19. ve 20. yüzyıl İstanbul yapılarında neo-gotik

Abstract

ÖZET Neo-gotik üslubun İstanbul'daki etkilerinin anlatıldığı tezin birinci bölümünde konumun seçilme nedeni ve araştırmanın yöntemi anlatılmış ve araştırma esnasında karşılaşılan güçlüklerden de bahsedilmiştir. İkinci bölümde Osmanlı İmparatorluğu' nda batılılaşma dönemi incelenmiştir. Bu döneme kadar gerek siyasi gerekse sanat alanlarında kesin bir hakimiyet kurmuş olan Osmanlı İmparatorluğu, duraklama ve onu takıp eden gerileme dönemleriyle, bu özelliklerini yitirmeye başlamış ve tersine dönen durumunu düzeltmek için kendini batılı ülkelere benzetme çabalarına girişmiştir. Aynı dönemdeki Avrupa mimarisinin durumu üçüncü bölümde ele alınmış ve Osmanlı'da olduğu gibi orada da var olan karışık durum incelenmiştir `Hıstonsist` bir anlayış içersinde eski üslûpların canlandırıldığı bu devrede Avrupa'da da pekçok üslup bırarada kullanılmış, hatta birtakım Uzakdoğu ülkelerinin de mimarı elemanları yapılarda uygulanmıştır. Tezin katolog kısmını oluşturan dördüncü bölümde İstanbul'da var olan neo- gotik üsluplu yapılar, `dini yapılar` ve `sivil yapılar` başlıkları altında incelemeye alınmış ve neo-gotik üslubun bu yapılarda nasıl uygulandığı, hem bezeme hem de strüktürel açıdan tek tek açıklanmıştır. Ayrıca yapılar kronolojik olarak dizilerek gotik etkinin aşamaları daha iyi verilmeye çalışılmıştır. Tezin son bölümünü oluşturan beşinci bölümde de genel bir değerlendirme ve sonucu yer verilerek gotik mimarinin burada uygulanışı ve dönemin mimarı durumunun daha net bir şekilde verilmesine çalışılmıştır. viii

SUMMARY The Ottoman Empire which has established absolute domination and sovereignty in both political and line art fields fill this period, had started to lose those characteristics by halting period and subsequent regression period and entered into attempts to become similar to western countries in order to remedy and correct its reversed condition. So the Empire which had initially started from military field that had been felt most lacking had spread out these implementations to administrative education and economical fields in short time By adopting living style of the west the most influenced field of the Ottoman Empire having desire to resemble to western countries in regard with form and shape as well had been fine arts and effect had reached the peak level in architectural field. The Empire achieved creating its own original style before this period while not attempted to imitate other countries even not being influenced by ancient structures and construction existing on its own land during these periods had started to work first of all by interpretation of foreign styles within its own architectural elements as from the beginning of 18th century and then had entered into copying in complete form. During westerination period when far many foreign styles had been imported, especially Gothic Style had been applied in substantial number and had become very significant effet in changing of face of Istanbul being a city where westerination had commenced. Neo-Gothic style which had been applied in far many official and civil constructions from mosques, churches, palaces to common residence buildings, had gained different interpretation on each structure. IXIn the First section of thesis in which effects of Neo-Gothic style in Istanbul has been narrated, reason of selecting the topic and method of research has been explained and difficulties encountered during research have been specified. In the second section, period of westerinization of the Ottoman Empire has been studied. In the second part of the essay the westernization of the Ottoman Empire is treated under two different chapters were the westernization is analyzed under its political and its architectural points of view and the foreign methods that have been adopted in the Empire during this period and their influence on the influence of the gothic style on our architecture. The rising nationalism of the Empire's minorities, the European countries began to strengthen their role as the protectors of Ottoman Christians. Gradually the Westernizing reforms that had initially been generated by internal forces within the Empire, came under the auspices of foreign governments. Western powers, and particularly England and France, began to take a more active role in the modernizing reforms of the Empire and demanded further reforms as a precondition to admit the Ottoman Empire into the Council of Europe. The European Influence which showed itself at first in the political area, continued in the architecture. In this time there were influx in the empire. Among this new influx of foreigners were several European architects who built, not only for European patrons, but for the Ottoman sultan as well. Thus, the introduction of new building types, initiated by the Balyans, was continued by French. German, English and Italian architects and patrons. By the last quarter of the nineteenth century the European physical presence in the Empire had greatly increased. The area of Galata and Pera, where many of the non-Muslim minorities lived, became increasingly populated with European expatriots.Not only for the westernization movement, but also for the minorities, these foreign and.Armenian architects began to dominate the architectural scene of Istanbul but they did not attempt any further exploration of the new spatial concepts of European architecture; nor did they work to redefine Ottoman architecture with a modern architectural vocabulary. These architects had all been trained in Europe and built in the historicizing eclectic manner like Balyan's. `Nineteenth century European architects were primarily arttracted to the decorative aspects of Islamic architecture and thus applied Islamic decorative elements to their buildings as surface veneer.` In sumation. the architecture in this period by the European educated architect is more European architecture than it is Ottoman. In the third section, condition of European architecture during the same period had been mentioned and complicated and complex condition existing over here as it was the case in the Ottoman Empire, had been studied. During this period when ancient styles hand been enlivened within an Historian concept, far many styles had been employed together in Europe and even architectural elements of several country of the Far East had been applied to buildings. This revivalism emerged as a reaction against strict classical rules, had become wide spread all over Europe in short time and adopted accordingly. This movement reflecting romantic trend as well had functioned as mystic shelter against classicism and had been supported by some authors being intellectuals of that time. People defending Neo-Gothic against classical architecture stipulated by Academy in global form had stipulated regional architecture existing in their own past as opposite thesis and justified and defended that this style architecture had been more appropriate to their own buildings. In other words fashionable, elegant circumstance had existed in Europe during that period and the Ottoman Empire had also imported existent style inconsistency while keeping its gates open to foreign influence. XIIn the fourth section consisting of catalog section of the thesis buildings existing in Istanbul with Neo-Gothic style had been studied under headings of `Religions Structures` and `Civil Staictures` respectively and also how this Neo- Gothic style had been applied to buildings, had been explained both from view points of similarity and structure one by one. In addition. Buildings had been arranged in chronological order and so stages of gothic influence had been attempted to be given in better way. In the fifth section of the thesis forming final section, a general assessment has been made under two headings. Neo-Gothic style had been applied in Istanbul in two types as by only itself and together with different styles in attached buildings. Here. Neo-Gothic style had been implemented by only itself to limited number of buildings. On the other hand, it is substantially in more numbers as being interpreted in attached from. It was limited with few churches as pure gothic style, whereas, it was wide spread in implementation to mosques, palaces, residence buildings, and official buildings, as other styles entered into the country, Neo-Gothic style had gained its own interpretation and although being a structure architecture et had been employed in buildings mostly as ornamentation and decoration style and except few churches, it had remained on facade in buildings before reaching to carrying system. In the conclusion section of the thesis, general assessment of implementation of gothic architectural style has been discussed and has been tried to give clearer view and form of architectural condition of the subject period by gathering aspects together There were no certain consistency in the building during that period and it was the general circumstance of era when all kinds of architectural styles intermixed in an indecisive form and the Ottoman Empire had got its portion from this mixture Neo-Gothic style is a small influence and effect added to this complex. Xll