19.yüzyıl mimarlığı içinde Dolmabahçe Sarayı`nın yeri

Abstract

Bu çalışmada öncelikle Batılılaşma Dönemi ele alınmıştır. Batılılaşmanın sanata etkisi gözden geçirilmiş, Osmanlı İmparatorluğunun son döneminde mimari üslup değişiklikleri, tasarımların yeni boyutlara ulaşması, yaklaşım biçimlerinin farklılığı ortaya konmuştur. Daha sonraki bölümlerde Dolmabahçe yapılar topluluğunun yerleşim izleri ve oluşum sürecinde saraydan önceki yapılar ele alınmıştır. Dolmabahçe Sarayı değişik üslupların bir arada kullanılmasıyla oluşturulduğu için daha sonraki bölümde Avrupa üslupları incelenmiş ve 19.yy'da Osmanlı Sarayı'nda nasıl bir uygulamaya geçildiği görülmüştür. Saray'ın mimari yapısı incelenmiş ve bu konuda kendinden önceki yapıların araştırmasında olduğu gibi Osmanlı Devlet Arşivi belgelerinden ve dönemin gazetelerinden yararlanılmıştır. Son bölümde karşılaştırılmaya gidilmiş ; Dolmabahçe'nin İstanbul içindeki diğer bazı yapılarla ve yurtdışındaki benzerlik gösteren bazı saraylarla ortak yönleri araştırılmıştır.

A new concept was introduced to Ottoman Empire in the last days of its history, Westernization. As early as the first quarter of the 18th cent., increasing economic and political problems and continuous military losses stepped up relations with the West in order to keep abreast of the developments there. This was considered as one of the remedies for the deteriorating state of affairs in the country. Thus, an international movement towards the west primarily started at the administrative level and carried on throughout the 19th cent, until recent times. Through this, the Ottoman society was pushed into a `Westernization Process`. This also coincided with the recession of the Empire, transforming the inevitable westernization into a period of unsolved problem. During this long and turbulent period, numereous changes took place, many developments were achieved while many others remained only on the paper as written reforms. All these attepts continued at an increasing pace, in various fields ranging from social, educational, political, administrative, literary to behavioral patterns. As the capital of the Empire, Istanbul had the priority to be under direct influence of westernization at all times. This was the place where policies were set and their applications were carried out before they spread to other provincial settlements. Therefore, such Anatolian towns showed similar tendencies for any kind of renovation at a later period within a slightly different process. It is historically obvious that the westernization process was constantly under the pressure of many factors which influenced the course of developments at various times. These factors and their fields of influence were of western origin to a large extent. Yet within a retrospective view, it was possible to identify attemps coming from the Ottoman governmental level as well changingIll the orietation of the process from time to time. Other than placing pressure on import and export activities, the market was introduced to foreign consumer goods which became fashionable in time, regardless of utility. Such a foreign trade policy became an instrument in creating a new market for European industry while Ottoman production and trade were seriously neglected, unable to complete with the new developments in kind and quality. One factor can be viewed within the scope of the diploma tic relations, with the west. A major step was taken towards the end of the 18th cent. to establish permenant embassies to conduct all kinds of relations with the contemporary major political powers. As far as the cultural activities were concerned the artists who visited Istanbul and kept track of the daily life and the physical environment should also be considered among those who formed relations with the west at a personal level. they were effective in carrying information the cultural and the social aspects of the society. Their expedition records have later become quite important in evaluating the elements and the quality of existing physical environmental conditions of the period. One fact^or among the others, which was considered as an instrument for the westernization process was found to be related to the Ottoman ambassadors and high level officials were carefully recorded in the embassy memoranda and the official reports, as they frequented the major western cities. These reports, were directly sent to Sultan and his close circle of administrators...- They were found to include the personal observations and the impressions on all aspects of the physical environment with the descriptions of buildings, gardens, transportation means, requirements of the population and the new functions and facilities introduced for these detailed descriptions of residences palaces and landscape elements.IV Naturally most of such descriptions were influential on the shaping of the outdoor living spaces primarily in Istanbul while making the necessary decisions and setting the regulations for construction activities in the city later on. As westernization was imposed on the urban environment, this was observed in architectural changes as well as a modification in the exterior spaces. Throughout the 19th cent., western influences brought a total change in style. By the end of the Tanzimat Period this new style already exhibited a variety of approaches with the characteristics of the Neoclasicism and the 19th cent. Historicism of European design. As the architectural expression was changing and eclecticism was turning into a style, traditional builders and their organization were also being replaced by Ottoman architects of non-Islamic origin and foreign architects were invited to work in Istan bul. These were the people who had more direct access to the European sources of design through personal relations, without any language obstacle. Since the apparent scale is effected by a proportion relationship of sizes of the elements which define a particular space, the dimensional ratios of sizes, that is width of the strech to the height of the buildings, become more important aspects in a qualitive criticsm of the living environment. Because of the fact that these ratios are not fixed values. It is the crucial characteristic of the Tanzimat Period. In a period of constantly increasing sizes within the westernization process, this particular section reveals a reverse action in character. The reducing of sizes was not consistently proposed for all materials either. They were restricted in varying proportions for wooden structures, differing from those built of cut stone or brick. The apprehension and experiencing of human scale is not totally dependent upon physical scale or absolute proportionate relationships. Therefore it should also be assumed that the imprints of westernization in visual design, the stylistic details which are the resultsof the period. The conscious adaptation of certain western architectured styles with the Baroque was becoming overwhelmingly popular from the mid 18th century onwards as an architectured style and certain Rococo decorative elements were dominating the ornamental repertoire of Turkish buildings. Clearly changes of styles in western art and architecture during the period in question were the direct result of changes in the fabric of western society. The growth of eclecticism in the 19th century is a case in point. For the western powers it was a case of creating a synthesis of all the various styles to which the architects of each country were exposed as a result of industralisation and its attendant imperial expansion and wealth. For the Ottomans, however, the situation was somewhat different. Eclecticism, whatever, it causes had become highly popular in Turkey by the wid. 19th century, inevitebly, in the view that the Ottamans regarded the west as a model in their ettorts at modernisation. The mid century produced no important Ottoman work of value, get more foreigners arrived and local talent was eclipsed, apart from the Belian Family, Karabet Belian built the first of his notorious palaces at Dolmabahçe in 1853 together with the mosque of the Valide Bezmialem in avery Bombastic style. It was built on the site of an earlier royal structure, the Beşiktaş Palace (which is taught to have dated from as early as the reign of Beyazıt II) between the years 1842-56 by the Imperial architect, Karabet balyan assisted by Nikogos Balyan, and decorated by Sechan, decorator of Paris Opera. The Ottoman Sultans and their courts had, since the reignVI of Ahmet III, fostered a growing admiration for western culture, and in particular for the palaces of France.Istanbul Palaces, royal pavilions and such like buildings fere modelled on the palaces of Versailles, Fontainbleav and Marly through plans and landscape designs. Members of the Balyan family were appointed to the position of Imperial Architect from the reign of Mahmut II onwards, since they were considered best-suited to adapt the 'new' styles, having trainde in Paris and being more closely associated with European culture as Armenians. According to one unsubstantiated source, a. Turkish Architect, Miralay Mahmut Bey was appointed to ensure that the socio-organisatronal needs of its Ottoman inhabitants were catered for. The exterior appearance of the palace is dominated by its high central Reception rooms and wings, left and right, containing the public and private (harem) rooms, respectively. Its length parades 284 metres (925 fe&t) dof the shores of the Bosphourus on top of a 600 meter, heavily decorated quay. The apartments of the Queen mother prozect 95 meters of the harem section at right angels, attached to the harem by the apartments of the Crown Prince. The interior layout ou the palace is very simple and regular, consisting of groups of rooms on a straight line, opening to a larger chamber, an forming cohesive unit. For example, each private bedroom of the harem opens into a central living chamber. The outer grounds of the palace were completed by the additions of, first, the Mosque of Queen Mother (of Abdiilmecid) and second, the clock tower, built by Sultan Abdiilhamit II. Additional sections and buildings were added to the complex such as the Freasury, Chamber of the Chief Eunuch, Glass Villa, and opposite today's shore road, the pharmacy and the Pastry Ketehens of the Palace. In addition to these, along the shore on either side of the main palace complex supporting units of the Sultan's household streched for almost another kilometer, such as carriage Houses, Stables, and a special Harem for the Princes. The three st'ory palace has 285 rooms, 43 salons, 6VII balconies and 6 Turkish baths. The history-laden salons contain 4.455 square meters of hand woven-carpets. Another domanant feature of the interior is the crystal, Bohemian and Becarat chandeliers and fire place's sparkle and tinkle adding warmth and craracter to the other wise vaste space on the palace. The building was originally heated with braziers and fireplaces. After sultan Abdiilhamid it was heated with tile stoves. Finally, during the Sultanate of Mehmet Reşat V. central heating and electricity were installed. Even these 20th century functional services were made princely, by the addition onal elegant feature, and unique such that they might be the subject of seperate research themselves. From 1877 to 1909, Sultan Abdiilhamid II., chose to live in the Yıldız Palace, leaving Dolmabahçe empty and decoying. After 32 years, on ascending to the sultanate, Mehmed Reşad V. ordered the architect Vedat to repair and refurnish the palace as hisresidence. The palace sqw very active days during the reign of Mehmet Reşad V., from 1909-1918. His successor, Vahidettin, moved to the Yıldız Palace after only a short residence in Dolmabahçe. His successor, in turn, Abdiilmecid, chose again to reside in Dolmabahçe, remaining here until March 3,1924 when the palace was declared public property with the fall of the Ottoman Empire.. This was not in fact a departure from tradition under the sultans, as by tradition, the sultan himself, as well as all his possesions and palaces were considered public property.