Mavi Boncuk |
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The architect of the building, which was built by M. Hacar from Aleppo, is unknown (Arch. Patrokli Kampanaki[1] Efendi was mentioned.). The Neo-Renaissance style building was damaged in the fire in 1906, and was repaired and rebuilt by the architect Kampanaki. While its exterior has survived to the present day by preserving its original state, its interior has lost its originality. Today, shops, restaurants and the famous Ses (Beyoğlu Cinema) theater operate inside Aleppo Han.
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Corner cover (Relief inscription: "PATROCLE CAMPANAKIS * CONSTANTINOPLE * / INGÉNIEUR / ARCHITECTE", mailed from Athens Constitution Square Post Office to Andros (Cyclades) franked with 1Dr + 50L definitive issue stamps tied with "ΑΘΗΝΑΙ - ΠΛΑΤΕΙΑ ΣΥΝΤΑΓΜΑΤΟΣ * ΑΠΟΣΤΟΛΗ * 24 ΝΟΕ. 27" pmk . On reverse "ΑΝΔΡΟΣ* 27 ΝΟΕ. 27" pmk and round vignette with inscription "PATROCLE CAMPANAKIS / INGÉNIEUR / ARCHITECTE".
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Architectural plan for Haseki Women’s Hospital pavilions, 1891. The plan shows corridors with windows separating patient wards from the operating rooms. Basbakanlık Osmanlı Arsivi (Prime Ministry Ottoman Archives).
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"The building, which has a cross-plan, domed and four-storey symmetrical bell towers on both sides of the entrance facade, contains a very modern architectural analysis for its period. The lead-covered large dome of this structure, which was started to be built with the permission given during the reign of Sultan Abdulaziz [1861-76], should be accepted as an indication of the rights granted to non-Muslim Ottoman citizens after the Tanzimat. Patriarch VI. It was founded on April 13, 1867, during the reign of Gregorios [1867-1871], and Patriarch III. We learn that it was opened for worship on Sunday, September 14, 1880, the Feast of the Holy Cross during the reign of John [1878-1884]. Church day is considered to be the Monday after fifty days after Easter.
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“Galata Tower and Golden Horn” With inscription “Patrocle Campanakis Architecte Grand Hotel de”, dated 1894, watercolor on paper. 11,5 x 7 cm.
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Projet de monument à Charles Gounod / Phebus, d'après un dessin de Patrocle Campanakis
Sermes Alus describes this place in his book: [2] “Cinematograph has returned to Istanbul under the name of live photography, from time to time. Like all new inventions, Beyoğlu... One day, my late father said: "Let's go to live photography". Father-son, we came to the door of the building, which was called Aleppo Bazaar in which there is no shortage of horse acrobats. Get in if you can, it's packed inside. We could hardly dive…” he recalls.
[1] Patrokli Kampanaki | Patrocle Campanakis | Patroclos Michail Campanakis
"Amphi was part of a larger building, Petits-Champ, a theatre complex with three parts, which was situated near the west end of the Grand Rue de Pera. It was transformed into a theatre building in 1905 by the famous Greek architect Patrocle Campanaki, who had a reputation for his theatre building projects in Istanbul."SOURCE
Early cinema-going and the emergence of film culture: The first Pathé Cinema Theatre opens in Istanbul (1908) by Nezih Erdoğan,
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Les Grecs d'Istanbul au XIXe siècle: Histoire socioculturelle de la communauté de Péra
by Mérope Anastassiadou
Corner cover (Relief inscription: "PATROCLE CAMPANAKIS * CONSTANTINOPLE * / INGÉNIEUR / ARCHITECTE", mailed from Athens Constitution Square Post Office to Andros (Cyclades) franked with 1Dr + 50L definitive issue stamps tied with "ΑΘΗΝΑΙ - ΠΛΑΤΕΙΑ ΣΥΝΤΑΓΜΑΤΟΣ * ΑΠΟΣΤΟΛΗ * 24 ΝΟΕ. 27" pmk . On reverse "ΑΝΔΡΟΣ* 27 ΝΟΕ. 27" pmk and round vignette with inscription "PATROCLE CAMPANAKIS / INGÉNIEUR / ARCHITECTE".
PATROCLE CAMPANAKIS, architecte, 4, rue Aga Hamarn, Pera Constantinople Turquie
Drawings of the barracks to be built in Haseki Nisa (Women’s) Hospital by Architect Patrokli Kampanaki Efendi.
Architectural plan for Haseki Women’s Hospital pavilions, 1891. The plan shows corridors with windows separating patient wards from the operating rooms. Basbakanlık Osmanlı Arsivi (Prime Ministry Ottoman Archives).
“Patrocle Campanakis Architecte. Constantinople, 4 October 1890
Patrocle Kampanaki, site plan of the Haseki Sultan Hospital. The key indicates the following: 1. Administrative building, 2. Six pavilions for internal and external diseases, 3. Bathhouse, 4. Laundry, 5. Ablution room, 6. Kitchen, 7. Pavilion for contagious diseases, 8. Smaller pavilions for contagious diseases, 9. Pond, 10. Surgery recovery room, 11. Surgery, 12. Labor recovery room, 13. Pavilion for contagious diseases. Façade drawings on the right depict, from top to bottom, administrative building (no. 1), surgery (no. 11), connected to recovery room and labor recovery rooms (nos. 10 and 12), pavilion for contagious diseases (no. 7). At the bottom, we can see the bathhouse (no. 3), the heating system for pavilions (section drawings), and a small pavilion for contagious diseases (no. 8) previously owned by Moralı Ali Bey, had served as the hospital proper since 1879.
Haseki Women’s Hospital was a medical institution with a history going back to the sixteenth century. For a while it functioned as a women’s prison as well. In 1868 it was formally established as a women’s hospital, the only such institution in the entire Ottoman Empire. At a time when most women received medical treatment in their homes, Haseki served mainly homeless and indigent women. 5 Medical historian Gülhan Balsoy details the multiple functions of the hospital, emphasizing the dual role of Haseki as a place that sheltered and cared for the most vulnerable Ottoman women while also keeping these unsuitable women away from public spaces. Haseki Hospital as a social institution was a site of both care and control, for the patients individually as well as for the empire. Hence the Haseki portrait album is particularly valuable as a historical trace of how the visibility and vulnerability of female patients as both medical and imperial subjects were negotiated. The Haseki album consists of eight plates. What is perhaps most striking about the first six is how much they look like classic studio portraits of the late nineteenth century. In each we can clearly see a woman directly facing the camera. She stands on a carpet with a stylized studio backdrop behind her and a decorative table to her side. Each photograph is mounted onto an ornate mat with the photographer’s name—Nicolas Andriomenos—imprinted on it. All these details attest to the genre of this image as a studio portrait.
The most important work of Kampanaki is the Ses Theater on Istiklal Street. Mongeribeing one of the powerful names of the I. National Architectural Movement in the Republican Period, together with St. Antoine will be recognized as the architect of the Church....When we look at the artists of the architectural depictions, especially Kampanaki they range in various geographies from London, California, Egypt and Burgazada."
SOURCE: THE PERA SALON EXHIBITIONSIN THE LIGHT OF RECENT RESEARCHES by Seza SİNANLAR USLU[*]
" At the corner is the Greek Orthodox Hagia Triada Church, built in 1880 by the architect Kampanaki. On Sıraselviler Street; The Romanian Consul General, which was built as the mansion of Rum Müzürüs Pasha, and the Belgian Consulate General, again by architect Kampanaki; They are interesting works." [**]SOURCE
It is claimed that the first studies of the building belonged to the architect Potessaro. Later, Vasilaki Ioannidis Efendi continued the construction. On the other hand, Mustafa Cezar names Kampanaki as the architect of the building. It is known that the depictions of Jesus, Mary and other saints in the building, which was built in a long period of about thirteen years, were made by the painter Sakelarios Megaklis, and the marble decorations were made by Alexandros Krikelis.
In the courtyard of the church, there is a Greek Primary School, which is separated by an iron fence, as well as the housing and administrative buildings of the church, and a holy spring dedicated to Aya Yorgi on the right side of the church."SOURCE
“Galata Tower and Golden Horn” With inscription “Patrocle Campanakis Architecte Grand Hotel de”, dated 1894, watercolor on paper. 11,5 x 7 cm.
[2] “Sinematograf, gel zaman git zaman, canlı fotoğraf adıyla İstanbul’a döndü. Bütün yeni buluşlar gibi Beyoğlu’na... Günün birinde, rahmetli babam: “Haydi canlı fotoğrafa gidiyoruz” dedi. Baba–oğul, o zamanlar Halep Çarşısı denilen (bugün yerinde Halep Pasajı ve Beyoğlu Sineması vardır) içinde at cambazları hiç eksik olmayan binanın kapısına geldik. Girebilirsen gir, içerisi dopdolu. Güçbela dalabildik...”
[*] Seza SİNANLAR USLU Doç. Dr., Yıldız Teknik Üniversitesi, Sanat ve Tasarım Fakültesi, Sanat Yönetimi Abd., İstanbul. ORCID ID: https://orcid.org/0000-0003-0242-8062 ♦ E-mail: sinanlar@yildiz.edu.tr | This article was developed from the unpublished paper presented at the 15th International Congress of Turkish Arts in Naples in 2015.
[**] “Our embassy in Constantinople will finally have a beautiful building. The line will be moved to Kebeci Mansion on Selviler Street in Pera. This week, the mansion was purchased by the Belgian Government for 300,000 francs. This is a real palace, its front is covered with white marble, it has front and back gardens and courtyards, and the view of the Bosphorus is magnificent.” Liege Senator Georges Montefiore Levi.
Before moving to Kebeci Mansion, the Belgian Embassy, was in a mediocre building on the Postacılar Caddesi (Rue des Postes), a narrow street towards St. Louis Church.