Ankara kırsalında bir modernleşme sahnesi: Çubuk barajı mesire alanının peyzajı ve yapılarının mimarisi
A modernisation scene in rural Ankara: Landscape of the Çubuk dam recreation area and architecture of its structures
Yazar: İREM ALTINTAŞ
Danışman: PROF. DR. NEJAT TURGUT SANER
İstanbul Teknik Üniversitesi / Lisansüstü Eğitim Enstitüsü / Mimarlık Ana Bilim Dalı / Mimarlık Tarihi Bilim Dalı
Derece: Yüksek Lisans, 2024
Konu: Mimarlık = Architecture

Özet:
Türkiye Cumhuriyeti kuruluş yıllarında, çağdaşlaşma ve milliyetçilik üzerine temellenen hedeflerinin gerçekleşmesinde fiziksel çevrenin etkisinin bilincindedir. Ülkenin modern bir görünüme ve içeriğe sahip olması için yeni başkentte ve sonrasında Anadolu'nun tamamında düzenli kent yaşamı ve sağlıklı altyapıların mevcudiyeti birincil öneme sahip olmuştur. Hastalıklarla mücadele eden, tarımsal faaliyetlerin aksadığı Ankara'da acilen çözülmesi gereken su sorunu Çubuk Barajı projesini gündeme getirmiştir. Baraj ve yapıları Türkiye'nin modernleşme projesi kapsamında, yönetici kadronun Ankara'nın su işleri için çağı yakalayan bir altyapı sistemi sağlanması hedefi üzerine inşa edilmiştir. Kompleks gazinosu ve çevre düzeniyle kentin yeşil alan ihtiyacını karşılarken, kentlinin Batılı eğlence pratiklerini öğrenebileceği kamusal bir ortam sağlamıştır. Ayrıca son teknolojiye sahip teknik yapıları sayesinde devletin en önemli mühendislik başarısı olarak görünür haldedir. Cumhuriyet'in başkenti için kapsamlı bir baraj kompleksi kurulması, devletin yeni kimliğini somutlaştırarak iktidarın, kalkınmanın ve modernliğin sembolü olmuştur.
Çubuk Barajı ve yapılarını konu alan bu tez çalışması alanın kentle kurduğu ilişki ve inşa sürecini, Ankara'nın altyapı çalışmalarındaki ve gündelik yaşamındaki rolünü, Su Süzgeci Tesisi ve Baraj Gazinosu'nun Avrupa çıkışlı eğilimlerle ilişkisini irdelemektedir. Ayrıca plaj tasarımının, barajın çevre düzenlemesinin incelenmesi ve yapıların yeni Cumhuriyet'in övünç nesnesi olarak görselleştirilmesi üzerinde detaylı bir inceleme yapmaktadır. Baraj odaklı çalışmalarda (kaybedilmiş) modern endüstri mirası Su Süzgeci Tesisi, baraj alanının peyzajı ve mimarları nispeten arka planda kalmıştır. Çalışma baraj ve yapılarının rejimin modern anlayışını yansıtan farklı yönlerini mimar ve üstlenicileri ile bir arada işlemiştir. Tez, konu ile ilgili yazılı ve görsel envanterin incelenip değerlendirilmesi sonucunda hazırlanmıştır. Kullanılan arşivler temel olarak Başbakanlık Cumhuriyet Dönemi Arşivi, Bayındırlık Bakanlığı arşivi, Théodore Leveau'nun Centre D'archives D'architecture Contemporaine'deki (Çağdaş Mimarlık Arşiv Merkezi) kişisel arşivi ve Hochtief Firması arşividir. Leveau'nun kişisel arşivi ve Hochtief firması arşivi net ve anlaşılır özgün çizimlere ulaşılmasına olanak sağlamıştır. Ayrıca bu arşivler sayesinde baraj kompleksinin tasarımcılarının Türkiye Cumhuriyeti'ne katkıları açığa çıkmış, yerleşkeler hakkında yeni verilere ulaşılabilmiştir.
Tezin ikinci bölümü bağlamın anlaşılması amacıyla başkentin şehirleşme sürecini ele almaktadır. Üçüncü bölümde Çubuk Barajı Ankara'nın su ve yeşil ihtiyacı bağlamında değerlendirilmektedir. Dördüncü bölümde Baraj alanındaki yapılar ve peyzaj ulaşılan orijinal çizimler ve Théodore Leveau'nun kent parkı anlayışı üzerinden incelenmiştir. Modern eğlence pratiklerinin yaygınlaştırılmasında öncü niteliğe sahip olan Baraj Gazinosu'nun rolünü anlamak için dönemin Ankara eğlence mekanları ve gazinoları ele alınmıştır. Özellikle kadının sosyal hayata katılımının göstergesi olan ve uluslararası mimari estetiği yansıtan Baraj Gazinosu, Leveau'nun mimari anlayışı doğrultusunda dönemin kimliği ile ilişkilenmektedir. İnşa edilen köşk idare binası olarak kullanılmıştır. Yapının mimarı ve özgün planlarına ulaşılamamıştır. Bu nedenle yapı özellikle elde edilen görseller ışığında incelenmiştir. Başkentte bir plaj tasarlama fikri kurucu kadronun modernleşme hedefi bağlamında önemli atılımlardandır. Literatürde Çubuk Barajı'nda inşası öngörülen plaja dair herhangi bir değerlendirmeye rastlanmamıştır. Tez çalışmasında plaj tasarımı Leveau tarafından 1936 yılında çizilen 1:500 ölçekli vaziyet planı ve perspektif ile 1937 yılında çizilen 1:200 ölçekli planlar üzerinden tartışılmıştır. 
Tezin beşinci bölümünde barajın arıtma tesisi Su Süzgeci (Filtre İstasyonu) Binası ve üstlenicisi Alman Hochtief Firması incelenmektedir. Firma özellikle 1930'lu yıllarda Türkiye'nin farklı şehirlerinde fabrikalar ve endüstri yapılarının inşaatını üstlenmiş, Almanya ile güçlü ekonomik ilişkiler kurulmasında rol oynamıştır. Çalışmada Hochtief firması ve Türkiye'deki faaliyetleri, Su Süzgeci tesisinin konumu, inşası ve açılışına yer verilmiştir. Aynı zamanda yapının mimari ifadesi yeni Türkiye ve Avrupa merkezli üslupla birlikte ele alınmaktadır. 
Baraj ve yapıları Cumhuriyet rejiminin görsel hafızaya işleyen başlıca mimari tanıtım ve propaganda nesneleri arasındadır. Tezin altıncı bölümü Baraj ve Su Süzgeci'ni bu kapsamda değerlendirmektedir. Yerli ve yabancı kitap, gazete, dergi vb. yayının yanı sıra kartpostal, posta pulu gibi çeşitli dolaşım nesnelerinde de baraja rastlanmaktadır. Son bölümde baraj ve yapılarının bu şekilde "ikonik" bir nesne olması üzerinde durulmaktadır. Tüm kapsamlar ele alındığında baraj ve yapılarının kalkınan Türkiye'nin en başarılı göstergelerinden biri olduğu söylenebilmektedir. Dönemin kimliği, hedefleri ve yapım süreci, aktörlerinin etkileri ile Baraj uluslararası nitelikli bir komplekstir.

Abstract:
The Republic of Turkey is aware of the impact of the physical environment on people in the realisation of its targets based on modernisation and nationalism. At this point, one of the most important strategic decisions taken in the establishment of the nation-state with modern values identified with the West was the choice of Ankara as the capital. In order for the country to have a modern appearance, regular urban life and the existence of healthy infrastructures in the capital and later in the whole of Anatolia were of primary importance. The water problem that urgently needed to be solved in the city, which was struggling with diseases and where agricultural activities could not be fulfilled, brought the Çubuk Dam project to the agenda. The dam and its structures were constructed within the scope of Turkey's modernisation project, with the target of the management team providing a state-of-the-art infrastructure system for Ankara's water works. The technological developments and modern architecture followed in Europe and America during the same period as the Çubuk Dam were guiding the management team. In the world facing the effects of the Great Depression, dams constructed as part of economic development goals have been utilized not only for their technical and architectural features but also for recreational purposes. With its casino and landscaping, the complex fulfils the city's need for green field, while providing a public environment where urbanites can learn Western entertainment practices. In addition, thanks to its state-of-the-art technical structures, it was made visible as the most important engineering achievement of the state. The establishment of a comprehensive dam premises for the capital of the Republic embodied the new identity of the state and became a symbol of power, development and modernity.
This thesis on the Çubuk Dam and its structures analyses the relationship of the premises with the city and its construction process, its role in Ankara's infrastructural works and daily life, and the relationship of the Ankara Su Süzgeci (Filtration Station) and the casino with European trends. It also examines the design of the beach, which was designed but not built, and the visualisation of the buildings as objects of pride for the new Republic. In dam-focused studies, the (lost) modern industrial heritage of the Su Süzgeci, the landscape of the dam premises and its architects have remained relatively in the background. The study aims to contribute to the literature within the scope of architectural history by analysing the different aspects of the dam and its structures reflecting the new understanding of the regime together with its architects and contractors. The thesis has been prepared by analysing and evaluating the written and visual inventory related to the subject. The archives used are mainly the Prime Ministry Republican Period Archive, the archive of the Ministry of Public Works, Théodore Leveau's personal archive at the Le Centre D'archives D'architecture Contemporaine (Contemporary Architecture Archive Centre) and the archive of the Hochtief Company. Leveau's personal archive and Hochtief's archive provided clear and comprehensible drawings. In addition, these archives revealed the contributions of the designers of the dam complex to the Republic of Turkey and provided new data about the premises.
The second part of the thesis deals with the urbanisation process of the capital in order to understand the context. It can be argued that planning studies and construction activities in Ankara not only functioned in line with technical needs, but also as a way of reflecting the views of the management team through political decisions. The dam is constructed at the narrow part of a rocky valley, with a width of 250 meters, adjacent to the Ankara-Çankırı state highway, located 12 kilometers away from the city centre, at the "Abacılar Hanı" locality. The dam and its structures are not a focal point within the city. However, with the functions of the campus and new user habits, they have become a landmark for urban residents. Thus, the scope of modernization extending from the city centre to the rural areas has been made possible through the dam and its structures.
In the third part, Çubuk Dam is analysed in the context of Ankara's water and green area needs. The Lörcher Plan, which was the first study in the process of turning Ankara into a planned capital, led to the development of the garden city concept and aimed to create an arrangement where green spaces and water elements were integrated into the planning scheme. Subsequently, with the implementation of the Jansen Plan (1928-1932), a green belt developed in the east-west direction, and efforts were made to create it in the north-south direction, which served as a development axis. Thus, the continuity of green areas was ensured. As a result, Ankara is surrounded by recreational areas such as the modern recreation series in the city centre, the Atatürk Forest Farm functioning as a production area to the west, and recreation spots like Bent Deresi and Hatip Stream to the east. The valley where the Çubuk Dam is located has been a popular destination for the people of Ankara during the summer and spring months due to its coverage with trees and vegetation. The arrangement made during the Republican era transformed the area into a Western-style urban park. The site plan designed by Théodore Leveau encompasses a 15-hectare park arrangement around a lake axis oriented from east to west, consisting of roads, dining areas, pergolas, kiosks, playgrounds, and picnic areas.
In the fourth part, the structures and landscape in the dam area are analysed through the original drawings and Théodore Leveau's urban park concept. Leveau's designs were influenced by his teacher Jean-Claude Nicolas Forestier and French formal gardens. In his landscape works, order, integrity and site-specificity are at the forefront. In all his projects, long, uninterrupted walkways connecting to focal points are designed. He also emphasises the climate of the region in the use of flowers and trees. The dam project is one of Leveau's early works in Turkey designed with this modern garden concept. Casinos are among the most important musical entertainment venues that left a significant impact on Ankara during this period. The Baraj Casino and restaurant opened in 1938, providing a new experience for the people of Ankara by giving the feeling of a European resort. Despite its location on the periphery of the city, factors such as the relatively planned motorway system, public transport service and the high number of private vehicles compared to other cities attracted people to the Çubuk Dam promenade, especially on weekends. Since there is not yet a large-scale entertainment and recreation centre such as Gençlik Park in the city, the Dam, which is accessible by municipal buses, is the main place where these functions are fulfilled together with Atatürk Forest Farm. Ankara entertainment venues and casino will be analysed within the daily routines of the period in order to understand the role of the casino, which was a pioneer in the dissemination of modern practices that were tried to be taught to the public. The casino, which is an indicator of the end of gender discrimination in society and the participation of women in social life and reflects international architectural aesthetics, is associated with the identity of the period in line with Leveau's architectural understanding. 
The pavilion on the campus was used as an administration building. The architect and original plans of the building could not be reached. For this reason, the building was analysed especially in the light of the visuals obtained. 
Although there is no sea in the capital Ankara, the pools where the beach culture will be kept alive have become very popular. The idea of designing a beach in the capital is one of the important breakthroughs in the context of the modernisation goal of the founding cadre. In the literature, there is no evaluation of the beach foreseen to be constructed at Çubuk Dam. The beach, whose existence and design decisions could not be discussed due to its failure to materialize, and the low resolution of the site plan used in publications, has been revealed through the examination of Leveau's personal archive. In this thesis, the beach design is discussed through the 1:500 scale site plan and perspective drawn by Leveau in 1936 and the 1:200 scale beach plan drawn in 1937.
In the fifth part of the thesis, the treatment plant of the dam, the Su Süzgeci (Filter Station) Building and its contractor, the German Hochtief Company, are analysed. The company undertook the construction of factories and industrial buildings in different cities of Turkey, especially in the 1930s, and played a role in establishing strong economic relations with Germany. In this study, the Hochtief company and its activities in Turkey, the location, construction and opening of the Su Süzgeci are included. At the same time, the architectural expression of the building is discussed together with the new Turkish and Eurocentric style. It reflects the mass balances and function-based simplicity of the Bauhaus, which originated from Germany and became widespread in parallel with the domestic and foreign buildings undertaken by the firm in the same period. The building was designed in the spirit of Streamline, which embodies content such as technique, progress, modernity and speed, and adapted to the new order established in Ankara.
The role of photographic representations in the identity production of states cannot be denied. Especially in Ankara, architectural images are effective in promotion and propaganda, as well as in the field of education. Dams and their structures are the most widely served architectural propaganda objects of the Republican regime. The sixth part of the thesis analyses the Dam and the Su Süzgeci in this context. In addition to domestic and foreign books, newspapers, magazines, etc., dam and the premises are also found in various circulation objects such as postcards and postage stamps. The last section focuses on the dam and its structures as such an "iconic" object. When all scopes are considered, it can be said that dams and structures are one of the most successful indicators of developing Turkey. 
The intense use of the Çubuk Dam project for approximately 40 years, and its continued presence in memories through images even after the demolition process of the buildings, points to the successful aspect of the project. The Çubuk Dam is an international complex with the identity of the period, its objectives and the influence of the actors of the construction process. With its landscape, technical structures (dam and Su Süzgeci), beach and casino, the Çubuk Dam creates a manifest modern Ankara scene outside the city centre.