Elhamra Han'ın (Beyoğlu-İstanbul) cephe özellikleri
Facade proporties of Elhamra Khan (Beyoglu-Istanbul)
Yazar: ÖZLEM ÖZGÜR AKCAOGLU
Danışman: PROF. DR. NEJAT TURGUT SANER
İstanbul Teknik Üniversitesi / Fen Bilimleri Enstitüsü / Mimarlık Ana Bilim Dalı / Mimarlık Tarihi Bilim Dalı
Derece: Yüksek Lisans, 2019
Konu: Mimarlık = Architecture

Özet:
Bu çalışma kapsamında, İstanbul-Beyoğlu'nda bulunan Elhamra Han'ın cephe mimarisi incelenmiştir. Cephedeki mimari öğeler ve klasik dönem Osmanlı camilerinde görülen mimari öğeler karşılaştırılarak, bu öğelerin biçim kaynakları araştırılmıştır. Usul-i Mimari-i Osmani'de yer alan tasarımlar ve cephedeki mimari öğeler arasında benzerlik ilişkileri kurulmaya çalışılmıştır. 
Çalışmanın birinci bölümünde, 18. yy'dan başlayarak giderek artan bir biçimde gayri Müslim azınlıklar tarafından nüfusun yoğunlaştığı Galata ve Pera bölgesi tanıtılmaya çalışılmıştır. Yenileşme döneminden başlayarak yabancılara tanınan haklar çerçevesinde bu bölgede yeni yapılaşmalar kurulmuştur. Ticaretin yoğun olduğu Galata bölgesinde hanlar gibi ticaret merkezleri kurulmuş, konut alanları daha çok Pera bölgesinde yoğunlaşmıştır. 
İkinci bölümde, Elhamra Han'ın inşaat ve kullanım tarihçesine yer verilmiştir. Fransız Tiyatrosu adıyla 1827 yılında inşa edilen yapı, 1831 yangınında yok olmuştur. Aynı yıl Giustiniani tarafından yeniden inşa ettirilmiştir. 20. yüzyılın başlarında Fransız Tiyatrosu ve Palais de Cristal'in kapanması üzerine binaya Osmanlı-Avusturya Mobilya ve Halı Firması yerleşmiştir. 1920 yılına kadar aynı yerde kalan firma binanın Adapazarlı Arapzade Said Bey'e satılması üzerine kapatılmıştır. 1923 yılında Elhamra Sineması adıyla tekrar işletilmek üzere açılmıştır. 1958'de Sururi Topluluğu, salonu tiyatro salonu olarak kullanmış, 1970 yılında tiyatro kapanmış, 1976 yılında tekrar sinema salonu olarak hizmet vermeye başlamıştır. Sinema salonu olarak kullanılırken 1999 yılında yangın geçirmiştir. Elhamra Han'ın zemin katında 17 dükkan ve sinema salonu, asma katta birbirine geçmeli 25 büro odası, onun üzerindeki dört katta zamanında ikamete ayrılmış ikişer büyük apartman dairesi bulunur. 
Üçüncü bölümde, Elhamra Han'ın cephesinin mimari tasarımı ele alınmıştır. Altı kat olarak yükselen kagir binanın cephe mimarisi, ikişer kattan oluşan ayırıcı kornişlerle bölümlere ayrılmıştır.
Dördüncü bölümde, cephedeki mimari öğelerin biçim kaynakları incelenmektedir. Elhamra Han cephesinde yer alan mimari öğelerin Süleymaniye Cami, Şehzade Cami, Yeni Cami ve Sultanahmet Camisi gibi klasik dönem Osmanlı camilerinde kullanılan mimari öğeler ile benzerlik ilişkileri kurulmuştur. 
Beşinci bölümde, Usul-i Mimari-i Osmani'nin Elhamra Han'ın cephe tasarımındaki etkileri incelenmektedir. Usul-i Mimari-i Osmani,  1873 Viyana Evrensel Sergisi için İbrahim Edhem Paşa başkanlığında, Marie de Launay, Pietro Montani, Bogos Şaşiyan ve Eugene Maillard'dan oluşan bir ekip tarafından hazırlanmıştır. Usul-i Mimari-i Osmani, Osmanlıca, Fransızca ve Almanca olmak üzere üç ayrı dilde hazırlanmıştır. Usul-i Mimari-i Osmani klasik dönem Osmanlı yapılarını çağdaş mimarlara yeniden tanıtmayı amaçlamaktadır.
Sonuç bölümünde, cephenin genel biçimlenişi ile "Birinci Milli Mimarlık" üslubu örneklerini izlediği, anıtsal "milli" örneklerin büyük çoğunluğunda aslında Avrupa kaynaklı bir kütle ve cephe şemasının çıkış noktasını oluşturduğu, geleneksel/yerel biçimlerin bu şemalara uygulandığı, Elhamra Han'ın cephesinin de ana çizgileriyle tümüyle Batılı bir kompozisyon sunduğu belirtilmektedir.

Abstract:
Within the scope of this study, architectural facade of the Elhamra Khan in Istanbul-Beyoglu is investigated. The architectural elements of the facade are compared with architectural elements seen in the classical Ottoman mosques the historical sources of these elements are investigated. The similarity between the design and the architectural elements of the front is located. 
In the first part of the study,  the population of Galata and Pera, which was increasingly frequented by non-Muslim minorities since the beginning of the 18th century, has been introduced. Galata and Pera region is a region where trade has always been intense. States such as Britain, France and Italy have used this region as a trade center with the privileges provided by commercial concessions. New developments have been observerd in this region within the framework of the rights granted to foreigners starting from the reigning period. Trade centers such as khans had been established in Galata region where tradewas intense, and residential areas were mostly concentrated in Pera region. 
In the second chapter, the construction and usage history of Elhamra Khan is mentioned. The building, which was built in 1827 under the name of French Theater, was destroyed during the fire of 1831. In the same year, it was rebuilt in the Italian style by architect Giustiniani. Edouard Salla built a ballroom in 1861 at the entrance of this theater building, which was used without a balcony. The ballroom was named as Palais de Cristal due to the fact that the entire entrance was made of glass. At the beginning of the 20th century, the French Theater and the Palais de Cristal were closed, and the Ottoman-Austrian Furniture and Carpet Company was located in the building. The company remained in the same place until 1920 when the building was sold to Adapazarli Arapzade Said Bey. In 1923, it was opened for re-operation under the name of Elhamra Cinema. This place was bought by Cevat Adapazarli in 1936 and its name was changed to Sakarya Cinema. The cinema hall, which was first run by various people and companies, was named after its former name in 1944. In 1958, the Sururi Group used the hall as a theater hall. In 1970, the theater closed down. While the cinema was used as a theater hall, the living room which came to ashes due to another fire in 1999 is not used today. There are 17 shops and a movie theater on the ground floor of Elhamra Han, 25 office rooms interconnected on the mezzanine floor, and two large apartments on four floors above it. 
In the third chapter, the architectural design of the facade of Elhamra Khan is discussed. The facade architecture of the stone building, which rises up to six floors, is divided into sections with separating cornices consisting of two floors. The facade of the ground and first floors are divided into five units with six legs and arches. There are muqarnassic columns on both sides of the legs. On the upper part of the feet is a ribbed bowl. The first floor has an opening to outside by five windows with slightly pointed arches. In the upper part of the outermost windows, the muqarnasli consoles carry two outlets. The exits on the second and third floors are supported on both sides by one column. False parts of the exits are opened to the outside in the form of crown doors. There are three rectangular windows on the second and third floor. At the bottom of the windows are stone balcony railings with star motifs. There is a niche arrangement in the space between the windows, continuing along the second and third floors. On both sides of the niches there is a column that ends with hourglass motifs. There is a star motif with ten arms. On the fourth floor, there is a loggia-like, eight arched outward opening, and a large fringed space. The fringe is transported by wooden brackets. On the last floor there are two high-rise sections that give a tower effect. 
In the fourth chapter, the sources of architectural elements in the front are examined. The architectural elements in the Elhamra Khan facade have similarities with the architectural elements used in classical Ottoman mosques such as Suleymaniye Mosque, Şehzade Mosque, Yeni Mosque and Blue Mosque. The pointed arch form seen on the front of Elhamra Khan was widely used in the Ottoman architecture. The arch form is used as a transition element in the doors and windows, and as a carrier element in the dome and vault system in the courtyard porticoes and indoors. Hourglass shaped columns in the Elhamra Khan facade are located on the corners of the courtyard and at the main entrance gates in the classical period mosques together with the courtyard walls, on both sides of the niche of the mihrab niche. Mukarnas column capitals seen on Elhamra Khan fronts were widely used in Ottoman architecture. Mukarnas title was used in the courtyard porticoes of mosques, muezzin mahfili in interior spaces, in women's palace sections, in the niche columns. The niche arrangement observed on the second and third floors of the Elhamra Khan front are reminiscent of the muqarnas niches used in the mihrabs at the gates of the courtyard and main venue of the mosques. On the second and third floor of the facade, the star-shaped stone balcony railings located beneath the windows are similar to the parapets used in the marble grids of the minbar in the mosque, in the hunkar mahfili, muezzin mahfili, and women's parapets. The vegetal decorations in the arched section and column bodies of the exit from the second and third floors are seen in arched openings, crown doors, mihrab sections and column surfaces.The arched hilly section at the top of the outcrops is generally observed in the upper part of the crown gates and in the mihrabs. The cabins on the ground floor are placed on the facade of the buildings and at the entrance doors of the Islamic architecture. The muqarnas consoles supporting the exits on the second and third floors have both an aesthetic and carrier role. Similarly, the brackets were used in mosques in the mosque vault and in the entrusted sections. 
In the fifth chapter, the effects of Usul-i Mimar-i Osmani on the facade design of Elhamra Khan are examined. This book was prepared by a team consisting of Marie de Launay, Pietro Montani, Bogos Shashian and Eugene Maillard, under the leadership of Ibrahim Edhem Pasha for the 1873 Vienna Universal Exhibition. Usul-i Mimar-i Osmani, had been prepared in three different languages (Ottoman, French and German). In the book consisting of thirteen chapters, 4 mosques, 2 fountains and 2 tombs in total, accompanied by the narratives of the Ottoman architecture are presented. The book contains 188 plans, 14 of which are colored. Usul-i Mimar-i Osmani considers the Ottoman identity ideas as a text of cultural identity that is expressed to the world through architecture and art after the Tanzimat period. The text makes the reader feel that the Ottoman architecture does always return to its essence from the very beginning to the very end. It is concluded that the Ottoman architectural talents gradually disappeared as a result of the erosion subverting the superior qualities of the Ottoman Empire and this could only be solved by returning to our own essence by our own methods. It can be said that the Westernization process experienced in the Ottoman Empire was an important turning point in the field of architecture and architectural writing. As regards to other Ottoman texts, the text is different because it proposes a theoretical framework that rationalizes Ottoman architecture according to geometrical and normative relations. In this respect, it can be argued that Usul-i Mimari-i Osmani is a pioneering text in terms of its method based on scientific detection and re-construction. The work was influential in the architecture of the period and it remained as an influential source aftermath. 
In the concluding section, it is stressed that the national language, was used as a tool to create an upper identity in the architectural sphere. By referring to national-architectural elements specific to the late Ottoman identity, an upper sort of identity perception in architecture arose. This symbolic language, which was established through architectural forms, emerges as an ideological form of expression, reflected on the facade of the buildings.