly after the Tanzimat Period especially towards the end of the 19. Century, educating masses of people became more and more important and since the educational policy and the means of the Ottoman Empire were not developed enough to meet the needs of the era, the missioners from the Western countries took the opportunity, filling the gap with their organizations and schools. Having been entitled to their civil rights, the minorities also built their own schools accordingly. Towards the end of the 19. Century, due to various reasons such as conflagrations and epidemic illnesses, the Armenian, Greek and Jew minorities as well as Laventines from different parts of Istanbul moved to the Anatolian side of İstanbul, building western influenced buildings in Kadıköy, Moda, Yel değirmeni and Üsküdar in which period the western type of urban developments were also started at the European parts of İstanbul, especially in Galata and Pera. The buildings by the missionary organizations and minority communities had their significant contributions in the urbanization process in Kadıköy and Üsküdar regions. Among of all the building types, the educational buildings indicated the importance of educational and cultural impacts parallel to the rising notions in the era, reflecting the the effects of the cultural transformation in the building environment. Thus, the foreign and minority school buildings from the Tanzimat to the present was chosen to be studied in this paper. During the researching period, the written sources were studied; the related people were interviewed, the institutions were contacted, the data gathered from the in-situ observations and the building analysis done was backed up with maps, drawings and visual materials. In conclusion, according to the data gathered, the architectural features of the school buildings by the foreigners and the minority communities can be differentiated according to their plan types and exterior ornamentations. The school buildings erected by the missionary organizations and communities were clearly reflecting the life styles in the era, making a great contribution in order to initiate the urbanized settlements in Kadıköy and Üsküdar with their significantly modern aspects in comparison to the buildings of the past. Xlll 278

TURK RESMİNDE EKSPRESYONİZM ÖZET 19. yüzyılın sonlarında ve 20. yüzyıl başlarında birbiri ardına ortaya çıkan akımlar birbirinden etkilenerek geçmiş sanata karşı, birtakım yenilikler ve anlayışlarla çoğalmışlardır. Bunlardan Ekspresyonizm oldukça etkin bir akım olmuştur. Değişen dünya düzenine bağlı olarak, teknolojik gelişme, savaşlar, kent yaşamı sanatçılarda değişik tepkiler doğmasına yol açmıştır. Ekspresyonist resimde duygulan ön plana alan sanatçı, natüralizm'den uzaklaşır; görüntüyü kendi bilinç süzgecinden geçirerek tuvaline aktarır. Sanatta ifade her zaman sanatçının sübjektif gözlemine bağlı olarak görülen bir olgu olmuştur. Bu nedenle ifadesel anlatımın izlerini çok daha önceki dönemlerden beri sürmek mümkün. Ama 20. yüzyıl başlarında görülmeye başlayan İkinci Dünya Savaşma kadar olan süre içinde gelişen Ekspreyonist akım, bunu vurgulamayı kendine görev sayar. Ekspresyonist resimlerde renk çarpıcı olurken, figürler deforrhasyona tabi tutularak fırça vuruşları büyür, ressamın duyguları tüm gücüyle ve basitliği ile ifade edilir. Resimler çoğu kez kızgınlık uyandıran bir yapıya bürünür. İkinci Dünya Savaşından sonra figüratif Ekspresyonizm soyut Ekspresyonizmi dönüşmüş, saf renkler ve bağımsız biçimler resim dili olarak gelişmiştir. Akademik ve doğalcı anlatımın karşısında olan ekspresyonist sanatçı, doğa gerçeğine sırtını çevirerek çalışır. Kişisel duyguların aktarım çabası ağır basar. Ekspresyonizm kaynağını duygularda yoğunlaşma olarak alır. Deforme edilmiş biçimler, şiddet hisleri yansıtan bir hüzündür. Dış dünyada yer alan güzelliklerin yanında çirkinliklerin de yansıtılması görev sayılmış; insanın içindeki ölüm, yalnızlık, korku, hüzün nefret gibi duygular resme aktarılmıştır. Ekspresyonizm yalmzca resim alanında değil; tiyatro, düzyazım, mimarlık, müzik, bilim... alanlarında da etkin bir akım olmuştur. Ekspresyonizmin Almanya'da ortaya çıkışında, şüphesiz kuzey insammn sert tutumu ve Almanya'nın siyasal koşullarının etkisi yadsınamaz. Bu akım içindeki çalışmalar içsel temsillerin dışavurumudur. Ekspresyonizm belirli ırkın özellikleri ile değil, genel olarak insan psikolojisi ile ilişkilidir. Ekspresyonist sanatçılar, bu dönem içinde yaygınlaşan sergiler sayesinde dünya sanatını takip ediyorlardı. Özellikle Van Gogh'un, ruhsal duruma bağlı çalıştığı fırça vuruşları, konulan ele alışı, Gauguin'in ilkel hayata yönelmesi, rengi kullanış biçimi, Seurat'm rengi katışıksız ele alması, ekspresyonist sanatçılann teknik ve yaklaşımlanm belirledi. vuEkspresyonizm 20. yüzyıl başlarında Belçikalı James Ensor ve Norveçli Edward Munch ile ortaya çıkar. Ensor, içe dönük insanları maskeler ve hortlaklar şeklinde verirken Munch'un ölüm, çılgınlık, hastalık, sefalet gibi temaları aktarması dışavurumculuğun habercisi olmuştur. Sanatçılar, bu akım çevresinde çeşitli gruplar oluşturdular. İlk grup, Die Brücke idi. Dört mimarlık öğrencisi tarafından kurulan grup bu yeni akımı ileriye taşıyabilecek yenilikçi gençleri gruplarına davet ediyorlardı. Doğa tam olarak bozuldu, alt üst edildi ve yeniden oluşturuldu. Amaç, resim sanatım alt üst etmekti. Kurulan ikinci grup ise, Der Blaue Reiter dir. Die Brücke, resmi sosyal bir mesaj olarak anlatıyor, Der Blaue sanatçısı ise resmi doğa ve evrenle bütünleştirip müzik ve şiirin anlatımı olarak görüyordu. Die Brücke sanatçıları figüratif anlatımı kullanırken, Der Blaue Reiter sanatçıları yavaş yavaş soyut anlatıma kaymışlardır. Bu akımın yansımaları birçok Avrupa ülkesinde olduğu gibi, Türkiye'de de görülmüştür. Türkiye dışavurumculuğun akım olarak yaşandığı yıllarda, ne Osmanlı'nın son döneminde ne de Cumhuriyetin ilk yıllarında Batı'nın koşullarına sahip değildi. Bu düşünce ortamına uzak sanatçılarımız, akımlarla eğitim için gittikleri ortamlarda karşılaştılar. Yurda dönüşlerinde etkilendikleri, dahil oldukları akımları yansıtmışlarsa da sanat olaylarından uzaklaşmaları diğer akımların doğması ve gelişmesi için uygun düşünce ortamlarından çıkılması, sanatçılarımız üzerinde olumsuz bir etki yapmıştır. Ekspresyonizmin Türk Resim Sanatında yansımaları, Almanya'ya burslu okumaya giden Akademili sanatçılar sayesinde olmuştur. Bu sanatçılar Almanya'da akademik eğitim alırken bu ülkedeki bir takım sanat olaylarından da uzak değillerdi. Yurda döndüklerinde düzenledikleri ilk sergilerinde, Türkiye'de hala varlığını sürdürmekte olan empresyonist akıma karşı farklı yaklaşımlarını sergilemeye başladılar. Bu bağlamda ilk ekspresyonist sanatçılar diyebileceğimiz; Ali Avni Çelebi ve Zeki Kocamemi'yi görürüz. Almanya'daki akademik eğitimleri sırasında karşılaştıkları örneklerden etkilenen sanatçıların eğilimlerinin değiştiği görülmüştür. Daha çok kübist-ekspresyonist uzantılı bu resimlerde alt yapı sağlamlığı görülür. Bu sanatçılarımız, coşkulan, heyecanlan ve duyarhlıklan açısından ekspresyonist özellikler taşırlar. Bu akımda göze çarpan abartılar ve biçim bozmalar, anlatımın en önemli özelliği olan dinamizmi, yaşamsallığı ve yalınlığı vurgular. Kişisel yaklaşımlarla ekspresyonist anlayışa dahil olan iki sanatçımız, Fikret Mualla ve Aliye Berger'dir. Fikret Mualla, Ekspresyonizm ve Fovizm kanşımı bir anlatımla gündeme gelir. Heycanlı, fırtınalı yaşamı ve iç dünyası resimlerine yansımıştır. Duyarlı bir yaklaşım içinde, yoğun biçimbozmalanyla Mualla, Türk resim sanatında ekspresyonist çalışmalanyla yerini alır. Aliye Berger daha çok gravür çalışmalanyla tanınır. Yaşamından etki alanlanyla meydana getirdiği eserlerinde dış gerçekliği kendi iç dünyasından geçirerek aktanr. vıııBu akımın uzun yıllar gündemde kalmasına bağlı olarak, günümüz sanatçılarının da eğilimi haline gelmiştir. Bu anlayış içinde, günümüz sanatçılarından daha yoğun olarak akımla ilişkilendirebileceğimiz Mehmet Güleryüz, Neşe Erdok, Alaettin Aksoy, Burhan Uygur çalışmada yeralmışlardır. Türk sanatçılar ekspresyonist anlatımı oldukça kişisel ele almışlardır. Almanya'da ortaya çıkan ve gruplaşmalara neden olan Ekspresyonizmin gelişim süreci ve sanatçıların ortak tavırları bu bağlamda Türk Resim Sanatına uzaktır. Çağdaş dünyanın yeni yaşam biçimleri, insan ilişkileri, sanat üzerinde doğrudan etkm olmuş; bu karmaşık algılanılması zor dünyaya ve insanın dünya üzerindeki yapıp etmelerine karşı sanatçılar eserleriyle tepki vermeye devam edegelmişlerdir. Bu noktada ekspresyonist çizgi bozulmaz. Aynı zamanda ekspreyonist akım soyut resme gidişi de hazırlamış çağdaş sanat içinde yeni biçimlerin doğmasına yol açmıştır. ıx EXPRESSIONISM ES TURKISH PAINTING SUMMARY The movements that appeared one after the other in the late 19th and early 20th centuries influenced one another and, contrary to the art of the past, multiplied with a certain amount of innovation and perceptiveness. Of these, expressionism was quite an active movement. Linked with the changing world order, technological advancement, wars, and urban life lead to various reactions amongst artists. In Expressionist painting, the artist, who considers the impressions or sense perceptions most important, distances himself from naturalism and transfers the image to the canvas by first passing it through the filter of his self-conscious. In art, expression has always been a fact seen in connection with the artist's subjective observation. For this reason, it is possible to track the traces of expressionist expression from much earlier periods. But the Expressionist movement, which began to be seen at the beginning of the 20th century and developed between then and World War II, considers it a duty to emphasize this. In Expressionist paintings, while colors are striking, brush strokes are enlarged as the figures are subjected deformation, and the artist's senses are expressed with all of his strength and simplicity. The make-up of the paintings usually arouses anger. After World War n, figurative Expressionism turned into abstract Expressionism and plain colors and independent shapes developed as the language of painting. The expressionist artist, as opposed to academic and naturalist expression, works with his back turned to natural reality. The effort to transfer personal senses takes priority. Expressionism takes as its source the intensification of the senses. Deformed shapes are a kind of sadness that reflects violent feelings. It was considered a duty to reflect the ugliness as well as the beauty located in the outside world. Feelings within people, like death, loneliness, fear, sadness, and hate, were transferred onto the painting. Expressionism was an active movement not only in the field of painting, but in the fields of theater, prose, architecture, music, and science as well. Expressionism's appearance in Germany undoubtedly cannot be thought of as separate from the harsh behavior of the people of the north and Germany's political conditions. The works within this movement are the expression of internal representations. Expressionism is not connected with the characteristics of a certain race, but rather it is in general connected with human psychology.Thanks to the exhibitions that became more widespread in those periods, expressionist artists were able to follow artistic developments in different countries. Of the artists they followed, it was the way in which Van Gogh worked according to his mental state, how he used his brush strokes and approached subject matters, how Gaugin used colors with an inclination towards primitive life, and how Seurat took up colors in their pure form in particular that determined the expressionist artists' techniques and approaches. Expressionism begins at he beginning of the 20th century with the Belgian James Ensor and the Norwegian Edward Munch. While Ensor depicted introverted people in the shapes of masks and goblins, Munch's translation of themes like death, madness, illness, and misery to canvas became the herald of expressionism. Artists formed different groups within the framework of this movement. The first group was Die Briicke. Founded by four architecture students, they invited innovative young people who would be able to carry this new movement into the future into the group. Nature was completely marred, turn upside down, and re formed. The goal was to turn the art of painting upside down. The second group to be established was Der Blaue Reiter. Die Briicke explained painting as a social message, but the Der Blaue artist united the painting with nature and the universe and saw it as expression of music and poetry. While Die Briicke used figuratively representational expression, Der Blaue Reiter artists slowly slid towards abstract expression. Just as reflections of this movement appeared in many European countries, it was also seen in Turkey. During the years when it experienced expressionism as an art, in the final period of the Ottoman regime nor in the first years of the Republic, Turkey did not have the same conditions as the West. Our artists who were far from this thought environment met with this movement in the environments where they went for education. Although they reflected the movement which influenced them and of which they were a part, their being distant from artistic happenings and their leaving thought environments suited to the birth and development of the other movements had a negative effect upon our artists. Reflections of Expressionism were first seen in Turkish Painting thanks to the Academy artists who were sent to Germany to receive an education on scholarship during the first years of the Republic. While receiving their academic education in Germany, these artists were not removed from some of the artistic happenings in this country. At the first exhibitions they arranged upon return to their country, they began to exhibit different approaches contrary to the impressionist movement, whose existence continued in Turkey. In this context, we see Ali Avni Celebi and Zeki Kocamemi as the first artists we can call expressionist artists. The tendencies also of the artists influenced by the expressionist examples they encountered during their academic education in Germany undergo a change. It is more in the paintings that are an extension of cubist expressionism that a sound substructure is seen. XIThese artists of ours exhibit expressionist characteristics from the point of view of their enthusiasm, excitement, and sensitivity. The striking exaggerations and destruction of shape in this movement emphasize dynamism, vitality, simplicity, which are the most important characteristics of this type of expression. The personal approaches of two of our artists, Fikret Mualla and Aliye Berger, can be evaluated as expressionist. Fikret Mualla is known for his works that are a mixture of expressionism and fauvism. His exciting life and tempestuous internal world are reflected in his paintings. Mualla has a place in Turkish painting with his expressionist works combining his simple, colorful, and sensitive understanding and intense marring of shapes. Aliye Berger is better known for her engraved works. In her works, influenced by certain parts of her life, she transfers external reality by first passing it through her own internal world. We see works with qualities connected to an expressionist understanding amongst our current artists too. Contemporary artists who can be said to have an intense relationship with this movement are Mehmet Güleryüz, Neşe Erdok, Alaettin Aksoy, and Burhan Uygur. Turkish artists who adopted an expressionist understanding did so on individual bases. The Art of Turkish Painting is therefore far from Expressionism's period of development and artists' shared attitudes, which was the reason for the appearance and formation of groups in Germany. The new ways of life and human relations in the modern world had a direct influence upon art; with their works, artists continue to show their reactions against this complicated world that is difficult to comprehend and what people have done in the world. At this point, the expressionist line will not be destroyed. At the same time, the expressionist movement paved the way to abstract art and gave rise to new branches within itself and within modern art. xn 162

İSTANBUL'UN ESKİ 'VENEDİK TİCARET KOLONISI'NİN 'OSMANLI TİCARET BÖLGESİNE DÖNÜŞÜMÜ ÖZET `İstanbul'un Eski 'Venedik Ticaret Kolonisi'nin 'Osmanlı Ticaret Bölgesi'ne Dönüşümü` başlığıyla doktora tezi olarak önerilen araştırma, İstanbul'un Fethi'ne kadar dört yüz yıla yakın varlığını sürdürmüş Venedik Ticaret Kolonisi'nden Osmanlı Ticaret Bölgesi'ne geçiş sürecini konu almaktadır. Çalışma, mekan olarak, koloninin Fetih'ten önce Halic'in güney sahilinde kaplamış olduğu düşünülen alanla, zaman olarak ise, Venedik yerleşiminden ilk kez söz eden 1082 tarihli `ayrıcalık belgesi (ChrysobouHos)`ne dayanarak 11. yy'dan, bölgenin Rüstem Paşa Camisi'nin inşası ve Yeni Cami'nin inşa hazırlıklanyla Osmanlı kimliğini büyük ölçüde kazandığı 16. yy'ın sonuna kadar sınırlandırılmıştır. Çalışma ağırlıklı olarak birincil kaynakların sunduğu bilgiler üzerine kurulmuştur. Venedik Ticaret Kolonisi'nin sınırlarının bugünkü topografyadaki karşılıklarını tartışmak, araştırmanın ilk aşamasını oluşturmuştur. Siyasi olaylara bağlı olarak değişiklik gösteren sınırlar üç dönem içinde incelenmiştir: 1082-1204 Dönemi; 1204- 1261 Latin İmparatorluğu Dönemi; 1261-1453 Dönemi. Fetih öncesi sınırların doğuda Balık Kapısı, batıda ise Odun Kapısı olduğunu belgeler söylemektedir. Buna karşın, Venedik Ticaret Kolonisi yerleşimi ile yakın ilişki içinde olan Balık Kapısı'nın doğusu da çalışmaya katılmıştır. Güney sınırını belirleyen Sebastokrator surunun Tahtakale Caddesi'ni izlemiş olması ise olası bulunmuştur Venedik Ticaret Kolonisi'nin yerleşimi deniz ticaretiyle ilişkilendirilerek kurgulanmıştır. Uzaklardan gelen gemilerin derin rıhtımından ötürü yanaşabildiği iskeleler, malların şehre girdiği kapılar, açıldıkları yollar, mallan getirenlerin konakladıkları fondaco, işleyenlerin, satanların çalıştıkları dükkanlar, eğlendikleri Capyllio, para alışverişinde bulundukları numularium tabule'ler, olasılıkla mallarını depolayıp pazarladıkları lobia, barındıkları evler, ibadet ettikleri kiliseler, manastırlar, yönetildikleri saray, muhakeme oldukları curia, tedavi gördükleri hastane ele alınmıştır. 29 Mayıs 1453 tarihi Venedikliler için de dönüm noktası olmuştur. Şehrin savunmasına yardımcı olan Venedikliler, Fetih sırasında Bizanslıların kaderini paylaşmışlardır. 18 Nisan 1454 günü imzalanan ahidname'ye kadar yaklaşık bir yıl, belki de yeni durumun kalıcılığını da anlamaya çalıştıkları bir belirsizlik dönemi yaşamış olmalıdırlar. Senato Mar (ASV) defterinin 16 Ağustos 1454 tarihli kaydından, ahidname'ye gönderme yapılarak Fetih sonrası ilk balyosun Bartolomeo Marcello olduğu; Venediklilere Ankonalılara ait ev ve kilisenin verildiği öğrenilmektedir. Ankonalılara ait ev ve kilisenin bugünkü topografyadaki yerleri belirlenememiştir. xnıFetih öncesi, Venedik Ticaret Kolonisi'nin, bütünlüğü olan büyük bir alan; Fetih sonrası içine yerleşen Osmanlı mahallelerinin ise küçük birimler olduğu anlaşılmıştır. Fetih öncesi Venedik Ticaret Kolonisi olarak anılan alan içine yerleşen Osmanlı mahalleleri, sınırlarla ilgili tartışmada elde edilen bulgular dikkate alınarak saptanmıştır. Çalışılan mahallelerin sınırları tanımlı değildir. Buna karşın, belgelerdeki göndermeler araştırmaya katılmalarının gerekçelerini oluşturmuştur. Araştırmada, Acemoğlu, Ahi Çelebi, Arslanlı Ev, Balık Kapısı, Bozahane, Çelebioğlu, Edirneli Yahudiler, Fildamı, Hacı Halil Mescidi, Hacı Keşkek, Hacı Zerduz, Halil Paşa Bergosu, Karaşems, Mevlana Gürani Hanı, Odun Kapısı, Sarı Timurcu, Yahudi mahalleleri ile Zindan Kapı çevresi ve Tahtakale (Mahallesi) çalışılmış; ayrıca, belgelerde bilinen hiçbir noktaya gönderme yapılmamasına karşın eski Venedik Ticaret Kolonisi ile ilgisi kurulabilecek `Bayloz`(balyos) ve Venedik Loncası mahalleleri de araştırma kapsamı içine alınmıştır. Tartışma ve sonuç bölümünde, Venedik ve Osmanlı belgeleri eşgüdümlü olarak değerlendirilmeye çalışılmıştır. Osmanlı belgelerine göre, Balık Kapısı çevresinde oldukları düşünülen Venedik yapılarının San Marco Kilisesi, Balyos Sarayı, Santa Maria Kilisesi ve San Giorgio Manastın; Zindan Kapı yakınında gösterilen `harabe` kilisenin ise San Giovanni de Cornibus Kilisesi olması olası bulunmuştur. Anıtsal yapılar dışında, Osmanlı belgelerinin bölgedeki yapılardan bazılarını kâfiri olarak nitelemeleri, Venedik Ticaret Kolonisi yapılan olabileceklerini düşündürmüş; bu bağlamda, Venedik kaynaklan ile Osmanlı kaynaklarında rastlanan yapı terimleri karşılaştırmak olarak tartışılmıştır. 15. ve 16. yy'da çalışma bölgesinde adı geçen çok sayıda önemli yapının zaman içinde kaybolduğu anlaşılmıştır. Venedik Ticaret Kolonisi yapılan dışında Mevlana Gürani Hanı, Murat Paşa Hanı, Hacı Dursun Hanı, Katır Hanı, Sinan Paşa Hanı, Çifte Hamam, Yahudi Hamamı, Hürrem Sultan Hamamı, Sinagog, Hacı Zenbur Mescidi, Kazancılar Mescidi, Odun Kapısı yakınındaki tuz anban, değirmenler, Arslanlı Ev Mahallesi'nde bir köşk (kasr) gibi çok sayıda yapı günümüze ulaşmamıştır. Bu yapılara bugün ne olduğu anlaşılamayan, Osmanlıların önemsediği `eski` Fildamı'm da eklemek gerekir. `Venedik Ticaret Kolonisi İle İlgisi Tartışılan Yapılar` alt başlığında, Tahtakale Hamamı Burmab Han ve Balkapanı Hanı ele alınmış; ancak, tartışma, ağırlıklı olarak Fetih öncesi ile ilgisi ısrarla vurgulanan Balkapanı Hanı üzerinde yoğunlaştırılmıştır. Tahtakale Hamamı'nın restorasyonu sırasında ortaya çıkarılan Bizans dönemi kalıntılarının günümüze ulaşamamış oluşu ayrıntılı yorum yapmayı olanaksızlaştırmaktadır. Burmak Han'ın sadece revak tonoz örgü tekniğinin Bizans tekniğine benzerliği Bizans döneminden kalmış olabileceğini söylemek için yeterli bulunmamıştır. Araştırmacıların büyük çoğunluğu tarafından bodrum katının Bizans yapısı olduğu öne sürülen Balkapanı Hanı örneğinde ise, tarihinin Fetih öncesine kadar geri gidemeyeceğini kanıtlayacak bir bulguya rastlanmamıştır. Bu durumda, hanın Venedik Ticaret Kolonisi ile ilgisi olasıdır. Sonuç olarak, bölgenin Osmank Ticaret Bölgesi'ne geçiş döneminde, kimlik değiştirme süreci yaşadığına tanık olunmuştur. Osmanlılar, kendileri için önemli bir rakip olan Venediklilerin, İstanbul içindeki `küçük Venedik`inin izlerini, zaman içinde şehrin bütününde de çok etkili olacak yapılarla büyük ölçüde silmişlerdir. Ancak, kimlik değişse de binlerce yıldır değişmeyen bir şey vardır: Ticaret. xıvKiliselerin yerini mescitler/camiler almıştır. Ancak, uzaktan malların geldiği iskeleler, tüketim merkezlerine ulaştıran ana yollar ve çarşıların Fetih öncesi ve sonrası bölgenin değişmezi olduktan belgeler aracılığıyla da doğrulanmıştır. XV THE TRANSFORMATION OF `THE OLD VENETIAN TRADE COLONY' OF ISTANBUL INTO 'THE OTTOMAN TRADE DISTRICT' SUMMARY This research on the transformation of the old Venetian Trade Colony of Istanbul into the Ottoman Trade District proposed as a doctorate thesis, focuses on the transformation process of the Venetian Trade Colony - which maintained its existence for nearly four hundred years until the conquest of Istanbul - into the Ottoman Trade District. The area considered in the study was limited to the area south of the Golden Horn thought to have been inhabited by the Venetian Colony before the Conquest and based on the `privilege document {Chrysoboullos logos)` dated 1082, the first document mentioning a Venetian settlement, to the period from the 1 1th century to the end of the 16th century when the area seriously started to gain an Ottoman identity with the construction of the RUstem Pasha Mosque and the preparations made for the construction of the Yeni Cami. The study is mainly based on information presented in primary sources. The first phase of the study discusses where the Venetian Trade Colony's boundaries would be in today's topography. The boundaries which changed according to the political developments of the period were analysed in three different periods: the 1082-1204 Period; 1204-1261 Latin Empire Period;1261-1453 Period. According to documents, the pre-Conquest boundaries were the Balık Kapısı in the east and Odun Kapısı in the west. However, the eastern side of Balık Kapısı which had close relations with the Venetian Trade Colony has been included in this study, too. It was also determined that the Sebastokrator walls determining the southern limits of the Venetian settlement may have ran along Tahtakale Caddesi. The organisation of the Venetian Trade Colony was described according to its relations with sea trade. The quay where ships coming from distant places could moor due to the depth of the water; the gates through which goods entered the city; the roads they led into; the fondaco where those who brought the goods stayed; the shops in which the manufacturers merchants worked; the Capyllio where they enjoyed themselves; the numularium tabule where money exchanges were made; the lobia where they most probably stored and marketed their goods; the houses they lived in, the churches, the monasteries; the palace that governed them; the curia where they were tried and the hospital where they were treated were all taken into consideration. 29 May 1453 was a critical date for the Venetians, too. The Venetians who had helped protect the city, shared the fate of the Byzantines during the Conquest. They must have undergone a period of uncertainty, which lasted for almost a year until the treaty was signed on 18 April 1454, during which they were probably trying to determine how long the situation would last. With reference to the treaty, the 16 August 1454 entry of the Senato Mar register, (ASV), states that the first bailo after the Conquest was Bartolomeo Marcello and that the houses and church which xvibelonged to the Anconians were given to the Venetians, but the location of the house and church of the Anconians in the present day settlement could not be determined. It was established that although before the Conquest the Venetian Trade Colony was a large unified area, the Ottoman mahalles (neighbourhoods) that were established in the same location following the Conquest were small units. The Ottoman mahalles that were established in what was known before the Conquest as the Venetian Trade Colony have been determined according to the findings obtained by the deliberations regarding the boundaries. The boundaries of the Ottoman mahalles included in the study are not very clear. However, their inclusion in the research is due to their being referred to in the documents. Acemoğlu Ahi Çelebi, Arslanlı Ev, Balık Kapısı, Bozahane, Çelebioğlu, Edirneli Yahudiler, Fildamı, Hacı Halil Mescidi, Hacı Keşkek, Hacı Zerduz, Halil Paşa Bergosu, Karaşems, Mevlana Gürani Hanı, Odun Kapısı, San Timurcu, the Jewish mahalles and the area around Zindan Kapı and the mahalle of Tahtakale were studied during the research and although there were no references made to the mahalle of `Balyoz` (balyos) and Venedik Loncası, these two were included because of their names on the assumption that they could have had some relation to the old Venetian Trade Colony. In the discussion and conclusion sections the Venetian and the Ottoman documents were evaluated simultaneously. Through Ottoman documents, it was established that the Venetian buildings found to be situated around Balık Kapısı were the St. Marco Church, the Balyos Palace, the Santa Maria Church and the Monastery of San Giorgio; and that the `ruined` church shown as being near Zindan Kapı was most probably the San Giovanni de Cornibus Church. The fact that except for some monumental buildings, the Ottoman documents refer to some structures in the area as kâfiri (belonging to the infidel) leads us to believe that they could be structures in the Venetian Trade Colony, and within this context, the building terminology found in Ottoman and Venetian documents were studied comparatively. It was also determined that many important structures stated to have been in the said area in the 15th- 16th centuries were lost in the course of time. In addition to the buildings of the Venetian Trade Colony, numerous others such as the Mevlana Gürani Hant, Murat Paşa Hanı, Hacı Dursun Hanı, Katır Hanı, Sinan Paşa Hanı, Çifte Hamam, Yahudi Hamamı, Hürrem Sultan Hamamı, the Synagogue, Hacı Zenbur Mescidi, Kazancılar Mescidi, the salt cellar in the vicinity of Odun Kapısı, the mills, a kasr (pavilion) in the mahalle of Arslanlı Ev have not survived to the present. The `old` Fildamı (Elephant's Shed), whose function has not been clarified yet but which was very important for the Ottomans, should be added to this list. The Tahtakale Hamamı, Burmak Han and Balkapam Ham were studied under the subtitle `Structures Whose Relation to the Venetian Trade Colony Are Queried`; however, the focus was mainly on Balkapam Ham whose relation to the Colony before the Conquest is insistently emphasised. As the Byzantine period remains found during the restoration of the Tahtakale Hamam have not survived to the present, it is almost impossible to make detailed interpretations and comments. Moreover, the fact that only the vaulted masonry technique used in the arcade is reminiscent of the Byzantine technique has not been found to be sufficient evidence to say that it could be dated to the Byzantine period. However, in the example of Balkapam Han whose basement is dated to the Byzantine period by a large majority of researches, no evidence proving that it could xviinot date to the pre-Conquest period was found. Therefore, it is very likely that this building was related to the Venetian Trade Colony. In conclusion, we have witnessed that the area underwent a process of change in identity during its transformation into the Ottoman Trade District. In Istanbul, the Ottomans effaced the traces of `little Venice` and the Venetians, who were to a great extent a serious competition, by means of buildings which were impressive even considering the city as a whole. However, even though the identity was transformed, there was one thing that did not change for thousands of years: Trade. The churches were replaced by mesjids or mosques. On the other hand, documents confirm that the quays used to unload goods coming from far away, the main roads used to transport them to consumption centres and markets were the never changing elements of the area before and after the Conquest. xvui 266

Tez (Doktora) -- İstanbul Teknik Üniversitesi, Fen Bilimleri Enstitüsü, 2001, Thesis (PhD) -- İstanbul Technical University, Institute of Science and Technology, 2001, “İstanbul’un Eski ‘Venedik Ticaret Kolonisi’nin ‘Osmanlı Ticaret Bölgesi’ne Dönüşümü” başlığıyla doktora tezi olarak önerilen araştırma, İstanbul’un Fethi’ne kadar dört yüz yıla yakın varlığını sürdürmüş Venedik Ticaret Kolonisi’nden Osmanlı Ticaret Bölgesi’ne geçiş sürecini konu almaktadır. Çalışma, mekan olarak, Venedik Kolonisi’nin Fetih’ten önce Haliç’in güney sahilinde kaplamış olduğu düşünülen alanla, zaman olarak ise, Venedik yerleşiminden ilk kez söz eden 1082 tarihli “ayrıcalık belgesi (Chrysoboullos)”ne dayanarak 11. yy’dan, bölgenin Rüstem Paşa Camisi’nin inşası ve Yeni Cami’nin inşa hazırlıklarıyla Osmanlı kimliğini büyük ölçüde kazandığı 16. yy’ın sonuna kadar sınırlandırılmıştır. Çalışma ağırlıklı olarak birincil kaynakların sunduğu bilgiler üzerine kurulmuştur. Bölgenin ‘Osmanlı Ticaret Bölgesi’ne geçiş döneminde kimlik değiştirme süreci yaşadığına tanık olunmuştur. Osmanlılar, kendileri için önemli bir rakip olan Venediklilerin, İstanbul içindeki “küçük Venedik”inin izlerini, şehrin bütününde de çok etkili olan yapılarla büyük ölçüde silmişlerdir. Kimlik değişse de binlerce yıldır değişmeyen bir şey vardır: Ticaret. Kiliselerin yerini mescitler / camiler almıştır. Ancak, uzaktan malların geldiği iskeleler, tüketim merkezlerine ulaştıran ana yollar ve çarşıların Fetih öncesi ve sonrası bölgenin değişmezi oldukları belgeler aracılığıyla doğrulanmıştır., This research on the transformation of the old Venetian Trade Colony of Istanbul into the Ottoman Trade District proposed as a doctorate thesis, focuses on the transformation process of the Venetian Trade Colony- which maintained its existence for nearly four hundred years until the conquest of Istanbul - into the Ottoman Trade District. The area considered in the study was limited to the area south of the Golden Horn thought to have been inhabited by the Venetian Colony before the Conquest and based on the “privilege document (Chrysoboullos)” dated 1082, the first document mentioning a Venetian settlement, to the period from the 11th century to the end of the 16th century when the area seriously started to gain an Ottoman identity with the construction of the Rüstem Pasha Mosque and the preparations made for the construction of the Yeni Cami. The study is mainly based on information presented in primary sources. It was observed that the area underwent a process of identity transformation during this transition period that led to its becoming the Ottoman Trade District. In Istanbul, the Ottomans effaced the traces of “little Venice” and the Venetians, who were to a great extent a serious competition, by means of buildings which were impressive even considering the city as a whole. However, even when identity was transformed, there was one thing that did not change for thousands of years: Trade. The churches were replaced by mesjids or mosques. However, documents confirm that the quays used to unload goods coming from far away, the main roads used to transport them to consumption centres and markets have been the never changing elements of the area before and after the Conquest., Doktora, PhD

ÇAĞDAŞ TÜRK RESMİ'NDE KÜBİST EĞİLİMLER ÖZET Kübizm öne sürdüğü görüşlerle, estetik anlayışta, resim sanatının tümüyle dönüşüm geçirmesine yol açan bir modern sanat akımıdır. Batı sanatının natüralizmden kopmasında en önemli etkenler sanatçının hayal dünyasının genişlemesi, teknolojik gelişmeler ve fotoğrafçılık olmuştur. Kübizm' in doğduğu yıllarda İtalya'da Fütürizm, Fransa'da Orfizm, Almanya'da Der Blaue Reiter akımları sanat ortamını etkilerler. Kübizm Empresyonist geleneğe karşı çıkarak, yeni bir biçim dili yaratır. Felsefik bağlamda Kübizm, nesnelerin duyusal görünüşlerini değil, değişmeyen, mutlak bir varlık görünüşünü vermektir. Kübizm'in ilk devresi Picasso'nun Avignon'lu Kızlar adlı tablosuyla başlamıştır. Daha başka bir ifadeyle, Picasso Kübizm'i kışkırtmıştır. Picasso ve Braque Courbet ve Cezanne' dan aldığı mirası kübist temelde bir resimsel sunuşa döktüler. Kübizm ilk devresinden sonra analitik ve sentetik olarak iki döneme ayrılır. Analitik Dönem' de, nesnelerle kişilerin düzlemler halinde aynştırılmasıyla deneysel bir yorumlamaya gidilmiştir. Sentetik Dönem'de ise; gazete, muşamba, teneke gibi çeşitli malzemeler resme sokulmuştur. Bu kolaj çalışmalarında biçimlerin bireşimleri dikkati çeker. Kübizm akımı, bu dönemlerinden sonra gelecekteki gelişmeleri etkilemede bir devrim niteliği taşır. Çağdaş Türk Resmi, Cumhuriyet Dönemi'nde atılan çağdaşlaşma yolundaki atılımlar ile yenilikçi bir döneme girmiştir. Cumhuriyetin ilk yıllarında Avrupa'ya giden ressamlar yeni eğilimlerle dönerek Müstakil Ressamlar ve Heykeltıraşlar Birliği'ni kurmuşlardır. Fakat bu grubun dağınık görünümüne karşın D Grubu, Modern Sanatın kapılarının Türkiye'ye açılmasında kararlı bir çizgi izlemiştir. Kübizm akımına bağlı çalışan sanatçılar, kübist anlayışla köklenmiş, Türk değerlerine uygun olan, kendi üslûplarını oluşturmakla Türk Resmi'ne yeni bir soluk getirmişlerdir. vıı SUMMARY CUBIST INCLINATIONS IN CONTEMPORARY TURKISH PAINTING Cubism is a modern art which caused a total change in painting with the esthetic intellect it proposed. The most important reason for west art to turn away from naturalism was the expansion of artists imagination and photography art. When Cubism emerged, Futurism in Italy, Orfism in France and The Blue Rider in Germany were the influential movements the art. Cubism creates a new language form by resisting Impressionism. In cubist philosophy, Cubism shows the absolute stability of the material instead of its emotional profile. The first period of Cubism started with Picasso's `Les Demoisselles d' Avignon`. In another word Picasso was the instigating figure in Cubism. Picasso and Braque changed the inheritance, which they received form Cezanne and Courbet, into a cubist based painting representation. After the first period Cubism falls into analytic and synthetic periods. In analytic period objects and people are plattered and separated as an experimental comment. In synthetic period, things like newspaper, tins and linoleum are used in painting. In these collage works, the gathering of shapes is important. Cubism would have a revolutionary effect after all these periods in the future. The Contemporary Turkish Painting entered a new age with the contemporaneous steps during the first years of the Republic. In these years, The painters came back from Europe with new tendencies and formed `The Independent Painters and Sculptors Association`. Compared to the disorganisation of this group, The D Group certainly opened the doors to modern art in Turkey within a decisive framework. Cubists artists combining cubism and the national values of the country brought a new understanding to Turkish painting. vui 113

Tez (Yüksek Lisans) -- İstanbul Teknik Üniversitesi, Fen Bilimleri Enstitüsü, 2001, Thesis (M.Sc.) -- İstanbul Technical University, Institute of Science and Technology, 2001, Bu çalışmada Tanzimat’ tan günümüze İstanbul/Kadıköy ve Üsküdar’ daki yabancı okullar ve azınlık okulları ele alınmıştır. Tanzimat’ tan sonra aralıklarla yapılan yasal düzenlemelerle gayrimüslim cemaatlere haklar tanınmış, yabancılara kolaylıklar sağlanmıştır. Batı’ yla ilişkilerin artmasıyla da eğitim giderek daha çok önem kazanmış, cemaatler ve yabancılar Osmanlı Devleti topraklarında bir çok okul açmışlardır. İstanbul, Kadıköy ve Üsküdar’ da 19. Yüzyıl sonlarında başlayan kentsel biçimlenmede, İstanbul’ un çeşitli yerlerinden çeşitli nedenlerle İstanbul’ un Asya kıyılarına göç edip yerleşen cemaatlerin ve ayrıca batı ülkeleriyle artan ilişkiler doğrultusunda Kadıköy ve Üsküdar’ da da okullar açan yabancıların inşa ettikleri yapılar içinde dönemin toplumsal değişimlerini yansıtan okul yapılarının önemli katkısı olduğu düşüncesinden yola çıkılarak bölgedeki azınlık ve yabancı okulları bir katalog çalışması şeklinde incelenmiştir., In this paper, the foreign and minorty schools in İstanbul, Kadıköy and Üsküdar, from the Tanzimat period to the present are studied. Parallel to the changing state of affairs at the Ottoman Empire following the Tanzimat, new regulations were made in favour of the minorities and foreigners in the country. According to the changing notions in the era, education became more and more important resulting in many schools being openned by foreigners and minorities. Towards the end of the 19. century due to the various reasons, minority groups as well as Laventines from different parts of İstanbul moved to the Anatolian side of İstanbul, building western influenced buildings in Kadıköy and Üsküdar in which period the western type of urban developments were also started at the European parts of İstanbul. The buildings by the missionary organizations and minorty communities had their significant contributions in the urbanization process in Kadıköy and Üsküdar. Amongst of all building types, the educational buildings indicated the importance of educational and cultural impacts parallel to the rising notions in the era, reflecting the effects of the cultural transformation on the building environment., Yüksek Lisans, M.Sc.

Tez (Yüksek Lisans) -- İstanbul Teknik Üniversitesi, Fen Bilimleri Enstitüsü, 2001, Thesis (M.Sc.) -- İstanbul Technical University, Institute of Science and Technology, 2001, Bu çalışmada sıraev kavramı tanımlanarak dünyada ve İngiltere’deki örneklerine değinilmiştir. Batılılaşma dönemi İstanbul’unda kent dokusuna tipolojik bir kategori olarak katılan ‘İstanbul sıraevinin’ ortaya çıktığı dönem koşulları incelenmiştir. Kent içindeki bölgesel etnik farklılıklar ve dönemin yapılaşmasını etkileyen kanun ve yönetmelikler araştırılmıştır. İstanbul’da yeni bir konut modeli olan sıraev; kentsel konumuna, plan ve cephe tipolojilerine ve yapım amacı ve kullanım modellerine göre tanımlanmıştır. İstanbul sıraevinin tipik örneklerinden Ortaköy Onsekiz Akaretler Sıraevi, Fener-Balat sıraevleri ve Beşiktaş Akaretler Sıraev grubunun yapılış amaçları, kullanım modelleri ve mimari özellikleri incelenmiştir. Sosyal nitelikli azınlık vakfına ait olan Sup Agop Sıraevleri ele alınarak konumu, tarihçesi, yapım ve kullanım süreçleri araştırılmış, analitik incelemesi yapılmıştır. Ayrıca ondokuzuncu yüzyıl İstanbul’unda cemaat olarak Ermeni topluluğuna kısaca değinilmiştir. Surp Agop Sıraevleri dönem sıraevleriyle karşılaştırılmış, son olarak da güncel durum tespiti yapılarak koruma önerisi sunulmuştur., This research describes the meaning of rowhouse with the examples in the world and in England which were introduced to Istanbul’s urban fabric during the Westernization period. Also the period of the introducing time of rowhouse, the demographic structure and the regional ethnic variations and the laws effects the constructions are searched. Surp Agop Rowhouse, that is chosen because of its social quality, examined from the historical side and analytic side. The new house model of rowhouse and the rowhouse typology is explained as well as the position of rowhouses in urban, plan and facade typologies and the aim and the reason of constructing these rowhoueses and the usage types of the houses. The Surp Agop Rowhouses, which makes up the main subject of this thesis is studied analytically. Then the history, the location and the position, the layout, the facade orientation and the ornaments of the rowhouses of this group are examined. The comparison of the rowhouses which were built in the same period with the Surp Agop Rowhouse is done. After examining of users and the history of rowhouses, we contributed a preservation and adaptive reuse suggestion in the area selected., Yüksek Lisans, M.Sc.

MASLAK KASIRLARI ( KARŞILAŞTIRMALI BİR İNCELEME ) ÖZET 19. yüzyıl'da Osmanlı Devleti'nde yaşanan Batılılaşma'mn meydana getirdiği değişim, toplumun her kademesinde görülmüştür. Padişah yapıları olan saray ve kasırlar da bu değişimin yansımalarının görüldüğü en önemli yapılardır. Bu değişimin Maslak Kasırları'na yansımasını ortaya çıkarmayı amaçlayan bu tez, yedi bölümden oluşmaktadır. İlk bölümde, tezin amacı ve kapsamı anlatılmıştır. İkinci bölümde, 19. yüzyıl'da Osmanlı ve Batılı devletlerinin karşılıklı iletişimi ile Osmanlı toplumunun her kademesinde meydana gelen batılı anlamdaki değişimden söz edilmektedir. Özellikle Osmanlı mimarisi ve süslemesinde oluşan değişiklikler ortaya komnuştur. Üçüncü bölümde; saray, kasır ve köşk kelimeleri tanımlanmış ve 19. yüzyıl öncesi ve 19. yüzyıl'dan günümüze kadar Osmanlı saray, kasır ve köşklerinin nasıl bir gelişme gösterdiği açıklanmıştır. Dördüncü bölüm, kesin yapım tarihi bilinmemekle birlikte 19. yüzyıl ortalarında yapılmış olduğu tahmin edilen Maslak Kasırları'nm analizine ayrılmıştır. Bu bülümde Maslak Kasırlan'nın tarihi ve konumu, tasarım konsepti, plan şeması, yapı elemanları ve malzemesi, bezemeleri ve geçirdiği değişiklikler, onarımlar ile bugünkü durumu incelenmiştir. Beşinci bölüm, Maslak Kasırları ile aynı dönemde yapılmış bazı kasır ve köşklerin tanımlanmasına ayrılmıştır. Altıncı bölüm, 19.yüzyıl'da yapılmış kasır ve köşklerin tipolojik karşılaştırmasını içermektedir. Yedinci ve son bölümde ise, bölümlerde yapılan incelemeler sonucunda varılan değerlendirme ve sonuçlar yer almaktadır. Sonuç olarak, 19. yüzyıl'da yapılmış bazı kasır ve köşkleri incelediğimiz zaman varılan iki farklı tipolojinin, yerli şemalar ile batılı motif ve formların sentezi ile oluşan kasırlar ve hafif bir konstrüksiyonla rustik biçimlerin birleşmesinden meydana gelmiş, neo-ottoman denemeleri niteliğinde olan av köşklerinin, Maslak Kasırları bünyesinde var olduğu anlaşılmıştır. Fakat Maslak Kasırlan'nın diğer benzer örneklerine göre daha sade ve yalın, kırsal mimariye özgü bir anlayış içerisinde düzenlendikleri sonucuna varılmıştır. XI THE MASLAK PAVILIONS (A COMPARATIVE RESEARCH) SUMMARY This thesis is an analysis of Westernization Movements' effects' reflections on Maslak Pavilions. The first chapter consists of a general introduction and the aim of this work. The sequences of the thesis were given in this chapter. In the second chapter, the social, cultural and economical structure of the 19th century in Ottoman Empire has been studied. 19th century has been the period of revivals in Europe. Instead of creating new styles, it was preferred to revivals of past styles. This period is called as ` Historicism`. At the same time, `Westernization Movements` on Ottoman Empire, had been seen and had caused to be variation. The effects of this variation to Ottoman Architectural and Ornamentation comprehension in 19th century were examined. The architecture and ornamentation developed under the influence of Europe. Different styles have been used, which caused the Eclectic Style. The third chapter; places, pavilions and kiosk were analyzed. Their definstion, development were explained. The pavilions were defined as big kiosk, which belonged to Sultan or members of his family. They have been mostly built on countryside. The kiosks have been built as private houses for rich people. The fourth chapter of the thesis includes a detailed description of Maslak Pavilions. The Imperial pavilion ( Kasr-ı Hümayun ), The Private Apartments and Conservatory ( Mabeyn-i Hümayun, Limonluk ), The Tent Pavilion ( Çadır Köşkü ), Apartments of the Pashas were examined separately. The fifth chapter is about similar examples of Maslak Pavilions. Selected examples are Adile Sultan Pavilion, Beykoz Pavilion, Ayazağa Pavilion, Zincirlikuyu Pavilion and Validebağ Hunting Kiosk, Ayazağa Hunting Kiosk. Their location, history, plan, facade and decoration were examined. The sixth chapter is the typological comparison of the Maslak Pavilions with the hunting kiosks and pavilions of the same period. Xll 148

Tez (Yüksek Lisans) -- İstanbul Teknik Üniversitesi, Fen Bilimleri Enstitüsü, 1999, Thesis (M.Sc.) -- İstanbul Technical University, Institute of Science and Technology, 1999, Cumhuriyet döneminde Türkiye‘de ortaya konulan mimarlık, toplumsal ve teknolojik dönüşümlerden kaynaklanan, mimarlık disiplininin ontolojik bir sorgulaması olmaktan uzak olup, büyük ölçüde bir “asrileşme projesi” olarak algılanmalıdır. Batının modernite projesini gerçekleştirme yolunda ‘antik çağ ideali’ ile ilişki kuran bu yöneliminin biçimleri ile sivil mimarlık verilerinin kaynaklık ettiği geleneksel biçimler arasında kendi ‘toplumsal idealini’ ifade etmek için bir seçim yapma durumunda kalan Türk mimarlığı kanımızca, bir aidiyet bunalımı yaşamaktadır. Bu bunalımın temelinde, uluslararası eğilimlerin belirlediği modern tavrın çağın ruhu bağlamında ortaya çıkan kentsel gereksinimlerle örtüşüklüğü ile sivil mimarlık verilerinin kaynaklık ettiği Türk mekan kültürünün kollektif bellekteki güçlü etkilerinin çatışmasından doğan kimlik bunalımı bulunmaktadır. Bu çalışma, çağdaş Türkiye mimarlığında ‘aidiyet sorunu’nun temel karşıtlığı olan modern–geleneksel çatışmasını, daha ilk filizlendiği erken Cumhuriyet mimarlığı sürecinde, dönemin iki önemli mimarının – Sedad Hakkı Eldem ve Seyfi Arkan – yapıtları ve söylemleri çerçevesinde incelemekte ve aidiyet sorununu bu dönemin ortaya koyduğu veriler ışığında değerlendirmektedir., The search for an autonomous and secular identity during the early Republican period of the Turkish revolution, for the sake of constructing the communal ideal, has a convertible content that, which shows parallelism with the modern architectural movement. Modern Turkish architecture is far away from an ontological questioning of the architectural discipline which is caused by the communal and technologic transformations, but it is rather to be comprehended mainly as a civilization project. The refusing attitude of the modern architecture of the early twentieth century has introduced the most appropriate grammar to the modernization project with a readily acceptable innovative image within the frame of the modern Turkish architecture. The aim of this work is to analyze the question of allegiance, within the perspective of Early Republican Period as a dispute of two architects’ - Seyfi Arkan and Sedad Hakkı Eldem - works and concepts of architecture; which is basically related to the identity distress which arises from the disputes between modern attitude defined by international attitudes and the traditional approach based on civil architectural data, Yüksek Lisans, M.Sc.

1986-1996 YILLARI ARASINDA İSTABUL'DA DÜZENLENEN VE MEKANLARI İLE DOĞRUDAN İLİŞKİ KURAN SERGİLER ÖZET Çağdaş sanat içinde yer alan sergiler açısından bakıldığında, özellikle Modernizm ile başlayan, sanat ve sanat nesnesine dolayısıyla da estetik anlayışa getirilmiş olan yeni yaklaşımlar, günümüzde Post-Modernizm tartışmaları ile yeni bir boyut kazanmıştır. İlk örnekleri yüzyıl başında görülen, klasik tanımların dışında kalacak biçimde, sanatta obje kullanımı Post-Modernizm ile birlikte yeniden ve daha güçlü olarak gündeme gelmiş, özellikle son on yıl içinde ise obje ile birlikte mekanın da sanat eseri sergilemeye doğrudan katkısı olmaya başlamıştır. Bu çalışmada sanat sergileri içinden seçilen örnekler, özellikle mekanları ile birlikte varolan ve mekanların düzenlemeye katkıda bulunduğu örnekler arasından seçilmiştir. Bu seçim sırasında sadece obje kullanımı değil, aynı bakış açısı ile mekanlara yerleştirilmiş olan resim ve heykel örnekleri de değerlendirme içine alınmıştır. Sanatta obje kullanımının yoğunluk kazandığı bir dönem olarak 1986- 1996 arası, çalışmanın kapsadığı zaman dilimi olarak belirlenmiş, bu süre içinde sadece İstanbul'da düzenlenmiş olan ve mekanlan ile doğrudan fonksiyon, anlam ve mimari özellikler açısından ilişkiye girmiş olan düzenlemeler diğerleri arasından seçilerek çalışmanın konusunu oluşturmuştur. Bu bakış açısı ile bakıldığında çoğunlukla bu türden düzenlemelerin tarihi mekanlarda yapıldığı saptanmıştır. Bu mekanlar arasında sözkonusu düzenlemelere en çok sahne olan Aya irini Müzesi (Kilisesi) dir. Ayrıca Yerebatan Sarnıcı, Haseki Hürrem Sultan Hamamı (Ayasofya Mimar Sinan Hamamı), Dolmabahçe Sarayı Hareket Köşkü, Mimar Sinan Üniversitesi Resim Heykel Müzesi, Süleymaniye İmarethanesi, Fener Kadın Eserleri Kütüphanesi, Ayasofya Meyyit Kapısı ve Hazine Dairesi, Arkeoloji Müzesi, Galata Mevlevihanesi, Yıldız Sarayı bahçesi ve Silahhane Binası geçmişte farklı fonksiyonları olan, tarih içinde çeşitli anlamlar yüklenmiş olan yapılar da sık olmamak kaydıyla sanat sergileri için kullanılmışlardır. Bu türden mekanlann dışında, tarihi yapı sınıfına girmeyen ancak geçmişte farklı amaçlarla kullanılmış olan Salı Pazarı Antrepo Gümrük Binaları, eski Haydarpaşa Lisesi Binası (Marmara Üniversitesi Kampusu), Akaretler Sıra Evleri içinde yer alan Cumhuriyet Halk Partisi eski İlçe Merkezi Binası, Beyoğlu eski nikah dairesi (Tank Zafer Tunaya Kültür Merkezi), Kasımpaşa Un Fabrikası, Markiz Pastahanesi, Saray Sineması, Altıyol Anarat Hıgutyun Okul Binası, fonksiyonları, bulundukları çevreler ve mimari özellikleri ile kullanılmış olan mekanlardır. Bir üçüncü grup olarak ise bugün başlangıçtaki fonksiyonları ile kullanılan ama bu özellikleri ile doğrudan sergi mekanı olarak fonksiyonlandırılmamış, Atatürk Kitaplığı, Koleksiyon Mobilya Mağazası, Ela Cindoruk Takı Atölyesi ve İtalyan Evi'nin çeşitli sanat sergileri için kullanıldığı görülmektedir. Bir zamanlar farklı işlevleri olan ya da hala sanat nesnelerinin sergilenmeleri için tasarlanmamışmekanlar olarak kullanılan bu mekanların dışında işlevi başından beri sanat galerisi olarak belirlenmiş olan tek bir mekan çalışmanın en önemli mekanı olarak görülmektedir Maçka Sanat Galerisi. Mimari özellikleri, iç bölümlenmeleri, duvar ve zemininin kaplandığı 10x10 cm'lik karoları nedeniyle kendi başına bir sözü olan ve sanatçıları belirgin bir biçimde zorlayan Maçka Sanat Galerisi, diğer sanat galerinden bu özellikleri ile aynlmakta ve mekanla ilişki kuran düzenlemelerin yer aldığı tek sanat galerisi örneği olarak görülmektedir. Bunun yanı sıra Atatürk Kültür Merkezi Sergi Salonları, sadece mekanların detaylan ile ilişkili işler sergilemeyi tercih eden bir sanatçı olan Ayşe Ekmenin işleri nedeniyle bu çalışma içinde özel olarak yer almaktadır. Yukanda sözü edilen tüm mekanlardaki sergi düzenlemelerine baktığımız zaman, ortak olan yan bu düzenlemelerin herhangi başka bir mekanda tekrarlanamayacak olması veya tekrarlandığında yine kendi sözü de olan bir mekanın seçilme zorunluluğunun bulunmasıdır. Bunların arasında sadece birkaç resim ve heykel sergisi örneği vardır ki sergilenme mekanlan eserlerin konulan ile bütünlük içinde olmakla birlikte bu eserler mekanlarından çıkarıldıklannda da sanat eseri olma niteliklerini sürdürebilmektedirler. Çeşitli objelerin biraraya getirilmesi ile oluşturulan düzenlemelerde, düzenleme sonunda bu objeler dağılır ve büyük olasılıkla sanatçıların atölyelerinde başka bir serginin bir parçası olarak kullanılmayı beklerler. Ancak bu objelerin bir sonraki kere farklı bir düzenleme içinde ve farklı bir mekanda yeniden bir araya getirilmesinden doğacak söz daha öncekinden farklı olacaktır. Bu farklılık beklentisinin yanısıra o objeler bütününün mekanlan ile kurdukları ilişki de önemlidir. Ancak bazı örnekler vardır ki, özellikle biçim, malzeme ve ölçüler açısından bakıldığında sadece bir kere ve sadece o mekan için tasarlanmışlardır ve ikinci bir kere başka bir yerde kullanılmaları mümkün değildir. O yer için anlamına gelen (Site Specific) bu türden düzenlemeler özellikle Maçka Sanat Galerisi'nde; Ergül Özkutan, Ayşe Erkmen, Serhat Kiraz, Füsun Onur, Daniel Buren, Francois Morellet, Degmar Demming, Ayasofya Meyyit Kapısı'nda; Gülsün Karamustafa, Ayasofya Hazine Dairesi'nde; Sarkis, Hareket Köşkü, Atatürk Kültür Merkezi Sergi Salonlan'nda ve Arkeoloji Müzesi'nde; Ayşe Erkmen, Aya İrini'de; Handan Börüteçene, Francois Morellet, Ayşe Erkmen, İlya Kabakov, Süleymaniye İmareti'nde; Daniel Buren, Jannis Kounellis, Richard Long ve Sol Le Witt, Atatürk Kitaplığı'nda; Lerzan Özer, Hale Tenger, Canan Beykal, Kadir Demir, Caner Karavit, Alparslan Baloğlu, Anarat Hıgutyun Okulu'nda; Nevzat Sayın, Oruç Aruoba, Ahmet Öktem, Ergül Özkutan, Serhat Kiraz, Raffael Rheinsberg, Rahmi Aksungur, Antrepo Gümrük Binası'nda; Hale Tenger, Ayşe Erkmen, Aydan Murtezaoğlu, Hüseyin Alptekin-Michael Morris tarafından gerçekleştirilmiştir. Bunların dışında özellikle objelerin tekrar kullanılabilir olduğu ancak ikinci kullanımlarında mutlaka farklı anlamlar yüklenecek biçimde mekanları ile ilişkilendirilmiş örnekler de görmek mümkündür. Yukanda söz edilen mekanlarda gerçekleştirilmiş olan düzenlemelerin pek çoğu bulunduklan mekan ile hiç de kapalı olmayan bir ilişkiye girmiş bulunmaktadır. Ancak bazı örneklerde mekan ve düzenleme arasındaki ilişkinin özellikle sanatçı tarafından vurgulanmış olması gerekmektedir. Örneklerin pek çoğunun düzenlendikleri mekan dışında ve özellikle tarafsız galeri ortamında tekrarlanması mümkün görünmemektedir. Mekanları ile bu denli sıkı bir ilişkiye girmiş olan düzenlemeler sanat alanında var olan bir kavram kargaşasını da gündeme getirmektedir. XIIISanat eseri olmayan objelerin düzenlenmesi anlamına gelen enstalasyon kavramı bu türden düzenlemeler için de kullanılmakta ve çoğu zaman da düzenlemenin mekan ile bağımlı olma durumuna gölge düşürmektedir. Herhangi bir sanat galerisi içinde ve çoğunlukla da başka sanatçıların eserleri ile bir arada bulunan ve sanat eseri olma özelliğini sanatçının atıfta bulunması ile kazanan enstalasyonlann mekanları olmaksızın var olmaları da pek sözkonusu olamayacak olan düzenlemelerden ayırtetmek gerekmektedir. Bu nedenle mekan ilişkisi diğerlerinden daha baskın olarak görünen düzenlemeler için mekan bağımlı obje düzenlemeleri tanımının kullanılması bu düzenlemelerin ayrı bir kategoride değerlendirilebilmelerine de yardımcı olacaktır. xıv EXHIBITIONS DIRECTLY INTERACT WITH THEIR SPACE IN ISTANBUL BETWEEN 1986-1996 SUMMARY When studied from the perspective of contemporary art exhibitions, new approaches to art, art objects, and therefore, to aesthetics have achieved a new dimension with the current debate on postmodernism. The usage of objects in art, which has appeared at the turn of this century and has stood outside of the classical descriptions, once again has became prevelant more strongly; and especially in the last decade, the space as well as the art object are included directly in the exhibition of works of art. In the world which witnesses enormous economic and cultural changes, postmodernism, as it has emerged as an alternative to modernist approaches which exist nearly in all areas of life, contributes, in the field of art as well, to the emergence of attitudes which propose a foregrounding of the usage of objects from the angle of usual ways of expression of its age. The usage of objects, which has emerged together with this radical change in the way one looks at life, must be evaluated differently from the way the Dada movement's and Marcel Duchamp's approach that regarde the object as a work of art at the beginning of this century. The concept of art object, which has been defined as a sculpture of a painting, has been through an important change especially when Marcel Duchamp has ascribed the identity of artwork to the objects of daily use; and then the Ready-Made concept has been established in the art world; and this has continued with Dada movement. However, both approaches could reemerge more strongly only with the advent of postmodernist philosophy. Historically speaking, each period creates its own forms as a reflection of its own philosophical precepts; this new approach, which can be conceptualized as a reexamination of the meaning of artwork, emphasizes the use objects; yet, the most important difference with the first and earlier examples is that this time, a new agenda emerges in which the space where the objects are found interferes with the order of objects and the objects interact with the space (from the point of view of function, semantics or architectural elements). In most artists, we see that they can not be indifferent to the space in which they place their works, or the space does not let them to be indifferent. One of the most important reasons for this is the emergence of a variety we see in the art exhibition space. Museum ant art galleries have lost their priority for hosting contemporary art shows. Mostly spaces which have changed their meaning and function from the point of view of their past and present purpose are now used to exhibit objects.This new mode is seen as a reflection of the changing attitude towards the relationship between the art object and its exhibition space. With the arrival of the usage of objects, artists become more unrestrained both in their choice of objects, as well as their choice of exhibition space. In Turkey, when we consider the exhibitions which consists of clusters of objects in a sort of relationship with their space (in terms of function, meaning, and architectural form), most artists choose spaces, with something to say, or when the opportunityarises of having such an exhibition space, they cannot be indifferent to them. In a lot of works, which we now consider as art, the importance of space in terms of meaning has been observed since very early historical eras. However the important point in this study is the intensity space gains in the creation of an art exhibition. This newly added value to space is usually seen together with the usage of objects, but it plays an important role in many an exhibition, mostly of sculpture and more rarely of paintings. Furthermore, the necessity of a work of art interact with its exhibition space anr especilly its contribution to its arrangement in terms of the production of meaning Willi be studied here. One of the most fundamental areas of research conducted in this study, is the art objects and art exhibitions which have been articulated to their space, or in other words, objects and exhibitions which cannot any longer exist without their space. This new attitude which has appeared almost simultaneously in the West and Turkey will be the subject of this study, with the scope of studying it from a Turkish perspective, within a limited time-frame and area. This studyş concentrates on objects, selected from a number of exhibitions, that exist especially within their space and their spaces contibutes to their arrangement. In thes selection not only the usage of objects but sculpture and paintings that are arranged in space with the same point of view have been used. Between 1986/1896 are the years in which objects are used more frequently in art; this decade and the arrangements in Istanbul which are involved functionally, semantically, ant architecturally with their space have been choosen to be studied. From this point of view, most of these arrangements were situated in historical spaces. Among such historical sites, Aya İrini museum (Haggia Eirene church) is the most commonly used one. Yerebatan Sarayı (Basilica cistern), Haseki Hürrem Sultan Hamamı (Hagia Sophia, Mimar Sinan Bath), Dolmabahçe Sarayı Hareket Köşkü ( Dolmabahçe Palace, Imperial Guard's barracks), Mimar Sinan Üniversitesi Resim Heykel Müzesi ( Mimar Sinan University, Museum of Paint and Sculpture ), Süleymaniye İmarethanesi ( Süleymaniye İmaret), Kadın Eserleri Kütüphanesi ve Bilgi Merkezi ( Women's Library and Information Center), Ayasofya Meyyit Kapısı ve Hazine Dairesi ( Hagia Sophia Funeral gate and Treasury), Arkeoloji Müzesi ( The Archeological Museum ), Galata Mevlevihanesi ( Lodge of Mevlevi dervishes), Yıldız Sarayı bahçesi ve Silahhane ( Yıldız Palace, garden and The Armory), buildingis which have different functions in the past and are endowed with different connotations, have been used as exhibition space with less frequency. Other types of non-historical buildings, which are built and used for different purposes, such as Salıpazan Antrepo Gümrük binalan ( the Customs warehouses), the Haydarpaşa Lise binası ( the high-school and Faculty of Medical Science from Ottoman period), Akaretler Sıra evleri No: 50 ( former local headquarters of Republical People Party), Beyoğlu Evlendirme Dairesi (former civil Marriage Office XVIin Beyoğlu), Kasımpaşa Un Fabrikası ( the Kasımpaşa Mills), Markiz Pastahanesi (the Pattiserie Markiz), Saray Cineması (Saray Movie Theatre), and Anarat Hıgutyun Okulu ( an old Armenian School) have also been used for their functions, their enviroment, and their architectural features. A third group of buildings, which are still used as they have been originally conceived and built but do not function as an exhibition space, like the Atatürk Kitaplığı (Atatürk Library), Koleksiyon Mobilya (Koleksiyon Furniture Shop), Ela Cindoruk Takı Atölyesi (Ela Cindoruk Jewellers), and the İtalyan Evi, (Casa d'ltalia) have also been used as exhibition spaces. Also these buildings have either different functions then their intended purposes or are still used to exhibit artworks; however, one site that has been designed as an art gallery, and stilli functions as one, plays an important part of this study: Maçka Sanat Galerisi ( Maçka Art Gallery). This unique art gallery for its architectural characteristics, its interior divisions, its 10x10 cm. Ecru matte tiles on the walls and the floor has an interesting character; this art gallery devotes its spaces only to the artist that create exhibitions which interact with ist environment; for this reasons it has been used extensively in this study. Another art gallery which appears in thes study quite often is Atatürk Kültür Merkezi Sergi Salonları ( Atatürk Culturel Center, Art Gallery) for it has been used by Ayşe Erkmen who prefers to exhibit works which are related to the details of the exhibition space. When we look at the exhibitions at these specific places mentioned above, we see that these arrangements cannot be repeated in another space, or if they are rearranged, there is a need for a space with a specific identity. Among these, there are only a few exhibitions of sculpture and painting which the object exhibited could be considered as works of art outside the context of their surroundings, even though the space in which these objects are arranged are thematically linked to each other. After the exhibition, most of the objects that are arranged are dispersed and most probably they await for future arrangements at the studio of the artist. But, when these objects are used in another arrangemen, their statements will change utterly, for they will be in a different arrangement and in a different space. Other then the expectations for the difference, the relationship between the objects as a whole and their space is very important. In some cases, however, when we consider them from the point of view of the form, material, and the dimensions, they are designed for a specific time and place and it will be imposible to re-use them at another space. Such site-specific arrangements have been created by the following artists at the following places: Ergül Özkutan, Ayşe Erkmen, Serhat Kiraz, Füsun Onur, Daniel Buren, Francois Morellet and Dagmar Demming at the Maçka Sanat Galerisi, Gülsün Karamustafa and Sarkis at Aya Sofya, Ayşe Erkmen at Hareket Köşkü, Atatürk Kültür Merkezi and Arkeoloji Müzesi, Handan Börüteçene, Francois Morellet, Ayşe Erkmen and Uya Kabakov at Aya İrini, Daniel Buren, Jannis Kounellis, Richard Long and Sol Le Witt at the Süleymaniye İmarethanesi, Lerzan Özer, Hale Tenger, Canan Beykal, Kadir Demir-Cane Karavit and Alparslan Baloğlu at Atatürk Kitaplığı, Nevzat Sayın, Oruç Aruoba, Ahmet Öktem, Ergül Özkutan, Serhat Kiraz, Raffael Rheinsberg and Rahmi Aksungur at the Anarat Hıgutyun Okulu, Hale Tenger, Ayşe Erkmen, Aydan Murtezaoğlu and Hüseyin Alptekin-Michael Morris at the Salı Pazan Antrepo Gümrük Binası. XVIIAll the arrangements mentioned above interact with their space quite openly. However, it must be that this interaction is specifically stressed by the artist. Most of these arrangements seem impossible if they are to be repeated in a different space or in a neutral art fallery. These arrangements' such pointed involvement with their space brings forward a conceptual confusion in aesthetics. The label of installation, which means bringing together of disparate objects that are not works of art, is used for such arrangements and this clouds the issue of the arrangement's interaction with its space. Therefore, we must discriminate quite carefully between the installations that can be created in any art gallery, usually together with other artists' works, and achieve the status of an artwork through the allusiveness of its artist and the arrangements that cannot exist without their space. For these reasons it will be helpful to define and evaluate such arrangements, which have a dominant relation with their space, as site-specific arrangement of objects. XVIII 445

Tez (Yüksek Lisans) -- İstanbul Teknik Üniversitesi, Fen Bilimleri Enstitüsü, 1999, Thesis (M.Sc.) -- İstanbul Technical University, Institute of Science and Technology, 1999, 1930 yılları, apartman olgusunun İstanbul’da yaygınlaşmaya başladığı zamanlardır. Bahçe içindeki evler yerlerini, birden fazla ailenin, ayrı katlarda yaşadığı yüksek, bitişik nizam binalara bırakmaya başlamıştır. Osmanlı İmparatorluğu’nun son yıllarından başlayarak ve hep “ilk”lere imza atarak mesleki çalışmalarını sürdüren Vedat Tek o yıllarda 57 yaşlarındadır. Genç yaşlarından itibaren yaptığı binalar kamuoyunda hep büyük bir beğeni ve yüceltme ile karşılanmışken 1930’larda durum tersine dönmeye başlamıştır. İdeolojiler yön değiştirmiş, binalar “kübik” olmaya başlamış, mimarın “milli mimari” arayışları da bu oranda gözden düşmüştür. Bu tez çalışması kapsamında, Vedat Tek’in tasarlayıp uyguladığı ve aynı zamanda önerdiği, dönemin yeni konutu: apartman üzerinde gerçekleştirilen bir işlevsel analiz çalışması ile mimarın konu hakkında yazdıkları karşılaştırılmıştır. Düşünce ve tasarımlarının ardındaki örüntü anlamaya çalışılmıştır. Bu çalışmanın sonucu olarak ortaya çıkan konut konusundaki eleştirel bakışının ve rasyonel çözümlerinin, mimarın diğer yapıları için geçerliliği de soru olarak ortaya konmuştur. Mimar ve yapılarının, gerek yaşadığı günlerde, gerek bugüne kadar gelinen süreçte genellikle “Birinci Milli Mimari Hareketi” çerçevesinde değerlendirilmiş olması, onu ve yapılarını değerlendirme kriterlerini çeşitlendirme gereğini doğurmuş ve çalışma bu amaca yönelik olarak geliştirilmiştir., Vedat Tek (1873-1942) whose name is always remembered together with the First National Architectural Movement, had been the “first” in various topics during his life. He was the first Muslim Turk to practise from his own office, and the first Turkish Imperial Chief Architect (1904-1908). He realised quite big and important projects in his young age. Examples include the City Hall in Kastamonu (1902), and the Ministry of Postal and Telegraphical Services in Sirkeci (1904-1909). In 1930’s the ideological changes in the country begun to have a negative effect upon his reputation. In the same years the new housing trend of apartment houses were imported (!). Vedat Tek was critical of this change because he was reluctant to lose the old values, for instance, the one or two storey Istanbul houses set in gardens. He pointed out that the new apartment buildings were not properly built. In one of the architectural magazines dating 1931, he drew attention to the problems regarding these new buildings and offered solutions by providing sample projects. In this thesis, his two sample apartment projects (which were realised), and three sample projects given in the same article are analysed functionally and the results are compared with his thoughts written in the article. The results show that there were three main criteria in his designs: privacy, health and comfort. The spaces were organised according to these criteria. The dimensions and other properties (being at the corner or in between two buildings) of the parcel had given organisational alternatives. However, the basic concept had never changed. The results show that the architect was taking quite rational decisions. Could this result be generalised and applied to his other projects too? Or was this a natural result of the ideological changes taking place within the country? With this result and question it is aimed to draw attention to the other aspects of his architecture other than the First National Architectural Movement’s principles., Yüksek Lisans, M.Sc.

Tez (Yüksek Lisans) -- İstanbul Teknik Üniversitesi, Fen Bilimleri Enstitüsü, 1999, Thesis (M.Sc.) -- İstanbul Technical University, Institute of Science and Technology, 1999, Bu çalışmada, Milli Mimari üslubu adına dönemine damgasını vurmuş olan Mimar Kemalettin Bey’in eserlerinden biri, Edirne Garı incelenmiştir. İnceleme, dönemin Avrupa’daki ortam ile Osmanlı dünyasındaki değişimin sosyal, ekonomik ve kültürel açıdan oluşum nedenleri irdelendikten sonra, binanın mimari bir çerçevede kritik edilmesiyle meydana getirilmiştir. Rumeli Demiryolları kapsamında yer alan Edirne-Karaağaç’taki “Edirne Garı”, Kemalettin Bey’in tasarladığı dört istasyondan sonuncusudur. Rumeli Demiryolları’nın yapım imtiyazı Belçikalı Baron Hirsch’e 1869’da verilmiş ancak İstanbul, 1888 yılında Avrupa Demiryolları’na bağlanabilmiştir. Edirne Garı, Osmanlı’nın Avrupa’ya açılan sürekli bir kapısı niteliğinde olacak iken, ne yazıktır ki I. Dünya Savaşı sonunda Balkanlardaki toprak kayıpları yüzünden gar binası önemini ve bir süre sonra da yeni bir hattın yapılması ile de bütünüyle fonksiyonelliğini yitirmiştir. Tarihin canlı yapıtlarına verilecek değerin; onların bir bir ele alınarak oluşum nedenleri ile yapım özelliklerinin ortaya konulması ve bunun yanında dönemin diğer yapılarıyla karşılaştırılarak incelenmesiyle sağlanabileceği düşünülmüş ve böylelikle çalışma sonuçlandırılmıştır., In this study, Edirne Station which is a monument of Architect Kemalettin Bey who is one of the authorities in National Architectural Style of his period has been examined. The study has been constituted as a research that criticizes the structure in an architectural way after researching the position in Europe and the social, economical and cultural changes in Ottoman Empire. “Edirne Station” is in Edirne-Karaağaç. It’s the latest one of four stations those are designed by Kemalettin Bey and is included by Rumeli Railways. The concession of building Rumeli Railways had been given to Baron Hirsch from Belgium in 1869 but İstanbul couldn’t have been tied to European Railways until 1888. Although Edirne Station could be a stable gate opening to Europe for Ottoman Empire, unfortunately it lost its importance after loosing land in Balkanians at the end of the Ist World War and for a while later it lost its function completely after a new railway had been built. We assume that the evalution of monumental buildings of history can only be done by comparing the existing socio-cultural conditions of the period with the construction characteristics of other important building. This study is carried over with the same approach., Yüksek Lisans, M.Sc.

ÖZET Araştırmanın kurgusu İstanbul örneğinde günümüze ulaşan Son Dönem Osmanlı bahçeleri üzerinde kurulmuştur. Günümüze ulaşan örnekler içinde bulunan Topkapı Sarayı, Dolmabahçe Sarayı, Yıldız Sarayı, Çırağan Sarayı ile Beylerbeyi Sarayı ve Aynalıkavak Kasrı, Ihlamur Kasrı ile Maslak Kasırları gibi ikinci derece saray yapılarının mimari konseptleri ve bahçe düzenlemeleri birlikte incelenmiştir. Araştırma süresince yapıların ve bahçe düzenlemelerinin günümüzdeki durumunun yanısıra arşivlerde bulunan ve yapıldıkları dönemlerdeki durumlarını izleyebileceğimiz minyatürler, yağlıboya tablolar, gravürler, planlar ve kartpostallar metin içinde yer almıştır. Topkapı Sarayı Arşivi'nde bulunan bahçe planları içinden konu ile ilgili olanlar metin içinde yer almışlardır. Bu belgeler çalışmanın görsel anlamda dokümantasyon yanının oluşmasını sağlamıştır. Avrupa etkilerinin yoğun şekilde hissedildiği son dönemde yine de yapıların mimari konseptlerindeki Doğu ve İslam geleneğinin Türk kimliği ile sentezi sonucu oluşan eklektik özelliğin aynı şekilde bahçe tasarımlarında da görüldüğü saptanmıştır. Araştırma metninin oluşması sırasında Başbakanlık Osmanlı Arşivi ve Dolmabahçe Sarayı Arşivi içinde bulunan Hatt-ı Hümayun'lar, İradeler, Cevdet Saray katoloğunda yer alan belgeler, evraklar ve defter kayıtları içinde o dönemdeki bahçeler ve tasarımlarına ilişkin bilgileri içerenler incelenerek transkripsiyonları yapılmıştır. Bunlarla ilgili olarak belgelerin orjinal fotokopilerinin tümü ekler bölümünde sunulmuş, bazılarının ise transkripsiyonları eklenmiştir. Son dönem Osmanlı bahçeleri ile ilgili olarak seyahatnamelerdeki gravürlerin yanısıra anlatımlarda da yararlanılmıştır. XXV111Araştırmanın amacı; günümüze ulaşan saray ve kasır yapıları ile bahçe düzenlemelerini bugünkü durumları ile görsel ve yazılı arşiv malzemeleri yardımıyla inceleyerek İstanbul örneğinde Son Dönem Osmanlı Bahçeleri konusunda dokümantasyon özelliği taşıyan bir çalışmayı tamamlamaktı. Özlem SALMAN OCAK 1999 XXIX SUMMARY The theme of the study is based on the Ottoman Gardens of the last period that have reached the present in the Istanbul example. The architectural concepts and garden arragements of Topkapi Palace, Dolmabahçe Palace, Yıldız Palace, Çırağan Palace, Beylerbeyi Palace and secondary Palace structures like Aynahkavak Summer Palace, Ihlamur Summer Palace and Maslak Summer Palace that are among the specimens carried to our day have been reviewed together. The objective of the study was to complete a research on the subject of Ottoman Gardens of the last period which bore the property of being a documentary using the Istanbul example by reviewing the palace and summer palace structures and garden arrangements that have reached the current day in the shape they are in today with the aid of visual and written archive material. Aside from the present condition of the structures and garden arrangements at the present during the term of the study, miniatures, oil paintings, engravings, layouts and postcards found in the archives where we can observe their conditions in the periods they were built in thave been indued in the text. The ones related to the subject from amongst garden layouts found in the Topkapi Palace archives have been included in the text. Such documents have ensured building up of the documentation side of the study in visual sense. During the building up of the text of the study, imperial decrees, mandaten found in the Ottoman archives of the Prime Ministry and in the Dolmabahçe Palace archives, documents, writings and book records included in the Cevdet Palace catalogue which contained information related to gardens and designs in that period have been reviewed and transcripts have been obtainde. All original photocopies of the documents concerned have been presented in the annexes section and transcripts of some of them have been attached. Regarding in the Ottoman Gardens of the last period, descriptions have been utilized along side the engravings in the traveloues. xxxDuring the last period where European influences have been largely feltd, it has nevertheless been established that the eclectic property arising out of the synthesis of the Eastern and Islamic tradition in the architectural concepts of the structures with the Turkish identity has been observed in the same manner in garden design as well. Özlem SALMAN OCAK 1999 XXXI 464

SIRAEV KAVRAMININ İNCELENMESİ VE OSMANLI MİMARİSİ'NDE AKARETLER SIRAEVLERİ'NİN YERİ VE ÖNEMİ ÖZET Bu çalışmada, Osmanlı Mimarisi'nde, saray destekli yapılan, ilk ve tek sıraev grubu olma özelliğini taşıdığı düşünülen Akaretler Sıraev Grubu'nun, Osmanlı Mimarisi'ndeki yeri ve önemi belirlenmeye çalışılmıştır. Onsekizinci yüzyıl sonu ve ondokuzuncu yüzyıl başları arasında yaşanan Endüstri Devrimi sonucunda, Avrupa'da, yapı tipolojisine katılan yeni bir konut tipi olan sıraev kavramının incelenmesi yapılmıştır. Endüstri Devrimi sonucunda, ilk olarak İngiltere'de ortaya çıkan sıraev oluşumu, Manş Denizi kıyılarında bulunan komşuları, Batı Fransa, Belçika, Hollanda, Kuzey Almanya ve Danimarka'ya yayılmış ve bu dönemde kent silueti içinde, sıraevlerin oluşumu ve kent içi siluetinin dinamikleştiği görülmüştür. Onsekizinci yüzyılın sonlan ve ondokuzuncu yüzyılın başlarında, şehirlerin ticarete dayalı yaşayışının yerini, Endüstri Devrimi sonrası, sanayi mesnetli bir yaşantının aldığı bilinmektedir. Günden güne artarak ortaya çıkan `işçi` ihtiyacı, kırsal kesimden şehirlere, `iş bulma` amaçlı bir göç başlatmıştır. Bu göçler sonucunda gelen nüfusa, iş merkezine yakın yaşama mekanları inşa edilmiştir. Bu yaşama ünitelerinin, mümkün oldukça az zamanda ve maliyette yapılması gerekliydi. Yanlızca temel ihtiyaçlara cevap verecek sabit fonksiyonlu mekanlardan- yaşama, yemek, yatma ve temizlik- oluşmasıda, düşük maliyet getireceği için gerekliydi. Bu bağlamda, mümkün olabildiğince küçük parseller kullanan, zemine oturan ve nüfusun ihtiyacını karşılayacak kadar çok ünite tasarlanmalıydı. İşte tüm bu ihtiyaçlara uygun çözüm, ondokuzuncu yüzyıl sanayi şehirlerinde, işmerkezi çevresinde, birbirinin tekrarı olan işçi konutlarının, bir dizi halinde inşası ile bulundu. Bu çözüm, günümüz konut tipolojisindeki sıraevdir. VUAvrupa toplumlarında, endüstrileşme sonucu ortaya çıkan sıraev oluşumunun, Osmanlı Mimarisi'nde çok daha farklı nedenlere dayanarak ortaya çıktığı görülmektedir. Onbeşinci yüzyılda, Osmanlı Mimarisi'nde, mali ihtiyaçlara dayanarak, kullanımları, halk tarafından eşzamanlı olarak ortaya çıkartılmış olan kollektif konutların, İstanbul, Kahire, İzmir, Selanik vbg. büyük ve belli başlı kentlerde, bekar odaları veya haneler olarak ortaya çıktığı bilinmektedir. Bunlar, bazen külliyelerde, bazen ise çarşı merkezine yakın hanlarda, adeta bir sokak perspektifine dinamiklik katan, birbirini izleyen, eş boyutlu, eş plan ve cepheleri olan, eş zamanlı yapılmış hanelerdir. Bunların varlığı ile, Osmanlı kent perspektifi, belirli bir canlılık kazanmış ve özgün bir görünüme bürünmüştür. Ondokuzuncu yüzyıla gelindiğinde, kollektif konut oluşumlarının, eşzamanlı değilde, batılı etkiler altında, modern bir dialektik ürünü olan, sıraev grupları şeklinde ortaya konduğunu görmekteyiz. Bu oluşumun, saray destekli ilk ve tek, anıtsal ölçekde ise ilk örneği Akaretler Sıraev Grubu'dur. Ayrıca, sıraev cephe özelliği gösteren, ilk çok üniteli dizi-bütün olarak tasarlanmış konut grubu olan Akaretler Sıraev Grubu'taı, bu grup kadar çok üniteli olmayan, ama yine dizi-bütün olarak, 1890'larda tasarlandığı düşünülen, Elmadağ- Taksim Surp Agop Sıraev Grubu ve daha da sonraları Orataköy Onsekiz Akaretler Sıraev Grubu ve Fener- Balat, Kumkapı, Sütlüce ve Arnavutköy ile Kadıköy yakasında, Yeldeğirmeni'nde olduğu gibi, daha kısa dizilerin yapımı izlemiştir. Bu bağlamda, giriş bölümünde tez konusunun önemi üzerinde durularak, neden bu konunun seçildiği, amaçlanan düşünceler ve araştırmanın çerçevesi ortaya konmuştur; izlenecek yol ve tezde yer alacak bölümler hakkında bilgi verilmiştir. İkinci bölümde, sıraev kavramının genel bir tanımı yapılarak, sıraev modelinin oluşum süreci açıklanmıştır. Üçüncü bölümde, onsekizinci yüzyıl sonu ve ondokuzuncu yüzyıl başında, Endüstri Devrimi'nin sonucunda ortaya çıkan sıraev modelinin tarihçesi incelenmiştir. vİngiltere başta olmak üzere, Batı Avrupa ülkelerinde ve diğer bazı ülkelerde görülen sıraev örneklerine yer verilmiştir. Dördüncü bölümde, modernleşme öncesinde, Osmanlı Mimarisi'nde, mali ihtiyaçlar sonucu, eşzamanlı olarak, İmparatorluğ'un yoğun nüfusa sahip kentlerinde ortaya çıkan, bekar odaları veya haneler diye adlandırılan kollektif konutlara değinilmiştir. Beşinci bölümde, modernleşme süreci içerisinde, İstanbul kent morfolojisinin değişimine yer verilmiştir. Altıncı bölümde, İstanbul mimarisine, sıraev modelinin girişi ve görülen ilk örnekler ele alınmıştır. Yedinci bölümde, çalışmanın asıl konusu olan Akaretler Sıraev Grubu'nun, analitik incelemeleri yapılmış; tarihi, konumu, planimetrik düzeni, cephe ve bezeme özellikleriyle, tasarımcısı Sarkis Balyan araştırılmıştır. Sekizinci ve son bölümde ise, sonuçlar yer almaktadır. Bu bölümde, modernleşme öncesi tek aile konutundan, modernleşme ile apartmanlaşmaya geçiş arasında bir arakesit olan sıraev grupları ve bunlardan en anıtsalı olan Akaretler Sıraev Grubu'nun, Osmanlı Mimarisi'nde, bilinen saray destekli yapılmış ilk ve tek sıraev grubu olduğu gerçeğine değinilmiştir. IX A RESEARCH ON THE CONCEPT OF ROWHOUSES AND THE PLACE AND IMPORTANCY OF AKARETLER ROWHOUSES IN THE OTTOMAN ARCHITECTURE SUMMARY This thessis presents a general view of the rowhouses which were a new type of dwelling introduced to the building typologies in Europe as a result of the Industrial Revolution between the late 18th and 19th centuries. Then, the Akaretler Group of Rowhouses, which is thought to have been the first and the only group of houses in Ottoman Architecture, to be built by the court, is studied in terms of its place and significants in Ottoman Architecture. When we look at the history of civilization, we can see that there are two important turning points. The first is the Agricultural Revolution, which goes back millenia before, and the second is the Industrial Revolution, which took place in the late 18th and early 19th centuries. It is a fact that with the Industrial Revolution, life became easier and more comfortable as a result of the newly developed techniques and machinery. It is again a fact that the Industrial Revolution, with the significant technical, social and cultural advances has greatly influenced the concepts of architecture and urban planning. Rowhouses first emerged in England in late 18th century as a result of the Indusrtial Revolution, to provide accomodation for the growing number of workers. Then they spread to England's neighbours across the English Channel, to some other countiries like France, Belgium, Holland, Northen Germany and Denmark. At the beginning of 19th century rowhouses became a part of the urban pattern, thus adding a dynamic dimension to the intercity formation.In the late 18th and the early 19th centuries, life in the northen European countries, which used to depend on trade came to depend on industry as a result of industrilization. Industry's need for `labour` initiated a mass-migration from the rural areas to the city centers. Living quarters had to be built around factories and plants to accomodate the incoming population, workers, and their families. These dwelling units had to be built in the shortest possible time and with the minimum costs. These newly built workers' dwellings had spaces in them with fixed functions to meet some basic needs such as living, dinning, sleeping and washing. There had to be enough number of dwellings to house the large population and they had to be built on the smallest piece of land possible. The best solution for meeting all these requirements was to build several groups of similiar workers' dwellings in rows around factories and plants in the industrial cities of the 19th century. Looking at the formation of rowhouses in Ottoman Architecture, it can be seen that this phenemenon which appeared in the European societies as a result of the Industrial Revolution emerged in Ottoman Architecture depending on very different reasons. In the 15th century Ottoman Architecture, there were some dwellings for collective use which were created by the people themselves simultaneously for economic reasons. These took the form of bachelour's rooms or common dwellings in the major cities of the empire like Istanbul, Cairo, Izmir, Selonika etc. These were sometimes built as part of a complex {kulliyah) and sometimes as a series of dwellings built with the same dimensions, the same plan, and the same facades. With the coming of these bachelour's rooms or common dwellings Ottoman urban perspective gained a dynamic characteristic, aquaring a unique apperaence different from all the other muslim cities. However, in the 19th century the collectively-used dwellings were not built simultaneously by the people, but under western influences in the form of groups of rowhouses as a result of the east-west interaction. XIThe Akaretler Group of Rowhouses is the first and the only example of this new form of dwelling formation, which was built by the financial support and aproval of the Ottoman Court. In Europe, building activities increased in order to find solutions for the rapidly growing industrial cities. Whereas, in the Ottoman Empire, the first urban planning activities began in order to prevent the big fires, which destroyed the cities in the 19th century. The aim of this planning was to build wide roads needed for intercity transportation, to widen and stabilize the existing roads and to arrange new neighbourhoods where new dwellings could be built to accomodate the ever- increasing population of the city. In this context, not only the factors influencing dwellings, but also those factors influencing the creation of rowhouses in Ottoman Architecture have to be considered. The following factors directly influenced the space formations in Ottoman dwellings: 1. Privacy: 2. Functional differentiation: 3. Social class differentiation: 4. Ethnic differentiation: 5. Modernisation and Industrial Revolution. All of these factors are involved in the formation of rowhouses. The Akaretler Group of Rowhouses (66 plots) was followed by some other grops of rowhouses, such as The Surp Agop Group of Rowhouses (25 plots), The Ortakoy Akaretler Group of Rowhouses (18 plots) and many groups of rowhouses in Kumkapı, Arnavutkoy, Fener, Balat and Kadıköy, all of which were thought to be designed after the 1890's. In the Introduction, the subject of the thessis is discussed and the reasons for choosing this subject are ennumarated, the aims are explained and the framework of Xllthe study is drawn. Then the method to be employed is presented and information about `the parts` to take part in the thessis is given. In Part n, the concept of `rowhouses` is defined and the process of the development of rowhouses is explained. In Part HI, the history of `the model of rowhouses`, which emerged as a result of the Industrial Revolution, is studied. Some examples of rowhouses are given from various European countries, mostly from England and from the USA. In the Part IV, the bachelour's rooms or common dwellings are discussed. These emerged before modernisation in the highly populated cities of the Ottoman Empire, simultaneously owing to economic reasons. In Part V, the changes in the `urban morphology` of Istanbul through the modernisation period is tackled. Part VI presents the introduction of the rowhouses model into the architecture of Istanbul and the earliest examples of built rowhouses. In Part VII, the Akaretler Group of Rowhouses, which makes up the main subject of this thessis, is studied annalitically. Then the history, the location and the position, the layout, the facade orientation and the ornaments of the rowhouses of this group are examined. Finally, information about the designer of the group, architect Sarkis Balyan, is given. In the Conclusion, the results obtained from the study are given. It has been decided that the groups of rowhouses, as typological building type, can be seen as a transition between traditional family dwellings of the pre-modern period and the apartment blocks that came with modernisation. The Akaretler Group of Rowhouses is evoluated as a very significant example, in that, with its stonework structure, with its use of cast-iron, and with its neo-classical facade orientation and ornaments, it occupies a unique place between the court buildings (i.e. dwellings belonging to the dynasty) and the folk dwellings. X1U 162

ÖZET DOLMABAHÇE SARAYI' N A İLİŞKİN ARŞİV BELGELERİNİN MEKAN KULLANIMI AÇISINDAN DEĞERLENDİRİLMESİ (1853-1914) Tez, temelde Dolmabahçe Sarayı'nda mekan kullanımına ilişkin yazılı- görsel belgelerin araştırılması, incelenmesi ve 1853-1914 yılları arasındaki mekan kullanımı ve değişimlerinin ortaya çıkarılmasını ve değerlendirilmesini hedeflemektedir. Bu amaçla, arşiv ve kütüphanelerde yapılan tarama çalışmalarıyla amaca yönelik belgeler toplanmış, toplanan yazılı-görsel belge, mekanlara göre tasnif edilmiş ve her mekan için edinilen belgeler ve bilinenler ışığında bir değerlendirme yapılmıştır. Bu değerlendirmeler sırasında öncelikle mekanların günümüzdeki durumları tanımlanarak, yapının inşa edildiği dönemde mekana yüklenen fonksiyonun günümüzde değişip değişmediği sorgulanmıştır. Arşiv malzemesinin mimarlık tarihi araştırmaları açısından büyük önem taşıdığı gözönüne alınarak, kent dokusunun gelişimi ve yapı ile ilgili en güvenilir bilgileri alabilmek amacıyla mümkün olduğunca fazla arşiv belgesine ulaşılmaya çalışılmıştır. Binanın yapım aşamaları, geçirdiği onarımlara yönelik bilgilerin alındığı ve olaylara ilişkin objektif bilgiler veren resmi arşiv belgeleri yanısıra sübjektif bilgilerin de yeraldığı dönemin gazete ve dergilerinin taranması sonucu toplanan bilgiler de bu çalışmada başvurulan önemli kaynaklar olmuştur. Özellikle 19. yüzyıl istanbul basını sözkonusu olduğunda, mimari ve sanat ortamına ilişkin bilgiler elde etmenin mümkün olduğu görülür. Bugün, Dolmabahçe Sarayı'nın geziye açık bir müze-saray olmasına bağlı olarak ortaya çıkan sorunlar, değişen koşulların yapıyı ve buna VIIbağlı olarak mekanlarım nasıl zorladığı ortadadır. Bu nedenle bir çok mekanda karşımıza çıkan yeniden fonksiyon verilmiş olan mekanları çok yadırgamamak gerekir. Bu duruma neden olan en önemli faktör mekanların kullanıma açıldığı dönemi aydınlatan yeterli belge elde edilememesidir. Zaman içinde yapılan mekanlar arası obje transferleri de mekanların özgünlüğünü bozmuş, mekanla bütünleşen objelerin farklı yerlerde kullanılmasına neden olmuştur. Tezin amacı, öncelikle Dolmabahçe Sarayı mekanlarına ilişkin direk bilgi veren arşiv belgelerine ulaşabilmektir. Ancak, yapılan araştırmalar sonucu elde edilen bilgiler ışığında doğrudan mekanı tanımlayan, mekan hakkında bilgi veren arşiv belgelerinin bulunmadığı saptanmıştır. Arşiv belgelerinde çoğunlukla mekan adı verilmediği gibi, olabileceği düşünülen mekanlar hakkında bilgiye de ancak az sayıdaki arşiv belgesinde rastlanmıştır. Çalışmada, öncelikle ulaşılan kaynaklar belli bir düzen içinde verilmiş, daha sonra bu kaynak ve bilgiler kendi içlerinde tasnif edilerek adı geçen mekanlar belirlenmiş, bu mekanlara ait bilgi veren dokümanlar, mekanlar için açılan alt başlıklar altında biraraya getirilmiştir. Böylece, hangi mekanla ilgili olarak hangi yoğunlukta bilgiye ulaşıldığı ya da mekanlar hakkında bilgi olup olmadığı konusunda fikir edinilmeye çalışılmıştır. Değerlendirme bölümünde ayrıca, belgelerden yola çıkılarak, mekana yüklenen fonksiyonun nasıl değiştiği izlenmiş, günümüzde bu mekanlara verilen farklı işlevler üzerinde durulmuştur. Konuyla ilişkili olarak ulaşılan tüm belgeler sonuç bölümünde çeşitli saptamalar yapma yolunda kullanılmıştır. VIII SUMMARY THE EVALUATION OF ARCHIVE DOCUMENTS RELATING TO DOLMABAHÇE PALACE ACCORDING TO UTILIZATION OF THE ROOMS (1853-1914) The thesis is fundamentally aiming: the research and investigation of the written documents and photographs relating to utilization of the rooms at Dolmabahçe Palace and by this way also targeting the exposition and evaluation of utilization of the rooms and changes made between the years 1853-1914. By means of the research studies being held in archives and libraries written documents and photographs proping the target were collected, these documents were classified in accordance with spaces and then an evaluation was made under the reflection ofthe documents and informations. During these evaluations, mainly by defining the existing situations of the rooms today, it was investigated whether the original function of the room defined at 19th century has been changed or not. Taking into consideration that the archive documents have got great importance in history of architecture researches, it was tried to reach maximum quantity of archive documents with the aim of getting the exact knowledge about the building and the evolution of the city structure. As well as the official archive documents giving objective informations about the construction stages and the repairs of the building, the knowledge being collected as a result of a survey among the newspapers and periodicals -the sources of subjective information-, has become an important source being referred in this study. Especially, when the subject is about the press of Istanbul during 19th century, it is seen to have knowledge about the environment of art and architecture easily. IXToday, the problems outcoming in relation with the use of Dolmabahçe Palace as a museum-palace open to visiting and how the changing conditions influenced the building and the rooms is very clear. For that reason, it shouldn't astonish us to meet re-functioned rooms in different places. The most important factor affecting this case is the lack of adaquate documents highlighting the period: when the rooms were put into service. Also in time, the transfers of subjects between the rooms did deform the character of the rooms and compelled the rooms integrated objects to be used or displayed in different places. The primary aim of the is to reach archive documents giving direct information about the rooms of Dolmabahçe Palace. However, under the enlightment of the information gained during the researches, it was concluded that there existed no archive documents directly defining and giving information about the rooms. In the archive documents rook name was not given and about the rooms: where information is estimated to be found, there could only be met in a few documents. In the study, first of all the sources being reached were given in a definite order. Later these sources and informations were classified among them while the rooms mentioned were defined as well. And finally, the documents giving information about the rooms were gathered under subtopics that are opened for these rooms So, by this way it was tried to get idea about the existence of information for a space or the level of intensity of the knowledge that had already been reached. Also, in the evaluation part, by analyzing the documents, it was observed how the primary function of a space changed in time and the different functions given today were explained.All the subject related documents that had been reached were used in the conclusion part so as to make different interpretations. XI 348

Tez (Yüksek Lisans) -- İstanbul Teknik Üniversitesi, Fen Bilimleri Enstitüsü, 1999, Thesis (M.Sc.) -- İstanbul Technical University, Institute of Science and Technology, 1999, Bu çalışmada, Avrupa'da Endüstri Devrimi sonucunda mümkün oldukça çok işçinin barınabileceği, kısa zamanda üretilebilen çok üniteye sahip olabilme ihtiyacına bir cevap olan "sıraev" kavramının incelemesi yapılmıştır. Osmanlı Mimarisi'ne sıraev modelinin girişi araştırılmıştır. Asıl Osmanlı Mimarisi 'nde ilk ve tek saray destekli sıraev grubu olan Akaretler Sıraev Grubu'nun incelenmesi amaç edinilmiştir. Gerek bu yapı grubunun analitik incelemeleri yapılmış, gerekse de diğer eş dönemli İstanbul sıraev grupları ile karşılaştırılmıştır. Yapılan çalışmada, saray destekli olarak inşa edilen Akaretler Sıraev Grubu Maçka Aziziye Cami'ne vakfiye yapısı olarak yaptırılmış, ancak sözü geçen caminin inşasının tamamlanamadığı görülmüştür. (Yapı grubunun adının "akar", yani gelir getiren yapı anlamı içerdiği bilinmektedir.) Sonuç olarak Akaretler Sıraev Grubu'nun, İstanbul'un bilinen ilk anıtsal ve tek saray destekli sıraev grubu olduğu söylenebilir., In this study, the concept of "rowhouses", which was an answer of having the maximum number of labour's dwellings within the minimum time after the Industrial Revolution in Europe, is discussed. The appearing of rowhouses in Ottoman Architecture is examined. However, the aim is to discuss the place and the importancy of the Akaretler Group of Rowhouses in Ottoman Architecture. Therefore, the Akaretler Group of Rowhouses is analitically examined and it is also compared with the other group of rowhouses built in the late 19th century and early 20th century in Istanbul. The Akaretler Group of Rowhouses was built as the "vakfiye building" of the Mackha Aziziye Mosque, as it can be understood by the word "akar" (the building which is built for providivg financial income) in its name. However, the construction of the Mackha Aziziye Mosque was not finished. As a conclusion, it can be said that " the Akaretler Group of Rowhouses" is the first known rowhouses and the only example to the a group of rowhouses, which was built the financial support and aproval of the Ottoman Court., Yüksek Lisans, M.Sc.

ÖZET Pera (Beyoğlu), XX. yy.a kadar Lövanten ve Avrupalı nüfusunun getirdiği özellik nedeniyle batılı gezginlerin daima yakınlık duyduğu, seyahatnamelerinde yaşamından kesitler verdikleri bir bölge olmuştur. XX. yy.da ise cumhuriyetle birlikte gelen ve nüfus yapışım değiştiren sosyal ve ekonomik değişim, bazı yazarların geçmişi araştırarak bölgeye nostaljik bir yaklaşımla eğilmelerini getirmiştir. Bu tezin amacı, hakkında çok fazla sayıda yayın çıkmasına rağmen pek azının bilimsel araştırmaya dayandığı Pera'nın ekonomik, kültürel ve siyasi yapısının mimariye etkilerinin araştırılmasıdır. Bu amaçla seyahatnameler ve bölgede yayınlanan günlük gazeteler taranmak suretiyle buradaki her türlü haber, ilan ve reklam değerlendirmeye alınmış ve haritalara işlenerek değerlendirilmiştir. VI. Daire'ye ait Abdülaziz Albümleri ile önemli bir belgesel değer taşıyan Sigorta Haritaları üzerinde yapılan saptamalarla, Pera (İstiklal) Caddesi'nin Galatasaray ile Tünel arasında kalan bölümünde konut-ticaret ilişkisi ortaya çıkarılarak, tek ailelik konuttan apartmanlaşmaya geçiş çeyrek yüzyıllık bir farkla her iki harita üzerinde irdelenmiştir. Tez altı bölümden oluşmaktadır. 1. Bölümde çalışmanın amacı, kullanılan yöntem ve yararlanılan kaynaklar tanıtılmıştır. 2. Bölümde bölgenin topografyası, fiziki sınırları ile mahalle ve sokakları tanımlanmıştır. 3. Bölümde ise İstanbul tarihi içinde XIX. yy.a kadar Pera'nın, bir uzantısı olduğu Galata bölgesi ile bağıntılı olarak tarihsel gelişimi irdelenmiştir. 4. Bölüm, araştırmanın ağırlığını oluşturan ve sonuç için verilerin toplandığı bölümdür. Burada büyük çoğunlukla gazetelerden elde edilen bilgilerle Pera'daki sosyo-ekonomik, kültürel ve politik durumla birlikte ilk belediye kararları ve bunların 1870 yangını sonrasında kentsel dokuya yaptığı etkiler araştırılmış, ayrıca bölgedeki yapı tipleri, Batı'lı örnekleriyle karşılaştırılarak ortak yanlar ortaya çıkarılmıştır. 5. Bölümde, bir önceki bölümde elde edilen veriler değerlendirilerek haritalar üzerine işlenmek suretiyle bölgenin konut-ticaret ilişkisi ile konut yapısı ortaya çıkartılarak ilk çok katlı konutlardan örnekler verilmiştir. 6. Bölüm sonuç bölümüdür. Pera'nın tarihsel gelişimi içinde mimari olgusunun genel bir değerlendirmesini içermektedir. Çalışmada üç ek bulunmaktadır. Ek A'da üzerine saptamaların yapıldığı haritalar ile cephe siluetleri verilmiştir. Ek B'de Mecelle-i Umur-u Belediye'de çıkan ve VI.Daire'nin kuruluş kararını belirten bölümlerle, L'Indicateur Constantinopolitain Guide Commercial'den alınan ilgili fotokopiler ve yazılı kaynaklardan yararlanılarak hazırlanan çizelgeler yer almaktadır. Ek C'de ise günlük gazetelerden alınan konuyla ilgili reklam ve ilanların fotokopileriyle, bölgeyi tanıtan gravür, kartpostal ve fotoğraflar verilmiştir. xıı SUMMARY ECONOMIC, CULTURAL AND POLITICAL IDENTITY OF PERA AND THEIR ARCHITECTURAL INFLUENCES IN THE NINETEENTH CENTURY Pera (Beyoğlu) occupies on the last promontory and the hill, south and south-east of the Bosphorien Thrice formed by the Golden Horn and the Bosphorus. Great Pera Street (İstiklal) lies along the peak line of St. Theodore Hill from Tünel Place (66 m.) to Grand Champ Des Morts (Taksim). The coasts of these slopes, dawn to the Marmara and the Golden Horn determines the physical borders that had formerly contained both of the forest of the figs called `Sycae` by the Byzantines and of the `vineyards of Pera`. Although there are a lot of publications about Pera, a few of them bases on a scientific research. The aim of this study is to investigate the socio economic, the socio-cultural and the political identity of Pera and their architectural influences in the nineteenth century. For this reason, the books of journeys (travel accounts) and the newspapers published at Pera were searched and the obtained information's are used on two main maps, indicate VItn Circle, which are from Abdulaziz Albums and Assurance maps dated 1905. So, the relation between housing and commerce and the transition from single-family housing to apartment housing, were both searched. The study has six main sections: 1. The aim of the study, the description of the investigation method and the nature of the basic sources. 2. The description of the topography and the physical boundaries with its districts and the streets. 3. The brief history of Pera, relation with Galata and Istanbul, in the age of Pre-Ottoman and between the XV^1 and the XVIIIm centuries: At first the Byzantines used the name `Pera` or `Peraea` which means `the other side of the sea`. The Turks has still called `Beyoğlu`. According to a tradition, after the conquer, the last Emperor of Trebizond, David Comnenus (1458-1461) was banished to Istanbul by Mehmed II and this `son of prince` (Beyoğlu), converted to Islamism and lived nearby Tunel. After the conquer of Istanbul by the Turks, since the city-walls had lost their function, their environment immediately was covered by the buildings. At the same time, under the reign of Beyazit II, iskender Paşa built the Tekke of xiii 279

Bu araştırmanın konusu olarak, 19. Yüzyılın son döneminde İstanbul'un Beşiktaş İlçesi'ne bağlı Yıldız Semti'nde, Sultan II.Abdülhamid tarafından yaptırılan ve Osmanlı Eklektizminin en çarpıcı örneklerinden biri olan Yıldız Hamidiye Camii (1886) seçilmiştir. Yıldız Hamidiye Camii hakkında çeşitli kaynaklarda birtakım bilgiler mevcuttur. Bu bilgiler yapılan araştırmalarda derine inilmediği için sınırlı kalmıştır. Yapı Son Dönem Osmanlı dini mimarlığının son derece başarılı ve ilginç örneklerinden biridir. Çalışmamızdan ortaya çıkan sonuçları sıralayacak olursak; Yıldız Hamidiye Camii 19. yüzyılda ortaya çıkan Eklektik üslubun görüldüğü bir yapıdır. Caminin mimarı olarak yazılı kaynaklarda dönemin saray başmimarı Serkis Balyan'ın ve Mühendis Dikran Cüberyan'm isimleri geçmektedir. Arşivlerde camiye ait yazılı bir belge ve projenin bulunamaması nedeni ile bu caminin yapımında iki sanatçının birlikte çalıştıklarını düşünebiliriz. 19. yüzyılda Osmanlı yaşam ve kültürünün değişimine bağlı fonksiyonel ve biçimsel bazı gereksinmeler, camilerin planlanmasında bazı değişiklikleri zorunlu kılmıştır. Yapı, tek kubbesi ve giriş cephesine eklenen Hünkar Dairesi ile küçük ölçekli bir saray izlenimi vermektedir. Yıldız Hamidiye mosque was built in 19th century in Beşiktaş district of Istanbul by Sultan Abdülhamid the second. This mosque appears to be one of the most successful and interesting religious constructions of the last period Ottoman Architectural style. In the beginning of the 19th century, the `Industrial Revolution` made a new social construction and social characteristic directly towards for the desires of the workman and bourgeois class who had got strong power an a new economic construction. With a great influence in this period, architecture had started to change, new forms and new funtions had appeared and supplied with the new construction materials and construction tecniques being made by the industrialization. The Industrial Revolution had dramatic effects. As a result of it the population and trade capacity increased greatly and the production retalions changed a lot. The fast urbanization in the Industrial Revolution prevented architects from creating their own original styles so the same architectural styles that existed until the 1 9th century were used in buildings. In this period, different kinds of buildings like fabriques, train stations, post offices, theatre buildings were built. Cities started to change and the population increased. Industrial developments brought its own materials; steel, glass and concrete but these materiels was rejected by architects. The Industrial Revolution was the most important reason for the architectural tendency toward historicism, whereas the Ottoman adaptation of this tendency was based on little more that the inclination of the Ottomans towards occidenlism. European architecture had been much influenced by antique architecture since the Renaissance and classical elements are to be found on the architectural facades of each successive period up to the 19th century. In the 18th century Roman and Greek Art and in the 19th century Neo-Gothic, Romantism and Neo-Classicism was studied. At the beginning of the 18th century, Yirmisekiz Çelebi Mehmet Efendi one of the Ottoman diplomats was sent to France to observe Western Culture. He was very much interested in the architecture and lifestyles in French Palaces at that century. When he returned to Istanbul, he told Sultan Ahmet III and Grand Vizier Nevşehirli Damat Ibrahim Paşa what he had seen there and they were deeply impressed. That's why many kioks and pavilions were built in Istanbul in the 1 8th century. In Ottoman Empire having different religion and social character, the movements of revivals of past styles had arised from the aspects of variation called Xll`Westernization` which have been based on reobtaining of military, ecomonic and Politic losses of Empire, but these movements had been seemed as a copy of occidental thought, not been a concious movement. During the last part of its history, the Ottoman Empire, was introduced to a new concept of Westernization. As early as the beginning of the 18th century, increasing economic and political problems and continuous military losses had stepped up relation with the west, trying to keep the abreast of the developments of Europe. The Ottoman Empire was interested in European power emerged by industrial Revolution. Industrial Revolution was in action in a very resticted area but later it expended through all other countries. The Ottoman Empire was not able to realize the Industrial Revolution completely, Except a few arrengements (opening some factories from different industries, railways and schools which give education on some branches, such as engineering, military, etc.) the other innovations were per ceived and used by a few people which from the Ottoman Empire. Sultan Selim III was the first one to set up an army apporiate to occidentals standarts. He established military school and educational Institutions. Their main aims was to regain their strength. However Occidentalism did not bring the expected radical changes to Ottoman Empire and their social life but it influenced the Ottoman Art greatly. The first years folbw the development of fine examples of not copying westren art but editing it into the Ottoman Architecture. This variation were reflected to the architecture with a socia-culturel and socio economic affects, and the influences of westernization upon visual design commenced with the earliest changes seen in applied decoration, after the second period of 18th century. Troughout the 19th century, western influences lorought a total changes in style. Also repid changes which was an unavoidable consequence of Industrial Revolution, completely altered traditions, visions and production style. Reaction to this revolution expresses itself best in arts, especially in architecture which has monumental aspects. Although developing technologies let architects use new materials (like iron, steel) and new tecniques (such as steel construction) they still prefered the revivals of past styles of European designs, such as Neo-gothic, Neo-classic, Renaissance, Baroque. By the end of the century a nev ecole was born which was the mixture of all above styles `Eclestisist Architecture`, Another important architectural style that should be emphasized in this period, is Orientalism. In the 19th century Ottoman Architecture depended on Europe. As the architectural expression was changing and revivals of past styles was turning into a style, traditional builders and their organization were being repleced by non-Moslem and foreign architects. These were the people who had more direct access to European sources of design through personel relations. So the Ottoman society especially architecture, was on the control of foreign artists and architects. XlllIn this period, the members of Balian Family worked as Ottoman Official Palace Architects and Ottoman Architecture was affected from some styles of European Art such as Eclectisism and Orientalism. That's why, the movements of revival of past styles were placed to Ottoman Architecture and had changed all rules forms of Traditional Ottoman Architecture both in public buildings and housing units. In this way, Yıldız Hamidiye Mosque which was built in 1885-1886, appears to be an important example of last period Ottoman religious architectural style which was a mixture of two different styles, Western Eclectisism and Islamic Orientalism. At these point, we would like to give a brief explanation about our research of Yıldız Hamidiye Mosque. In the Introduction chapter, we explained the reasons why the Yıldız Hamidiye Mosque has chosen as a topic and we gave a brief knowledge about development of Ottoman Architecture. In the second chapter, at 19th century Ottoman and European socio-culturel and architectural situations and effects of European Industrial Revolution on the Ottoman Empire studied. The Ottoman Empire was interested in European power emerged by Industrial Revolution In the third chapter, we studied history of the Beşiktaş district and The Yıldız Palace which stand by near the Yıldız Hamidiye Mosque. The Yıldız Palace is the last example of the Ottoman Palace buildings. The fourth chapter tells about the reasons of building this mosque and its architects. Also in this part, we gave a brief knowledge about the lifestory of Sultan Abdulhamid the second. Sultan Abdulhamid II was born in 21st September 1842 in Istanbul. He is the son of the Sultan Abdulmecid and Tîrimüjgan Kadınefendi. He succeeded to throne in 1876 instead of the his brother V.Murad. His management years (1878-1909) is known `Despotism Term.` In the fifth chapter, Yıldız Hamidiye Mosque studied under the following titles; Plan Characteristics, Outer Facades, Inner Facades, The Clock Tower, Decoration and Ornaments. In the Decoration and Ornaments parts, marble decoration elements (like mihrab, minbar, marble brace) of thhe mosque, drawing ornaments and wooden ornaments mentioned. In the sixth chapter, we studied the place of Yıldız Hamidiye Mosque in the 19th century Ottoman Mosque Architecture. Yıldız Hamidiye Mosque compared with other Eclectisist religious buildings of the 19th century. These buildings are Üsküdar Selimiye Mosque, Nusretiye Mosque, Mecidiye Mosque, Dolmabahçe Mosque, Ortaköy Mosque, Altunizade Mosque, Aksaray Pertevniyal Valide Sultan Mosque and Cihangir Mosque. XIVThe Conclusion and Suggestionschapter includes some results about Yıldız Hamidiye Mosque and Ottoman Architecture in 19th century. In this part, the other mosques which have the same properties of Eclectisist Period in Anatolia was compared with Istanbul mosques'. We can summarize the effective architectural properties of 19th century with these topics: 1. We can see the Indrian, Arabic, Islamic and European architectural properties in the Eclectisist style. 2. The domes of mosques' were reduced. 3. In this century cornerdomes only used for decoration. 4. They used ornaments (like rumi and palmet) on windows' foreheads and the other facades' foreheads. 5. In Eclectisist Term, foreign architects used a lot of ornaments on building mosques' minarets. Yıldız Hamidiye Mosque appears to be an important example of last period Ottoman religious architectural style. The other big mosques in Istanbul which was built with a new plan understanding in a cronologic order are; 1. 1804 -Üsküdar Selimiye Mosque 2. 1811 -Beylerbeyi Mosque 3. 1823-1826 - Nusretiye Mosque 4. 1843 -Yıldız Mecidiye Mosque 5. 1 853 -Dolmabahçe Mosque 6. 1853- Ortaköy Mosque 7. 1854-Teşvikiye Mosque 8. 1871 -Aksaray Pertevniyal Valide Sultan Mosque 9. 1889-Cihangir Mosque One of the conslusion is, Yıldız Hamidiye Mosque requeries Western and Eastern Eclectisist architectural characteristics, The building reflects Western Eclectisism with its Neo-gothic style windows, at the same time it reflects Eastern Eclectisism with its inner decoration. XVThe Yıldız Hamidiye Mosque's roof ıs flat except the centre part of the building which was covered with a high-hooped dome that sits on the four columns. The North Entrance of the mosque was changed for to the necessity of the using building in the 19th centruy. At the end of the 18th century some functional and formal necessities caused some changes in the Sultan Pavilions. One of the important functional necessity is becoming crowded personal of the Sultan's stuff. This caused some changes on the Traditional Friday Ceremonies (Cuma Selamlık Törenleri). The second conclusion is, Yıldız Hamidiye Mosque seems like a small pavillion or palace. Only the high-hooped dome gives the original mosque image to the building. We have found two architects name according to the some written sources: Serkis Balian (The members of Balian Family and The Master Builder of Palace Architects) and Engineer Dikran Cüberyan. There is not a certain written soucers about the architect of the building in the Official Archives. For this reason our last conclusion is, both of architects worked together in this building. The main reason of this study, comprising of six chapters, is to examine the Yıldız Hamidiye Mosque, which was built in 1885-1886 in Beşiktaş district of Istanbul by Sultan Abdulhamid the second. Yıldız Hamidiye Mosque appears to be one of the most important examples of the last period of Ottoman Eclecticist Style. In this study, we give a global outlook of the subject and mentions about the goal and method of the investigation. 132

Bu çalışma, 18. yüzyıl' dan 19. yüzyıl sonuna kadar geçen süre içersinde Osmanlı Mimarisi 'nde yeni bir tip olarak karşımıza çıkan, vakıf yoluyla kurulmuş kütüphane yapılarının mimari açıdan incelenmesine dayanmaktadır. Vakıf yoluyla kurulan kütüphaneler, 1661 yılma gelinceye kadar çoğunlukla vakıf edildiği ait olduğu binanın bir odasında, köşesinde veya dolap içersinde kurulmuştu 1661 yılında Köprülü Mehmet Paşa Kütüphanesi'nin kurulmasıyla, kütüphaneler, kendileri için yapılmaya başlanan bağımsız binalarda hizmet etmeye başladı Bağımsız kütüphanelere örnek olan Köprülü Mehmed Paşa Kütüphanesi 1 7. yüzyılın sonuna kadar tek olma özelliğini korur. 1 8. yüzyılda küçük çaptaki külliyelerde ve bazen merkezini kütüphanenin oluşturduğu yapı toplulukları içinde görülmeye başlayan bir çok örnekten bu yapım faaliyetinin özelliklen hakkında bilgi edinmek olasıdır Çalışmada Katalog düzeni içinde incelenen örneklerden sultanlar tarafından yaptırılmış olan Ayasofya. Fatih, Hamidiye ve III. Ahmet Kütüphaneleri dışında kalan diğer yapıların çoğunun şeyhülislam, ulema. darüssaade ağası gibi devlet örgütünde görevli kişilerce yaptırılmış olduğu dikkati çeker. 17. yüzyılda duraklamaya başlayan ekonomik ve siyasal duruma karşılık bağımsız kütüphane yapımının sayıca çoğalması ilginçtir. Bu duruma, başka bir açıdan bakıldığında, söz konusu yüzyıllar içersinde devlet yönetiminde bulunan kişilerin ne kadar güçlendiklerinin de bir göstergesidir. Genel olarak her alanda girilen duraklama devresinde yapılmaya başlayan kütüphane yapılarının kronolojik olarak incelenmesi sırasında devlet örgütündeki değişim, mimari alandaki yapım süreci, değişen mimari programlan ve değişen yapı malzemesini de gözlemlemek olasıdır. This presentation is based on the investigation of the library structure, built by foundation and arouse as a new style in the Osmah architectonic, with an architects point of veiw. Librarys, built by foundation, was mostly formed in the founded buildings room, corner or inside a bookshelf until 1661. At 1661, with the establishment of the Köprülü Mehmet Pasha Library, librarys in general has been started to built on their specified independent exclusive edifice. The Köprülü Mehmet Pasha Library as an example for the independent library has protected it` s unique sturcture until the end of the 17th century. In the 18^ century, it's probable to provide information on the characteristics of he construction activities from such examples like some small complex buildings adjacent to a mosque and in some other complexes which the library formed the center of the building structure. In the labor, except the examples researched in a catalogue arrangement like Ayasofya, Fatih, Hamidiye and 3rd Ahmet librarys built by sultans, it attracts attention that the most of the rest buildings were built by the employee in the government society like Sheikh ul-Islam (the chief religious official in the empire), ulema (muslim scholars) and dariissaade chief. It's interesting that even though the weak social and economic status in the 17th century, the independent librarys has numerically increased. When it's looked from another point of veiw, it can be seen as a result of the powerfullness of the government leaders in the mentioned time period. While in the cronologic research of the library construction where librarys were built in the unproductive periods of the government in any kind of area, the revolution in the government society, architechtural construction period, the changing architechtural programs and construction material can also be observed. At the beginning where the library was a small bookshelf in a mosque has left itself to another room or corner in time and has developed independently after the year 1 661. Mostly they were seen in city centrals on a street, in theological schools attached to a mosque and sometimes near to childeren schools and mostly on main arteries or near to them. Shortly it could be told that; In the 1 8th century, with the increase in theological schools and childeren schools built as a foundation, the library structure has also massively developed it's residance from indoor to outdoor. These three edifice has built close to eachoteher as they are close in the functional means.These construction can also be an independent, exclusive building, either can also be attached to complexes formed from various buildings and sometimes attached to a masque or an independent building or arouse among complex buildings adjacent to a mosque. Currently in Istanbul, when we take a look at the librarys spread accross the city, they are mostly seen inside ramparts in the old peninsula, and out of the peninsula they grouped in Eyüp and Üsküdar. Where there are 1 8 librarys inside rampart, in Eyüp and Üsküdar there are 4, and in Pera there is only one library. It can be observed that after the library of Köprülü Mehmet Pasha, most of the librarys were but in the 18th century. In the research, the 19 of the regarded 27 library has been established in the 18th century and the rest in the 19th century. When it's been classified this way whats important is that the built librarys locations are in close relationship with the settlements after the conquer of Istanbul. In the ancient peninsula, generally the library buildings are intense between these arteries: In between Eminönü-Sultanahmet-Beyazıt, in Divanyolu and around it, in between Beyazit-Fatih and among Beyazit-Aksaray-Kocamustafapasha. Also locations like Vezneciler-Draman in the Fatih axis and around Vefa-Süleymaniye are important places in library construction. And in Bahçekapı, attached to the Hamidiye Külliye (complex building adjacent to a masque) as a sultan külliye and the Aşir Efendi Librarys are established. In between Sultanahmet-Beyazit and around Divanyolu, Esat Efendi Library is placed on the Yerebatan Street, in Ayasofya the Ayasofya library, inside the Topkapi Palace III, the III Ahmet Librarys and on the street Köprülü Mehmet Pasha, Çorlu Ali Pasha, on the street Nuruosmaniye, and accroos the province is the Hacı Beşir Ağa libraries takes place. On the arterie in between Beyazit-Fatih there are Damad Ibrahim Pasha Library at Şehzadebaşı, Şehit Ali Pasha library in the park of Vefa High Scool, again Atıf Efendi at Vefa, Amcazade Hüseyin Pasha Librarys in Saraçhane and the Fatih library attached behind to the Fatih Camii. On the route in between Beyazıt- Aksaray-Kocamustafapasha; there are Ragip Pasha Libraries in Laleli, Hekimoğlu Ali Pasha Library in Kocamustafapasha and also in the same area in Mevlanakapi, the Küçük Efendi Manzumesi Librarys take place. Out of the rampart, Eyüp has left it's scarcity behind after the librarys has established. After the library founded by Sultan II Mehmed, established inside the Eyüp Külliye the tradition to establish and fund libraries has continued for so long years. An example for these are Hüsrev Pasha and Hasan Hüsnü Pasha can be indicated. The Sir Hale Library has been built additionally to the Galata Mevlevi Lodge afterwards. In Üsküdar the Hacı Selim Ağa, Ahmediye and Sir Aziz Mahmud Hüdai Librarys has been astablished strategically inside the city for the readers to get the best out of it. Apart from that the location of the Galata, Kocamustafapasha and Küçük Efendi Manzumesi Library ar in the same location, basically they provide unique application in their location. Out of the rampart, a heap of librarys has formed among the Eyüp masque, Ahmediye, Aziz Mahmut Hüdai Efendi and Hacı Selim Ağa libraries at Üsküdar forms a triangle area. Until the 17th century while the selatin külliye's covers a large area, from the 17Ucentury, small masques were builded around a great medresseh joint together with a sibyan school and a library. In these types of Külliye's (complex building adjacent to a masque) built on a largemedresseh together with a masque without a minaret, mostly there were also a library builded. Librarys may be classified acordingly to their location as `Külliye` Libraries which are built inside a corner of a Külliye courtyard, `bound` libraries built as an attachment or together with another building and `independent` librarys. While the independent librarys are Aşir Efendi, Atıf Efendi, Hüsrev Pasha, Hasan Hüsnü Pasha, Şehit Ali Pasha, IH. Ahmet, Hacı Selim Ağa, Esad Efendi, Ragıp Pasha and Murad Molla Librarys, a sıbyan school and Ragıp Pasha and Hacı Selim Ağa libraries and Murad Molla Librarys are small building groups where the library forms the center of it. Köprülü Mehmet Pasha, Hekimoğlu Ali Pasha, Nuruosmaniye, Amcazade Hüseyin Pasha, Hamidiye, Damad Ibrahim Pasha, Halet Efendi, Küçük Efendi ve Aziz Mahmud Hüdai Efendi, Çorlulu Ali Pasha, Hacı Beşir Ağa, Ahmediye Kütüphaneleri forms the `külliye` librarys the Fatih library and the Ayasofya librarys are some examples for the bound librarys. Generally they have special entrance or courtyard. A library inside a külliye is mostly built apart from the other buildings inside their courtyard. The independent librarys are away from noise, inside a park which belongs to the library itself for comfortable working environment. While the librarys attached to a külliye are close to the entrance and - if exists - they are built close to a medrese. When it's taken a close look, it can be observed that the librarys are forced to be far from the street or from other buildings. In this case they have been intended as an independent building from the külliye which they're bounded to. The point is that, it has been taken care for the readers environment to be far from outer annoyances and to provide the reader to work in a peaceful 1, quiet state. When a classification is going to be made with regard to the builder, a different gruping forms on proffession basis. Among padishah's who came leader in the first half of the 17th century and until the end of the 19111 century hasn't established librarys except. Sultan III. Ahmet, Sultan 1. Abdülhamit and Sultan I. Mahmut. Conversely, there are builders who built librarys in between these centurys like sadrazam (grand vizier), darüssaade chiefs. Sheikh ul-Islam, ulema (muslim theologians) and tariqua sheikh's. The III Ahmet library of Sultan III. Ahmet, the Ayasophia and Fatih library of Sultan I. Mahmud, the Nuruosmaniye library started to be made by Sultan I. Mahmut but finished by Sultan III. Osman and the Hamidiye library made by Sultan I. Abdülhamid are the librarys of these padishah's at their leading time periods 8 of the inspected librarys were made by persons which had a mission as a grand vizier and because four of thesj were married with the padishah's daughters, they had close relationship with the dynasty. Apart form the grand vizier, other builders who are from the government are 2 Sheikh ul-Islam, one head financial official, one shipyard `kethüda` and shipyard leader, one Rumelia military judge, a person from the Muslim Theologians and a navy minister. One of the intersection point of these librarys special -futures are the protection of the books. In most of the foundations this subject takes important place in the architectural base. In perfect. constructions, the readers room is placed in a well-ventilated room and the bottom sections are constructed to have well ventilated. Keeping the books from humidity, staying away from noise and to have the best lighting conditions lead the upper parts of the building to be used. Amcazade Hüseyin Pasha, Çorlulu Ali Pasha, Ahmediye, Şehit Ali Pasha, Damat Ibrahim Pasha, Fatih, Murat Molla, Aziz Mahmut Hüdayi Efendi, Nuruosmaniye, Ragıp Pasha, Atıf Efendi, Aşir Efendi, Halet Efendi, III. Ahmet, Hacı Beşir Ağa, Esat Efendi, Hekimoğlu Ali Pasha, Hamadiyeand Hacı Selim Ağa libraries are rised by stairs or built on basements or cellars. In the example of Nuruosmaniye and Ragip Pasha Iibrarys where basements are used as cellars or examples like Hekimoğlu AJi Pasha libraries where they are rised by stairs are for the protection of the books from humidity. In the reading rooms and in `haznei kütüb` one residence or multi-residance plan schemes are ploted Generally, in construction which seems like a last congregation area has a square plan scheme which is accepted as the main residance of the Osmanlı architectural. But in some cases the square form of the residance has been changed as rectangle with three columns like in the examples of Hekimoğlu Ali Pasha and Ayasophia. A residance with a middle cone started with Fatih Iibrarys plan scheme has been used in some buildings with squinchs in four directions and corners covered with small cones. And the Atıf Efendi library is the unique example which utilizes the Barok style. The top of the library is mostly covered with a cone and squinch with mirrors. In some buildings, transverse squinches are used in small sections formed by widening the coulumns of the residance. Generally there are one or three section porsches in front of the building door. The material used in the Iibrarys in Istanbul are a traditional serie of material which have been used since the Byzannite period. The main materials apart from the `küfeki` stone and bricks are materials like iron, marble, bronze and silver as well as plaster and `çini` which is used in the secondary parts and decoration. Indoor decoration is mostly formed of `çini` and `pendrawings`While some examples have the features of that time period, some has been renewed. There are also `çinicrafts` which has been taken from other buildings and used again. (Ayasophia Library) By constructing double layer windows to the sides, illuminated residances has provided and mostly the daylight has been used. The windows in higher locations mostly has sharp or round belts and decorated with plaster. Currently, most of the Iibrarys ecxept Nuruosmaniye, Köprülü Mehmed Pasha, Ragip Pasha, Hekimoğlu Ali Pasha, Murad Molla, Atıf Efendi, Hacı Selim Ağa ve III. Ahmet libraries are being used out of their aim of construction. XXIV 424

Bu araştırmada 19.yüzyıl Osmanlı Mimarisi'nin ilginç; ilginç olmasına rağmen az bilinen örneklerinden biri olan Aksaray-Pertevniyal Valide Sultan Camii incelenmiştir. Yapı, Batı etkili ve Eklektisist karakterli 19.yüzyıl Osmanlı Mimarisi'nin en çarpıcı örneklerinden biridir. Bu yüzyılın Osmanlı Mimarisini daha yakından tanıyabilmek için kanımızca en iyi örneklerden biri, Pertevniyal Valide Sultan Camii'dir. Pek çok değişik mimari üslubu ve süsleme formunu bünyesinde barındıran yapı, adeta 19. yüzyıl mimarisini değerlendirebilmemizi sağlayan bir okul niteliğindedir. Bu nedenlerden ötürü, Pertevniyal Valide Sultan Camii bu çalışmanın konusu olarak belirlenmiştir. Araştırmamız sırasında yöntem olarak öncelikle yapı hakkındaki basılı kaynakların taranması yoluna gidilmiş; daha sonra özel kişi ve kuruluşlara ait arşivlerdeki orjinal belgeler incelenmiş ve son olarak ta yerinde yapılan alan araştırmaları sonucu elde edilen bulgular değerlendirilmiştir. Çalışmamızdan ortaya çıkan sonuçları şöyle özetleyebiliriz: Aksaray - Pertevniyal Valide Sultan Camii, 19.yüzyıl Eklektisist Osmanlı Mimarisinin en karakteristik örneklerinden biri olarak karşımıza çıkmaktadır. Yapının mimarı olarak her ne kadar Sarkis Balyan gösterilmekteyse de, mimar Agop Balyan ve dekoratör Pietro Montani'nin gerek planlamada gerekse süsleme detayları ndaki katkıları gözardı edilemez Camiinin kubbesi ve minareleri çıkarıldığında yapının adeta bir kasır veya saray gibi planlandığı ortaya çıkmaktadır. Benzer bir düzenlemeye yine Balyan Ailesi tarafından inşa edilmiş olan Yıldız - Hamidiye Camii'nde rastlanmaktadır. Bu noktadan yola çıkarak aslen saray ve kasır planları ile tanınan Balyan Ailesi tarafından inşa edilen camilerin de yukarıda bahsettiğimiz planlanlama anlayışı içerisinde yapıldığı düşünülebilir. Kanımızca bu görüş, başlıbaşına yeni bir araştırmanın konusu olmalıdır. Pertevniyal Valide Sultan Mosque was built in 19th century in Aksaray by Sultan Abdülaziz's mother Pertevniyal Valide Sultan. This mosque appears to be one of the most successful and interesting religious constructions of last period Ottoman architectural style. The construction can be evaluated as a reflection in Ottoman architectural style, due to rapid changes in Europe after the Industrial Revolution. Rapid changes which was an unavoidable consequence of Industrial Revolution, completely altered their traditions, visions and production styles. But these horrifying speedy changes and automation that carries up with less laboureres but more production volumes brought anxiety in Western Societies: ` What will be the place of human beings in this new rapidly developing technology and industry ? `. This worry soon changed into a reaction of ` Desire to the past `. Reaction to this revolution expresses itself best in arts, especially in architecture which has monumental aspects. Although developing technologies let architects use new materials (like steel, iron) and new techniques (such as steel construction) they still prefered in the classical way such as Neo-gothic, Neo-classic, Renaissance, Baroque, Empire etc. By the end of the century a new approach was born which was the mixture of all above styles: Eclectisist Architecture. Another important architectural style that should be emphasized in this period is ` Orientalism `. In search of an escape from the rapid changes that technology brought, Western societies turned their look to the Eastern civilization and culture which they believe that it did not change for centuries and has a stable structure. This mystic atmosphere of the East and magical atmosphere of 1001 Nights Tales is what the most wanted to have, and to xviiiachive this desire, most constructed buildings like Eastern palaces and mosques and continued their lives with Eastern dresses in these buildings. Of course, the response that is mentioned above is conscious and emerged tied to the conditions that result from the Industrial Revolution. Like the emerging of every new revolution, Industrial Revolution was in action in a very restricted area -Europe- first. But later it expanded through all other countries. One crucial point is that Ottoman Empire was not able to realize the Industrial Revolution completely. Except a few arrangements (opening of some factories from different industries, railways and schools which give education on some branches, such as engineering, military etc.) the other innovations were perceived and used by a few people which forms the elite part of the Ottoman Empire (Palace and peripheries, rich merchants, diplomats etc.) All these innovations were generally imitations of Europe and they were not used by all parts of Ottoman society. The best examples of these innovations which are tried to be brought to Ottoman Empire are seen on arts. In the 19th century, the art in Ottoman society, especially architecture, was on the control of foreign artists and architects. Howewer during this period, the members of Armenian Balian Family, worked as Ottoman Official Palace architects for years and years. So the Ottoman architecture which is highly dependent to Europe and controlled by foreign architects. Naturally Ottoman architecture was affected from some styles of European Art such as Eclectisism, Revialism, and Orientalism. In this way, Pertevniyal Valide Sultan Mosque which was built in 1871 in Aksaray appears to be an important example of last period Ottoman religious architectural style which was a mixture of two different styles, Western Eclectisism and Islamic Orientalism. At this point, we would like to introduce this interesting architectural construction Pertevniyal Valide Sultan Mosque and complex, subject to our research by brief explanations in each part. xixFirst, in introduction chapter, the reasons why we have chosen Aksaray - Pertevniyal Valide Sultan Mosque and complex as our research topic, although there have been many examples of Eclectisist architectural style which affected and was used in Ottoman architecture, will be mentioned. We also would like to emphasize social situation and influences of close Western relations in Ottoman society. Also in this part, limits, objectives and overall intentions of this research will be mentioned. In the second chapter, European socio-cultural situation in 19th century and effects of Industrial Revolution in European countries will be mentioned. Orientalism which have influenced 19th century European architectural style and which have some interesting examples in many of European countries (England, France etc.) will also be mentioned. In the third part, history of the Aksaray district and role of the mosque which has determineted Aksaray's city plan. Also in this part comprehension of the city planning before 1856 and after 1856 Aksaray Fire will be mentioned. Finally in this part, development and construction activities in the district which has determineted today's Aksaray's city plan. In the fourth part, original documents about construction costs of the Pertevniyal Valide Sultan complex and lifestory of the Pertevniyal Valide Sultan will be examined. This part includes two important sub-title about construction costs : Cami-i Şerif icmal Defterleri and Keşf-i Evvel Defterleri In the fifth chapter, architects of the Pertevniyal Valide Sultan Mosque will be mentioned. In the beginning, we have found three architects name about Pertevniyal Valide Sultan Mosque and complex in the written sources: Agop Balian, Sarkis Balian and Pietro Montani. In addition to these three names we can add an architect name according the some sources: Italian architect Cocifi. As this written sources brillant marble public fountain (sebil) which has located at the nortwest entrance of the mosque's courtyard built by Cocifi. Also in this part lifestories of the architects and their other buildings will be examined by using original documents. xxIn the sixth chapter, Valide Sultan Mosque will be examined under the following titles: Plan Characteristics, Outer Facades, Inner Facades, Other Units Of The Mosque, Mass Characteristics Of The Mosque and Other Buildings Of The Valide Sultan Complex. The general principles of the 19th century Ottoman mosque schemes will be examined in the Plan Characterestics section. In addition to, Main Residence and Sultan's pleasure house titles, whole plan characteristics of the mosque will be explained with separate detailed titles. Outer and Inner Facades chapters includes monumental facades of the mosques which has symmetric construction characteristics. In the Other Units Of The Mosque chapter, three entrance (Nortwest Entrance, Northeast Entrance and North Entrance) which has opened Valide Sultan Complex and other units ( public fountain -sebil- and fountain) will be examined according to structural and decorative characteristics. The most important architectural construction of this chapter is Nortwest Entrance of the complex and public fountain which were built as Islamic Orientalist style. The entrance and public fountain has a different architectural style from Pertevniyal Valide Sultan Mosque. The mosque has a Eclectisist style which has consists of Gothic, Byzantion and Eastern architectural islamic styles (like Ottoman Morocco, Maghrib, Tunis etc.) On the other hand, the entrance and public fountain consists of only Eastern islamic styles and classic Ottoman decoration elements. In Mass Characteristics chapter, minarets of the mosque will be examined according to construction and decoration specifications. In this part, construction materials and technics of the Valide Sultan Complex will be mentioned. In the Ornaments and Form Characteristics chapter, marble decoration elements (like mihrab, minbar and marble brace -mukamas-) of the mosque xxiand other buildings of the complex wiil be mentioned. Also in this part exaggerated drawing ornaments which has exist in the mosque's interior will be examined. In the Other Buildings Of The Valide Complex chapter, Pertevniyal Valide Sultan Tomb, fountain which has located in the mosque courtyard, Valide School and time - measurment house (muvakkithane) of the complex will be examined. In the seventh part, Valide Mosque and other Eclectisist buildings of the 19th centuries Ottoman architecture. In this part, Valide Mosque will be compared with these buildings: Laleli Mosque, Üsküdar-Selimiye Mosque, Nusretiye Mosque, Mecidiye Mosque, Dolmabahçe Mosque, Ortaköy Mosque, Yildiz-Hamidiye Mosque, Cihangir Mosque, Bab-Seraskeri Gate and Çırağan Palace. The conclusion part includes some important results and suggestions about Aksaray-Valide Sultan Mosque and 19th century Ottomane Architecture. First of the conclusion is that Aksaray Pertevniyal Valide Sultan Mosque is a building like an ecole that both requeries Western and Eastern Eclectisist architectural characterestics. The building reflects Western Eclectisism with it is Gothic tendency to rise the windows, the Byzantion dome and the Baroque ornament elements; at the same time reflects Eastern Eclectisism (Eastern Orientalism) with it is Indian corner tower and North Africa, Morocco, Tunisia etc. decoration elements. The second conclusion is, although Pertevniyal Valide Sultan Mosque is a religious building the usage of the separate pozitioning of the dome and the architecturals elements like broken framework gives us the hints that the building was planned very similar to profan architecture, it is quiter bizarre to see that the building turns into a kind of palace when you remove the dome. We can observe the same characteristics with the contemporary Eclectisist XXIIbuilding Yıldız-Hamidiye Mosque. When we examine these examples we discover a new religious architecture derived in the late 19th century which was much more flexible compare the classical Ottomane architecture. Of course the major causes of this new architecture is was Ottomane architecture including the courtartchitecture had been in the hands of Western architects for a while. The third and last conclusion; we come accross for different names who are Agop Balian, Sarkis Balian, Pietro Montani and Cocifi as the architects of the building. Howewer the real architects should be considered Agop and Sarkis Balian (from the famous Balian Family) even though Italian art-theorist and decorator Pietro's name is mentioned in most of the written sources it could only be stated that he was active in a little percentange of ornament details and decoration. There is even not a definite clue is a statement but in the book L 'Architecture Ottomane by Pietro Montani and Boghos Efendi for the 1873 Vienna Exhibition Montani's ornament details show great similarities to Valide Mosque ornaments. Another reason for us to think this is the close friendship between the Montani and the Balian Family members. It is known that Montani attended to the meetings at Agop Balian's house where different ideas all arts was discussed. For this reason it can be sad that Montani participated to the architect of the Valide Mosque. 251

ÖZET 1920-40 yılları arasındaki dönemde ülkemizde de etkili olan Art Deco stilinin İstanbul'un Cihangir-Taksim-Ayazpaşa-Nişantaşı-Kurtuluş-Şişli semtlerini içine alan bölgedeki örneklerini kapsayan bu tezde, yapıların cephelerinde mimariye bağlı dekorasyonda Art Deco'nun etkileri araştırılmış ve tablolarla cephe ve motif analizleri yapılmıştır. Tezin ilk bölümünde çalışmanın amacı, araştırmanın metodu, seçilen bölgenin kentsel özellikleriyle birlikte bölgeyi seçiş sebeplerimiz ve çalışmanın sınırlamaları açıklanmıştır. İkinci bölümde, 20. yüzyıl başlarında Avrupa'da genel durum başlığı altında, Art Deco'yu hazırlayan sebepleri açıklamak üzere 20. yüzyıl başlarında Avrupa'da düşünce ortamına ve bu dönemde Avrupa mimarisinde genel eğilimlere, Art Nouveau, Art Deco, Modernizm ve bunların birbirleriyle olan ilişkisine hatırlatıcı bilgilerle yer verilmiştir. Üçüncü bölümde Osmanlı Devletinin Batıya açılma hareketleri ile birlikte Batılılaşmanın/Yenileşmenin 20 yüzyıl başlarında İstanbul Mimarlığı'nda görülen etkileri üzerinde durulmuştur. Bu etkileşimleri hatırlatmaya çalışırken İstanbul Mimarlığında Art Nouveau ve İstanbul Mimarlığında Modernizme Açılış başlıkları altında ise İstanbul Art Deco'sunun olgunlaştığı ortama yaklaşıldı. Dördüncü bölümde ise, incelenen bölgelerde yer alan Art Deco üslubundaki apartmanlar için yapılan envanter çalışmalarıyla ilgili olarak tablolara ve her yapının detaylı fotoğraflarına yer verildi. Ayrıca İstanbul'da yaygın kullanımı olan Art Deco cephe ve motif detayları her cephe elemanına verilen motif numarasıyla tanımlanarak detay çizimleri ile gösterildi. Beşinci bölüm olan, Sonuç bölümünde, incelenen bölgelerde yer alan Art Deco üslubundaki apartmanlar üzerinde yapılan envanter çalışmalarının sonuçlarına dayanarak elde edilen verilerle yapılan istatistik çalışmalarına ve bu çalışmayla ilgili olarak hazırlanan istatistik tablolarına yer verildi. Bu çalışmaların sonucuna dayanarak İstanbul Art Deco'sunda cephe ve motif kullanım özellikleri tesbit edilerek İstanbul Art Deco'sunun motiflerini Batı'da görülen motiflerle karşılaştırarak, Batı'daki örneklerle olan paralellik fotoğraflarla sunuldu. Tüm bilgiler ışığında İstanbul Art Deco'sunun genel özellikleri tesbit edildi. The aim of this thesis is to analyze the characteristic features of Art Deco buildings at Taksim, Cihangir, Nişantaşı, Kurtuluş and Şişli quarters in İstanbul. The Art Deco styled buildings most characteristic are chosen to analyze. Because it is not possible to examine all of them. There are lots of examples in this area. But 123 buildings were examined and 80 of them were chosen from this area. Because of the number of buildings and being a cosmopolitan district of Istanbul we decided to study there. Art Deco is an architectural and decorative art style, popular from 1920 to 1940, which is characterized by geometric and highly stylized natural forms and ornaments. The name is derived from the title of the Paris Exposition of 1925 `Exposition des Arts Decoratifs et Industriels Modernes`. Art Deco reached its peak at the Paris Exposition of 1925. The exiting world fair that was the premier showcase of Art Deco style. In 1920s and 1930s this style was known as `Art Moderne`, `Modernistic`, `Jazz Pattern`, `Skyscraper Modern`. Numerous buildings like office buildings, stores, restaurants, factories, cinemas, city halls, hotels, schools, libraries and even churches and monuments of other kind of buildings also designed in Art Deco style between 1920 and 1940 throughout the world. What are the characteristics of Art Deco? In many ways, the style defies precise definition as it drew on a host of diverse, and often conflicting influences. These were primarily from the world of avant-garde painting in the early years of century. Elements form Cubism, Russian Constructivism and Italian Futurism-abstraction, distortion and simplification-are readily evident in the decorative arts vernacular used by most Art Deco exponents. Examination of the style's standard iconography-stylized bouquets of flowers, geometric patterns including zigzags, chevrons, Egyptians motifs inspired by the openings of Tutankhamun's tomb in 1922. Other influences are Mayan and Aztec (the stepped `zigguraf shape of Aztec temples is a recurring motif) art of Central America. Another foreign influence on Art Deco designers, especially those in Paris, was tribal Africa, a source of inspiration. Mention should also be made of English Arts and Crafts Movement which, although founded on and operated along the lines of idealistic, medievalist beliefs, practices and organization, could also be said to have exerted some influence on Art Deco. VIArt Deco architectural ornamentation did not extend far beyond the French capital. Unlike America, which experienced a building boom in 1920s, Europe was in quite period of retrenchment following the devastation of the Great War. Britain has some claim to be one of the pioneers of Art Deco in the late style of Charles Rennie Mackintosh. His 1916 designs for Derngate, a house in Northampton are a consistent exercise in typical Art Deco motifs- zigzag lines, arrow shapes, overlapping squares and flat geometrical patterns. Rounded corners were a feature of Art Deco buildings, inside and out, and furniture based on geometric shapes-the circle, semicircle, triangle, octagon and cube-was very popular. Other typical motifs are sunrise, fan shaped motifs, chevrons, horizontal lines, stepped vertical decoration, cloud patterns, stylized trees, flowers and animal forms. Art Deco style, like in most of the countries around the world has influence in Turkey too between the years 1927-1940, in the new districts of Young Turkey Republic the style has given shape the most of the new buildings. In those days, the elite people in İstanbul, began living in Taksim-Talimhane, Ayazpaşa, Maçka, Nişantaşı and Cihangir. Although the effects of Westernisation on life style, cultural style, tastes and value systems were seen, starting from the 18th century, in the form of a cultural movement primarily exclusive to he administrator/elite group, the admiration that it provoked slowly started to encompass other groups, the general public, the urban population and the family. A lot of the credit for this goes to the aforementioned new legal-institutional dispositions and the changes in the system of the inter-city transportation, communication and the circulation of goods, as well as the displacement of the Court to the Bosphorus, and new western-style preferences exhibited by the seaside palaces, mansions and the imperial pavilions. The life style and gusto of the affluent non-Muslim and Levantine inhabitants of Istanbul especially of those living in Galata-Beyoğlu (these being the groups which closely identified themselves with the western style) were slowly recognized and adopted by other communities. This life style arose as the new cultural symbol and preference of the elite group as well. All this was largely caused by the traditional inhabitants who had also begun to frequent Beyoğlu, to participate in the shopping, consumption, entertainment activities and the new image atmosphere there. With time, especially the upper middle-class families, started living in the apartment houses and mansions of Ayazpaşa, Şişli and Nişantaşı, which were the newly developing northern axis quarters. However, this cultural change was one that went beyond spatial relationships, and it encompassed a series of social culture forms and components that made up and influenced daily life, from music to clothing and from furniture to types of entertainment. Therefore, housing space and forms which created the most intensive environment of this life style, had their share of the new gusto, style and value system. Republican elite sought a more complete break with tradition, at least in theory if not it actual lived experience. Throughout the 1930s the words `modern` and `contemporary` were used synonymously to designate all the novelty, progresiveness and desirable qualities of the new culture of living in western style houses and apartments with their new concepts of plan and spatial lay-out replacing the functionally undifferentiated rooms of traditional houses. VUThe method used for the collection of the information was a written survey sheet for the data analysis. The sheet that was originally prepared for the study. The inventory tables developed for the study have been presented in the Appendix 4.1. The analysis of the data was through the used of a statistical software (SPSS- Statistical Package for Social Science).The data collected from the survey were coded and entered into the system which calculated all required statistics, such as the frequency distribution tables. For the drawings of the motifs and facade elements was through the used of a computer added drawing package (ACAD-Autocad Release 12). This study includes all the classified 23 basic motifs and 254 variations of the basic motifs which have been presented in the Appendix 4.2. It has been observed that the use of geometric forms like rectangular, rounded, lozenge shaped and, stylized sunburst motifs and combinations of geometric forms were more extensively used. The Art Deco style was extensively used in Istanbul in the new residential areas and residential buildings in particular during the years 1927-1940. A total of 80 buildings located in the Taksim, Cihangir, Nişantaşı, Kurtuluş, Şişli area were analyzed and inventory tables developed for the study have been presented in the Appendix 4.1. The general characteristics of Art Deco in Istanbul have been developed from the data acquired as a result of analysis carried out on 80 buildings. 1 ) The wall material is block masonry. 2) The architect and date of construction in many buildings is unknown. Ana as a result the exact date of the changes in the characteristics which are assumed to have developed at different times could not be given. 3) Almost the only element which can be regarded as a mass movement in the Art Deco of Istanbul is in the facade definition. The facade of these buildings generally contain over hanging. These have been classified as a bay windows, bow windows straight edged, semicircular and Chicago bay windows. The facades with straight edged over hangings can also be observed in the Art Nouveau applications. The use of straight edged over hangings in facades is 64% in the buildings in Taksim, 63% in Cihangir and 61 % in Nişantaşı. Those in Kurtuluş and Şişli have more of the Chicago bay window type and flat type facades. 4) The facade arrangement is usually symmetrical at the entrance floor level an asymmetrical on the upper floors. It is also observed that the asymmetrical facade arrangement of Art Nouveau can still be found along side the symmetrical facade arrangements. 31% of the buildings analyzed have a symmetrical arrangement while 69 % are asymmetrical. Of the buildings in Taksim, Cihangir, Nişantaşı and Kurtuluş 68%, 74 %, 87.5% respectively have asymmetrical facade arrangements. 5) The number of floor also showed variations according to the different areas. While in the Taksim 60%, Cihangir 56%, Nişantaşı 67%, Şişli 100% areas viiimost of the buildings have 5 floors (entrance+4) in Kurtuluş on Kurtuluş Street they are less than 5 floors. Thus it has been observed that in the Kurtuluş area buildings with 3 (37.5%) and 4 (25%) floors exceed those with 5 floors (12.5%). 6) Generally there is a uniformity of style in the facades. This uniformity is more extensive in the Cihangir area. The facade elements of these buildings have been designed together and the same motifs and combinations have been used. Such uniformity of elements have been observed in doors, parapets, entrance level windows and decorative panels.(Tables 22, 54, 57, 64, 66, 71, 79, 84) 7) Doors which are one of the richest facade elements of the Art Deco of Istanbul make up one of the defining elements of the style with their forms and the 21 basic motifs used. Iron+glass (92%) has been used as the material and the rectangle as the form. It was observed that 8% of the doors analyzed had been replaced. The windows located over the doors have different forms such as oval (1.3 %) hexagonal (2.5%) skewed edged (25%) and rounded edges (7.5%) and it has been observed that the use of the rectangular (36%) and skewed edged forms were more extensively used. 8) The parapets, with their forms and the 20 basic motifs used, make up another defining facade elements of the style. The material used in the parapets is masonry (9%), iron (30%), masonry+iron (circular cross section) (52.5%). It was determined that the parapets showed some variations in the mid-section of the buildings (5%). Combinations consisting of geometric motifs (72%) have contributed to the rich variety of parapets. 9) The entrance floor windows which make up one of the determining elements of the style used in the facades are rectangular (36%), skewed edged (23%) or rounded edged (13%). Wood+glass or iron+bars and glass are the materials used. 15 different basic motifs are observed in the iron bars of the entrance floor windows. The Cihangir area in particular stands out with the richness of the motifs used. The windows in 25 % of the buildings studied had been replaced. The fact that the entrance floors 64% of the buildings studied in Taksim have been remodeled and are used as offices has effected the results of the facade and motif analysis of the area. 1 0) The materials used in the windows of the upper floors is mainly wood+glass and they are rectangular (87.5%) in form. However, in someexamples the windows of the mid floor and top floor are skew edged (7.5%) or rounded edged (5%). The change in form observed in the windows of the top floor reflects a similarity with the Art Deco of the West. This can be illustrated with the similarity observed between the Pertev Apartment (T1) dated 1933 in Taksim and Samaritaine Shopping Center building dated 1928 in Paris. 11) The use of the corner window (42.5%) in especially in facades with overhanging is a completing element of the period. The material used in these rectangular (38.8%) and skew edged (3.8.%) windows is wood+glass. 12) Combinations of geometric forms (46%) and plaster have been used in decorative facade panels, usually placed under the windows. While doing the study it was observed that occasionally panels with Art Nouveau or Neoclassical motifs were used in Art Deco style buildings. However, these were not included as unity of style was sought in the study. ix13) Another defining facade elements of the Istanbul Art Deco are the stylized pilasters which extend uninterrupted all the way from the fist to the top floor or are sectioned at each floor. As there is no information related to the date of construction or architect of these buildings, it was impossible to determine whether the use of these stylized pilasters was an application Of the style of the period of one of a certain architect or master builder. However the fact that the stylized pilasters are observed in the Taksim (%40) and Cihangir mainly (%30) areas points towards the an early Art Deco applications. The stylized pilasters can be interpreted as column stylization which have been included in Art Deco style with the effect of Neoclassisism. 14) The pediments, which make up another facade element have been observed in 32% of the buildings studied. The rectangular (24%) and circular (8%) forms were most widely used. 1 5) The motifs used in the plaster decorative elements of the entrance halls of the buildings repeats the motif repertory of the Art Deco style. The motifs used here reflect a similarity with those used on the decorative panels. 16) The doors located in the entrance halls are usually wooden and are designed within the same style understanding. 1 7) The elevator cabins and staircase balustrades reflect Art Deco characteristics. Similarities determined the Art Deco balustrades used in Istanbul and those used in examples in Europe have been illustrated with photographs. The balustrade of the Champs-EIysees Theatre (1913) by Auguste Perret (photo no.5.3.) and those of the buildings in Istanbul Cihangir, Nişantaşı and Kurtuluş reflect considerable similarity. It could possible to say that the quality of Art Deco styled buildings in Istanbul are parallel to the foreign example. And also the motifs of Art Deco styled building in Istanbul are parallel to the foreign example. 253

ÖZET III. Ahmet dönemi ile birlikte başlayan batılılaşma çabaları, Abdülmecid döneminde büyük bir hız kazanmış, bu durum kendini en temelli biçimde Tanzimat Fermanı'nın ilanı ile göstermiştir. Tanzimat Fermanı ile birlikte haklar, eğitim ve askerlik gibi alanlarda birtakım köklü yenilikler olduğu gibi güzel sanatlar alanında da bu yeniliklerin takip edilmesi sözkonusu olmuş, Osmanlı İmparatorluğu hem sosyal hem de siyasi alanda Batı'yı örnek almaya çalışmıştır. Tanzimat dönemindeki batılılaşma politikası, mimariyi de etkisi altına almış, bu dönem Avrupası'ndaki eklektisizm İstanbul'da yavaş yavaş etkin olmaya başlayan yabancı mimarlar tarafından Osmanlı mimarisine adapte edilmeye çalışılmıştır. Abdülmecid döneminde İstanbul'da bulunan William James Smith, Batı eklektisizmini Osmanlı mimarisine adapte etmeye çalışmıştır. İngiliz Çevre Bakanlığı mimarlarından olan Smith, 1831 yangınında yanan İngiliz Elçiliği binasını yeniden inşaa etmek üzere 1841 yılında İstanbul'a gönderilmiştir. 1841-1853 yılları arasında İstanbul'da bulunan Smith, bu yıllar arasında İmparatorluk için birçok yapı inşaa etmiş, resmi yapılar dışında sivil nitelikli yapılara da imzasını atmıştır. Smith, Naum Tiyatrosu ve Galata Sarayı'nın yenilenmesi projelerinde de görev almıştır. Başbakanlık Osmanlı Arşivi'nde yapılan çalışmalar sonucunda elde edilen bir belgeye göre Smith'in yanına teori ve uygulama alanında yetiştirilmek üzere Osmanlı Müslüman mimar halifelerinin genç ve yeteneklilerinden birkaç kişinin de verildiği tespit edilmiştir. Smith'in inşaa ettiği yapılarda eklektik anlayışın yanısıra Neoklasik bir tavrın daha ağır bastığı dikkati çekmektedir. Kaynağını Antik Yunan ve Roma'dan alan bu tavrın Smith'in başkentte gerçekleştirdiği yapılara nasıl yansıdığını incelemek bu çalışmanın başlıca amacıdır. İstanbul'da görev alan yabancı mimarların oluşturduğu yelpazede hatırı sayılır bir yere sahip olan Smith'in İmparatorluk için yaptığı çalışmalar, Tanzimat dönemi mimarisinin genel çehresini belirlemede oldukça etkili olmuştur; işte bundan dolayıdır ki Smith, oluşturduğu mimarilerle araştırılmaya değer bir mimardır. Bu çalışmaya sağlıklı bilgilerle donanmış bir çalışma niteliği kazandırmak için Başbakanlık Osmanlı Arşivi ve kısa adı RIBA olan İngiliz Kraliyet Mimarları Enstitüsü ile sıkı bir temasa geçilmiş, elde edilen belgeler ışığı altında çalışma sağlam temeller üzerine oturtulmaya çalışılmıştır. Ayrıca günümüze ulaşan yapıları analiz etmek için yapıların bulunduğu yerlerde çıplak gözle araştırmalar yapılmış, elde edilen veriler görsel malzemeyle desteklenmeye çalışılmıştır. SUMMARY A FOREIGN ARCHITECT IN ISTANBUL: WILLIAM JAMES SMITH The result of the Ottoman Westernization policy which had gained an acceleration with the announcement of the command of Tanzimat in the nineteenth century, some new changes had occurred in education, in military service and in human rights. Related to this announcement, Sultan Abdülmecid, had accepted the power of law above his domination for the very first time in the Ottoman history. The importance of this acceptance is that Abdülmecid was quite ready to do some new changes in both social life and in political life. The Westernization policy in the nineteenth century of Ottoman Empire, had ofcourse influenced the fine arts and especially the architecture. While Europe was experiencing the eclectic manner in the architecture of the nineteenth century, Ottoman architecture was also in a chaos. In Abdülmecid period, besides Baroque and Empire styles, other styles were also adapted to the Ottoman architecture. With the influence of the eclectic architectural manner of the nineteenth century Europe, the buildings in eclectic style were constructed in İstanbul. The Ottoman architects in the nineteenth century were not capable to construct buildings in large dimensions. Because constructing these kinds of buildings were beyond their capabilities, the non-Muslim and the foreign architects were charged for this job; and William James Smith was one of them. Being one of the Works Office architects in England, Smith was sent out to Istanbul in 1841 to reconstruct the British Embassy which was burnt down in the year of 1831 by the Pera fire. During his residence in between 1841 and 1853, Smith had built not only official buildings but domestic buildings such as Tophane Kiosk in Tophane, Winter Garden and Alay Kiosk in the complex of Dolmabahçe Palace and a Kiosk for Ibrahim Ethem Pasha aswell. XIThe official buildings that Smith had constructed are: British Embassy (1844-1854), The Chapel of St. Helena which is in the garden of the British Embassy (1849-1856), Mecidiye Barracks (1 847-1 854), some Parts of the Selimiye Barracks which face the Harem region and the North, Tophane-i Amire Hospital(Gümüşsuyu Soldier Hospital)(1 847-1 854), Seaman's Hospital (1844-1854), British Consulates 849-1 858), British Prison(1849- 1858) and Consular Offices in Kuledibi. It is known that Smith, had the responsibility of educating some young Muslim architect caliphs both in theoretical and practical ways. Towards the end of his residence in İstanbul Smith, was criticized in many ways such as not dealing with the construction of some buildings. Because of this complains he was sent back to England by the ambassador Canning in 1853. Smith was nominated as a fellow in the Royal Institute of British Architects in 1841 but his membership was refused by the institute. Smith had applied for being a member in the Royal Institute of British Architects in 1855 and he was elected as a member in 1856. It was not found out that Smith had worked elsewhere in Europe. During his residence in İstanbul, Smith was appreciated and rewarded by Abdülmecid for the works he had done for the Ottoman architecture. Smith's architecture is an eclectic architecture. He generally refers to the elements of Antique architecture. Noe-Greek, Neo-Renaissance, Neo classical, Empire and Mannerist styles are the styles which can be seen in Smith's structures. The British Embassy, one of Smith's works, is the palace which was built for the British ambassador in Istanbul in between the years of 1844 and 1854, has the characteristics of the Renaissance architecture. Its style is the domestic Italian style after the same model as the Reform Club house which was constructed by Charles Barry in between 1837 and 1841 in London. The mass of the palace is just like the domestic Italian buildings which were built in the Renaissance period. The Rustic texture of the entrance floor, the profilings which separate the floors from each other, the order of the windows and the cornice remind us the domestic Italian buildings built in the fifteenth century. The perfect geometry of the Renaissance buildings and the `armonia` maintained by this geometry can also be seen at this palace. Because of all this characteristics, this building of Smith is Neo-Renaissance in style. XIIThe Mecidiye Barracks which Smith had built in between the years of 1847 and 1854 has both Neo-classical and Neo-Greek architectural characteristics. The entrance of the buildings is just like a Greek temple. The orders of the windows, columns, pilasters and the profilings do remind us the characteristics of the Antique architecture. Being another example of eclectic architecture of Smith, this building is Neo-classical in general. The Tophane-i Amire Hospital in Gümüşsüyü, has also a Greek entrance and Antique architectural elements such as pilasters and columns but generally it is more likely to be a Neo-classical work of Smith. One of the examples of Smith's domestic architecture, The Tophane Kiosk, which was constructed for Abdülmecid, has the characteristics of the Empire style on its four facade. The shapes of the windows, the disciplined ornaments framed with the rectangular shapes, the gofferings in between the windows, the keyed arches and the ornaments about army tools on the piers of the entrance are typical characteristics of the Empire style. As a matter of fact, the Empire style aims to use the architectural elements of the Roman architecture thus this building refers to the forms of the Roman architecture. The Seaman's Hospital dated in between 1844 and 1854 is an eclectic example of Smith's works. The pilasters in Corinthian order, the profilings separating the floors from each other, the podium where the building sits on remind us the Neo-classical structures. On the other hand the texture of the first floor wall reminds us the domestic Italian buildings built in the Renaissance period. There are empty rectangular shapes between the first and the second floor which can be seen in the Ottoman Empire style sometimes. All these things are enough to call this structure eclectic. The British prison in Kuledibi built in between 1849 and 1858 has the characteristics of the Empire style. The keyed arched windows and doors, the flame forms make the style of this building Empire. The Consular Offices is the Other example of Smith's eclectic works. The architectural elements and the ornamented cross-beams on the facade make this building Neoclassical; but on the other hand the wall texture of the entrance floor reminds us the wall texture of the domestic Italian buildings built in the Renaissance period. The exaggeration of the keystones with decorative function and the keystoned pediment which can be seen on this building, are the main characteristics of the Mannerist architecture. xinJust before his departure from İstanbul, Smith had completed a winter garden for Abdülmecid with rooms attached, furnished and fitted up with articles of English manufacture made expressly for it. In the center of the winter garden there is a crystal fountain of large dimensions. This winter garden stands next to a kiosk called Alay Kiosk in the complex of Dolmabahçe Palace. The Alay Kiosk is also an eclectic work of Smith. This Kiosk was built for Abdülmecid in order him to watch his public. The building is supported by the columns of Corinthian order. The ornaments are framed by rectangular shapes. Every ornament is disciplined like in Empire style; thus this building has both Neo-classical and Empire style in general. Smith had built a domestic structure for İbrahim Ethem Pasha in Kantarcılar region. This kiosk does not exist in Kantarcılar today. In the map of Pervititch dated in 1941 it is noticed that this building was being used as a tobacco depot lastly. It is also noticed that this kiosk was built by stone and had three floors. The decoration inside was said to be timber. The kiosk also had a Turkish bath inside. The building itself had two entrance, one with the Baroque stairs. Smith had worked on the project of the renovation of the Naum Theater and the Galata Sarayı. It is not so clear that he prepared a project on Galata Sarayı, which was burnt down in 1848; but it is clear that he had renovated the Naum Theater in 1853 when it was burnt for the second time. The building was actually built by Fossati brothers. Naum Theatre was one of the examples of eclectic architecture. When the theatre was burnt down in 1853, Smith had made no changes in Fossatis' project. The decoration of the theatre was made of timber and said to be quite rich. Naum theatre was burnt down in 1870 for the third time and never built again. It is obvious as a whole that Smith had built structures with eclectic manner. Neo-classical, Neo-Greek, Neo-Renaissance, Empire and Mannerist styles are the styles that all can be seen in his structures. In the nineteenth century there was an eclectic attitude in the Ottoman architecture. Because Smith had this attitude in building his structures it is worth studying on how Smith adapted his architectural attitude to the buildings that he built for the Ottoman Empire and how he influenced the general appearance of the nineteenth century Ottoman architecture. xivIn order to prepare a dependable study, several researches were done in the archive of the Ottoman Premiership. The buildings were analyzed in the place where they stood and the photos were taken for analyzing the details of the buildings. Some buildings, such as the St. Helena Chapel, The İbrahim Ethem Pasha Kiosk in Kantarcılar and the British Consulate in Kuledibi couldn't be analyzed like other buildings. Only the plan of these buildings were maintained. On the other hand it is not clear that the consular offices were built as Smith wanted because Smith was sent back to England in 1 853 and the Consular Offices were finished in 1858 by another person who was sent from England. In order to find more information about Smith Royal Academy, Royal Institute of British Architects, Westminster Reference Library and Dr. Marc Crinson, the Royal Institute of British Architects member were sent faxes. Unfortunately they neither knew about Smith's birthday nor his educational studies. Therefore it was impossible to find out information about Smith's birthday and his educational studies. It should be confessed that the documents which were maintained in the archive of Ottoman Premiership, sent from Dr. Marc Crinson and the Royal Institute of British Architects gave a chance to prepare a dependable study on William James Smith, one of the architects who had a great influence on the nineteenth century Ottoman architecture. xv 76

`16. - 18. yüzyıl Osmanlı minyatüründe bahçe teması` konulu tezimizde, minyatür sanatının geleneksel yapısı içinde çeşitli şekillerde yer alan bahçe tasvirleri örneklerini irdelemeyi amaçladık. incelememiz sırasında öncelikle bahçe olgusunun Osmanlı kültüründeki yeri, önemi ve bunun minyatür sanatına yansıma şekli belirlenmeye çalışıldı. Daha sonra 16. yüzyıldan itibaren tarihi konulan resimleme yoluna gitmiş ve estetik özellikleri yanında belge niteliğinde değer kazanmış Osmanlı minyatür sanatının, gerçekçi üslubu içinde tasvir edilmiş bahçe görüntülerinin, kompozisyonlar genelinde kullanım şekilleri ve tasvirlerde yer alan kalıplaşmış motifler belirlenmeye çalışıldı. 16. yüzyıldan 18.yüzyıla kadar rastladığımız bahçe tasvirlerinin, gelişim ve değişim çizgisi oluşturulmaya çalışıldı. Son olarak dönemin diğer İslam ülkelerinde yapılmış minyatürlerdeki bahçe tasvirleri ile Osmanlı minyatürlerindeki bahçe tasvirleri arasındaki ortak ve ayrı unsurlar üzerinde duruldu. Topkapı Sarayı Müzesi ve İstanbul Üniversitesi Kütüphanesi'nde ulaşabildiğimiz minyatürlü yazmalar ve mevcut kaynakların incelenmesi sonunda, Osmanlı minyatür sanatının gelişim çizgisine paralel üslup özellikleri gösteren bahçe tasvirlerinin, minyatürün asıl konusunu oluşturduğu örneklerin yanı sıra, konuya fon yada ön plan teşkil ederken içerdiği motiflerin -Osmanlı minyatür sanatının gerçekçi ve detaycı yaklaşımımdan da yola çıkarak- dönemin bahçe mekanlarının karakterini oluşturan elemanlarla yakın benzerlikler gösterdiğini söylemek mümkün olmaktadır. Yüzyıllar boyunca Osmanlı minyatürlerinde ince bir zevk ile işlenmiş bahçe tasvirleri, 18.yüzyıldan itibaren, Osmanlı kültürünün hemen her alanında hissedilen batı etkileri neticesinde değişimlere uğramış, minyatürlerdeki diğer doğa tasvirleri ile beraber, başlıbaşına manzara resimlerine dönüşen bir yol izlemişlerdir. m From the beginning of human history, humans as they domesticated animals they also surrounded their environment with plants useful for their survival. In the beginning, their gardens constitute plants for their consumption but as the humanity evolve the gardens were populated with beautiful flowers and trees for their visual and spiritual pleasure. Gardening has been introduced to Middle Asian Turks later as they were originally nomadic tribes. Turkish tribes brought with them the concept of gardens with many variety of flowers when they came to settle in Anatolia. With the acceptance of Islam, the identification of gardens with Eden started. In the Islamic Ottoman culture, the importance and preference given to life in outside gardens can be seen as a reflection to their earlier nomadic traditions. For the construction of the Ottoman palaces, the choice of location was based on the design of the gardens followed by constructions of the actual buildings. The simplicity in the design of the gardens in the Ottoman tradition with its mall fountains and pools, streams, flower fields and arrangements, sitting arrangements with pathways and stairs and finally with animals living around the trees and plants reflects their life approach to gardens. Since gardens are part of Ottomans everyday life rather than a simple pleasure ground, there were parts allocated to fruit trees as well as vegetable used for food and medicinally purposes. Even though the remains of early Ottomans gardens are no longer, descriptions of many royal gardens (Hasbahçe) in Bursa, Edirne, Manisa and Amasya are encountered in the historical documents. The Topkapi Palace gardens, frequently seen in the 16th till 18th century miniatures of was a summary of all the existing Ottoman culture of gardening. Topkapi Palace gardens with many courts located in strategic places showed simplicity in design can be seen now as well as in the miniatures existing today. Many gardens and commons located in the city were used by all citizen, rich or poor, as a place to gather and share the natural beauty. Sources available to us on the gardens and gardening culture of Ottoman Empire during the 16th till 18th century, are the historical documents prepared during this period as well as miniatures of the same period. In this thesis of ` The concept of `Garden` in the Ottoman miniature art between the 16th -18th century`, the designated aim was the analysis of gardens seen in the miniature of this period IVAs a start, the importance of concept of `garden` in the Ottoman Culture and its spread over the miniature art was explained and the view of gardens were mentioned with different characteristic approach in the general view of miniature composition. Looking through the view of gardens in realistic style of Ottoman miniature art, the common motives were investigated. As we progressed, the changes and the developments can be seen in the 16th till 18th century miniatures. For the conclusion, the common and contradictory properties of the view of gardens in the Ottoman miniature and other Islamic civilisations especially in Persian miniature were explained. After investigating the examples of miniature in the Topkapi Palace Museum and the Istanbul University Library and various written documents, It became apparent that the development of style in the miniature art parallels the development of the gardening style during the Ottoman period. While choosing the miniatures of garden views from Topkapi Palace Museum Library and İstanbul University Library, we found the illustrated documents which can be seen below in this sequence : Kitab-ı Bahriye T.S.M.H. 642 Selimname T.S.M.H. 1597-98 Beyanı Menazil-i Sefer-i Irakeyn İ.Ü.KTP.5964 Süleymanname T.S.M.H. 1517 Şehinşahnamel. İ.Ü.KTP.T.1404 Hünernamel T.S.M.H.1523 Hünername2. T.S.M.H.1524 Şehinşahname 2. T.S.M.H. B.200 Şecaatname İ.Ü.KTP 6043 Surname-i Hümayun T.S.M.H.1344 Şemailname-i Ali-i Osman T.S.M.A.3597 Şehname-i Nadir-i T.S.M.A.1124 1. Ahmet Albümü T.S.M.B.408 Falname T.S.M.H.1703 Surname-i Vehbi T.S.M.A.3593 Hübanname ve Zenanname İ.Ü.KTP 5502 Gardens were not only seen in the miniature describing the specific garden but can be seen as the background or the foreground for various subjects. The motives used in the miniatures as descriptive notations are also found in the architectural sites of the period, therefore bringing the conclusion that these miniature are also actual documents for the gardens of the period. This conclusion can also be derived from the fact that the Ottoman Miniature art is a realistic and detailed art form. The garden in the Ottoman miniature were influenced by the West like many other branches of Ottoman art, and soon become landscape views. The art of miniature painting from the 16th and the 18th century of the Ottoman Era always progressed with the support of royalty.Starting from the 16th century that created the essential characteristic of the Ottoman miniature art and that later improved it, began the tradition of illustrating the written documents of the historical events. So not the miniature gained an additional perspective functioning as a document but it remained an aesthetic work of art as well. Looking through this perspective of miniatures acting as documents, we came to believe that the gardens seen in the illustrations gave us the actual characteristics of the royal gardens or open air places. The style of showing the gardens itself in miniatures started with Matrakçı Nasuh, who is one of the important artist of early 16th century, had his drawing more like a map. After Matrakçı, the other important artists like Osman improving the style, thus by the middle of the 16th century, gardens gained their actual topographic character, further leading to the panoramic form. Naturally along with the improvement of the miniature drawing style, the garden paysage in them also improved. From the middle of the 16th century to the beginning the 17th century, garden paysage have been used in lots of illustrations. The garden in miniatures are seen in two ways. In one it is in the background of whatever happening is documented. The other is in the foreground used for configuration. In this two ways which gardens are seen either in the background or in the foreground, except a few examples, drawing do not stress much about the garden's design but shows it only as the place of the event. But the details used in garden paysage like streams, pond, kiosks, fountains, winding paths, flower arrangements, trees and several kinds of animals - like birds, deer etc. - were also in real life. The most favourite motifs of the garden are cypress trees and other kinds in blossom. Fountains with ponds of flowing water are also important. Another interesting thing in miniatures is that the garden view is always seen even only it's through a window at the back of either a kiosk or a throne. The miniatures in which many garden views can be seen, can be divided into groups according to their subject : 1) Garden views representing the whole subject 2) Garden views in the ceremonies of succession 3) Garden views in the ceremonies of Sultans' accepting the members 4) Garden views in various facilities, like processionals in festivals Whatever the subject was, the same motives were used. Garden bottoms were indicated in different styles: Not only bottoms of all the same colour could be seen but a bunch of flowers and plants on a certain colour could also be seen as well. In these kind of styles leaves took the most attention. Naturally, tree is the most impressive and unforgettable motives in garden paysage. Trees' stylistic properties and its holy place in Islam Culture enabled it to be drawn in almost every part of Ottoman Art. Cypress are important as much as plane trees according to garden views of miniatures.Trees are placed in systematic orders in huge areas. Water is known for its holyness in Ottoman Culture and it is a constant motive. The places which are related with water, are painted in silver colour so that it gains an impressive approach. VIFlowers representing the nature's beautiness also plays an important role in garden views of miniature. You can see various kinds of these flowers, especially rose and tulip which are known to be more special. Small kiosk have been used in garden paysage, especially miniatures showing garden maquettes in 18th century. Naturalist behaviored animals in their natural ways especially gazelle can be seen as adorning the garden views of miniature. The most important -garden paysage from the first half of the 17th century are seen in albums. The miniatures in these album have great documentary value when it comes to information about the life and entertainment of Ottoman in the first half of the 17th century. The garden paysage in these miniatures are characteristic examples of an original palace style in time. Hardly any work of importance had came down from the second half of the 17th century, which is the most obscure period in Ottoman miniature painting. Miniature art gradually lost prestige parallel to the decline of Empire, and the palace in İstanbul had lost it's previous importance. The İstanbul palace studio was no longer encouraged. The 18th century is a significant period in Ottoman miniature painting. The best representative of the new style is Levni who is an excitingly productive and creative artist. While no strict details about the garden architecture are seen in the above mentioned miniatures, one can find every detail of an actual Ottoman garden design, in the model gardens we see in processional miniatures like of Levni's Surname-i Vehbi. This garden models are invaluable not only because they reflect the miniature style of time, but also they throw some light on early 18th century garden architecture. Through the 18th century the impact of the west increased and serious efforts were made by royalty to westernise the traditional ideas. Naturally during this period that a new artistic style originated in the Ottoman miniature painting. From this time classical style forms left their places to natural view. The artists were interested in the European style in every way, so the garden paysage in this time were very different from the classical ones. The technical style of miniature has been changed, so the water-colour paintings lost their classical miniature properties and garden paysage turned to landscape view. They painted with soft brush stroke and pastel colours and the tradition of garden paysage began to disappear. These are the illustrated documents which we gained while we are trying to find the similarities and constractions between garden views in Ottoman and Persian miniatures: Firdevsi Şehnamesi T.S.M.H. 1519 Firdevsi Şehnamesi İ. Ü.KTP. F.1405 Firdevsi Şehnamesi T.S.M.H. 1512 Divan-ı Hafiz-i T.S.M.H. 986 There are many similarities between the Ottoman Miniature art and the Persian Miniature art which had a certain influence on the Ottoman miniatures as well as VIIdiversification. The usage of garden elements such as the background wall murals as well as a foreground site in the miniature can be seen in the Persian miniatures as well. One of the major diversification between the Persian and Ottoman miniatures is the difference in the usage of gardens by the Persian artists for proof of their artistic capacities rather than the Ottoman artists usage for the provision of realistic details. The Ottoman miniatures described the historical moments with as much as accuracy possible with the exacts details whereas the Persian miniatures were used for literary purposes describing fictional events. This lead the difference in the style and basically in the description of the landscape between the two cultures. Their common points are the motifs and certain styles of description such as picture windows showing the garden from inside position. VIII 201

ÖZET Osmanlı devleti'nde Tanzimatla birlikte gelen, toplumda yeni yapılanma ve değişim çabaları, birçok konu ile birlikte toplumda kadının yeri sorununu da gündeme getirmiştir. Yeni açılan okullarla yerleşmeye başlayan kadın eğitimi, kadının ev ve iş hayatında başarısı ve sorunları gibi konular basında, özellikle kadın dergileri ile gündeme gelmeye başlamıştır. (1869-1928) yılları arasında yayımlanan 38 kadın dergisi, kadın ile ilgili her türlü konuyu, bilgilendirmeyi amaçlayan edebi konu ve makaleleri yayınlayarak, kadınlar arası bir haberleşme ağı oluştururlar. Bu çalışmada İstanbul Kütüphaneleri'nde bulunan 38 Osmanlıca kadın dergisi, içerik ve yayın amaçlarına da değinilerek, özellikle vinyet, fotoğraf ve düzenleme açısından ele alınmış, tarihsel süreç içinde gelişim ve değişim olanakları incelenmiştir. Araştırma İstanbul kütüphaneleri ile sınırlandırılmış, ancak İstanbul kütüphaneleri dışında olduğu halde fotokopi yolu ile kütüphane koleksiyonlarına katılan eksik sayılar da çalışmaya dahil edilmiştir. SUMMARY (1869-1928) The Graphic Designs of Ottoman Women Maga;:ines. The first printing house was founded in 1729 whereas the first Turkish nevvspaper `Takvim-i Vakayi` was published not before 1831 by Mahmut II. The first magazine Vakayi-i Tıbbiye about medicine came out in 1849. The Tanzimat movement influenced the beginning of the westernization period. This reconstruction of the society also effected women's position. The vvoman rights and their education became more emphasized with new schools, press and specially with women magazines. These magazines aimed to educate women about housevvork, children education, history, literatüre, music and fasnion. These publications created a close communication environment botvveen women. The publishers of these women's magazines were, women, engaged in the field of literatüre, press ör from foundations protecting women rights and freedom. Some foundations established by vvomen had their own magazines. For instance `Siyanet` was published by the `Ma'mulat-ı Dahiliyye istihlaki Kadınlar Cemiyeti Hayriyesi`, `Diyane` by the `Çerkez İttihat ve Teavun Cemiyeti` and `Türk Kadın Yolu` the Türk Kadınlar Birliği. Meanwhile some vvriters and poets whose stories were published in these magazines also vvorked in the editorial boards. The first Ottoman vvomen magazine was published in 1869 under the name of `Terakki-i Muhadderat`. This was followed in later years by `Vakit Yahud Mürebbi-i Muhadderat`, Ayine, Aile, İnsaniyet, Hanımlar, Mürüvvet, Şukufezar, Parça Bohçası, Hanımlara Mahsus -XV-Malumat, Hanımlara Mahsus Gazete, Alem-i Nisvan, Demet, Mehasln,. Kadın (Selanik), Musavver Kadın, Kadın (İstanbul), Erkekler Dünyası, Kadınlar Dünyası, Kadınlık, Hanımlar Alemi, Kadınlar Alemi, Seyyale, Siyanet, Bilgi Yurdu Işığı, Türk Kadını, Genç Kadın (1918), Genç Kadın (1919), inci, Diyane, Hanım, Süs, Ev Hocası, Firuze, Asar-ı Nisvan, Çalıkuşu and the last öne `Kadın Yolu` vvhich was published in 1927. Fifteen of these vvomen magazines do not have more than a few issues in the libraries. `Aile, İnsaniyet, Hanımlar, Parça Bohçası, Alem-i Nisvan, Erkekler Dünyası, Genç Kadın, Diyane, Seyyale, Siyanet, Ev Hocası, Hanım, Firuze, Çalıkuşu`. Thus it is hardly possible to talk about their peculiarities and graphic dasigm;. That was why these magazines were considered in a seperate chapter and studied to find out the commen speciaiities with other contemporary vvomen magazines. Terakki-i Muhadderat, Vakit Yahud Mürebbi-i Muhadderat, Mürüvvet belonging to the early period were published as an addition to the newspaper with the same names. The later magazines had much details in terms of contents. For instance `Hanımlara Mahsus Gazete` began it's publication life in 1895 about children education, history, literatüre and additionally it contained models for vvoman's clothing. it was well prepared for the women's taste in that period, published for 13 years of 612 issues. During the reign of Abdulhamit II (1876-1909) very important social and political events happened. VVars vveakened the Empire and Abdulhamit II was afraid of loosing the control över the country which put hard pressures and restrictions on the pubıicational sector. With the proclamation of the 2nd Meşrutiyet in 1908 a lot uf new changes took place in the country which had influence un the publicational sector Hundreds of new magazines being published with the excitement of this new promising political situation. Although the number of readers interest was not enougn to support -XVI-ali the magazin es, some of them had to be closed down. A lot of interesting magazines like `Demet` and `Mehasin` v/ere shortly published and had to disappear again. Despite of it's short publishing period Mehasin is important to mention. Especially the cover designs displayed the Art Nouveau art style of it's period. The most important magazines published during the late Oıtoman period after the above mentioned `Hanımlara Mahsus Gazete` were the Kadınlar Dünyası published by Osmanlı Müdafa-i Hukuk-u Nisvan Cemiyeti between (1913-1921) with 208 issues than `Süs` with 55 issues, followed by `İnci` with 39 issues. Bilgi Yurdu Işığı was a periodical magazine of a special school which had the same name. It's aim was to educate wcmen on the foreign language, house work, history, mathematics fields. The aim of this study is to examine the d if f e rence s and developments of Ottoman women magazines in terrns of page design, photography, and vignette. The research is restricted with the libraries of istanbul but some examples f rom the librane.s other than İstanbul could be obtained by means of fotocopy frcm the `Kadın Eserleri Kütüphanesi`. These magazines were collected by the commission vvnich /vorked fro women's library to publish a bibliography of the women magazines vvhich was published between (1869-1928). Terakki-i Muhadderat (printed in 1869), Vakit Yahud Mürebbi-i Muhadderat, Ayine, Aile, insaniyet, Hanımlar, Mürüvvet, Şukufezar belonging to the early preiod had no illustrations ör photocjraphs ör color. it had some little vignettes, like little flovvers betvı/ean the paragraphs. The format of the Hanımlara Mahsus Gazete (1895) is extremely large with some illsutrations and a few photographs Tlıe cover attracted attention with the design of the name of the magazine. -XVII-Demet and Mehasin published after 1908 and Mehasin Had the first color photography. Different art nouveau compositions were designed for Mehasin's cover in every issue. The pacjes and the titles of subjects have different frames and vignettes. Kadın (istanbul), Musavver Kadın, Kadın (Selanik), published in the following years show the same approach with their contemporaries. The first photography of an Ottoman woman was printeo in Kadınlar Dünyası. This became popular and other magazines began to publish photographs of this kind. The idea of being a `chique` and aesthetic started by Meh&sin. It was later on developed and interpreted by Süs and İnci. Firuze and Çalıkuşu tried the same but didn't succeed in existing for a long time. The Art Nouveau and Art Deco styles had a perceptible effect on graphic design architecture, sculpture, decoration and different branches of art in European countries in the late of the 19th century and in the beginning of the 20 th century. The styles were also effective in Ottoman art after 1905. Some characteristic patterns were used in architecture and in the field of press, especially in magazines for vignettes, frames or compositions on the covers. There are very characteristic patterns v/ith organic, curvilinear lines of Art Nouveau and more geometrical line-forms of Art Deco. Some neoclassical and antique patterns can be seen on the pages of the magazines. Art Nouveau created interest and approved easily by Ottoman Women. European fashion and habits especially used in daily life created a new interest and life standard in the society. Through the decades, there has been many developments in women magazines. In this development process, it can be seen thai there has been a change from the first examples, that has no photography and pictures, through the last examples which contains coloured -XVIII-pictures and coloured photographs. Especially after the year 1908, coloured papers and the coloured printing techniques has begun to be used. Then, the use of photographs has been separated and art nouveau and geometric borders have begun to be used and this, has led to develop structural applications. In this developing process, besides the use of original representations, influences of tho European magazines should be considered. In this historical period Ottoman women magazines from 1069 to 1928 shows a perceptible development and differences in page- design, cover design, illustrations, photographs and vignettes. The magazines had on influence on each other in the field of their contents and their designs. They created a source and a basic for magazines of the later periods. XIX 189

ÖZET Art Nouveau, Osmanlı imparatorluğu'nda 19. yy' ı n son çeyreğinde, Avrupa ile aynı. dönemde varlığını hissettirmiştir. îthal edilen günlük kullanım eşyalar ile bir donem İstanbul yaşantısında önemli bir yer tutmuştur» Bu akım özellikle II.Abdülhamit ' in ülkeye davet ettiği saray başmimarı R. d'Aronco ile başlayan ve diğer mimarlar ile yaygın bir şekilde mimarlıkta uygulama alanı bulmuştur. AN/JS, mimarlıkta daha çok dekoratif biçimlenmelerle ilgi çekmektedir. Ancak Osmanlı mimar 1 ışındaki motif olarak değilse bile kompozisyon özellikleri bakımından Avrupa Art Nouveau' sundan ayrılır. Bu. özellikler Osmanlı Art Nouveau' sunda kendine özgü bir karakter yaratmıştır. Beyoglu-Galata bölgesinde Avrupa Art Nouveau' i ar in daha yakın bir üslup gözükmekle beraber Kadıköy yakasında geleneksel kalıp ve malzeme tekniklerine daha bağlı olarak gelişmiştir.Plan şemalarında önemli bir değişiklik gözlenmez.Çoğunlukla iki veya üç katlı olan yapılarda yükseltilmiş bir bodrum sık görülen bir uygulamadır.Kadıköy bölgesinde incelenen anonim yapılarda dekorasyon düzenlemeleri Osmanlı sivil mimarisinin cephe düzenleme ilkeleri parelelinde belli mimari elemanları süsleme için değerlendiren bir tavır içinde kullanılmıştır.Cephe simetri ekseni üzerindeki orta bölüm çıkma yapmıştır.Karakteristik süsleme örnekleri daha çok burada gözümüze çarpar.Binalar AN/JS motiflerle bezeli sacak veya parapetler ile sonlandırılmıştır.Bu dönemdeki A.N. mimarlık örnekleri cephede demir malzeme ilede uyumlu bir şekilde ortaya çıkmaktadır.Ancak bu uygulama.Kadıköy yakasında Avrupa yakasından farklı olarak geleneksel üsluba daha bağlı bir şekilde karşımıza çıkar. SUMMARY Arrangement of- Art N o u v e a u f ci c a d e s in K a d ı k o y - M o d a - Ye 1 de

ÖZET 19.yy. sonlarından başlayıp 20.yy. ortalarına kadar devam eden dönem genel olarak MODERN DÖNEM olarak adlandırılır. Modern dönem ve genel olarak bu dönem içinde hayatın hemen her alanında hakim olmuş olan düşünce biçimi temel olarak 19.yy. eklektisizmine karşı oluşturulmuş bir harekettir. 19.yy. içinde yaşanan eklektik ve bunun yarattığı karmaşıklık içinden çıkış yolu olarak Modem dönem bir ideoloji olarak Aydınlanma dönemi felsefesini benimsemiş, bu felsefî yaklaşımın insan ve akıla verdiği değeri ve buna bağlı kavramları kullanarak kendi felsefesini oluşturmuştur. Bu yaklaşım, edebiyattan sanata, mimariden siyasi düşüncelere kadar hayatın hemen her alanında etkili olmaya başlamıştır. 20.yy. ortalarına gelindiğinde Modern dönem ideolojisi, özellikle mimari ve plastik sanatlardaki uygulamaları artık kuşku ile karşılanmaya başlanmış ve dolayısıyla Aydınlanma felsefesi terim ve kavramları yeni bir gözle okunmaya çalışılmıştır. Geçmişle tüm ilişkilerin kesilmeye çalışıldığı, en somut örneklerini mimarlık alanında görebildiğimiz, bu alanda kendi iç kuralları ve söylemini oluşturmuş olan Modern dönem ve daha dar anlamı ile Modern mimari sorgulanmaya başlanmıştır. Değişen toplumsal düzenler, ekonomik koşullar, siyasi tercihler bu yeni durumun yeni bir kavram ile açıklanması gereğini ortaya çıkarmıştır. Bu yeni durum, uzun süre üzerinde tartışıldıktan sonra önce mimari alanda kullanılmaya başlanıp, daha sonra her etkinlik alanına kaymaya başlayan Post-Modernizm ile açıklanmaya/tanımlanmaya başlanmıştır. Türkiye'de de Cumhuriyetin kurulması ile birlikte yeni bir toplum ve kent ima¬ jı yaratma çabalan gündeme gelmiş, bu beklentiye en iyi cevaplar dönem ola¬ rak da uygunluk göstermesi bakımından Modern düşünce ve Modern mimari anlayışta bulunmuştur. Bugün ise tüm dünya toplumlarında yaşanan, öncelikle mimari alanda Modernizm'e bir karşı çıkış olarak kabul edilen Post-Modernizm Batı toplumlarında olduğu kadar özgür ve cesurca olmasa bile Türkiye'de de özellikle edebiyat ve mimari alanlarında ve daha geniş bir çerçevede bakıldığın¬ da günlük yaşam içinde etkili obuaya başlamıştır. Bu çalışmada, günümüzün bu gerçeğinden yola çıkılarak, daha dar bir çerçeve de, özellikle mimari uygulamalar bağlamında ve istanbul kenti ile sınırlanmış olarak örneklenmeye çalışılmıştır. Örneklerde Modern mimariye bir karşı çıkış olarak gündemi meşgul eden ve özellikle de Modern mimari'nin kesinlikle kaçındığı tarihçilik konusunda Modern mimariye tarihsel referansları kullanması bakımından taban tabana zıt olan Post-Modern mimarinin tarihsel biçim kullanma serbestliği ortak özellik olarak ele alınmıştır. Yapılan çalışma Türkiye'de, Batı ülkelerinde olduğundan farklı bir biçimde özellikle vitrin düzenlemelerinde daha yaygın olarak kullanıldığı sonucuna ulaşılmasına neden olmuştur. Çünkü Batı toplumlarında yapıların tamamında da en az vitrin düzenlemeleri kadar yaygın bir kullanım söz konusudur. - v - SUMMARY The period, starting from the last decades of 19th century till the mid 20th century which has been effective almost in all aspects of life, literature, arts, thought and especially in architecture is generally called the MODERN PERIOD. Modern period and the prevailing movement in this period is basically developed as a reaction to the confusion of art in 19th century. 19th century has been supported by Enlightenment thought's rationalism which is the result of an awakening starting from Renaissance, liberated from the pressure of the church, dogmas and metapysical thought, explaining the human existance with his own mind, trying to find a place and a way of life in cosmos. With all this, 19th century is regarded as a period of thought prosperity. Nevertheless, 19th century seems to be sort of multidimensioned, just like many other periods. In this period too, as well as many philosophers, artists and writers who approve of new ideologies, there was a majority who regard themselves excluded from the society they live in and force themselves to bear the tendencies and beliefs the society accepts. The alternatives for the catastrophic ways of life in 19th century were created by Ruskin, Morris and Arts and Crafts movement. After those, Art Nouveau appeared, which probably was the outburst of art since 200 years. 20th century, then became a period that the belief of universal form was to be discovered which could not have been in 19th century. This was the expectation: Starting from this century, people everywhere will dress the same way, sit on the chairs that have the same design, eat the same kind of food and live in the same sort of buildings. The focal point of arguments have concentrated upon this problem was that the machines have replaced the handcrafts. From that point, the priority was given to the suitable working conditions for the machines, to improve the machine aesthetics and finding out aesthetical forms liberated from embellishment. There was the necessity of suitability to industrial process for forms either created for daily life or for art. -VIThere was a common purpose within all radical trends of Modern period which was an epoch of reaction: To pioneer a visual integrity and change what is valid. In architecture, it is possible to observe all substantial examples of this reactionary period that reigned all fields of art. In the beginning of 20th century, the concept of architecture showed a heterogeneus structure which was constituted of ideologies having the common point of confronting the 19th century eclecticism though in fact being different from each other. All tendencies mentioned above which can be named as Modern architecture have another common point: they all accepted the principle of functionalism. In this period, determination of the programme, the clear expression of structure, belief in technology and industry, the universality of solutions reached by mind, deliberately keeping off from embellishment and historical references were the period's thus the Modern architecture's main principles. Modernism appeared as a radical change in the end of 19th century through the beginning of 20th century and left traces in all aspects of life, but gave its most striking examples in architecture, but when we come to 1970's, it lost its dominance and left its place to an opponent concept; Post-Modernism. Modernism had found its most important source in Enlightenment philosophy. The celestial order was no more and the scholastic Middle Age thought was abolished. The humanistic principles like freedom, fraternity, equality had started to take roots. The most important of all was the will to grasp the universality. From the second half of 20th century onwards, concept like integrity, totality etc. belonging to Enligtenment philosophy were reinquired especially when the independence movement of the colonies accelerated. With this inquiry, all superior theories which tried to explain the universal concept and supported the Modern movement lost their respectability. Today, it is no more possible to mention the 'centers' which were supported by Enlightenment philosophy. The new human model created with this reinquiry has no unity, consistancy nor conscious subject that can build up the history. This model is effecting and effected and can talk for different subject point of views. With this reinquiry, showed up the need of 'redefiniton' and many concepts were put forwards: Post-industry, Post-fordism, consumption society, communication society etc. vn -SUMMARY The period, starting from the last decades of 19th century till the mid 20th century which has been effective almost in all aspects of life, literature, arts, thought and especially in architecture is generally called the MODERN PERIOD. Modern period and the prevailing movement in this period is basically developed as a reaction to the confusion of art in 19th century. 19th century has been supported by Enlightenment thought's rationalism which is the result of an awakening starting from Renaissance, liberated from the pressure of the church, dogmas and metapysical thought, explaining the human existance with his own mind, trying to find a place and a way of life in cosmos. With all this, 19th century is regarded as a period of thought prosperity. Nevertheless, 19th century seems to be sort of multidimensioned, just like many other periods. In this period too, as well as many philosophers, artists and writers who approve of new ideologies, there was a majority who regard themselves excluded from the society they live in and force themselves to bear the tendencies and beliefs the society accepts. The alternatives for the catastrophic ways of life in 19th century were created by Ruskin, Morris and Arts and Crafts movement. After those, Art Nouveau appeared, which probably was the outburst of art since 200 years. 20th century, then became a period that the belief of universal form was to be discovered which could not have been in 19th century. This was the expectation: Starting from this century, people everywhere will dress the same way, sit on the chairs that have the same design, eat the same kind of food and live in the same sort of buildings. The focal point of arguments have concentrated upon this problem was that the machines have replaced the handcrafts. From that point, the priority was given to the suitable working conditions for the machines, to improve the machine aesthetics and finding out aesthetical forms liberated from embellishment. There was the necessity of suitability to industrial process for forms either created for daily life or for art. -VIThere was a common purpose within all radical trends of Modern period which was an epoch of reaction: To pioneer a visual integrity and change what is valid. In architecture, it is possible to observe all substantial examples of this reactionary period that reigned all fields of art. In the beginning of 20th century, the concept of architecture showed a heterogeneus structure which was constituted of ideologies having the common point of confronting the 19th century eclecticism though in fact being different from each other. All tendencies mentioned above which can be named as Modern architecture have another common point: they all accepted the principle of functionalism. In this period, determination of the programme, the clear expression of structure, belief in technology and industry, the universality of solutions reached by mind, deliberately keeping off from embellishment and historical references were the period's thus the Modern architecture's main principles. Modernism appeared as a radical change in the end of 19th century through the beginning of 20th century and left traces in all aspects of life, but gave its most striking examples in architecture, but when we come to 1970's, it lost its dominance and left its place to an opponent concept; Post-Modernism. Modernism had found its most important source in Enlightenment philosophy. The celestial order was no more and the scholastic Middle Age thought was abolished. The humanistic principles like freedom, fraternity, equality had started to take roots. The most important of all was the will to grasp the universality. From the second half of 20th century onwards, concept like integrity, totality etc. belonging to Enligtenment philosophy were reinquired especially when the independence movement of the colonies accelerated. With this inquiry, all superior theories which tried to explain the universal concept and supported the Modern movement lost their respectability. Today, it is no more possible to mention the 'centers' which were supported by Enlightenment philosophy. The new human model created with this reinquiry has no unity, consistancy nor conscious subject that can build up the history. This model is effecting and effected and can talk for different subject point of views. With this reinquiry, showed up the need of 'redefiniton' and many concepts were put forwards: Post-industry, Post-fordism, consumption society, communication society etc. vn -SUMMARY The period, starting from the last decades of 19th century till the mid 20th century which has been effective almost in all aspects of life, literature, arts, thought and especially in architecture is generally called the MODERN PERIOD. Modern period and the prevailing movement in this period is basically developed as a reaction to the confusion of art in 19th century. 19th century has been supported by Enlightenment thought's rationalism which is the result of an awakening starting from Renaissance, liberated from the pressure of the church, dogmas and metapysical thought, explaining the human existance with his own mind, trying to find a place and a way of life in cosmos. With all this, 19th century is regarded as a period of thought prosperity. Nevertheless, 19th century seems to be sort of multidimensioned, just like many other periods. In this period too, as well as many philosophers, artists and writers who approve of new ideologies, there was a majority who regard themselves excluded from the society they live in and force themselves to bear the tendencies and beliefs the society accepts. The alternatives for the catastrophic ways of life in 19th century were created by Ruskin, Morris and Arts and Crafts movement. After those, Art Nouveau appeared, which probably was the outburst of art since 200 years. 20th century, then became a period that the belief of universal form was to be discovered which could not have been in 19th century. This was the expectation: Starting from this century, people everywhere will dress the same way, sit on the chairs that have the same design, eat the same kind of food and live in the same sort of buildings. The focal point of arguments have concentrated upon this problem was that the machines have replaced the handcrafts. From that point, the priority was given to the suitable working conditions for the machines, to improve the machine aesthetics and finding out aesthetical forms liberated from embellishment. There was the necessity of suitability to industrial process for forms either created for daily life or for art. -VI 96

Art Nouveau İstanbul'a yabancı mimarlar ve ithal kullanım eşyalarıyla girerek, bir yasam biçiminin adı olmuştur. Bu. nedenle etkilerini mimaride de görmek mümkündür. istanbul Art Nouveau mimarisinden sözetmek gerekirse, öncelikle bu akımın daha çok cephe bezeme bağlamında etkili olduğunu söylemek yerinde olur. Plana uygulanan değişimler bulmak güçtür. Ancak, istanbul Art Nouveau.'`* sunun kendine özgü tavrı yanında, istanbul'la bütünleşen bir gelişim çizgisi ve istanbul'a özgü bir karakterinin olduğu da yadsınamaz. işte bu karakter bağlamında incelemeye çalıştığımız, istanbul Art Nouveau mimarisinde dekoratif amaçlı demir malzeme kullanımının görüldüğü çak sayıda örnek sonucu. Art Nouveau motif ve düzenlemelere uygunluk gösteren, akıcı formlarda kolaylıkla kullanılabilen demir malzemenin, geleneksel tekniklerle, sevilerek kullanıldığını söyleyebi liriz. Farklı yerlerde çok sayıda örneklerine rastlayabildiğimiz bu kullanım sonucu, istanbul Art Nouveau mimarisiyle bütünleşerek onu tanımlayan bir kol olarak dekoratif amaçlı demir malzeme kullanımından sözetmek, hatta bu kullanımın çoğunlukla cephelerde, kapı, balkon, pencere korkuluğu, konsol gibi öğeler olmak üzere, az sayıda örnekte de merdiven korkuluğunda olduğunu belirtebiliriz. The Decorative Use of Iron in Istanbul Art Nouveau Architectures Only recently has Art Nouveau architecture ceased to be regarded as a retrogressive interlude between historicism and the modern movement, and this largely as a result o-f the re-evaluation o-f the role and importance of ornamentation in architecture. At the end o-f last century France abandoned the rigid traditions of the Louis Philippe style and developed her own -floral language o-f desing, which eventually embraced the entire field o-f art and combined a fondness.for assymetry with the still traditional vue d* ensemble, had a decisive influence. Spatial illusion was a. prominent.feature and ornamentation was -flamboyant, climbing wildly over facades, playing around -furniture and objects. Nude.female -figures adapted to the softly -flowing lines became an indispensable decorative element. While this sort o-f design hardly strikes us as modern today, at the time it was revolutionary indeed. When we consider the austere.facades along the streets in Paris, it is understandable that people were at first shocked by the new buildings erected at the turn o-f the century, so untradit ional, not to say `liberated`, was their style. Colour was an element o-f -Jugendstil architecture. Hector Guimard's green cats- iron ornaments at the entrances to the Paris Metro are a good example of this. They combine the most striking feature o-f French Art Nouveaus curving forms controlled within dynamic contours. This basic concept recurs in Gail lard7 s furniture, in Lalique's jewellery, in the glass o-f Galle and Daum. We cannot leave the -floral school o-f Art Nouveau without mentioning its best-known exponents, the cut glasses and the exquisite and unusual jewellery. Lalique was not concerned with the value o-f a piece o-f jewellery achieved by a conglomeration o-f precious stones? design was what counted. His jewellery is truly fabulous, for it has poetic features, the artistic impulse being merely a means for the perfection of poetic content. We find a similar VIsituation in glassmaking, where the artist Emile Gaile became the protagonist of a whole trend. Glass design were borrowed -From nature. A vase was -formed like an opening blossom or symbolized a -frosty breath of wind, it was the vessel -for the emotional world o-f the artist. Galle himself described his creations as ver re parlant. The two new building materials which generally deter m inde architecture already in the second half of the 19th century were glass and iron. They were used for the Crystal Palace in London in 1851 and again 30 years later for Gustav Eiffel's Tower for the Paris Universal Exposition. Before Guimard combined his skeleton-like facades with exuberant decorative elements in Paris, his prototype Victor Horta in Belgium had achieved a balance between architecture and ornament. His Maison du Peuple, built between 1896 and 1899, deserves a leading place in the architecture history of Jugendstil. A few wall section aside, the facade consists entirely of metal and glass. It gives the impression of having been moulded into the desired form quite effortlessly, almost playful İş a folding box system opens up. In his later buildings Horta achieved this sense of insubstantial i ty for a whole house. Partitions between rooms seem to flow into one another weightlessly, above the staircases of his halls glass domes vault, with ornaments climbing from the glass doors over the storys to reach the light. His. creations are invariably elegant, delicate, almost fragile. Guimard, as the principal exponent of the architecture of Art Nouveau, thus stands between the two main tendencies of Jugendstil architectures Horta' s concept of transparent surfaces, and the mobility which Antonio Gaudi's buildings extend to the third dimension. In Gaudi's case, the fondness for vegetative ornament is carried to an extreme. his architecture is shaped like sculpture, the facades are modelled, separate parts are no longer recognisable. The ornamentation is modelled from within, climbing from the ground floor up to the chimneys. The dynamic movement is exciting, even if the forms are confusing in their exaggeration. Gaudi experiments with coloured building elements, encasing his architectural creations, which seem to luxuriate by themselves, with coloured tiles that in turn form an independent additional decoration. Straight lines are avoided in this casing too. The tiles are fragments dovetailed into one another, and thus carry the attack against all traditional architecture to an extreme. The Casa Mi la in Barcelona with its proliferation of roof structures sprouting like plants is the best example of this. The inexhaustible wealth of VIIideas and the eradication of all known rules is the bridge which always connected the most varied phenomena of what we call Jugendstil. In Munich, the centre o-f Serman Jugendstil, were less exuberantly -the architect August Endell and the sculptor Hermann Obrits. Their work seems like linear essence o-f the expansiveness of the Spainard. Here it is not a whole house shell that it caught hold o-f, but rather the rampant ornamentation that col is around the surfaces whisch, though covered, still remain surfaces. The interiors of the houses erected the new concept of art» The rooms with all their furnishings blended into a single harmonious whole in a rhythmical flow of line. Built-in cabinets continued in paneling and ended in an ornamental ceiling frieze. Lamps were designed in keeping with the style of the room. Door handles, landings, objects of everyday use -nothing was forgotten, everything was subject to the designer's will. The supreme principle was permeation of the whole room, not merely the display of single objects. The most interesting artist to follow this idea was the Belgian Henry van de Velde. Originally a painter, he built a house as a self taught architect in 1894 which soon became the focus of interest in international art circles, elevating its builder to a central figure of the Continental Jugendstil. He Combined his demand for utilitarian design with an exceedingly mobile ornamental style which was expressed less in his architecture than in his interior decoration. Van de Velde furthermore expressed his ideas in the most lively fashion in numerous publications and in lectures, and has thus handed down to us an interesting and camp her ens ive picture of his work. His fortunate encounter with the great patron of the arts, Karl Ernst Osthaus, enabled him to work freely without without financial worries and to produce the best examples of Jugendstil in its widest spectrum. Numerous architectural projects thus left him in Germany, where he spent his most productive years. The same passion went into designing a piece of furniture as a dinner- service, a piece of jewellery or a paper-knife. To achieve the ultimate perfection of harmony in his interiors he even included the personality of the inhabitants in his overall concept. His design for their clothes follow the lines of the room, augmenting the light colours of the furnishings. He even designed a hait - style for the lady of the house whose gestures and manner became the living manifestation of his idea. Van de Velde' s creations are easily recognizable, his strong sense of ornament is invariably subordinate to the purpose of his onject, both are combined. His ornament is an element of the whole, not superimposed.but rather a part of its function. VIIIArt Nouveau must retain the credit for the discovery of the aesthetic possibilities of iron and glass. Art Nouveau adored lightness, attenuation, transparency and of course sinuosity. Generally speaking, historians point out relation ships between the iron structures of the 19th. century, the theories of Viollet-le-Duc, and the eKposed structural elements characteristic of Art Nouveau. But, granted that Viollet-le-Duc1' s logic and the iron-and-glass architecture of the international exhibitions stirred the imagination of architects like Horta and Gurnard, this a posteriori Judgement still needs to be refined. Iron is used widely Art Nouveau architecture at Istanbul in the design of facades as a decorative material. Cause the suitability for the designing thin tendril-like curves, iron is very likely used in Istanbul. The decorative use of iron can be seen as well as at the doorsş windosw, banister of balconys, staircases, etc. To search this elements we have document 60 apartment - houses from different quarters of İstanbul s Beyoğlu, Sisli, Harbiye, Cihangir, Tarlabası, Kadıköy, Bakırköy. Most of the doors are designed floral, symmetric and stylistic but the quantity of the geometric and the semi- geometric arrangements is not less too. The geometric examples show the characteristics of early modernism. Iron window-banisters are used at the both of wodden and stone buildings. This banisters are floral too. Symetric and asymetric arrangements are used at the same time. The floral balcony-banisters have same similarities with the 18th. century Ottoman Baroc. The floral arrangements are ending with floral motifs and most of this motifs are stylistic. The geometric arranged banisters are early modern and they have cycles as motifs. At the few examples we see Art Nouveau designed IXstaircase. We think, that the mast of the staircase banisters are demolished by the time. We see decorative use a-f iron in Art Nnuveau architecture in Istanbul, in the early urbanized quarters. Mast a-f the examples are coming -from Pera. It has a special meaning, because Pera is the quarter, where the Levantines and Ottomans who have a dense connection with the west live. More of the examples are -floral, but the geometric arrangements are not less too most o-f the -floral arrangements have in background geometric patterns. So we can say that the geometric arrangements arB very important in Art Nouvsau arcitecture at Istanbul. 226

ÖZET Bu çalışmada, 16. yüzyıl geleneksel minyatür resminden 1940'lı yıllara kadar olan dönemde gerçekleştirilen örnekler, tema olarak ele alınan folklorik öğelere ağırlık verilerek katalog düzeni içned ince lenmeye çalışılmış, bunun yanında perspektif, ışık ve renk gibi resim- sel özellikler üzerinde de durulmuştur. Batılılaşma sürecinde, minyatürden tuval resmine geçişte, deği şim yalnız teknik ve malzemede değil, ele alınan konularda da sözko- nusudur. İki boyutlu minyatür resminin bazı örneklerinde, tema olarak yerel halk yaşamının betimlendiği görülür. Batılı anlamda tuval resmi uygulanmaya başlandıktan sonra, ağırlıklı olarak manzara, natürmort gibi resim türleri izlenirken, 20. yüzyılın başlarında yerel halk yaşamını içeren konuların da resimlendiği görülür. Türk resminde konu alanında görülen bu değişim, dönemin yaşanılan olaylarıyla bağlantılı olarak hız kazanmıştır. Bu dönemde oluşturulan yapıtlar incelenirken, kırsal yöre in sanı, yaşanılan çevre, ekonomi ve eşya kültürü, örf ve adetler üze rinde titizlikle durulmuştur. Ayrıca, Halk yaşamını konu alan bu yapıtlar, dönemin yaşam biçimini, gelenek ve göreneklerini folklorik öge/ögeler olarak yansıtmaları bakımından da belgesel niteliktedir. VI SUMMARY FOLKLORIC ELEMENTS IN TURKISH PAINTING It is necessary firstly to talk about the folklore's methodology, meaning, definition, content, matter, target, be cause of the impor tance of the folklore elements in the picture of this study on the usage of the folkloric elements in the early period Turkish Picture. The word `Folklore`, is an English term, is combined with `Folk` and `lore` words. `Folk` means people and `lore` is knowledge firstly, it is used by William J. Thorns (1803-1885) just as Thorns has used Folklore in literature, it has been used at the same meaning. Diffe rent opinions about the definitions of folklore, confronted at the se arched origins. According to the knowledge gained from them, folk lore is a branch of science that searchs the cultural documents of a people's physical and spiritual characters, classifies, analyzes, inter prets them with the help of technique and methods shows the way to make national culture, bringing the culture values of the post. It is accepted that the article `Halk Medeniyeti` of Ziya Gökalp, was published at the magazine `Halk Doğru` in 23 July 1913 is an initiation of the folklore studies in Turkey. But before this date, there were some studies contain some knowledge about Turk folklore though they were not scientific, conscious. In this study, the subject that folkloric elements on the Turkish- picture of early period were examined was valuable to be dealt with from the point of bringing the cultures as folkloric element and proot, the reflection of the custom, tradition and daily life of the ru ral society. Passing from the miniature, that was the art of the traditional Ottoman, to the canvas art of the west wasn't suddenly but was re alized after certain stages. After the process of westernization, the dranges were seen on the Ottoman culture effected miniature, and the traditional art. VIIIn the 17th and especially IS1*1 century, anew art medium way established in the Ottoman Empire. At the period, political and eco nomic relations were formed with west effected the cultural process. Coming of the objects and picture books to palace oriented the deco rators to conscious searching of the miniature. The miniature with two dimensions, at this term is trying to find a third dimension. The miniature in which new techniques and styles were tested left its place to rural stages, costume and flower pictures and men and wo men portraits. Different subjects were used, further more, seazhing the third dimension and place, even placing a natural section in the composition to make depth is an important development. The first examples showing people's life in miniature are tradesman's parade in the festivals. Osman, the decorator, in a paper of his book invol ves the festival of 1582 year shows the glaziers make glass, taking glass-paste from furnace with the help of pipe. Different groups of tradesman is showed in every miniature of Levni in the festival of 1720 these tradesman joined in the parade have got introductory characters of their careers. These miniatures are the proot to show the role of local people in the festivals, the profession groups, hand- arts, mentality of dressing. Sultan partriats and dress pictures have placed in the miniatures of the 2nd term of the 18tn century. The Europeans take interest in Ottoman life and dress. For that reason, they were having dress-albums prepaned for making known Ottoman dresses that Europeans were interested in. After this period, Otto man nobles have got the albums showing western dresses prepared. These albums have introductory qualified of uniforms or dresses of different countries. The miniatured- copies of the books `Hubarname` and `Zemanname` of Fazıl Enderuni, was a poet of this period, was a kind of dress-album have mentioned the beauty of male and female. The newness and westernization have been seen to become powerful at the periods of Mustafa, the 3rd (1757-74), Selim the 3rd (1789- 1807) and Mahmut the 2nd (1808-39). These neunesses firstly begins at the military field because of defeat of the army successively. With being established of Mühendishane-i Bahri-i Hümayun, techique- drawings, Bidd-sketches were mode. Like the newness at the military VIIIschools, the picture lessons were placed in civil-schools. The pers pective themes in that subjects were architectural were dealt with at the pictures of the craftsman most of who were graduated from mili tary school. The painting lessons at the military and civil schools the exhibitions that Şeker Ahmet Paşa organized in 1873 February and continued after this date were important stages that caused canvas painting to be known and spread. During the 1st World War (1914-18), with the command of En ver Paşa, the military minister, a studio in which the war-pictures were painted was established. Here, the craftsmen generation of 1917 who trained in west painted many pictures whose subjects were war and soldier. This tendency was formed at the war-years caused the craftsmen to reflect their national feelings and the Turkish fight. The foundation of new revolutionist Turkish Republic in 1923, reforms were realized one after the other formed many newnesses to art. The aim of founding of Public Houses which were cultural insti tutions of Atatürk reforms in 1932 was to spread education, know ledge and skill to every where with the help of Public Houses and to supply people's education. A thought-system of which aim was pub lic-education were reflected to art of Republic as a new subject due to l()£h anniversary of Turkish-Republic pictures of war Independence and Atatürk's reforms were exhibited at the 1st Revolution Exhibi tion was opened at Ankara Exhibition Galery. The struggles in the war of Independence, the joining of people in this struggle, the new nesses of Republic were taken as a subject in the 1930s. Canalizing of craftsman as a group to folkloric themes was become true in the cultural programme of Public Houses were established by C. H. P. go vernment. At this stage, the craftsman of this period were sent to different regions of country between 1938-34 years and were wanted to paint pictures that reflect the characters of these regions. These travels caused craftsmen to see country-reals and to spread the idea suggested to realize country-reals. From the process of westerniza tion up to nowadays, with the affect of western trends like perspec tive, still life, figures, were directed towards the local people like. Some characters like environment tradition, dress which Anatolians have got with sensitivity are folkloric proofs. Traditional painting left IXand western painting technique was applied because of the process of westernization and also, subjects were changed. For that reason, at the introduction section, the development of painting from 16tn C. with respect to usage of folkloric elements, was tried to summarize. The factors and masons preparing folkloric trends in the picture were mentioned dealing with the period in which folkloric approaches were seen definitely. At the 2nc* section, the catalogue chapter that some works were formed according to defined-method was taken part in Arranging at the 2nc* catalogue chapter, the birthdays of crafts men were taken into consideration while examining folkloric elements in the table, systems that showed the ways collection, arrangement and searching were profitted by. Some knowledge such as environment, buildings, house vari eties, economy, goods, feeding dressing, traditions, festivals, plans, games, theatres, folklores which this system involved according to folkloric search became source to study folklore, besides, painting characters such as using of perspective, light, shadow colours, were studied as detailed form describing what folkloric elements harmony and where from they come. Although less limit was drawn as a be ginning to take folkloric elements as subject even if the period upto 1940s was taken, some craftsmen stading local subjects at this per- rod have some subjects and perception. And placing of these achi evements at our work caused to overcome top limit. These pictures were formed at the later perrods, but it is a question to draw the top limit for some pictures of which painted dates are unknown. At the conchusion, discussing trends of craftsmen to local sub jects, and factors and reasons directs this trend, craftsmen and their pictures were subjected to a new evaluation. Individual differences at the approach of the craftsmen to the local subjects, style characters were tried to be determined. X 116