İstanbul Art Nouveau mimarisinde dekoratif amaçlı demir malzeme kullanımı
The Decorative use of iron in İstanbul Art Nouveau architecture
Yazar: PELİN AYKUT
Danışman: PROF. DR. AFİFE BATUR
İstanbul Teknik Üniversitesi / Fen Bilimleri Enstitüsü / Sanat Tarihi Ana Bilim Dalı
Derece: Yüksek Lisans, 1992
Konu: Mimarlık = Architecture
Dizin: Art Nouveau mimarisi = Art Nouveau architecture ; Demir = Iron ; İstanbul = Istanbul

Özet:
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.

Abstract:
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.