Sunu\u015f<\/strong><\/em><\/p>\n Okuyaca\u011f\u0131n\u0131z yaz\u0131, Ka\u011fan G\u00fcner\u2019in Modern T\u00fcrk Sanat\u0131n\u0131n Do\u011fu\u015fu, Konstr\u00fcktivist T\u00fcrkiye Cumhuriyeti’nde K\u00fclt\u00fcr ve \u0130deoloji adl\u0131 kitab\u0131n\u0131n (Kaynak Yay., 2014) \u201cMimaride Modernizm: Uluslararas\u0131 Stil ve Yabanc\u0131lar\u201d ba\u015fl\u0131kl\u0131 b\u00f6l\u00fcm\u00fcn\u00fcn k\u0131salt\u0131lm\u0131\u015f halidir. Anaba\u015fl\u0131k, b\u00f6l\u00fcm\u00fc dergimiz i\u00e7in k\u0131saltan, ayn\u0131 zamanda kitab\u0131 yay\u0131na da haz\u0131rlam\u0131\u015f olan Ogan G\u00fcner taraf\u0131ndan konulmu\u015ftur. Spotu biz ekledik<\/em>.<\/p><\/blockquote>\n Almanya\u2019da Bauhaus kapat\u0131lm\u0131\u015f ve Naziler iktidara y\u00fcr\u00fcmektedir. Alman Devrimi yenilmi\u015f, devrimin \u00f6nderleri Rosa Luxemburg ile Karl Liebknech \u00f6ld\u00fcr\u00fclm\u00fc\u015f ve Alman modernizmi siyasi, k\u00fclt\u00fcrel ve mimarl\u0131k projeleri ile beraber yenilmi\u015ftir. Ortada kalan 20. y\u00fczy\u0131l\u0131n en rafine mimar, \u015fehirci ve sanat\u00e7\u0131lar\u0131n\u0131n topland\u0131\u011f\u0131 yer ise Bauhaus\u2019tur. Bauhaus s\u00fcrg\u00fcne \u00e7\u0131kar. Walter Gropius, Londra\u2019da Bauhaus Artists in Exile derne\u011fini kurar.<\/p>\n Cumhuriyet ve modernist mimarlar<\/strong><\/p>\n Bu arada 1931\u2019deki k\u00fclt\u00fcrel devrim kapsam\u0131nda gen\u00e7 T\u00fcrkiye Cumhuriyeti iki \u00f6nemli ihtiya\u00e7 ile kar\u015f\u0131 kar\u015f\u0131yad\u0131r. Ankara, modern T\u00fcrkiye Cumhuriyeti\u2019nin ba\u015fkenti olarak in\u015fa edilecek ve \u0130stanbul sek\u00fcler bir kent plan\u0131na kavu\u015fturulacakt\u0131r. Gen\u00e7 Cumhuriyet\u2019in mimarlara ve kent planlamac\u0131lar\u0131na ihtiyac\u0131 vard\u0131r. Cumhuriyet\u2019in kapsaml\u0131 k\u00fclt\u00fcrel devrim in\u015fas\u0131 kapsam\u0131nda planlanan k\u00fclt\u00fcrel kurumlar, okullar, \u00fcniversiteler, askeri binalar, sanayi kurulu\u015flar\u0131 i\u00e7in Ankara\u2019n\u0131n imar planlar\u0131, memur konutlar\u0131, kamusal binalar\u0131 gibi akla gelebilecek her konuda mimarlara ihtiya\u00e7 vard\u0131r. Al\u0131nan bir di\u011fer karara g\u00f6re ise, T\u00fcrkiye\u2019de modern mimarl\u0131k ve sanat e\u011fitimi i\u00e7in gerekli yap\u0131 acilen kurulmak zorundad\u0131r. T\u00fcrkiye\u2019nin elindeki tek malzeme ise, hen\u00fcz yeti\u015fmi\u015f olan 1. Ulusal Mimarlar Grubu\u2019dur. 1. Ulusal Mimarlar taraf\u0131ndan haz\u0131rlanan projelere Mustafa Kemal’in yorumu \u201cBu projeler fazla milliyet\u00e7i. Bizim evrensel bir mimarl\u0131\u011fa ihtiyac\u0131m\u0131z var\u201d olmu\u015ftur.<\/p>\n T\u00fcrkiye Cumhuriyeti, uygulanacak projelerde g\u00f6rev almak \u00fczere mimar arad\u0131\u011f\u0131n\u0131 b\u00fcy\u00fckel\u00e7iliklerine bildirir. \u0130lk teklif Almanya\u2019dan gelir. Nazi Partisi, mimar \u00fcyelerinden olu\u015fan bir listeyi Ankara\u2019ya iletir. Ankara bu listeyi kibarca reddeder ve Londra\u2019daki T\u00fcrkiye B\u00fcy\u00fckel\u00e7ili\u011fi\u2019ne Walter Gropius (1883-1969) davet edilir. Bauhaus iki kanaldan Ankara\u2019da bilinmektedir: Osmanl\u0131\u2019n\u0131n son d\u00f6neminde \u0130stanbul\u2019a gelen ve daha sonra Bauhaus kurucusu olan Werkbund ve Almanya\u2019ya giden teknik heyetin yapt\u0131\u011f\u0131 incelemeler. Bu ba\u011flant\u0131lar da se\u00e7imlerin tesad\u00fcf olmad\u0131\u011f\u0131n\u0131 s\u00f6yl\u00fcyor bize. \u00d6zellikle \u0130smail Hakk\u0131 Baltac\u0131o\u011flu\u2019nun \u00e7ok erken bir zamanda Bauhaus\u2019u ve Bauhaus\u2019un temsil etti\u011fi modernizmi ke\u015ffetti\u011fini burada vurgulamak gerekir.<\/p>\n Mimar aray\u0131\u015f\u0131nda Ankara H\u00fck\u00fcmeti b\u00fcy\u00fckel\u00e7iliklerine g\u00f6nderdi\u011fi talimatlarda mimar adaylar\u0131nda arad\u0131\u011f\u0131 \u00f6zellikleri en ince detaylar\u0131na kadar tarif etmi\u015ftir. Ne istedi\u011fini bilen bir Ankara H\u00fck\u00fcmeti\u2019nin mevcudiyeti ortadad\u0131r. \u0130kincisi, evrensel modern bir mimarl\u0131\u011fa olan ihtiyac\u0131n\u0131 tarif etmi\u015ftir. Bu konuda da ne istedi\u011fini bilmektedir. Bu iki olgu T\u00fcrkiye Cumhuriyeti\u2019ni Bauhaus ile bulu\u015fturmu\u015ftur. Gelen mimarlar\u0131n \u00e7o\u011funun kom\u00fcnist olmas\u0131 ve hatta Nazi kar\u015f\u0131t\u0131 faaliyetlerini T\u00fcrkiye\u2019den y\u00fcr\u00fctmeleri de Ankara\u2019y\u0131 pek rahats\u0131z etmemi\u015ftir. Gelen mimarlar da modernist projeleri ile \u00f6zg\u00fcr bir ortamda sayg\u0131 g\u00f6rerek \u00e7al\u0131\u015ft\u0131klar\u0131 gibi, kendilerine mimarl\u0131k, tasar\u0131m ve sanat e\u011fitiminin sorumlulu\u011fu da verilmi\u015ftir. Bu \u015fekliyle T\u00fcrkiye Cumhuriyeti 1933 gibi erken bir tarihte modern mimarl\u0131k ve sanat e\u011fitimini ba\u015flatm\u0131\u015ft\u0131r. Bu, ABD\u2019de 1939\u2019da ve k\u0131ta Avrupa\u2019s\u0131nda 1950\u2019lerden sonra ba\u015flayacakt\u0131r.<\/p>\n 1. Ulusal Mimarl\u0131k Hareketi ve Ankara\u2019n\u0131n imar projesi<\/strong><\/p>\n 1831-1883 aras\u0131nda Osmanl\u0131\u2019da mimarl\u0131k e\u011fitimi verilmedi\u011fi ger\u00e7e\u011fini g\u00f6z \u00f6n\u00fcne alarak, Sanayi-i Nefise\u2019nin ilk mezun mimarlar\u0131n\u0131n, bu 50 y\u0131ll\u0131k gecikmenin ard\u0131ndan T\u00fcrk mimarl\u0131k tarihinde 1. Ulusal Mimarl\u0131k Hareketi ad\u0131 alt\u0131nda ortaya \u00e7\u0131kt\u0131\u011f\u0131n\u0131 g\u00f6r\u00fcyoruz. Bu hareketin \u00f6nde gelen temsilcileri Mimar Kemaleddin, Mimar Vedat Bey (Tek), Arif Hikmet Bey (Koyuno\u011flu) ve Giulio Mongeri\u2019dir.<\/p>\n 1.Ulusal Mimarlar Ku\u015fa\u011f\u0131, Sanayi-i Nefise\u2019nin Yeni Osmanl\u0131 Hareketi ideolojisi alt\u0131nda yeti\u015fmi\u015f, J\u00f6n T\u00fcrk Devrimi ve \u0130ttihat Terakki\u2019nin iktidar y\u0131llar\u0131nda, mimarl\u0131k pratikleri premodern bir milliyet\u00e7ili\u011fin etkisi alt\u0131nda \u015fekillenmi\u015ftir. Cumhuriyet\u2019in ilk y\u0131llar\u0131nda de\u011fil, fakat 1930\u2019lu y\u0131llar\u0131nda, avangard Kemalist kadrolar\u0131n y\u00fczlerini tamamen modernizme d\u00f6nen anlay\u0131\u015flar\u0131 ve geni\u015f \u00f6l\u00e7ekli kentsel projelerde t\u00f6kezlemi\u015f ve yetersiz kalm\u0131\u015flard\u0131r.<\/p>\n 1. Ulusal Mimarlar Ku\u015fa\u011f\u0131\u2019n\u0131n mimari stili, Osmanl\u0131 ve Sel\u00e7uklu dini ve sivil mimarisinden al\u0131nm\u0131\u015f eklektik bir anlay\u0131\u015fa sahiptir. Ayr\u0131ca, \u00f6l\u00e7ekleri geni\u015fletilmi\u015f T\u00fcrk evlerindeki sa\u00e7ak uygulamas\u0131, b\u00fcy\u00fck \u00f6l\u00e7ekli bina tasar\u0131mlar\u0131na imk\u00e2n vermemekteydi. En \u00f6nemlisi ise, bu mimarlar Ankara ve \u0130stanbul i\u00e7in planlanan kentsel \u00f6l\u00e7ekteki uygulamalar\u0131 ger\u00e7ekle\u015ftirebilecek bir deneyime sahip de\u011fillerdi. Asl\u0131nda modern kent planlamac\u0131lar\u0131n\u0131n \u0130ngiltere ve Fransa gibi \u00fclkelerde yeti\u015fmesi bile 1950\u2019lerin ortalar\u0131nda ger\u00e7ekle\u015fmi\u015ftir. Bu olgunun varl\u0131\u011f\u0131 da hesaba kat\u0131ld\u0131\u011f\u0131nda, 1. Ulusal Mimarlar Ku\u015fa\u011f\u0131n\u0131n gen\u00e7 Cumhuriyet\u2019in kentsel ihtiya\u00e7lar\u0131na ve modernist ideolojisine kar\u015f\u0131l\u0131k veremedi\u011fi sonucu ortaya \u00e7\u0131kar.<\/p>\n Cumhuriyet\u2019in 1930\u2019lardaki k\u00fclt\u00fcr politikalar\u0131 kapsam\u0131nda 1. Ulusal Mimarlar Ku\u015fa\u011f\u0131 ile Cumhuriyet\u2019in ihtiya\u00e7 duydu\u011fu kurumsal binalar\u0131n\u0131 ger\u00e7ekle\u015ftiremeyece\u011fine dair ilk sinyallerden birisini, Atat\u00fcrk Ankara\u2019daki Etno\u011frafya M\u00fczesi\u2019ni gezerken verir ve kay\u0131tlara ge\u00e7en \u015fu konu\u015fmay\u0131 yapar:<\/p>\n \u201cEski milletler b\u00fcy\u00fck \u00e7al\u0131\u015fmalar sonunda kendilerine has birer mimari stil yaratm\u0131\u015flard\u0131r. Son asr\u0131n sanat \u00e7al\u0131\u015fma ve d\u00fc\u015f\u00fcnmeleri sonunda da modern bir mimari do\u011fmu\u015ftur. Fakat bu modern mimari de her milletin d\u00fc\u015f\u00fcnce ve karakter farklar\u0131yla birbirinden ayr\u0131 bir g\u00f6r\u00fcn\u00fc\u015f ve anlamdad\u0131r. Bir \u0130talyan modern mimarisiyle, bir Alman modern mimarisi aras\u0131nda \u00e7ok de\u011fi\u015fiklikler vard\u0131r. Bu modern mimariler b\u00fct\u00fcn g\u00f6r\u00fcn\u00fc\u015fleriyle de hangi milletin mal\u0131 oldu\u011funu anlatmaktad\u0131r. Bize de asr\u0131n b\u00fct\u00fcn d\u00fc\u015f\u00fcnce ve ihtiya\u00e7lar\u0131na cevap verecek, ruhlar\u0131m\u0131z\u0131 ok\u015fayacak bir modern mimari laz\u0131md\u0131r. Fakat bu modern mimari di\u011fer milletlerin taklit\u00e7ili\u011fi de\u011fil, yurdumuza has, T\u00fcrkl\u00fc\u011fe \u00f6zg\u00fc bir mimari olmal\u0131d\u0131r… Bize orijinal bir modern T\u00fcrk mimarisi laz\u0131md\u0131r.\u201d<\/p>\n Bu konu\u015fma ile yukar\u0131da and\u0131\u011f\u0131m\u0131z \u201cevrensel mimari\u201dye at\u0131f yapan a\u00e7\u0131klama aras\u0131nda ilk bak\u0131\u015fta bir \u00e7eli\u015fki var gibi g\u00f6r\u00fcnse de, asl\u0131nda birbirini b\u00fct\u00fcnleyen iki kavram i\u00e7 i\u00e7edir. Y\u00fczeydeki \u201cevrensel\u201d ile \u201cT\u00fcrk mimarisi\u201d \u00e7eli\u015fkisini do\u011fru ba\u011flama oturtabilmek, d\u00f6nemin modernist sanat anlay\u0131\u015f\u0131na damgas\u0131n\u0131 vuran teorisyenlerden \u0130smail Hakk\u0131 Baltac\u0131o\u011flu\u2019na ba\u015fvurmak gerekiyor. Baltac\u0131o\u011flu 1934\u2019de yay\u0131mlanan Sanat<\/em> kitab\u0131nda yer alan, ama 1924 tarihli makalesinde \u015f\u00f6yle diyor:<\/p>\n \u201c (…) Bug\u00fcn sanat \u00e7e\u015fitlerini yapan yaln\u0131z milletler ve milletlerin eseri olan medeniyet z\u00fcmreleridir. Milletler ise \u0131rklar gibi uzvi birlikler olmay\u0131p manevi birliklerdir. Milletlerin i\u00e7inde muhtelif \u0131rk numuneleri vard\u0131r. Buna ra\u011fmen ruhi birlikler te\u015fkil ederler. H\u00fclasa \u0131rk nazariyesi gibi kavimler ruhu nazariyesi de \u00e7\u00fcr\u00fckt\u00fcr.\u201d<\/p>\n Irk ile millet aras\u0131ndaki ayr\u0131m\u0131 bu netlikte ortaya koyan Baltac\u0131o\u011flu \u201corijinal sanat\u201d konusunda da yine ayn\u0131 kitaptaki 1926 tarihli bir makalesinde \u015fu saptamay\u0131 yapar:<\/p>\n \u201cHi\u00e7bir sanat di\u011fer sanatlardan yapt\u0131\u011f\u0131 unsur iktibaslar\u0131 sebebiyle itham edilemez. Bu al\u0131\u015fveri\u015f b\u00fct\u00fcn medeniyetler i\u00e7in hay\u0131rl\u0131d\u0131r. Di\u011fer cihetten bu iktibaslar\u0131n milli sanat\u0131n m\u00fcstakil ve asli olup olmamas\u0131yla alakas\u0131 mutlak de\u011fildir. \u00c7\u00fcnk\u00fc bir sanat\u0131 asli bir sanat haline getiren \u015fey di\u011fer sanatlardan ald\u0131\u011f\u0131 par\u00e7alar de\u011fil, mazisine ait olanlar da dahil oldu\u011fu halde di\u011fer sanatlardan v\u00fccuda getirdi\u011fi terkiptir.\u201d(1)<\/sup><\/p>\n Baltac\u0131o\u011flu\u2019nun tan\u0131m\u0131n\u0131, 1938\u2019de Bruno Taut\u2019un G\u00fczel Sanatlar Akademisi\u2019ndeki ders notlar\u0131ndaki modern mimarl\u0131\u011fa ili\u015fkin \u015fu c\u00fcmlesiyle birlikte okudu\u011fumuzda, milli ve evrensel aras\u0131ndaki ili\u015fkiyi do\u011fru ba\u011flama oturtabiliriz: \u201cHer milli mimari fenad\u0131r, fakat her iyi mimari millidir.\u201d<\/p>\n Evrensel sanat\u0131n \u201cmilli mazi\u201d ile olan ili\u015fkisinde yine Baltac\u0131o\u011flu\u2019na kulak vermek gerekiyor. Demokrasi ve Sanat<\/em> kitab\u0131nda Baltac\u0131o\u011flu bu ili\u015fkiyi \u015f\u00f6yle tarif eder:<\/p>\n \u201cMilli maziyi tahsil etmekteki fayda ameli de\u011fil, nazaridir. (…) Mazinin tetkiki fikri bir m\u00fcmaresedir. Sanatk\u00e2r bu suretle bir\u00e7ok \u015fekilleri, bir\u00e7ok terkipleri haf\u0131zas\u0131na yerle\u015ftirecek yerde tenkit zek\u00e2s\u0131 i\u00e7in birer mevzu olarak hazmeder. Fakat onlar\u0131 aynen tekrar ve tatbik etmez. (…) Bu mazi insan fikrinin muzafferiyeti demek olan di\u011fer mazilerle birlikte tetkik edilmelidir.\u201d(2)<\/sup><\/p>\n Hat\u0131rlatmakta fayda var ki, Baltac\u0131o\u011flu \u00f6zellikle mimaride de\u011fi\u015fen ya\u015fant\u0131 ve ekonomik i\u015fb\u00f6l\u00fcmlerinin detayl\u0131 bir incelemesinin yeni mimarinin k\u0131lavuzu oldu\u011fu noktas\u0131ndan hareket eder ve Bauhaus\u2019un i\u015flev kavram\u0131n\u0131 k\u00fclt\u00fcrel bir boyut i\u00e7inde de\u011ferlendirir. Dolay\u0131s\u0131yla ona g\u00f6re ge\u00e7mi\u015f art\u0131k ge\u00e7mi\u015ftir, zaman\u0131n g\u00fcndelik hayat\u0131na uygun bir i\u015flevselli\u011fin mimariyi belirlemesi gerekti\u011fini s\u00f6yler.<\/p>\n Ulusal mimarlar – yabanc\u0131 mimarlar tart\u0131\u015fmas\u0131<\/strong><\/p>\n Bu nedenle, o d\u00f6nemdeki ulusal mimarlarla yabanc\u0131 mimarlar\u0131n tercihi tart\u0131\u015fmas\u0131na bu teorik d\u00fczlemden bakmak gerekir.<\/p>\n 1. Ulusal Mimarlar Ku\u015fa\u011f\u0131\u2019n\u0131n g\u00f6zden d\u00fc\u015fmesine kar\u015f\u0131 i\u00e7ten tepkiler de gelmeye ba\u015flar. Bu tart\u0131\u015fmalar\u0131n ya\u015fand\u0131\u011f\u0131 s\u0131ralarda G\u00fczel Sanatlar Akademisi\u2019nin 1928\u2019deki Mimarl\u0131k Fak\u00fcltesi mezunlar\u0131 aras\u0131nda \u015fu isimler yer almaktayd\u0131: \u015eevki Balmumcu, Seyfi Arkan, Abidin Morta\u015f, Zeki Sayar ve Sedad Hakk\u0131 Eldem. Bu isimler 1938-1950 aras\u0131nda, T\u00fcrkiye\u2019ye gelen Alman ve Avusturyal\u0131 mimarlar\u0131n Bauhaus ekol\u00fc ile mimarl\u0131k pratiklerini sentezleyecek ve 2. Ulusal Mimarl\u0131k Hareketinin \u00f6nc\u00fcleri olacaklar. \u00dcstelik Sedad Hakk\u0131 Eldem ve Emin Onat gibi isimlerle modern T\u00fcrk mimarisi, uluslararas\u0131 ba\u015far\u0131lara imza atacakt\u0131r. Sonu\u00e7 olarak, Cumhuriyet mimarisinin 1938\u2019den itibaren geli\u015fimine ve bug\u00fcnk\u00fc sonu\u00e7lar\u0131na bakt\u0131\u011f\u0131m\u0131zda, bu modernist projenin do\u011fru kararlarla y\u00fcr\u00fct\u00fcld\u00fc\u011f\u00fcn\u00fc s\u00f6yleyebiliriz.<\/p>\n Ankara\u2019n\u0131n 1930\u2019larda ba\u015flat\u0131lan imar planlar\u0131yla beraber modern bir ba\u015fkent olarak \u015fekillendirilmesinde g\u00f6z \u00f6n\u00fcne al\u0131nmas\u0131 gereken birka\u00e7 noktaya daha de\u011finmek istiyoruz. 1920\u2019de ulusal kurtulu\u015f hareketi Ankara\u2019da mevzilendi\u011finde, \u0130stanbul i\u015fgal alt\u0131nda, parlamentosu kapat\u0131lm\u0131\u015f ve mebuslar\u0131 Malta\u2019ya s\u00fcrg\u00fcne g\u00f6nderilmi\u015fti. Kurtulu\u015f Sava\u015f\u0131\u2019n\u0131 destekleyen ayd\u0131nlar ise gizli yollarla Ankara\u2019ya giderek, Ankara H\u00fck\u00fcmeti\u2019ne ve ba\u011f\u0131ms\u0131zl\u0131k m\u00fccadelesine destek vermeye ba\u015flad\u0131lar. \u0130stanbul\u2019daki \u00fcst orta s\u0131n\u0131fa mensup ayd\u0131nlar ise Ankara H\u00fck\u00fcmeti\u2019ne kar\u015f\u0131 \u0130ngiliz mandas\u0131n\u0131 desteklediler. B\u00f6ylece \u0130stanbul ve Ankara iki ayr\u0131 ideolojinin merkezleri durumuna geldi. Ankara yeni Cumhuriyet\u2019in d\u00fcnyaya tan\u0131t\u0131lmas\u0131nda devrimin sembol\u00fc olarak se\u00e7ilmi\u015fti. Ankara bu \u00f6zelli\u011fiyle, Cumhuriyet\u2019in karakterini yans\u0131tacak ve ge\u00e7mi\u015ften hi\u00e7bir iz ta\u015f\u0131mayacak olan yeni ba\u015fkent kurgusuydu. 1. Ulusal Mimarlar Ku\u015fa\u011f\u0131\u2019n\u0131n Sel\u00e7uklu ve Osmanl\u0131\u2019ya \u00f6yk\u00fcnen yap\u0131 tasar\u0131mlar\u0131n\u0131n reddedilmesi ve \u00e7a\u011f\u0131n en modernist mimarlar\u0131n\u0131n \u00e7a\u011fr\u0131lmas\u0131n\u0131n belirleyici nedeni de budur.<\/p>\n Bu resme \u00f6b\u00fcr taraftan, Bauhaus a\u00e7\u0131s\u0131ndan bakarsak, t\u00fcm Bauhaus sanat\u00e7\u0131lar\u0131n\u0131n neden T\u00fcrkiye\u2019ye geldi\u011fini de anlayabiliriz. S\u00fcrg\u00fcne \u00e7\u0131kan Bauhaus sanat\u00e7\u0131lar\u0131 Avrupa\u2019da i\u015f bulamad\u0131lar. Birincisi Avrupa t\u00fcm k\u0131tada y\u00fckselen fa\u015fizm olgusu ile sava\u015fa haz\u0131rlan\u0131yordu. \u0130kincisi ise Avrupa\u2019n\u0131n geleneksel de\u011fer yarg\u0131lar\u0131 Bauhaus\u2019un modernizmini \u00f6z\u00fcmsemeye hen\u00fcz haz\u0131r de\u011fildi. Churchill, \u0130ngiliz modernist mimarlar\u0131n\u0131n kendilerine sunduklar\u0131 modern bir parlamento binas\u0131 \u00f6nerisine bakt\u0131\u011f\u0131nda, \u201cE\u011fer bu Parlamentoyu yaparsak monar\u015fiyi de y\u0131k\u0131p yeni bir sistem kurmal\u0131y\u0131z. Kabul edemem\u201d der. Avrupa\u2019n\u0131n yeni mimariye bak\u0131\u015f\u0131 tam da budur. Dolay\u0131s\u0131yla Ankara ve gen\u00e7 Cumhuriyet\u2019in modernist talepleri Bauhaus mimarlar\u0131 i\u00e7in kar\u015f\u0131lar\u0131na \u00e7\u0131kabilecek en b\u00fcy\u00fck \u015fanst\u0131. \u00dcstelik yeni insan, yeni toplum ve yeni mimari idealleri pe\u015finde ko\u015fan Bauhaus mimarlar\u0131 i\u00e7in, gen\u00e7 T\u00fcrkiye Cumhuriyeti idealleri ile tam olarak \u00f6rt\u00fc\u015f\u00fcyor, neredeyse bir laboratuvar ortam\u0131 sunuyordu. Yeni bir toplum kuruluyor ve bu yeni toplum kendisine yeni bir mimari yaratmak istiyordu. Cumhuriyet\u2019in ideolojik formasyonunda kendi kimliklerini \u00e7ok rahat tarif edebiliyorlard\u0131. Bu y\u00fczden Bauhaus Ankara\u2019ya akt\u0131…<\/p>\n Ankara\u2019n\u0131n imar planlar\u0131<\/strong><\/p>\n Cumhuriyet\u2019in ilan\u0131ndan sonra 16 \u015eubat 1924 tarihinde, 417 say\u0131l\u0131 yasayla Ankara \u015eehremaneti kuruldu. Bu kurumun \u00f6n\u00fcne koydu\u011fu iki \u00f6nemli hedef vard\u0131: Yeni kentin kurulu\u015funa arazi sa\u011flanmas\u0131 i\u00e7in geni\u015f \u00e7apl\u0131 bir kamula\u015ft\u0131rma plan\u0131 ile birisi eski ve birisi de yeni (Yeni\u015fehir) olmak \u00fczere iki \u015fehir planlamas\u0131n\u0131n \u0131smarlanmas\u0131yd\u0131. Bu hedefler kapsam\u0131nda, 24 Mart 1925 tarih ve 583 numaral\u0131 yasayla 4 milyon metrekarelik bir alan\u0131n kamula\u015ft\u0131r\u0131lmas\u0131 \u00f6ng\u00f6r\u00fcld\u00fc. Ankara\u2019n\u0131n imar tarihi \u00fczerine \u00e7al\u0131\u015fan G\u00f6n\u00fcl Tankut\u2019a g\u00f6re bu, \u201cCumhuriyet tarihinin en yarat\u0131c\u0131, adil ve sosyal i\u00e7erikli planlar\u0131ndan birisiydi.\u201d(3)<\/sup><\/p>\n \u0130kinci hedef kapsam\u0131nda ise, Cumhuriyet tarihinin ilk kent planlama giri\u015fimi yap\u0131ld\u0131 ve Carl Christoph L\u00f6rcher\u2019e iki kent plan\u0131 \u0131smarland\u0131. L\u00f6rcher planlar\u0131n\u0131 inceleyen \u015fehremaneti eski \u015fehir plan\u0131n\u0131 uygulanamaz oldu\u011fu i\u00e7in geri \u00e7evirdi. Yeni\u015fehir plan\u0131n\u0131 ise kabul etti.(4)<\/sup><\/p>\n Ankara \u015eehremaneti 1927\u2019de, Ankara planlar\u0131n\u0131 uygulayabilecek kent tasar\u0131mc\u0131lar\u0131n\u0131n tespit edilebilmesi i\u00e7in, Berlin\u2019e teknik bir heyet g\u00f6nderdi. Berlin\u2019de Ludwig Hoffman ile g\u00f6r\u00fc\u015fen heyet, Hoffman\u2019\u0131n tavsiyesi ile Berlin Teknik \u00dcniversitesi\u2019nden Prof. Josef Brix ve Herman Jansen ile anla\u015ft\u0131. Ankara\u2019ya d\u00f6nen heyet Frans\u0131z H\u00fck\u00fcmeti\u2019nin ba\u015fmimar\u0131 Lean Jaussley ile de anla\u015ft\u0131 ve bu \u00fc\u00e7 kent planlamac\u0131s\u0131 aras\u0131nda s\u0131n\u0131rl\u0131 bir yar\u0131\u015fma d\u00fczenlendi. May\u0131s 1929\u2019da Jansen\u2019in plan\u0131, insan \u00f6l\u00e7e\u011fini i\u00e7inde tuttu\u011fu ve eski \u015fehire m\u00fcdahaleci davranmad\u0131\u011f\u0131 ve yerel ko\u015fullar\u0131 dikkate ald\u0131\u011f\u0131 gerek\u00e7eleriyle birinci se\u00e7ilerek kabul edildi. Bu plan kapsam\u0131nda eski kent merkez niteli\u011fini koruyordu. Kentin g\u00fcneybat\u0131s\u0131nda end\u00fcstri, g\u00fcneyde y\u00f6netim binalar\u0131, daha g\u00fcneyde bah\u00e7eli evler, g\u00fcneydo\u011fuda \u00fcniversite, kuzeydo\u011fuda konut geli\u015fmesi ve kuzeybat\u0131da da i\u015f\u00e7i evleri \u00f6ng\u00f6r\u00fcl\u00fcyordu. Kentin b\u00fct\u00fcn ana b\u00f6lgeleri ye\u015fil alanlarla birbirinden ayr\u0131l\u0131yor ve \u015fehir ye\u015fil bir ku\u015fakla \u00e7evriliyordu. Jansen\u2019in (1869-1945) kesinle\u015fmi\u015f ve \u00fczerinde \u00e7al\u0131\u015f\u0131lm\u0131\u015f imar plan\u0131 1932\u2019de onayland\u0131 ve uygulamaya ge\u00e7ildi.<\/p>\n Jansen, T\u00fcrkiye\u2019de bulundu\u011fu y\u0131llar i\u00e7erisinde, eski \u015fehirdeki tarihi evlerin korunmas\u0131 i\u00e7in \u00f6zel olarak \u00e7aba harcad\u0131 ve tarihi evleri koruma i\u00e7in ilk yasalar\u0131n \u00e7\u0131kmas\u0131na katk\u0131da bulundu. Plan\u0131 k\u0131smen uygulansa da, Ankara\u2019n\u0131n \u015fekillenmesine katk\u0131 koyan ilk mimar oldu.(5)<\/sup><\/p>\n Ernst Egli ve okul binalar\u0131<\/strong><\/p>\n T\u00fcrkiye H\u00fck\u00fcmeti\u2019nin arad\u0131\u011f\u0131 mimar tarifinin i\u00e7indeki bir madde, e\u011fitimde ger\u00e7ekle\u015ftirilen reformlar kapsam\u0131nda yeni e\u011fitim programlar\u0131n\u0131n uygulanmas\u0131 ve \u00e7a\u011fda\u015f e\u011fitim verecek okul yap\u0131lar\u0131na bir uzam ar\u0131yordu. Clemenz Holzmeister bu i\u015f i\u00e7in Ankara\u2019ya asistan\u0131 Ernst Egli\u2019yi tavsiye etti. Avusturyal\u0131 mimar Egli (1893-1974) T\u00fcrkiye\u2019ye davet edildi ve E\u011fitim Bakanl\u0131\u011f\u0131, Tatbikat B\u00fcrosu okul yap\u0131lar\u0131 dan\u0131\u015fman\u0131 oldu. Egli, yerelli\u011fe \u00e7ok \u00f6nem veren ve T\u00fcrkiye\u2019de modernizmin yerel tarifinin gereklili\u011fine inanan birisiydi. Bu y\u00fczden T\u00fcrkiye\u2019de bulundu\u011fu s\u00fcrece T\u00fcrk mimarisi ve Mimar Sinan \u00fczerine incelemeler yapt\u0131. Mimar Sinan \u00fczerine en kapsaml\u0131 kitaplardan birisini haz\u0131rlad\u0131. Egli, T\u00fcrkiye\u2019de en \u00e7ok yap\u0131 yapan ve T\u00fcrk\u00e7e mimarl\u0131k e\u011fitimine katk\u0131 koyan bir ki\u015fi olarak Ankara\u2019da \u015fu e\u011fitim kurumlar\u0131n\u0131 projelendirdi ve yapt\u0131: Cebeci\u2019deki Musiki Muallim Mektebi (1927), \u0130smet Pa\u015fa K\u0131z Enstit\u00fcs\u00fc (Z\u00fcbeyde Han\u0131m K\u0131z Teknik Okulu, 1930), Ankara K\u0131z Lisesi (1930), Y\u00fcksek Ziraat Enstit\u00fcs\u00fc (1933-34), Ankara \u00dcniversitesi Siyasi Bilgiler Fak\u00fcltesi (1935), Ankara Erkek Ticaret Lisesi (1928-30), Ankara Gazi Lisesi (1936).<\/p>\n Egli, 1930\u2019dan 1935\u2019e kadar G\u00fczel Sanatlar Akademisi Mimarl\u0131k \u015eube Ba\u015fkanl\u0131\u011f\u0131 yapt\u0131. Bu g\u00f6revde ilk olarak, eski at\u00f6lye sistemini kald\u0131rarak Bauhaus modelinde, i\u015flevin \u00f6ne \u00e7\u0131kt\u0131\u011f\u0131 yeni bir at\u00f6lye sistemi getirdi ki, bu sistem okulun e\u011fitim gelene\u011fi olarak h\u00e2l\u00e2 devam ettirilmektedir. Egli\u2019nin okuldaki yeniliklerini kabul etmeyen 1. Ulusal Mimarlardan Mongeri ve Vedat Bey at\u00f6lye hocal\u0131\u011f\u0131 g\u00f6revlerinden istifa etti. Egli, G\u00fczel Sanatlar Akademisi\u2019nde modern mimarl\u0131k e\u011fitimini ba\u015flatan ki\u015fi olarak Bauhaus\u2019un \u201c\u0130\u015flev formu belirler\u201d ilkesiyle, \u00e7a\u011fda\u015f malzeme, yerellik ve \u00e7evre unsurlar\u0131n\u0131n dikkate al\u0131nd\u0131\u011f\u0131 mimarl\u0131k e\u011fitim programlar\u0131n\u0131 haz\u0131rlad\u0131. Akademi\u2019ye serbest resim giri\u015f s\u0131nav\u0131n\u0131 koydurttu. Egli\u2019nin modern mimarl\u0131k e\u011fitimine en b\u00fcy\u00fck katk\u0131lar\u0131ndan biri de, Akademi\u2019deki derslerini k\u0131sa bir s\u00fcre i\u00e7inde T\u00fcrk\u00e7e vermeye ba\u015flamas\u0131 ve T\u00fcrk\u00e7e modern mimarl\u0131k terminolojisini olu\u015fturmu\u015f olmas\u0131d\u0131r. T\u00fcrkiye\u2019yi terk etti\u011fi 1940\u2019a kadar, Atat\u00fcrk\u2019\u00fcn \u00f6zel ricas\u0131yla Gazi Orman \u00c7iftli\u011fi Marmara K\u00f6\u015fk\u00fc, Bira Fabrikas\u0131 ve Hamam\u0131 ile lojman in\u015faatlar\u0131n\u0131 ger\u00e7ekle\u015ftirdi (1934-1938). Bunun yan\u0131 s\u0131ra \u0130svi\u00e7re ve Irak b\u00fcy\u00fckel\u00e7ilik binalar\u0131 (1936-1938), \u0130stanbul-Bebek\u2019teki Devres Villas\u0131 (1930-1931) di\u011fer \u00f6nemli binalar\u0131 aras\u0131ndad\u0131r.<\/p>\n Martin Wagner<\/strong><\/p>\n Walter Gropius, GSA Mimarl\u0131k B\u00f6l\u00fcm\u00fc\u2019n\u00fc y\u00f6netmek i\u00e7in Wagner\u2019\u0131n (1885-1957) ad\u0131n\u0131 vermi\u015fti. Ayn\u0131 g\u00fcnlerde \u0130stanbul\u2019a gitmeye haz\u0131rlanan Hans Poelzig de Wagner\u2019\u0131 T\u00fcrk yetkililere \u00f6nerdi. Martin Wagner, Almanya\u2019da \u201ck\u0131z\u0131l mimar\u201d lakab\u0131yla tan\u0131nan iyi bir \u015fehirci ve toplu konut uzman\u0131yd\u0131. Almanya\u2019da sava\u015f sonras\u0131nda in\u015faat maliyetlerini d\u00fc\u015f\u00fcrmek i\u00e7in ara\u015ft\u0131rmalar yapm\u0131\u015f, prefabrikasyon sosyal konutlar \u00fczerine yo\u011funla\u015fm\u0131\u015f bir sosyalistti. Werkbund\u2019un b\u00f6l\u00fcnmesinde Gropius\u2019un yan\u0131nda bulunan bir numaral\u0131 isimdi. Wagner, Gropius ile beraber Werkbund\u2019dan istifa ettikten sonra, belediyedeki i\u015fine son verilmi\u015f ve Almanya\u2019da mimarl\u0131k yapmas\u0131 yasaklanm\u0131\u015ft\u0131.<\/p>\n Wagner 1935\u2019de T\u00fcrkiye\u2019ye geldi. Prost\u2019tan \u00f6nceki \u0130stanbul imar planlar\u0131 \u00fczerinde \u00e7al\u0131\u015fm\u0131\u015f, GSA\u2019da 7 ay ders vermi\u015f ve Arkitekt<\/em> dergisinde makaleleri yay\u0131mlanm\u0131\u015ft\u0131r. Ne var ki, belki de modern mimarl\u0131\u011f\u0131n \u00e7a\u011f\u0131na g\u00f6re en ilerisinde olan Wagner\u2019dan T\u00fcrkiye fiili olarak yararlanamad\u0131. Fakat teorik birikimi ve Arkitekt<\/em> dergisinde \u00e7\u0131kan makaleleri ile T\u00fcrk modern mimarl\u0131\u011f\u0131na zengin bir birikim b\u0131rakt\u0131\u011f\u0131 kabul ediliyor. Wagner, Walter Gropius\u2019un ABD\u2019ye ge\u00e7mesinin ard\u0131ndan 1938\u2019de Harvard \u00dcniversitesi\u2019ne gitti ve ABD\u2019de \u00f6ld\u00fc.<\/p>\n Bruno Taut ve akademi reformu<\/strong><\/p>\n Bruno Taut (1880-1938) ise, T\u00fcrk mimarl\u0131k e\u011fitiminde T\u00fcrkiye\u2019de kald\u0131\u011f\u0131 iki y\u0131l gibi k\u0131sa bir s\u00fcre i\u00e7erisinde ger\u00e7ek bir d\u00f6n\u00fcm noktas\u0131 olmu\u015ftur. Werbund\u2019dan ayr\u0131ld\u0131ktan sonra, Bauhaus\u2019un kurulu\u015fundaki ikinci isim olan Taut, G\u00fczel Sanatlar Akademisi\u2019nde Mimarl\u0131k B\u00f6l\u00fcm Ba\u015fkanl\u0131\u011f\u0131 g\u00f6revi i\u00e7in 1936\u2019da Japonya\u2019dan \u0130stanbul\u2019a geldi. T\u00fcrkiye\u2019de bulundu\u011fu y\u0131llar i\u00e7erisinde 24 proje haz\u0131rlamas\u0131na kar\u015f\u0131n bu projelerden 5 kamu yap\u0131s\u0131, bir konut ve bir de sergi pavyonu ger\u00e7ekle\u015ftirilebilmi\u015ftir. Taut\u2019un T\u00fcrkiye\u2019de ismiyle b\u00fct\u00fcnle\u015fmi\u015f yap\u0131s\u0131 ise Ankara Dil Tarih ve Co\u011frafya Fak\u00fcltesi binas\u0131d\u0131r. Taut\u2019un kendisi de bu binas\u0131n\u0131 \u201cyeni T\u00fcrk k\u00fclt\u00fcr\u00fcn\u00fcn merkezi\u201d olarak nitelemi\u015ftir. Taut\u2019un uygulanan di\u011fer okul yap\u0131lar\u0131 ise, Trabzon Lisesi (1937-38), Ankara Atat\u00fcrk Lisesi (1937-38) ve Cebeci Ortaokulu\u2019dur (1938).<\/p>\n Taut\u2019un T\u00fcrkiye\u2019deki son tasar\u0131m\u0131 kendisinin \u201cKader bana bu g\u00f6revi verdi\u201d dedi\u011fi ve \u00e7ok hasta olmas\u0131na ra\u011fmen, hasta yata\u011f\u0131nda bir gecede yapt\u0131\u011f\u0131, Atat\u00fcrk\u2019\u00fcn Dolmabah\u00e7e\u2019deki katafalk tasar\u0131m\u0131 oldu.<\/p>\n Taut, GSA\u2019da ger\u00e7ek bir e\u011fitim reformu ger\u00e7ekle\u015ftirerek, Bauhaus e\u011fitimini GSA\u2019da ba\u015far\u0131l\u0131 bir \u015fekilde tatbik etti. Bug\u00fcn de okulun \u00e7ekirde\u011fi olan Temel Sanatlar B\u00f6l\u00fcm\u00fcn\u00fc kurdu. Mimarl\u0131k e\u011fitiminde ilk kez eskiz uygulamas\u0131n\u0131 ba\u015flatt\u0131. Malzeme bilgisi ve serbest resim derslerini uygulama koydu. Gereksiz derslerden ziyade \u00f6\u011frencilerin yap\u0131 prati\u011fine y\u00f6neltilmesini savundu. Bu s\u00fcre\u00e7te, Akademi M\u00fcd\u00fcr\u00fc Burhan Toprak ve Poelzig\u2019den g\u00f6revi devralan yard\u0131mc\u0131s\u0131 Zimmermann ile \u00e7at\u0131\u015fmalar ya\u015fad\u0131ysa da, sonu\u00e7ta Bauhaus program\u0131 Almanya d\u0131\u015f\u0131nda ilk defa GSA\u2019da uygulamaya sokuldu.<\/p>\n Margarette Sch\u00fctte Lihotzsky ve Wilhelm Sch\u00fctte<\/strong><\/p>\n 1938\u2019de Bruno Taut\u2019un \u00f6nerisiyle T\u00fcrkiye\u2019ye gelen Margarette Sch\u00fctte Lihotzky (1897-2000) ise bir\u00e7ok a\u00e7\u0131dan kendi ba\u015f\u0131na bir \u00e7al\u0131\u015fmay\u0131 gerektiren bir ya\u015fam\u00f6yk\u00fcs\u00fc. 1897\u2019de Viyana\u2019da Alman vatanda\u015f\u0131 olarak do\u011fan Margarette Sch\u00fctte, 2000\u2019de 103 ya\u015f\u0131ndayken \u00f6ld\u00fc\u011f\u00fcnde, ard\u0131nda b\u0131rakt\u0131\u011f\u0131 mimarl\u0131k kariyeri, 20. y\u00fczy\u0131l modern siyaset tarihinin en \u00f6zel d\u00f6n\u00fcm noktalar\u0131 oldu. 1919\u2019da Avusturya\u2019n\u0131n ilk kad\u0131n mimar\u0131 olarak mezun oldu. 1923\u2019de Avusturya Sosyal Demokrat Partisi\u2019ne \u00fcye oldu. Ernst Egli ile beraber \u00e7al\u0131\u015ft\u0131. E\u015fi Wilhelm Sch\u00fctte\u2019den (1900-1968) daha \u00fcnl\u00fc bir mimar olan Margaret Sch\u00fctte\u2019nin mimarl\u0131k ve i\u00e7 mimarl\u0131k tarihinde bir devrim yaratt\u0131\u011f\u0131 \u00e7al\u0131\u015fmas\u0131, 1926\u2019da Frankfurt\u2019taki i\u015f\u00e7i konutlar\u0131 i\u00e7in geli\u015ftirdi\u011fi mutfak tasar\u0131m\u0131d\u0131r. Tarihe \u201cFrankfurt mutfa\u011f\u0131\u201d olarak ge\u00e7en bu mutfak, g\u00fcn\u00fcm\u00fczde kulland\u0131\u011f\u0131m\u0131z modern mutfak prototipidir.<\/p>\n Sch\u00fctte\u2019nin bir di\u011fer uzmanl\u0131k alan\u0131 da, yuva, ilkokul ve \u00e7ocuk mobilyalar\u0131 tasar\u0131m\u0131yd\u0131. 1930\u2019da e\u015fi ile birlikte SSCB\u2019ye giden Sch\u00fctte, burada Stalin taraf\u0131ndan bir y\u0131l sonra kapat\u0131lacak olan Vkhutemas Tasar\u0131m Okulu\u2019nda kre\u015f mimarisi ve mobilyalar\u0131 \u00fczerine ihtisas yapt\u0131.<\/p>\n 1938\u2019de ise Ankara\u2019dan Bruno Taut\u2019a, S\u00fcmerbank fabrikas\u0131nda \u00e7al\u0131\u015facak kad\u0131n i\u015f\u00e7ilerin \u00e7ocuklar\u0131 i\u00e7in bir kre\u015f yapma plan\u0131ndan bahsedilir ve mimar \u00f6nermesi istenir. O d\u00f6nemde SSCB\u2019yi ziyaret eden T\u00fcrk heyetleri bu kre\u015fleri g\u00f6rm\u00fc\u015f ve etkilenmi\u015fti. Taut do\u011fal olarak Margaret Sch\u00fctte\u2019yi \u00f6nerdi. K\u00fclt\u00fcr Bakanl\u0131\u011f\u0131\u2019n\u0131n \u00e7a\u011fr\u0131s\u0131yla kocas\u0131yla beraber T\u00fcrkiye\u2019ye geldiler. GSA\u2019da \u00f6\u011fretim g\u00f6revlisi olarak ve Ankara\u2019da MEB Tatbikat B\u00fcrosu\u2019nda okul yap\u0131lar\u0131 konusunda g\u00f6revlendirildiler. Ancak Atat\u00fcrk ve Bruno Taut\u2019un \u00f6lmesi, T\u00fcrkiye\u2019deki modernist mimarlar i\u00e7in bir d\u00f6n\u00fcm noktas\u0131 oldu. B\u00fcrokrasi i\u00e7indeki i\u00e7 \u00e7eki\u015fmeler su y\u00fcz\u00fcne \u00e7\u0131k\u0131nca, Tatbikat B\u00fcrosu eski disiplini ile \u00e7al\u0131\u015fmamaya ba\u015flar. Buna ra\u011fmen Wilhelm Sch\u00fctte 1944\u2019e kadar GSA\u2019da ders vermeye devam eder.<\/p>\n Sch\u00fctte, T\u00fcrkiye\u2019de kalabildi\u011fi k\u0131sa s\u00fcre i\u00e7erisinde, ard\u0131nda Tatbikat B\u00fcrosu\u2019nda ba\u015fta k\u0131z okullar\u0131 olmak \u00fczere \u00e7ok \u00f6nemli et\u00fctler b\u0131rakm\u0131\u015ft\u0131r. Bu et\u00fct \u00e7al\u0131\u015fmalar\u0131 ve T\u00fcrkiye\u2019deki ilk kre\u015f planlar\u0131 da, daha sonraki y\u0131llarda modern tasar\u0131m et\u00fctleri olarak planlamalarda ve yap\u0131larda kullan\u0131lm\u0131\u015flard\u0131r.<\/p>\n Sek\u00fcler \u0130stanbul plan\u0131 ve Henri Prost<\/strong><\/p>\n Henri Prost\u2019un (1874-1959) \u0130stanbul plan\u0131, Ankara\u2019da ba\u015flayan, GSA\u2019da devam eden Cumhuriyet\u2019in k\u00fclt\u00fcr program\u0131n\u0131n \u0130stanbul\u2019a kent \u00f6l\u00e7e\u011finde uygulanmas\u0131 projesiydi. Bu haliyle de, Ankara\u2019n\u0131n in\u015fas\u0131 kadar geni\u015f \u00e7apl\u0131 bir projeydi. Bizans ve Osmanl\u0131 gibi iki d\u00fcnya imparatorlu\u011funa ba\u015fkentlik yapm\u0131\u015f bir kente, sek\u00fcler bir kent d\u00fczeninin uygulanmas\u0131n\u0131n en b\u00fcy\u00fck \u00f6nemi, Cumhuriyet kadrolar\u0131n\u0131n, \u0130stanbul\u2019daki Osmanl\u0131 y\u00f6netiminden kalma meydanlar, idari binalar ve kent genelindeki sokak, meydan ve idari binalar ba\u011flant\u0131lar\u0131 \u00fczerinde tabela ya da isim de\u011fi\u015fiklikleri yap\u0131larak sembolik anlamlar\u0131n de\u011fi\u015ftirilmesinden ziyade, \u0130stanbul\u2019a modern bir metropol karakteri kazand\u0131racak bir \u00e7al\u0131\u015fma ama\u00e7lamalar\u0131yd\u0131. Prost plan\u0131, gen\u00e7 T\u00fcrkiye Cumhuriyeti\u2019nin \u0130stanbul \u00fczerinde g\u00fcc\u00fcn\u00fcn ispat\u0131 niteli\u011fine b\u00fcr\u00fcn\u00fcr. Kendi politik s\u00f6ylem ve mek\u00e2n anlay\u0131\u015f\u0131n\u0131 \u0130stanbul \u00fczerinde uygulamak ka\u00e7\u0131n\u0131lmaz bir proje haline d\u00f6n\u00fc\u015f\u00fcr.<\/p>\n Atat\u00fcrk\u2019\u00fcn \u0130stanbul gibi, \u0130mparatorlu\u011fun tek Bat\u0131l\u0131 metropol\u00fcn\u00fc ba\u015fkent se\u00e7memesi baz\u0131 ara\u015ft\u0131rmac\u0131larca \u201cBat\u0131l\u0131la\u015fma\u201d projesi kapsam\u0131nda bir \u201c\u00e7eli\u015fki\u201d olarak tan\u0131mlansa da, asl\u0131nda bir \u00e7eli\u015fki de\u011fildi. \u00c7\u00fcnk\u00fc \u201cT\u00fcrk modernizmi\u201d bir \u201cBat\u0131l\u0131la\u015fma\u201d projesi de\u011fildi. T\u00fcrkiye Cumhuriyeti\u2019nin modernist projesi, \u00e7a\u011f\u0131n somut olgular\u0131 \u00e7er\u00e7evesinde Bat\u0131\u2019n\u0131n ele\u015ftirisini de i\u00e7inde bar\u0131nd\u0131r\u0131yordu. Bat\u0131, Tanzimat\u2019tan ba\u015flayarak Osmanl\u0131\u2019y\u0131 yar\u0131-s\u00f6m\u00fcrge durumuna getirmi\u015f ve 1915 \u00c7anakkale Sava\u015f\u0131\u2019ndan itibaren de fiziksel olarak i\u015fgale yeltenmi\u015fti. Tarihte hi\u00e7bir felsefi hareketin fiziksel fiili ku\u015fatmay\u0131 g\u00f6rmezden gelemeyece\u011finden hareketle, T\u00fcrk modernistlerinin \u201cBat\u0131l\u0131la\u015fma\u201d gibi bir l\u00fcksleri yoktu. Zaten bu y\u00fczden 20. y\u00fczy\u0131l modernle\u015fmesi yeni bir kavram olarak \u201cantiemperyalist\u201d zemin \u00fczerinde \u015fekillendi. Bunun ilk topra\u011f\u0131 da T\u00fcrkiye oldu.<\/p>\n Bu anlamda, Kemalistler Ankara\u2019n\u0131n bir antitezi olan ve 1927\u2019ye kadar Atat\u00fcrk\u2019\u00fcn ayak basmad\u0131\u011f\u0131 \u0130stanbul\u2019a \u201cBat\u0131l\u0131\u201d bir kent g\u00f6r\u00fcnt\u00fcs\u00fc vermek ad\u0131na de\u011fil, ama \u201csek\u00fcler\u201d bir g\u00f6r\u00fcnt\u00fc vermek ad\u0131na m\u00fcdahale ettiler. Henri Prost bu kapsamda bizzat Atat\u00fcrk\u2019\u00fcn talimat\u0131yla g\u00f6revlendirildi. Bu g\u00f6rev i\u00e7in Prost\u2019un se\u00e7ilmesinin \u00f6zel nedenleri mevcuttu:<\/p>\n Prost, Paris \u00c9cole Nationale de Beaux-Arts\u2019dan mezun olduktan sonra 1903-1907 aras\u0131nda master e\u011fitimini Villa Medici\u2019de \u201cAyasofya-\u0130stanbul\u201d teziyle bitirdi. Bu tez kapsam\u0131nda Sultan\u2019\u0131n \u00f6zel izniyle 1904-1905 ve 1906-1907 aras\u0131nda iki defa \u0130stanbul\u2019da bulundu. Bu s\u00fcreler i\u00e7erisinde \u0130stanbul\u2019un kent et\u00fctlerini \u00e7\u0131kard\u0131. Prost 1914-1924 aras\u0131nda Fas i\u00e7in projeler \u00fcretti. 1924 \u0130zmir Plan\u0131\u2019nda Rene Danger\u2019a dan\u0131\u015fmanl\u0131k yapt\u0131. 1931\u2019de Cezayir i\u00e7in master kent plan\u0131 haz\u0131rlayan ekibin i\u00e7indeydi. Ard\u0131ndan 1928-1934 aras\u0131nda Paris\u2019in resmi ba\u015fplanlamac\u0131s\u0131 olarak \u00e7al\u0131\u015ft\u0131.<\/p>\n Bu biyografiden de g\u00f6r\u00fclece\u011fi ve konumuz kapsam\u0131ndaki di\u011fer birka\u00e7 mimarda da g\u00f6rd\u00fc\u011f\u00fcm\u00fcz \u00fczere, Prost kendi alan\u0131ndaki \u201ctek\u201dlerden birisiydi. \u0130stanbul\u2019u bilen, \u0130zmir\u2019in planlamas\u0131nda \u00e7al\u0131\u015fm\u0131\u015f, Cezayir ve Fas deneyimleriyle de, Bat\u0131 ve Do\u011fu mimarl\u0131\u011f\u0131n\u0131n ikisine birden h\u00e2kim ve \u00fcstelik Paris\u2019in ba\u015fplanlamac\u0131s\u0131yd\u0131. Sonu\u00e7 olarak, oryantalist olmayan, Do\u011fu kentlerinin kendi i\u00e7 dinamiklerini bilen bir Bat\u0131l\u0131yd\u0131. En b\u00fcy\u00fck \u00f6zelli\u011fi ise master program\u0131n\u0131 \u0130stanbul \u00fczerine yapm\u0131\u015f d\u00fcnyadaki tek \u015fehir planlamac\u0131s\u0131 olmas\u0131yd\u0131.<\/p>\n Prost\u2019u \u201cmodernist\u201d k\u0131lan etmenlerden en \u00f6nemlisi Mus\u00e9e Social ile olan organik ba\u011flant\u0131s\u0131yd\u0131. Mus\u00e9e Social 1894\u2019de Paris\u2019teki i\u015f\u00e7ilerin ruhi ve fiziki durumunu iyile\u015ftirici katk\u0131lar yapmak amac\u0131yla kurulmu\u015f, sa\u011fl\u0131k\u00e7\u0131lar, filozoflar ve yard\u0131mseverler aras\u0131nda bir tart\u0131\u015fma ortam\u0131 yaratmay\u0131 ama\u00e7layan bir kurumdu. 1907\u2019de Eug\u00e8ne Henard ba\u015fkanl\u0131\u011f\u0131nda kurulan Kentsel Planlama Altbirimi, Frans\u0131z kentlile\u015fmesi \u00fczerine tart\u0131\u015fmalar\u0131n odak noktas\u0131n\u0131 olu\u015fturuyordu. Mus\u00e9e Social, modern toplumdaki sosyal ve politik de\u011fi\u015fimlerin yaratt\u0131\u011f\u0131 toplumsal modern gereksinimleri tart\u0131\u015farak prati\u011fe d\u00f6k\u00fcyordu.<\/p>\n \u201cH\u00e9nard\u2019\u0131n fikirlerine dayanarak, Mus\u00e9e Social\u2019in tart\u0131\u015fma platformundaki temel konu espaces libres sorunsal\u0131d\u0131r. Espaces libres (serbest sahalar), kamunun iyili\u011fi i\u00e7in asli \u00f6\u011fe olarak kabul edilir ve Paris\u2019in mek\u00e2nsal ba\u011flam\u0131ndaki azalmalar\u0131 H\u00e9nard\u2019\u0131n makalelerinde \u015fiddetle ele\u015ftirilir. H\u00e9nard, eski yerle\u015fim ve eserlerin korunmas\u0131n\u0131n yan\u0131 s\u0131ra kentsel g\u00fczelle\u015ftirme ve kamunun sa\u011fl\u0131\u011f\u0131 i\u00e7in Paris\u2019deki espaces libres\u2019in art\u0131r\u0131lmas\u0131n\u0131 talep eder. H\u00e9nard\u2019\u0131n kuramsal yakla\u015f\u0131mlar\u0131n\u0131n ve Mus\u00e9e Social\u2019in entelekt\u00fcel ortam\u0131n\u0131n etkisi yan\u0131nda, Baron Haussmann\u2019\u0131n 19. y\u00fczy\u0131l ortalar\u0131ndaki Paris\u2019inin, \u00f6zellikle g\u00fc\u00e7l\u00fc g\u00f6rsel varl\u0131\u011f\u0131n\u0131n gen\u00e7 kentsel tasar\u0131mc\u0131lar \u00fczerinde s\u00fcregelen etkisinden de bahsedilmelidir. Mus\u00e9e Social, modern planlama prensipleri (i\u015flevsel b\u00f6lgelere ay\u0131rma ve hijyen) ile 1930\u2019lardaki CIAM\u2019\u0131n (Congr\u0113s International d\u2019Architecture Moderne \/ Uluslararas\u0131 Modern Mimarl\u0131k Kongresi) olu\u015fumunda \u00f6nc\u00fcl bir ad\u0131m olarak yorumlanabilir.\u201d(6)<\/sup><\/p>\n Prost Plan\u0131 kent planlamas\u0131ndaki \u201cembellishment\u201d (g\u00fczelle\u015ftirme) kavram\u0131ndan \u00f6te bir politik-sek\u00fcler \u00e7er\u00e7evede ilk defa Frans\u0131z Devrimi ile ortaya \u00e7\u0131kan espaces libre (\u00f6zg\u00fcrl\u00fck alanlar\u0131 ya da d\u00f6nemin T\u00fcrk\u00e7esine \u00e7evrildi\u011fi bi\u00e7imde serbest sahalar) bug\u00fcn\u00fcn \u201cpublic space\u201d (kamusal alan) kavram\u0131n\u0131n kar\u015f\u0131l\u0131\u011f\u0131d\u0131r.<\/p>\n Bu ba\u011flamda 1937 \u0130stanbul Plan\u0131, 18 serbest sahay\u0131 merkez al\u0131r ve \u0130stanbul\u2019un Greko-Romen planlamas\u0131 \u00fczerinden hareket ederek, Hausmannvari geni\u015f bulvarlar\u0131yla, i\u00e7e kapal\u0131 mahallelerin d\u0131\u015far\u0131 a\u00e7\u0131larak sokaklar\u0131n etnik-dini kimliklerini yok ederek, kad\u0131n-erkek herkesin kentin ula\u015f\u0131m plan\u0131yla, kent dokusunun b\u00fct\u00fcn\u00fcne dahil edilmesiyle, laik bir kent merkezine d\u00f6n\u00fc\u015fmesini hedef al\u0131r. 1937 Anayasas\u0131\u2019n\u0131n bir d\u0131\u015favurumu olarak g\u00fcnl\u00fck hayat\u0131n kendisinin Cumhuriyet\u00e7i bir tavra d\u00f6n\u00fc\u015fmesine hizmet eder. Prost Plan\u0131\u2019n\u0131n raporu okundu\u011funda g\u00f6r\u00fclecektir ki, \u201cgen\u00e7 Cumhuriyet\u2019in t\u00fcm yurtta\u015flar\u0131 i\u00e7in daha iyi bir ya\u015fam deklarasyonuyla, dili ve tonu sek\u00fcler ulus-devletin resmi retori\u011fiyle yak\u0131n \u00e7a\u011fr\u0131\u015f\u0131mlar sunmaktad\u0131r.\u201d(7) <\/sup>Cumhuriyet\u2019in \u00f6nde gelen k\u00fclt\u00fcr ideologlar\u0131ndan Yakup Kadri Karaosmano\u011flu bu k\u00fclt\u00fcrel perspektifi, \u201cG\u00fcnl\u00fck hayat\u0131n kendisi Cumhuriyet kadrolar\u0131 i\u00e7in bir k\u00fclt\u00fcrel eylemdir\u201d diye tan\u0131mlam\u0131\u015ft\u0131r.<\/p>\n Alman mimarlar ne b\u0131rakt\u0131?<\/strong><\/p>\n Cumhuriyet d\u00f6neminde T\u00fcrkiye\u2019ye gelen Alman mimarlar\u0131n kategorik olarak T\u00fcrk modernizmi i\u00e7erisindeki yerleri birka\u00e7 ba\u015fl\u0131k alt\u0131nda de\u011ferlendirilebilir.<\/p>\n 1) Alman mimarlar\u0131n T\u00fcrkiye\u2019de ger\u00e7ekle\u015ftirdikleri binalar ya da kent planlamalar\u0131, g\u00f6rsel bir tarih olu\u015fturman\u0131n \u00f6tesinde anlamlara sahiptir. Bu anlam Bauhaus\u2019un T\u00fcrkiye\u2019deki varl\u0131\u011f\u0131n\u0131n siyasi temellerinde aranmal\u0131d\u0131r. \u00c7\u00fcnk\u00fc, bir kere daha tekrar edersek, Bauhaus her \u015feyden \u00f6nce siyasi bir projedir. Kendisini Alman Devrimi\u2019ne ve insanl\u0131\u011f\u0131n evrensel de\u011ferlerine adam\u0131\u015ft\u0131r. Bu siyasi perspektifi i\u00e7erisinde, mimarl\u0131k, g\u00f6rsel sanatlar ve tasar\u0131mda yeni bir dil arayan Bauhaus sanat\u00e7\u0131lar\u0131n\u0131n T\u00fcrkiye\u2019ye geli\u015fleri, yine siyasi vizyonlar\u0131n\u0131n bir par\u00e7as\u0131 olarak ele al\u0131nd\u0131\u011f\u0131nda, Bauhaus\u2019un T\u00fcrkiye yolculu\u011fu anlam kazanmaktad\u0131r. T\u00fcrkiye bu tarihi k\u0131r\u0131lma noktas\u0131nda, modern sanat ve e\u011fitiminin potas\u0131nda Almanya, SSCB ve Fransa\u2019dan gelen sanat\u00e7\u0131 ve e\u011fitmenlerle bir laboratuvara d\u00f6n\u00fc\u015ft\u00fc.<\/p>\n 2) Bauhaus sanat\u00e7\u0131lar\u0131n\u0131n T\u00fcrkiye\u2019deki y\u0131llar\u0131 gelip ge\u00e7en birer tarih sayfas\u0131 olarak ele al\u0131namaz. Zira bu sanat\u00e7\u0131lar birinci elden sanat, mimarl\u0131k, m\u00fczik, tiyatro e\u011fitiminin kurumsal temellerini att\u0131lar. Bug\u00fcn T\u00fcrkiye\u2019deki sanat e\u011fitimi h\u00e2l\u00e2 i\u015flevsel estetik temelli Bauhaus program\u0131 ile verilmektedir. Bauhaus, T\u00fcrkiye\u2019de d\u00fcnyada hi\u00e7bir \u00fclkede olmad\u0131\u011f\u0131 kadar ulusalla\u015fm\u0131\u015ft\u0131r.<\/p>\n 3) Bauhaus sanat\u00e7\u0131lar\u0131, 1. Ulusal Mimarlardan sonra yeti\u015fen 2. Ulusal Mimarlar\u0131n ve g\u00fcn\u00fcm\u00fczde T\u00fcrk mimarisi olarak adland\u0131r\u0131lan ekol\u00fcn hamurunu belirlemi\u015ftir.<\/p>\n 4) 1930\u2019lu y\u0131llarda, Ankara H\u00fck\u00fcmeti, \u0130ttihat ve Terakki\u2019nin temsil etti\u011fi premodern T\u00fcrk milliyet\u00e7ili\u011fini, Alman modernizminin T\u00fcrkiye\u2019ye gelen temsilcileri ile devred\u0131\u015f\u0131 b\u0131rakm\u0131\u015ft\u0131r.<\/p>\n 5) Son olarak saptayabildi\u011fimiz bir di\u011fer olgu ise; bu siyasi bulu\u015fman\u0131n Bauhaus\u2019tan gelenlerle, T\u00fcrkiye\u2019nin kendisine \u00e7izdi\u011fi modernist vizyonun \u00fcst \u00fcste \u00f6rt\u00fc\u015fmesiyle ya\u015fanm\u0131\u015f oldu\u011fudur. Bu \u00f6rt\u00fc\u015fmenin en net ifadelerini \u0130smail Hakk\u0131 Baltac\u0131o\u011flu\u2019nun c\u00fcmlelerinde buluyoruz:<\/p>\n \u201cYeni sanatk\u00e2r\u0131n, yeni dekorat\u00f6r\u00fcn vazifesi ne tabiat ilimlerine afaki ilimlere m\u00fcracaat etmek, ne de mazi, milliyet, anane, klasik sanat vesileleri ile bir sanat ideolojisi yapmakt\u0131r. Belki her \u015feyden evvel i\u00e7inde ya\u015fad\u0131\u011f\u0131 cemiyeti anlamak ve onun sanat\u0131n\u0131, ona lay\u0131k olan\u0131, onunla ya\u015fayabilecek kabiliyeti ta\u015f\u0131yan\u0131 bulmak, icat etmektir.\u201d(8)<\/sup><\/p>\n Dipnotlar<\/strong><\/p>\n 1) Baltac\u0131o\u011flu, \u0130smail Hakk\u0131, Sanat<\/em>, \u0130stanbul: S\u00fchulet K\u00fct\u00fcphanesi, 1934, s.18 ve 60.<\/p>\n 2) Baltac\u0131o\u011flu, \u0130smail Hakk\u0131, Demokrasi ve Sanat<\/em>, \u0130stanbul: Kanaat K\u00fct\u00fcphanesi, 1931, s.142-143.<\/p>\n 3) Tankut, G\u00f6n\u00fcl, Bir Ba\u015fkentin \u0130mar\u0131<\/em>, \u0130stanbul: Anahtar Kitaplar Yay., 1993.<\/p>\n 4) Ankara\u2019n\u0131n in\u015fas\u0131nda Alman, Avusturyal\u0131 ve \u0130svi\u00e7reli mimarlar\u0131n katk\u0131lar\u0131yla ilgili web \u00fczerinde bir kaynak i\u00e7in: ly\/v0rKjo<\/p>\n 5) Jansen plan\u0131n\u0131n k\u0131smen uygulanabilmesinin en \u00f6nemli sebeplerinden biri Ankara burjuvazisinin, bir k\u0131s\u0131m milletvekilinin ve y\u00fcksek b\u00fcrokratlar\u0131n\u0131n Nevzat Tando\u011fan eliyle kamula\u015ft\u0131rma \u00e7al\u0131\u015fmalar\u0131na y\u0131llarca engel olmas\u0131yd\u0131. H. Cengiz T\u00fcrksoy, Ankara Ger\u00e7e\u011fi Sempozyumunun a\u00e7\u0131l\u0131\u015f bildirisi (1999), com\/Q2vdRv<\/p>\n 6) Akp\u0131nar, \u0130pek Yada, \u201cModern \u0130mgelerin G\u00fcnl\u00fck Ya\u015famda Mek\u00e2nla\u015fmas\u0131: Prost\u2019un Yeni Kamusall\u0131klar\u0131\u201d, Osmanl\u0131 Ba\u015fkentinden K\u00fcreselle\u015fen \u0130stanbul\u2019a: Mimarl\u0131k ve Kent, 1910 \u2013 2010<\/em> , \u0130. Y. Akp\u0131nar (Haz.), \u0130stanbul: Osmanl\u0131 Bankas\u0131 Ar\u015fiv ve Ara\u015ft\u0131rma Merkezi, 2010 , s.68-80.<\/p>\n 7) Baltac\u0131o\u011flu, \u0130smail Hakk\u0131, Demokrasi ve Sanat<\/em>, \u0130stanbul: Kanaat K\u00fct\u00fcphanesi, 1931.<\/p>\n","protected":false},"excerpt":{"rendered":" 1930\u2019lu y\u0131llarda, Ankara H\u00fck\u00fcmeti, \u0130ttihat ve Terakki\u2019nin temsil etti\u011fi premodern T\u00fcrk milliyet\u00e7ili\u011fini, Alman modernizminin T\u00fcrkiye\u2019ye gelen temsilcileri ile devred\u0131\u015f\u0131 b\u0131rakm\u0131\u015ft\u0131r. Saptayabildi\u011fimiz bir di\u011fer olgu; bu siyasi bulu\u015fman\u0131n Bauhaus\u2019tan gelenlerle, T\u00fcrkiye\u2019nin kendisine \u00e7izdi\u011fi modernist vizyonun \u00fcst \u00fcste \u00f6rt\u00fc\u015fmesiyle ya\u015fanm\u0131\u015f oldu\u011fudur. Sunu\u015f Okuyaca\u011f\u0131n\u0131z yaz\u0131, Ka\u011fan G\u00fcner\u2019in Modern T\u00fcrk Sanat\u0131n\u0131n Do\u011fu\u015fu, Konstr\u00fcktivist T\u00fcrkiye Cumhuriyeti’nde K\u00fclt\u00fcr ve \u0130deoloji adl\u0131 […]<\/p>\n","protected":false},"author":158,"featured_media":23796,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[167,234],"tags":[604,337],"class_list":["post-11648","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-130-sayi","category-mimarlik-mimarlik-tarihi","tag-cumhuriyet","tag-mimarlik"],"acf":[],"aioseo_notices":[],"aioseo_head":"\n\t\t\n\t\n\t\n\t\n\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t![\"\"](\"https:\/\/bilimvegelecek.com.tr\/wp-content\/uploads\/2017\/06\/1-Attackonthebauhaus_Final-1-219x300.jpg\")
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<\/p>\n![](\"http:\/\/4.bp.blogspot.com\/_Hez0KmD27HM\/TBlMdPPQqtI\/AAAAAAAAAC8\/PZR51VrxZqQ\/s1600\/Clemens-Holzmeister.jpg\")
Avusturya\u2019dan gelen ve yine T\u00fcrkiye\u2019de \u00e7ok say\u0131da binaya imza atan bir di\u011fer mimar da, o y\u0131llarda d\u00fcnyada askeri komuta binalar\u0131 \u00fczerine uzmanla\u015fm\u0131\u015f tek mimar olan Clemens Holzmeister\u2019d\u0131r (1886-1983). 1927\u2019de T\u00fcrkiye\u2019ye gelen Holzmeister, Ankara\u2019n\u0131n merkezi ve Bakanl\u0131klar aks\u0131na imzas\u0131n\u0131 atan mimard\u0131r. \u0130lk olarak Jansen\u2019in haz\u0131rlad\u0131\u011f\u0131 K\u0131z\u0131lay\u2019dan yukar\u0131 uzanan \u00fc\u00e7gen ada \u00fczerindeki y\u00f6netim merkezi (Bakanl\u0131klar) i\u00e7in haz\u0131rlad\u0131\u011f\u0131 plan\u0131n\u0131 tekrar ele alan Holzmeister, bug\u00fcnk\u00fc K\u0131z\u0131lay Meydan\u0131 ve etraf\u0131n\u0131 \u015fekillendiren \u00fc\u00e7gen plan\u0131 haz\u0131rlad\u0131 ve binalar\u0131n\u0131 bu plan \u00fczerine yerle\u015ftirdi. Kuzeye bakan G\u00fcven An\u0131t\u0131, g\u00fcneybat\u0131 aks\u0131ndaki Bakanl\u0131klar, do\u011fu aks\u0131ndaki devlet yap\u0131lar\u0131 plan\u0131n\u0131 olu\u015fturan Holzmeister\u2019in G\u00fcven An\u0131t\u0131 tasar\u0131m\u0131n\u0131 Anton Hanak ba\u015flatt\u0131 ve Josef Tarak tamamlad\u0131. Bu an\u0131t Atat\u00fcrk\u2019\u00fcn ayn\u0131 zamanda ilk sivil giyimli heykelidir. Holzmeister\u2019in Ankara\u2019daki ilk binas\u0131 1927-31 aras\u0131nda tamamlad\u0131\u011f\u0131 Savunma Bakanl\u0131\u011f\u0131 binas\u0131d\u0131r. Bu binay\u0131 s\u0131ras\u0131yla Genelkurmay Ba\u015fkanl\u0131\u011f\u0131 (1929-30), Harp Okulu (1928), S\u0131hhiye Orduevi (1933), Merkez Bankas\u0131 (1931-33) ve Emlak Bankas\u0131 (1933-34) izler. \u0130\u00e7i\u015fleri Bakanl\u0131\u011f\u0131, Yarg\u0131tay, Bay\u0131nd\u0131rl\u0131k, Cumhurba\u015fkanl\u0131\u011f\u0131 K\u00f6\u015fk\u00fc ve 1937\u2019de se\u00e7ilen fakat 1959-60\u2019da bitirilebilen TBMM binas\u0131 da Holzmeister\u2019\u0131n imzas\u0131n\u0131 ta\u015f\u0131r.<\/p>\n![\"\"](\"http:\/\/www.mimarizm.com\/V_Images\/2008\/Etkinlikler\/49033.jpg\")
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