İstanbul'da II. Abdülhamid dönemi (1876-1908) mimarisi /
Yazar: NEŞE YILDIRAN
Danışman: PROF. MUSTAFA CEZAR
Mimar Sinan Güzel Sanatlar Üniversitesi / Sosyal Bilimler Enstitüsü / Sanat Tarihi Ana Bilim Dalı
Derece: Doktora, 1989
Konu: Sanat Tarihi = Art History
Dizin: Abdülhamid II = Abdülhamid II ; Osmanlı Dönemi = Ottoman Period ; Türk mimarisi = Turkish architecture ; İstanbul = Istanbul

Özet:
VI SUMMARY Th«Q architecture during Abdülhamid II's reign (İ876--İ908) has been developed in a cultural environment -which can be defined in terms of three factors: the ideology of "Ottoman ism "j the establishment of the organization of Foreign Debts (Düyun-u Umumiye) and the relationship between Ottoman Hop ire and Prussia. Those facts have not only provided non-muslim and European origin architects in the capital of the Otto man Hnpire to work freely, but also caused the formation of some social groups having demand for a new architecture to fullfil the new neces sities. Sultan Abdülhamid II, "whose policy wis aiming at fastening this development and tfhose government depended upon personal apprecie- tions, has taken an effective role in developing the architecture of the period. The leading ones among the non-muslim and European origin architects -who have -worked in Istanbul in this period, Sarkis Balyan, Alexandre Vallaury, Baimondo d'Aronco and Jachmund were inflxienced by mainly European architectural styles like N»o-Greek, Neo-Renaissance» Neo-Gothic, Neo-Baroque and Art-Nouveau» and an eclecticism -which also have the elements of the Oriente-1 styles. And yet another school, ec lecticism, idiich have roots in Europe and gained some aspects in line with Orientalism -when it vas popular in Europe, have been influential on every single building constructed during Abdülhamid II's reign. At that period -when the majority of the constructions vere profane buildings, it goes -without saying that architectural activities har« been performed by foreign architects "«ho shared the market among them selves. The buildings of Yıldız Palace complex -which have the overtone of provincial vâlla, have been designed by Raimondo d'Aronco- -who vms Italian in origin? whereas the official buildings have been built by Alexandre Vallaury -French in origin-, -rifiich have exposed an eclecti cism stamped by neo-classical understanding at the beginning but re flected a kind of islamic eclecticism later, -which come out at Düyun-uvı\ tfau'miye btıilding. Sirkeci Station -which again exposed the purpose to reach the islamic eclecticism has been constructed by Jachraund who wis German in origin. In this context» Haydarpaşa Station and the other, suburb stations» -which have been built parallel to the construction of Berlin-Bagdad railway by German architects as European origin proto types* form exceptions. It is obvious that the prayer buildings» tombs and fountains reveal an understanding somewhere in between the tradi tional and modern in terms of material» form and structure just like Şeyh Zafir tombf besides, the profane patterns like guest houses» com mercial buildings and houses form the most specific examples which sym bolize the colorful atmosphere of the period in terms of material and style. All these variations broadened the range of architectural forms and overtones» thus achieved the enrichment of architectural panorama of Istanbul. During the period of Abdülhamid. II, the architects -«ho took over the responsibility of constructing the buildings after Sarkis Balyan left Istanbul, can be deemed as one of the reasons for the eclectic atmosphere» because of their designs -which showed the impact of the various European origin architectural styles, and their different na tional identities although they have been in Istanbul for years or they were the children of Levantine families who were living in Istanbul through several generations. On the other hand, the role of that Levan tine community, and Ottoman palace and bureaucracy which ordered build ings, is vexy determinant in creating the atmosphere because of their outlooks and mentalities. Therefore it is possible to claim that the complexity provided by European origin architects and the buildings they have designed, have characteristics reflecting the Ottoman society's taste, and this complexity is in harmony with the social formation dur ing that period.

Abstract:
VI SUMMARY Th«Q architecture during Abdülhamid II's reign (İ876--İ908) has been developed in a cultural environment -which can be defined in terms of three factors: the ideology of "Ottoman ism "j the establishment of the organization of Foreign Debts (Düyun-u Umumiye) and the relationship between Ottoman Hop ire and Prussia. Those facts have not only provided non-muslim and European origin architects in the capital of the Otto man Hnpire to work freely, but also caused the formation of some social groups having demand for a new architecture to fullfil the new neces sities. Sultan Abdülhamid II, "whose policy wis aiming at fastening this development and tfhose government depended upon personal apprecie- tions, has taken an effective role in developing the architecture of the period. The leading ones among the non-muslim and European origin architects -who have -worked in Istanbul in this period, Sarkis Balyan, Alexandre Vallaury, Baimondo d'Aronco and Jachmund were inflxienced by mainly European architectural styles like N»o-Greek, Neo-Renaissance» Neo-Gothic, Neo-Baroque and Art-Nouveau» and an eclecticism -which also have the elements of the Oriente-1 styles. And yet another school, ec lecticism, idiich have roots in Europe and gained some aspects in line with Orientalism -when it vas popular in Europe, have been influential on every single building constructed during Abdülhamid II's reign. At that period -when the majority of the constructions vere profane buildings, it goes -without saying that architectural activities har« been performed by foreign architects "«ho shared the market among them selves. The buildings of Yıldız Palace complex -which have the overtone of provincial vâlla, have been designed by Raimondo d'Aronco- -who vms Italian in origin? whereas the official buildings have been built by Alexandre Vallaury -French in origin-, -rifiich have exposed an eclecti cism stamped by neo-classical understanding at the beginning but re flected a kind of islamic eclecticism later, -which come out at Düyun-uvı\ tfau'miye btıilding. Sirkeci Station -which again exposed the purpose to reach the islamic eclecticism has been constructed by Jachraund who wis German in origin. In this context» Haydarpaşa Station and the other, suburb stations» -which have been built parallel to the construction of Berlin-Bagdad railway by German architects as European origin proto types* form exceptions. It is obvious that the prayer buildings» tombs and fountains reveal an understanding somewhere in between the tradi tional and modern in terms of material» form and structure just like Şeyh Zafir tombf besides, the profane patterns like guest houses» com mercial buildings and houses form the most specific examples which sym bolize the colorful atmosphere of the period in terms of material and style. All these variations broadened the range of architectural forms and overtones» thus achieved the enrichment of architectural panorama of Istanbul. During the period of Abdülhamid. II, the architects -«ho took over the responsibility of constructing the buildings after Sarkis Balyan left Istanbul, can be deemed as one of the reasons for the eclectic atmosphere» because of their designs -which showed the impact of the various European origin architectural styles, and their different na tional identities although they have been in Istanbul for years or they were the children of Levantine families who were living in Istanbul through several generations. On the other hand, the role of that Levan tine community, and Ottoman palace and bureaucracy which ordered build ings, is vexy determinant in creating the atmosphere because of their outlooks and mentalities. Therefore it is possible to claim that the complexity provided by European origin architects and the buildings they have designed, have characteristics reflecting the Ottoman society's taste, and this complexity is in harmony with the social formation dur ing that period.