Özet:

This study focuses on the Late Period Ottoman Architecture through the summer mansion designed for Ahmed Ratib Paşa by Mimar Kemaleddin, built between 1900-1908. Ahmed Ratib Paşa Mansion’s classical planary discipline is oversailed with numerous cantilevers, balconies, and eaves placed on different levels and the angle braces that support them. On the façade, the eave adornments and the angle braces differ from classical decorative details and allude to an Ottoman Baroque past where curvilinear features are dominant. Floral Art Nouveau decorations in unique woodwork are used in all the architectural elements like balconies, windows and doors. In addition, the basket arches above the windows point to the building's affinity with the Art Nouveau movement in a rather striking fashion. Art Nouveau “Tarz-ı Cedid” showed up in Istanbul architecture, where almost all modes of Historicism were already represented, at the turn of the century. Although mostly applied by foreign architects, Art Nouveau was also practised by local ones who had received formal training. In Istanbul, where Art Nouveau buildings were common, the portfolio included mostly large scale urban residences such as apartment buildings, mansions and villas, countryside residences and office buildings. These buildings were favoured mostly by Ottoman high level bureaucrats, by the section of the society affiliated with the court, Levantine bourgeoisie and members of foreign missions. Considering Ahmed Ratib Paşa’s Western style and modern education, and likewise that of Mimar Kemaleddin's, it is not surprising that the former would wish for this new style in his residence and the latter would implement it. However, it is worth noting that it was also in the period where he was building Ahmet Ratip Paşa Mansion that Mimar Kemaleddin began forming his notion of “National Architecture”. Is it possible to consider Mimar Kemaleddin, who was influenced by Ottoman Baroque Architecture and designed a residence adorned with Art Nouveau details, merely within the confines of the “National Architecture Movement”?

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