Rönesans Devri bahçe sanatı ve ülkemizdeki yansıması olarak Beylerbeyi Sarayı ve set bahçeleri
Başlık çevirisi mevcut değil.
- Tez No: 75231
- Danışmanlar: DOÇ. DR. NİLGÜN ERGUN
- Tez Türü: Yüksek Lisans
- Konular: Şehircilik ve Bölge Planlama, Urban and Regional Planning
- Anahtar Kelimeler: Belirtilmemiş.
- Yıl: 1998
- Dil: Türkçe
- Üniversite: İstanbul Teknik Üniversitesi
- Enstitü: Fen Bilimleri Enstitüsü
- Ana Bilim Dalı: Şehircilik Ana Bilim Dalı
- Bilim Dalı: Belirtilmemiş.
- Sayfa Sayısı: 173
Özet
Bu çalışmada genel sanat tarihi içinde Ortaçağ'ın karanlık kapılarını yıkarak, insan ve onun yarattıklarının önemini vurgulayan bir yeniden doğuş olarak kabul edilen Rönesans sanat ve felsefesi ışığında, Rönesans bahçe sanatı incelenmiş ve devrin en gözde örnekleri açıklanmıştır. İtalyan Rönesans Bahçe Sanatı'nın en güzel örnekleri olan ve günümüze kadar varlığını sürdürebilmiş bu villalar ve bahçeleri, tasarım prensipleri ve Rönesans bahçe şekillenmesindeki genel prensipler içinde yerlerinde görülerek değerlendirilmiştir. Çıkış noktası İtalyan ve özellikle Toscana bölgesi olmasına rağmen kısa sürede tüm Avrupa'ya yayılmış olan Rönesans Bahçe Sanatı'nın Avrupa'daki etkileri tartışılarak ülkemizde nasıl bir uygulama alanı bulduğu ve hangi prensiplerin Türk bahçe şekillenmesi içinde nasıl yer edindiği incelenmiştir. Yapılan çalışma ile 19.yüzyılda batılılaşma hareketlerinin hızlandığı bir dönemde inşaa ettirilen Beylerbeyi Sarayı ve Set Bahçeleri'nin, Rönesans Bahçe Sanatı'nın ülkemizde gerçekleştirilen, T.B.M.M. Milli Saraylar çatısı altındaki tek bahçe olduğu, öneminin ve değerinin 1984 T.B.M.M. Milli Saraylar Sempozyumu'nda, Milli Saraylar'a bağlı diğer saray, köşk ve kasırlarla birlikte vurgulanmasına ve çeşitli önlemlerin alınmasına rağmen, bahçelerin insan ve zaman etkenleriyle maruz kaldığı tehlikeler nedeniyle bozulmalar gösterdiği tespit edilmiştir. Bu tespitlerin teşhisi için T.B.M.M. Milli Saraylar Daire Başkanlığı Park ve Bahçeler Bürosundan alınan bilgiler doğrultusunda Beylerbeyi Sarayı bahçesinde röleve çalışmaları yapılmış, kullanıcı eğilimlerini belirlemek amacıyla da anket çalışması gerçekleştirilmiştir. Rönesans Bahçe Sanatı'nın temel prensipleri kullanılarak yapılan set bahçelerinin yaşayan kültür mirası olarak değişmeden gelecek nesillere bırakılması için elde edilen bütün bilgiler ışığında, bahçelerin maruz kaldığı tehlikelere karşın sahiplenilip korunarak sürekliliğinin sağlanması gerektiği saptanmıştır. Bunun sağlanması için çeşitli çözüm önerileri getirilmiştir.
Özet (Çeviri)
Renaissance is first appeared in Italy and spread through the all over the Europe, and it is related to special historical conditions of this land. Italy emerged from Dark Ages as a series of independent states under lay princes owing allegiance to the Pope and constantly quarrelling among themselves. Opposition to the Pope's political power was never absent in Italy, and thus encouraged a certain freedom of thought in theology and morals, especially in places like Venice which were relatively immune from ecclesiastical control. The individual thinker first emerged as individual man in Florence where the Medici family had assumed control in 1400 and under whose influence the arts of an elegant mercantile and domestic civilazition first appeared. The Church remained ruthless in its defence of existing theology, resistant to the criticism of moral behaviour that led to the Reformation, and unmoved by geographical and astronomical discoveries. Frederick II, moving freely within a Sicilian society based on four civilizations (Italian, German, Byzantine and Muslim), had liberally encouraged the arts and siciences, founded the first university, and can be said to have initiated the greatest of all discoveries, that by man of himself. Within himself man found a mixyure of the noble and ignoble. Dante enshrined the whole medivial world system in his mystical vision, The Divine Comedy; Petrarch and Boccaccio stood more outside that system, developing a type of psychological awareness that heralds the modern world. Plato displaced Aristotle in man's new and determined search for contact with the infinite, but the only major philosopher of the age itself waas Machiavelli (1467-1527), who divorced politics from moral considerations and taught that the end justified the means. For good or ill, man now regarded himself as the centre of the universe.The eye that had previously looked inward upon an eternal world, now looked outwards to see the physical world and to find it good; Petrarch is said to have been the first Western man to climb a mountain for the sake of the view. The change was one of symbolism to worldliness. To enhance these newly found pleasures, the house extended itself into the open air, creating what were defined spaces whose links were as important as were the internal doorways between salons. Views of the countyside were part of desing, rather in the manner of the classic frescoed wall; it was not until later that garden and lanscape were physically more closely integrated. The fundamental purpose was to create shapes that responded to the intellectual mind searching for order, tranquillity and stimulus, giving dignity and status to the human himself. In principle, the sites overlooked the mother city from adjoining slopes or hillsides. The garden was made for man and dignified him. The proportions gave him peace: the form was therefore crucial. The interior of the house thrust itself outwards, levelled to the rising or falling site, the shapes made more by intuition than by mathematical calculation. The sites were usually on hillsides, because of view and cilimate; the descending terraces were carved out of the ground and harmonious with it; the long shapes were genial to contemplative perambulation. The contents were basically evergreens, stone and water- materials that were permanent rather than ephemeral. They include box parterres, clipped hedges, the dark cypress and groves of ilex; sculpture, stairways, pergolas and arbours; water in repose and in fountains. Flowers played their part. The architectural details were tactile and friendly through the emotional curves of mouldings, nosings, balusters. Changes that art of Renaissance gardens experienced were divided into three parts, from its starting point to the time that effect of the style of Baroque appeared.. 1450 - 1503 Steps were not used yet, and simplicity was dominant. This age is called as the age of Villas of Florance. !XV. 1503 - 1573 In contrast to the Villas of Floransa ornamental steps, and terraces were used very often. This age is called as the age of the architechts. » 1573 - 1775 The time of the first influences of the style of Baroque on the Renaissance garden. This period is called as third period. If we make a synthesis of all these three periods, garden of Reneassiance is formal and symmetrical to the main axle. In most cases, statues were placed along the sides of the path, sides or in the middle of the pool and on the walls as a single or repeating group of statues in a composition. In the beginning, terraces and steps were simple and just used for their functionality. In the foolwing years, esspecially in the age of architects (1503 ? 1573 ) designs were made in order to cover the slope of the land. They used terraces and high retaining walls and steps for effective usage of this slope. In initial designs they used standing water and in the following designs they used a water in a moving form. They frequently use opustopiarum and taxusbaccata in their designs. The walls, formed with green plants, hide the unwanted areas of the garden. Flower patterns were formed in a geometrical way and their forms were designed to obtain geometrical shapes. They also frequently use citrus plant in the stone made flowerpots and in winter time, they put them into a winter gardens which became a characteristics of Renaissance gardens. There lots of great products of Renaissance in all over the Europe which represents the culture and vision of its age. In this study below gardens were researched and studied :. Gardens of Renaissance which belongs to first period.. Villa Petraia, Villa Medici, Villa Castello xvGardens of Renaissance which belongs to second period. Villa D'este, Villa Lante, Villa Farnese, Villa Gamberaia, Villa Aldobrandini, Gardens of Boboli.. Gardens of Renaissance which belongs to third period.. Villa Garzoni, Villa Reale For above mentioned designs, principles and special features that represent the Renaissance garden are introduced by plans, pictures, and photographs in order to clarify the art of the garden of Renaissance. In one of his visit to Paris, XXVIII. Çelebi Mehmet Efendi saw the Versailles Palace and its gardens. When he returned to Istanbul, he shared his impressions with Sultan. This was the first met of the Turkish garden arthitecture with gardens of Renaissance and effected with it. This influence showed its effect and spread over the palace to the public. After the age of Lale tili the time of the republic was established, influence of the west mostly seen by the times of the Selim III. Post Renaissance and Baroque effects seen on the details of the garden changed their status from living places to viewing areas. Instead of building palaces within a long time period without planning previously, as it is traditional for all of the Turkish palaces, pre-planned new palaces were built by the effect of the West. After revolutions in the army, II. Mahmut did not want to stay in Topkapi Palace and Beylerbeyi Palace and terrace gardens were built for him. Beylerbeyi Palace, which is the unique terraced garden designed under the influnce of art of Renaissance garden reached today as our living horiculture, insipite of the building of the Bosphorus Bridge and many other negative influences. it must be remembered that the historical gardens are a part of historical culture of the country based on a biological infrastucture as a living monuments. With their xviwide green nature, summer houses, wooden houses near the sea and palaces which are placed in the most beatiful sides of the city, are the best and one of the main points for connecting the future and the past and strenghts the identity of nationality. The historic gardens must be preserved in appropriate surroundings. Against the problems that historical gardens are faced due to the time and people, the connection must be established with the ICOMOS ( International Council on Monuments and Sites ) and IFLA ( International Federation of Landscape Architects ) and preservation of the historical gardens must be governed by specific rules. With the legal, financial administrative precautions and documentation, research, maintenance, consevation, restoration and reconstruction of the gardens must be controlled. Beylerbeyi Palace and its seven terraced gardens, which seems as an open door, which is openned by the Renaissance culture, to the culture of the West, must be claimed and contiunity of them must be guaranitied and they must be preserved as the same garden without any change. In the second chapter Renaissance is examined by the view fo general history of art. Main characteristics of Renaissance, developments in the area of science and philosoph explained in detailed form, and also the bases of the Renaissance is explained in this section. In the third chapter, main design principles of the art of the Renaissance gardens are explained by dividing them into three time periods and compared them each other. They are explained with their applications, plans and photographs. The effect of the Renaissance to our country is explained. In the third chapter of this study importance of the historical gardens and gardens of palace, and their positions both in Turkey and in the world is researched and studies about national palaces are introduced before and after The Palace and Parks Programme which has benn applied since 1984. XVIIThe fourth chapter of this study is reserved for Beylerbeyi Palce and arthitectural characterisitcs of the palace is explained. Terrace gardens of Beylerbeyi Palace, which is the unique represantative of terrace garden, which is the base of the garden of Renaissance, are researched by the historical view and its changes during the time are explaines by the photographs, pictures and engravings in order to determine its characteristics. A survey about terrace gardens is done and the current design is fixed and documentated. In the same chapter, an other survey is done with the visitors for determining point of view of todays people towards the Beylerbeyi Palace and its terraced gardens. In the conclusions, results and proposals section, importance of the Beylerbeyi Palace and its seven terrace garden and their dominant characteristics determined with the general evaulation of the study, and the solutions are offered for solving of the preservation problems of the Beylerbeyi Palce and its gardens as our living horiculture. XVIII
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