{"id":106,"date":"2010-03-14T06:07:19","date_gmt":"2010-03-14T11:07:19","guid":{"rendered":"http:\/\/akunq.net\/tr\/?p=106"},"modified":"2010-03-14T06:07:19","modified_gmt":"2010-03-14T11:07:19","slug":"balyan-ailesi","status":"publish","type":"post","link":"https:\/\/akunq.net\/turkish\/2010\/03\/14\/balyan-ailesi\/","title":{"rendered":"Balyan Ailesi"},"content":{"rendered":"

\u0130stanbul’da \u00f6nemli hangi yap\u0131ya baksan\u0131z alt\u0131nda Balyan imzas\u0131n\u0131 g\u00f6r\u00fcrs\u00fcn\u00fcz. Balyan Ailesi 19. yy Osmanl\u0131 mimarl\u0131\u011f\u0131n\u0131n en \u00f6nermli adlar\u0131 olarak tan\u0131nm\u0131\u015flard\u0131r. Ermeni k\u00f6kenli bir aile olan Balyanlar, baba, o\u011ful ve karde\u015fler olarak art arda d\u00f6rt ku\u015fak hassa mimar\u0131 yeti\u015ftirmi\u015flerdir. K. Pamukciyan’\u0131n yapt\u0131\u011f\u0131 ara\u015ft\u0131rmalara g\u00f6re, aile hassa mimar\u0131 Meremet\u00e7i (Onar\u0131mc\u0131) Bali Kalfa’ya dayanan uzun bir \u015fecereye sahiptir.\u00a0 Balyan Ailesi Kayserilidir. Meremet\u00e7i Bali Kalfa’n\u0131n o\u011flu olan Krikor Kalfa, Balyan soyad\u0131n\u0131 ilk kez kullanan ki\u015fidir. Bali Kalfa hakk\u0131nda pek bilgimiz yok. Ancak Ba\u011flarba\u015f\u0131 Ermeni Mezarl\u0131\u011f\u0131’nda g\u00f6m\u00fcl\u00fc oldu\u011fu bilinmektedir.<\/p>\n

Yakla\u015f\u0131k bir y\u00fczy\u0131l boyunca, Balyan soyad\u0131n\u0131 ta\u015f\u0131yan bu mimarlar birbirlerini izleyerek verimli ve etkin bir hayatlar\u0131 olmu\u015ftur. \u00c7ok say\u0131da ve b\u00fcy\u00fck boyutlu yap\u0131lar\u0131n tasar\u0131m ve uygulamas\u0131n\u0131 i\u00e7eren mesleki etkinlikleri, hassa mimar\u0131 olarak yetkili ki\u015filikleri, profesyonel yetenekleri ve ya\u015fad\u0131klar\u0131 d\u00f6nemin isteklerini kar\u015f\u0131lamaktaki sezgi ve uyumlar\u0131 Balyan ad\u0131n\u0131n \u00fclkede ve hatta \u00fclke d\u0131\u015f\u0131nda duyulmas\u0131na neden olmu\u015ftur.<\/p>\n

Aile mesle\u011fi<\/strong><\/p>\n

Aile bu ba\u015far\u0131s\u0131n\u0131 belki de mimarl\u0131k mesleklerini bir gelenek i\u00e7inde hassa mimar\u0131 ve hassa ba\u015fmimar\u0131 olarak art arda s\u00fcrd\u00fcrmesine bor\u00e7ludur. Ayn\u0131 ad\u0131 ta\u015f\u0131man\u0131n, bir \u00f6ncekinin etki ve ba\u015far\u0131 miras\u0131n\u0131 kullanman\u0131n avantaj\u0131, babadan o\u011fula veya karde\u015ften karde\u015fe aktar\u0131lan deneyim birikimi, Balyanlar\u0131n ba\u015far\u0131 grafi\u011fini y\u00fckseltmede oldu\u011fu kadar bu ad\u0131n hat\u0131rlan\u0131p herkes taraf\u0131ndan tan\u0131nmas\u0131nda da etkili olmu\u015ftur. Orta\u00e7a\u011f\u0131n zanaatkar ailelerini an\u0131msatan bu s\u00fcreklilik, kendini unutturmayan, tersine yineleyen ve yenileyen bir ad olmak, Balyanlar\u0131n g\u00fcndemde kalmas\u0131n\u0131 sa\u011flam\u0131\u015ft\u0131r.<\/p>\n

Balyan \u00fcslubu<\/strong><\/p>\n

\"\"<\/a>\u00a0<\/strong>Balyan Ailesi zanaatk\u00e2r aile gelene\u011finin h\u00e2l\u00e2 y\u00fcr\u00fcrl\u00fckte oldu\u011funu g\u00f6sterdikleri i\u00e7in mimarl\u0131k e\u011fitimi tarihi a\u00e7\u0131s\u0131ndan da ilgin\u00e7tir. \u0130Ik \u00fc\u00e7 ku\u015fa\u011f\u0131n mimarlar\u0131, mesle\u011fi geleneksel y\u00f6ntemle, i\u015f i\u00e7inde ve uygulamada en alt basamaktan ba\u015flayarak \u00f6\u011frenmi\u015flerdir. Gelene\u011fin \u00e7\u00f6z\u00fcl\u00fc\u015f\u00fc de yine Balyan \u00f6rne\u011finde izlenmektedir. Ko\u015fullar 19. yy’\u0131n ikinci yar\u0131s\u0131nda de\u011fi\u015fmi\u015ftir ve geleneksel e\u011fitimden gelen Garabet Balyan, \u00e7a\u011f\u0131n\u0131n gereksinmelerini \u00f6nceden fark eden uzak g\u00f6r\u00fc\u015fl\u00fcl\u00fckle o\u011fullar\u0131n\u0131 \u00f6rg\u00fcn egitime y\u00f6nlendirmi\u015ftir. 19. yy’\u0131n ortalar\u0131nda y\u00fckselen Balyan etkinli\u011finde, bu \u00f6ng\u00f6r\u00fcn\u00fcn pay\u0131 b\u00fcy\u00fck olmal\u0131d\u0131r. Bu a\u00e7\u0131dan Garabet Balyan, ailenin kilit bireyi durumunda g\u00f6r\u00fcnmektedir. Kapal\u0131 ve baba i\u015fli\u011fi ile s\u0131n\u0131rl\u0131 meslek haz\u0131rl\u0131\u011f\u0131n\u0131n, yerini Sainte-Barbe veya Ecole des Beaux Arts e\u011fitimine b\u0131rakmas\u0131, \u00f6nemli bir de\u011fi\u015fimi g\u00f6stermektedir. Akademik \u00f6\u011frenim ve \u00f6zellikle Fransa deneyimi, Nigo\u011fos ve Sarkis’in yaln\u0131z meslek formasyonunu de\u011fil motivasyonlar\u0131n\u0131 da \u00f6nceki Balyan ku\u015fa\u011f\u0131ndan farkl\u0131 bir y\u00f6nde olmu\u015ftur. Bunu en a\u00e7\u0131k Krikor Balyan ‘da g\u00f6r\u00fcyoruz. Krikor Balyan yetenekli bir mimar olmas\u0131na ra\u011fmen, giri\u015fimci ve m\u00fcteahhit Sarkis’le kar\u015f\u0131la\u015ft\u0131r\u0131ld\u0131\u011f\u0131nda geleneksel mimar \u00e7izgisinden ayr\u0131lamad\u0131\u011f\u0131n\u0131, performans\u0131n\u0131 mesle\u011fiyle s\u0131n\u0131rlad\u0131\u011f\u0131 g\u00f6r\u00fcl\u00fcr. Balyan Ailesi’nin mimarl\u0131k tarihinde e\u015fine az rastlanan bir s\u00fcreklilik ve etkinlikle \u00e7al\u0131\u015fmas\u0131, 18. ve 19. yy’lardaki tarihi ko\u015fullarla ilgilidir. Osmanl\u0131 Devleti Lale Devri itibariyle Bat\u0131 sanat\u0131na, Bat\u0131 ya\u015fam bi\u00e7imine ve dolay\u0131s\u0131yla bu ya\u015fam\u0131 olu\u015fturan mimari yap\u0131lara kar\u015f\u0131 ilgi duymaya ba\u015flam\u0131\u015ft\u0131. Osmanl\u0131n\u0131n mimarideki bu Bat\u0131 ilgisi zamanla ba\u015fka alanlara da kaym\u0131\u015ft\u0131r. Bat\u0131 k\u00f6kenli mimarl\u0131k anlay\u0131\u015f\u0131n\u0131n, konsept, program, \u015fema ve teknoloji olarak kavran\u0131p benimsenmesinde gereksinilen bilgi edinme s\u00fcreci, belirli k\u00fclt\u00fcrel yak\u0131nl\u0131klara ba\u011fl\u0131 olmal\u0131yd\u0131. Bu yak\u0131nl\u0131k sonucuda dil, din ve k\u00fclt\u00fcr olarak Bat\u0131’ya yak\u0131n olan H\u0131ristiyan tebaa da \u00f6nem kazanmaya ba\u015flam\u0131\u015ft\u0131. Bunun d\u0131\u015f\u0131nda Osmanl\u0131 Devleti’nin farkl\u0131 etnik topluluklar\u0131 bir araya getiren bir yap\u0131s\u0131 vard\u0131. Bu yap\u0131 do\u011fal olarak i\u015f ve \u00e7al\u0131\u015fma hayat\u0131na da yans\u0131yordu. Dolay\u0131s\u0131yla Hassa Mimarlar\u0131 Oca\u011f\u0131’nda her zaman gayrim\u00fcslim mimar veya kalfalar bulunmu\u015ftur. Balyan Ailesinden ki\u015filerin adlar\u0131n\u0131n \u00f6ne \u00e7\u0131kmas\u0131 ne kadar yad\u0131rganmayacak bir olguysa da, Bat\u0131l\u0131 konsept ve bi\u00e7imlerin kullan\u0131lmas\u0131nda daha esnek bir anlay\u0131\u015fa sahip olmalar\u0131 bu ailenin mimarlar\u0131n\u0131n \u00fclke \u00e7ap\u0131nda isim kazanmas\u0131na neden olmu\u015ftur. Gayrim\u00fcslim mimarlann ve genel olarak gayrim\u00fcslim topluluklar\u0131n ekonomik ve k\u00fclt\u00fcrel geli\u015fmelerinin ve Bat\u0131’ya a\u00e7\u0131lan ortama kolay ve h\u0131zl\u0131 uymalar\u0131n\u0131n gerisinde sanayile\u015fmi\u015f \u00fclkelerin Osmanl\u0131 \u0130mparatorlu\u011fu \u00fczerindeki siyasi hesaplar\u0131n\u0131n te\u015fvik edicili\u011fi de ku\u015fkusuz s\u00f6z konusudur.<\/p>\n

Aileler ve \u0130nsanlar<\/strong><\/p>\n

Bat\u0131l\u0131la\u015fmada mimarinin rol\u00fc<\/em><\/p>\n

Balyan Ailesi’nin ilk olarak mimarl\u0131kta Bat\u0131’ya a\u00e7\u0131lma denemelerinden ve \u00f6zellikle de\u011fi\u015fimin h\u0131z kazand\u0131\u011f\u0131 y\u0131llarda duyulmaya ba\u015fland\u0131\u011f\u0131 g\u00f6r\u00fclmektedir. III. Selim’in padi\u015fahl\u0131\u011f\u0131 ve Nizam-\u0131 Cedid d\u00f6neminin ilk y\u0131llar\u0131ndan ba\u015flayarak 19. yy boyunca hassa mimar\u0131 olarak \u00e7al\u0131\u015fan Balyanlar\u0131n toplu yap\u0131 listesi incelendi\u011finde adeta d\u00f6nemin resmi yap\u0131m program\u0131 kar\u015f\u0131m\u0131za \u00e7\u0131kmaktad\u0131r. Birka\u00e7 kilise ve konut d\u0131\u015f\u0131nda, Balyan tasar\u0131mlar\u0131n\u0131n t\u00fcm\u00fc saray veya devlet kurulu\u015flar\u0131na aittir. Ku\u015fkusuz y\u00fcz y\u0131ll\u0131k bir d\u00f6nem ve bir ba\u015fkentin yap\u0131sal degi\u015fimi birka\u00e7 mimar\u0131n etkinli\u011fi ile a\u00e7\u0131klanamaz fakat de\u011fi\u015fmin mimarl\u0131\u011fa ili\u015fkin y\u00f6n\u00fc, program veya konsepti en az\u0131ndan mimari uygulamalar yoluyla Balyanlar taraf\u0131ndan ger\u00e7ekle\u015ftirilmi\u015ftir. \u0130kinci olarak bu yap\u0131lar, genellikle hem kentsel geli\u015fmeyi hem de yeni program ve tasar\u0131m ilkelerini belirleyen b\u00fcy\u00fck organizasyonlard\u0131r. Kentsel dokuyu de\u011fi\u015fime zorlayan b\u00fcy\u00fckl\u00fckte kararlard\u0131r. Dolmabah\u00e7e Saray\u0131 ve yan kurulu\u015flar\u0131; Selimiye K\u0131\u015flas\u0131 ve \u00e7evresi; Ma\u00e7ka Silahhanesi binalar\u0131 tek yap\u0131 \u00f6l\u00e7e\u011finde kalmayan, \u00e7evresini etkileyen ve \u00f6l\u00e7ekleri de\u011fi\u015ftiren yap\u0131lard\u0131r. Balyan Ailesi’nin mimarl\u0131\u011f\u0131 Osmanl\u0131 Devleti’nin Bat\u0131l\u0131la\u015fma i\u00e7eri\u011fini ve program\u0131n\u0131 kavramak, Bat\u0131l\u0131la\u015fman\u0131n nas\u0131l alg\u0131land\u0131\u011f\u0131n\u0131 \u00f6\u011frenmek, e\u011filimleri anlamak konusunda \u00f6nemli bir kaynak olu\u015fturmaktad\u0131r. Bu bak\u0131mdan Balyanlar\u0131n toplu yap\u0131 listesi, Bat\u0131’ya a\u00e7\u0131lma olgusunu anlamland\u0131rmada g\u00f6z ard\u0131 edilmemesi gereken bir birikimdir. Fakat bu yap\u0131 listesinin kesin bir \u00f6rne\u011fine rastlanmaktad\u0131r. T\u00fcm \u00f6nemli yap\u0131lar g\u00fcn\u00fcm\u00fczde h\u00e2l\u00e2 Balyanlara atfedilmektedir. Bu da d\u00f6nemin di\u011fer \u00f6nemli sanat\u00e7\u0131lar\u0131na haks\u0131zl\u0131k edildi\u011fi kanaatini do\u011furmaktad\u0131r.<\/p>\n

Bat\u0131l\u0131 ama \u00f6zg\u00fcn ve yerel<\/strong><\/p>\n

D\u00f6nemin bu mimarlar\u0131 b\u00fcy\u00fck ve \u00f6zg\u00fcn bir mimarl\u0131k gelene\u011fi ve k\u00fclt\u00fcr\u00fc olan b\u00fcy\u00fck bir Devletin yeni bir k\u00fclt\u00fcr ve mimari gelenekle kar\u015f\u0131la\u015fmas\u0131nda yumu\u015fak bir ge\u00e7i\u015f olas\u0131nda \u00f6nemli rol oynam\u0131\u015flard\u0131r. 19. y\u00fczy\u0131l sonunda yabanc\u0131 mimarlar d\u00f6nemiyle kar\u015f\u0131la\u015ft\u0131r\u0131ld\u0131\u011f\u0131nda Balyanlar\u0131n pek \u00e7ok yap\u0131s\u0131nda kendini hemen ele vermeyen ama dikkatle incelendi\u011finde fark edilen bir yerellik ve \u00f6zg\u00fcnl\u00fck oldu\u011fu g\u00f6r\u00fcl\u00fcr. \u00c7evre d\u00fczeninden dekorasyona kadar farkl\u0131 alanlarda g\u00f6r\u00fclen bu \u00f6zg\u00fcnl\u00fck, \u00fclkede son y\u00fczy\u0131lda s\u0131radan bir kolonyal \u00fcslup evresinin ya\u015fanmas\u0131n\u0131 \u00f6nlemi\u015ftir. \u00d6rne\u011fin bir Sa’dabad veya \u00c7\u0131ra\u011fan Saray\u0131 veya Dolmabah\u00e7e Camii ile Mecidiye Camii kesinlikle kolonyal modeller de\u011fildir. Bat\u0131 usl\u00fcbuyla kar\u015f\u0131la\u015fan bir\u00e7ok \u00fclkede g\u00f6r\u00fclen kolonyal tad ancak birka\u00e7 \u00f6rnekten \u00f6teye ge\u00e7memi\u015ftir. Ekonomik \u00e7\u00f6k\u00fc\u015fe ve Bat\u0131’ya \u00f6zentili\u011fine kar\u015f\u0131n \u0130stanbul, mimarl\u0131k alan\u0131nda metropol \u00f6zelliklerini ve d\u00fczeyini koruyabilmi\u015ftir. Bu d\u00fczeyin tutturulmas\u0131nda da Balyan yap\u0131lar\u0131n\u0131n b\u00fcy\u00fck pay\u0131 vard\u0131r.<\/p>\n

\u0130lk ku\u015fak Balyan ailesi Osmanl\u0131 k\u00fclt\u00fcr\u00fc ve gelene\u011fi i\u00e7inde yeti\u015fmi\u015flerdir. D\u00fc\u015f\u00fcnce d\u00fcnyalar\u0131n\u0131 Do\u011fulu ve \u0130stanbullu renkler s\u00fcslemektedir. Hemen hemen b\u00fct\u00fcn tasar\u0131mlar\u0131n\u0131da Anadolu ve \u0130stanbul’un binlerce y\u0131ll\u0131k \u00f6zg\u00fcn ve b\u00fcy\u00fck mimarl\u0131k geleneginin ve k\u00fclt\u00fcr\u00fcn\u00fcn izlerine rastlanmaktad\u0131r. Balyan Ailesi’nin b\u00fcy\u00fckl\u00fc\u011f\u00fc sadece Bat\u0131 mimarisini taklit eden, bu topraklara aktaran bir uygulay\u0131c\u0131l\u0131ktan \u00e7ok, tasar\u0131m\u0131n do\u011fas\u0131ndan kaynaklanan mimari sorunsallar\u0131 da eklemeyi bilmi\u015flerdir yapt\u0131klar\u0131 yap\u0131lara. \u00c7a\u011fda\u015flar\u0131 gibi Balyanlar da tasar\u0131mlar\u0131nda Bat\u0131 mimarl\u0131\u011f\u0131ndan al\u0131nm\u0131\u015f elemanlar ve bi\u00e7imler kullanm\u0131\u015flard\u0131r. Ama dikkatli bir bak\u0131\u015fla, g\u00fcn\u00fcn modas\u0131 ve gere\u011fi olarak kullan\u0131lan bu al\u0131nt\u0131lar\u0131n farkl\u0131 bir konsept i\u00e7inde yenilendi\u011fi ve yorumland\u0131\u011f\u0131 g\u00f6zlenmektedir. Dolmabah\u00e7e ve Beylerbeyi Saraylar\u0131, Y\u0131ld\u0131z B\u00fcy\u00fck Mabeyin binas\u0131, Selimiye K\u0131\u015flas\u0131 bu duruma \u00f6rnek olarak verilebilir.<\/p>\n

Balyan at\u00f6lyesi gelene\u011fi Krikor Amira Balyan’la ba\u015flay\u0131p Sarkis Balyan’la kapan\u0131r ve yakla\u015f\u0131k y\u00fcz y\u0131ll\u0131k bir s\u00fcreyi kapsar. Balyanlar birbirlerinden devrald\u0131klar\u0131 birikimler ve e\u011fiIimlerle belirli ortak \u00f6zellikler geli\u015ftirmi\u015flerdir. T\u00fcm bu ortak \u00f6zelliklere ra\u011fmen zaman i\u00e7inde ve farkl\u0131la\u015fan e\u011fitim ko\u015fullar\u0131, ki\u015fisel \u00f6zellikler her yap\u0131ya bireysel bir kimlik kazand\u0131rm\u0131\u015ft\u0131r.<\/p>\n

Krlkor Amira Balyan <\/strong>(1764-1831)<\/strong><\/p>\n

\"\"<\/a>\u00a0Hassa mimar\u0131. \u0130lk ku\u015fak Balyan ailesinin hassa mimar\u0131 olarak tan\u0131nan en \u00f6nemli ki\u015fili\u011fidir. Hassa mimar\u0131 olan Meremet\u00e7i Bali Kalfa’n\u0131n o\u011fludur. Babas\u0131n\u0131n ad\u0131ndan \u00f6t\u00fcr\u00fc Baliyan veya Balyan olarak adland\u0131r\u0131lm\u0131\u015f ve Balyan soyad\u0131n\u0131 ilk kez kullanan ki\u015fi olmu\u015ftur. Tan\u0131nm\u0131\u015f hassa mimar\u0131 Minas Kalfa’n\u0131n damad\u0131 ve yine hassa mimar\u0131 Ohannes Amira Severyan’\u0131n da kay\u0131npederidir. 1800’de evlendigi Minas Kalfa’n\u0131n k\u0131z\u0131 Sogome’den do\u011fan o\u011flu Garabet Balyan da hassa mimar\u0131 olmu\u015ftur.<\/p>\n

Ermenice kaynaklarda, Krikor Kalfa’n\u0131n II. Mahmud’la ki\u015fisel dostlu\u011fu oldu\u011fu, sarayda etkili bir ki\u015filik sergiledi\u011fi, cemaat i\u015fleriyle ilgilendi\u011fi, Katolik ve Gregoryen Ermeniler aras\u0131ndaki anla\u015fmazl\u0131klar\u0131 \u00e7\u00f6zmeye \u00e7al\u0131\u015ft\u0131\u011f\u0131, yoksullara yard\u0131m etmekten ho\u015fland\u0131\u011f\u0131, i\u015f\u00e7ilerine kar\u015f\u0131 tevazu ile davrand\u0131\u011f\u0131 belirtilmektedir. \u00dcsk\u00fcdar’da B\u00fclb\u00fclderesi \u00fcst\u00fcndeki tepede oturdu\u011fu, b\u00fclb\u00fcle merakl\u0131 oldu\u011fu ve evine yak\u0131n bir yerde \u00f6zel olarak bu ku\u015flar\u0131 yeti\u015ftirdi\u011fi ve semtin ad\u0131n\u0131n da bu nedenle B\u00fclb\u00fclderesi olarak an\u0131ld\u0131\u011f\u0131 \u00e7e\u015fitli kaynaklarda yer almaktad\u0131r. 1831’de \u00dcsk\u00fcdar’da \u00f6lm\u00fc\u015f ve Ba\u011flarba\u015f\u0131 Ermeni Mezarl\u0131\u011f\u0131’na g\u00f6m\u00fclm\u00fc\u015ft\u00fcr. Gen\u00e7 ya\u015fta b\u00fcy\u00fck yap\u0131lar\u0131n sorumlulu\u011funu \u00fcstlenen Krikor Kalfa’n\u0131n en etkin ve verimli \u00e7al\u0131\u015fmalar\u0131, III. Selim d\u00f6nemine rastlamaktad\u0131r. Bu d\u00f6nemlerde in\u015fa edilmi\u015f ba\u015fl\u0131ca kamu yap\u0131lar\u0131n\u0131n mimar\u0131 olarak tan\u0131nmaktad\u0131r. Krikor Kalfa’n\u0131n yap\u0131 listesinde 6 saray, 4 kas\u0131r, 6 k\u0131\u015fla, 1 cami, 2 kilise, 2 b\u00fcy\u00fck bent ve 2 idare yap\u0131s\u0131 bulunmaktad\u0131r.
\nBa\u015fl\u0131ca yap\u0131tlar\u0131: Sarayburnu’ndaki Saray (yand\u0131), Be\u015fikta\u015f Saray\u0131 (y\u0131kt\u0131r\u0131ld\u0131), Beylerbeyi Saray\u0131 (yeni\u00e7eriler taraf\u0131ndan yak\u0131ld\u0131), Valide Sultan Saray\u0131 (Kasr-\u0131 Cedid), Defterdar Saray\u0131 (Hali\u00e7), Aynal\u0131kavak Kasr\u0131, Nusretiye Camii, Selimiye K\u0131\u015flas\u0131 ve \u00e7evre yap\u0131lar\u0131, Davutpa\u015fa K\u0131\u015flas\u0131, Beyo\u011flu K\u0131\u015flas\u0131, Darphane-i Amire, Valide Bendi (Bah\u00e7ek\u00f6y), Topuzlu Bendi (Bah\u00e7ek\u00f6y), Yang\u0131n K\u00f6\u015fk\u00fc (Beyaz\u0131t) olarak s\u0131ralanabilir.<\/p>\n

Cami, kilise ve bentlei ayaktad\u0131r ve \u00f6zg\u00fcn durumlar\u0131n\u0131 korumaktad\u0131rlar. Sivil yap\u0131lar\u0131ndan ise yaln\u0131zca Aynal\u0131kavak Kasr\u0131 ayakta kalmay\u0131 ba\u015farm\u0131\u015ft\u0131r. Aynal\u0131kavak Kasr\u0131, Bat\u0131l\u0131 s\u00fcsleme \u00f6geleri d\u0131\u015f\u0131nda \u00f6zellikle divanhaneli plan \u015femalar\u0131yla Osmanl\u0131 gelene\u011fine ters d\u00fc\u015fmeyen bir tasar\u0131m \u00f6rne\u011fi olarak Krikor Kalfa’n\u0131n yap\u0131 listesinde dikkat \u00e7ekmektedir.<\/p>\n

\u00a0Senekerim Balyan<\/strong> (1768-1833) <\/strong><\/p>\n

\"\"<\/a>\u00a0Hassa mimar\u0131. Meremet\u00e7i Bali Kalfa’n\u0131n o\u011flu ve Krikor Amira Balyan’\u0131n karde\u015fidir. Senekerim Balyan’\u0131n ya\u015fam\u0131 hakk\u0131nda \u00e7ok az bilgiye sahibiz. Kud\u00fcs’te \u00f6ld\u00fc\u011f\u00fc ve oradaki Ermeni mezarl\u0131\u011f\u0131na g\u00f6m\u00fcld\u00fc\u011f\u00fc bilinmektedir. Yap\u0131lar\u0131 aras\u0131nda bilinen, yaln\u0131zca eski ah\u015fap kulenin yerine yap\u0131Ian kagir Beyaz\u0131t Yang\u0131n Kulesi yer almaktad\u0131r. K. Pamukciyan’\u0131n okudu\u011fu Viyana M\u0131khitaristler Kitapl\u0131\u011f\u0131’ndaki elyazmas\u0131na g\u00f6re Ortak\u00f6y’de (1824-1825) yeniden in\u015fa edilen Surp Asdvadzadzin Ermeni Kilisesi’nin de mimar\u0131 o dur.<\/p>\n

Nigo\u011fos Balyan<\/strong> (1826 -1858) <\/strong><\/p>\n

\"\"<\/a>\u00a0<\/strong>Hassa mimar\u0131. Garabet Amira Balyan’\u0131n o\u011fludur. Balyan ailesinin \u00f6rg\u00fcn e\u011fitimden ge\u00e7en ilk bireyidir. Paris’te Sainte-Barbe Koleji’nde okudu\u011fu ve kolejin m\u00fcd\u00fcr\u00fc tan\u0131nm\u0131\u015f mimar H. Labrouste’un favori \u00f6\u011frencileri aras\u0131nda oldu\u011fu bilinmektedir. Meslek ya\u015fam\u0131 k\u0131sa ama verimli ge\u00e7mi\u015ftir. Ailenin mimar olan b\u00fct\u00fcn bireyleri ile birlikte \u00e7al\u0131\u015fm\u0131\u015ft\u0131r. Dolmabah\u00e7e Saray\u0131 Muayede Salonu ve iki Saltanat Kap\u0131s\u0131, Ortak\u00f6y Camii, Mecidiye Kasr\u0131, Ihlamur Kasr\u0131, G\u00f6ksu Kasr\u0131, Tophane Saat Kulesi, Dolmabah\u00e7e Saat Kulesi ona atfedilen yap\u0131lar aras\u0131ndad\u0131r. Nigo\u011fos Balyan’\u0131n yap\u0131lar\u0131n\u0131n t\u00fcm\u00fc sapasa\u011flam ayakta durmaktad\u0131r ve \u00f6zg\u00fcnl\u00fcklerinden hi\u00e7 bir\u015fey kaybetmeden koruma alt\u0131na al\u0131nm\u0131\u015ft\u0131r.<\/p>\n

\u00a0Levon Bey Balyan<\/strong> (19. yy) <\/strong><\/p>\n

\"\"<\/a>\u00a0Hassa mimar\u0131. Nigo\u011fos Balyan’\u0131n o\u011fludur. Balyan ailesinin hassa mimar\u0131 olarak son ku\u015fa\u011f\u0131ndand\u0131r. Paris’te Ecole des Beaux Arts’ta yapt\u0131\u011f\u0131 mimarl\u0131k e\u011fitimi d\u0131\u015f\u0131nda hakk\u0131nda yaz\u0131l\u0131 bir belgeye rastlanmamaktad\u0131r.<\/p>\n

\u00a0<\/strong><\/p>\n

Garabet Amira Balyan<\/strong> (1800 – 1866)<\/strong><\/p>\n

\"\"<\/a>\u00a0Hassa mimar\u0131. Krikor Amira Balyan’\u0131n o\u011fludur. Gen\u00e7lik y\u0131llar\u0131na ve e\u011fitimine dair bilgi bulunmaktad\u0131r. 1831 y\u0131l\u0131nda babas\u0131n\u0131n \u00f6l\u00fcm\u00fc \u00fczerine onun yerine ge\u00e7mi\u015ftir. Yedikule’deki Ermeni Hastanesi yapt\u0131\u011f\u0131 ilk yap\u0131d\u0131r. Ermeni cemaatine yaln\u0131z mimar olarak de\u011fil, cemaat meclisinde \u00fcyelik yoluyla, b\u00fcy\u00fck ba\u011f\u0131\u015flar\u0131yla ve e\u011fitim kurumlar\u0131 kurup destekleyerek hizmette bulunmu\u015ftur. Nazeni Babayan’la evlili\u011finden 10 \u00e7ocu\u011fu olmu\u015ftur. Bunlardan Nigo\u011fos, Sarkis, Agop ve Simon Balyan da hassa mimar\u0131 olarak \u00e7al\u0131\u015fm\u0131\u015flard\u0131r. Be\u015fikta\u015f Ermeni Mezarl\u0131\u011f\u0131’na g\u00f6m\u00fclmesine ra\u011fmen mezar\u0131 ve kitabesi kay\u0131pt\u0131r.<\/p>\n

Garabet Amira Balyan mimarl\u0131k tarihine, “Dolmabah\u00e7e Saray\u0131’n\u0131n mimar\u0131” olarak ge\u00e7er. Ailenin profesyonel etkinli\u011finin ve s\u00fcreklili\u011finin sa\u011flanmas\u0131nda \u00f6nemli rol oynam\u0131\u015ft\u0131r. II. Mahmud, Abd\u00fclmecid ve Abd\u00fclaziz’in h\u00fck\u00fcmdarl\u0131k y\u0131llar\u0131nda hassa mimarl\u0131\u011f\u0131 yapm\u0131\u015ft\u0131r. En verimli \u00e7al\u0131\u015fma d\u00f6nemi, Abd\u00fclmecid’in saltanat y\u0131llar\u0131na rastlamaktad\u0131r. Yakla\u015f\u0131k otuz y\u0131l s\u00fcren meslek ya\u015fam\u0131nda 7 saray, 4 fabrika, 1 k\u0131\u015fla, 1 cami, 2 hastane, 3 okul, 2 su bendi, 1 t\u00fcrbe-sebil, 7 kilise ve bir\u00e7ok konut tasarlay\u0131p in\u015fa etmi\u015ftir. Garabet Kalfa’n\u0131n yap\u0131 listesi ger\u00e7ekten g\u00f6rkemlidir: Dolmabah\u00e7e Saray\u0131 (Muayede Salonu ve iki Saltanat Kap\u0131s\u0131 Nigo\u011fos taraf\u0131ndan yap\u0131ld\u0131), \u00c7ifte Saraylar (Ey\u00fcp – mevcut degil), Cemile ve M\u00fcnire Sultan Saraylar\u0131 (\u00c7ifte Saraylar-F\u0131nd\u0131kl\u0131. Bbug\u00fcn Mimar Sinan \u00dcniversitesi binalar\u0131), \u00c7\u0131ra\u011fan Saray\u0131 (eski, mevcut de\u011fil), H\u00fcnkar Kasr\u0131 (\u0130zmit – bug\u00fcn m\u00fcze), Bay\u0131ld\u0131m K\u00f6\u015fk\u00fc’n\u00fcn yeniden yap\u0131m\u0131 (Dolmabah\u00e7e – mevcut de\u011fil), Y\u0131ld\u0131z K\u00f6\u015fk\u00fc (mevcut de\u011fil), G\u00fcm\u00fc\u015fsuyu K\u0131\u015flas\u0131 (bug\u00fcn \u0130stanbul Teknik \u00dcniversitesi binas\u0131), Kuleli S\u00fcvari K\u0131\u015flas\u0131 (bug\u00fcn Askeri Okul), Dolmabah\u00e7e Camii, II. Mahmud T\u00fcrbesi (\u00c7emberlita\u015f), Mekteb-i Harbiye (bug\u00fcn Askeri M\u00fcze), Sipahi Oca\u011f\u0131 (Harbiye – mevcut de\u011fil), Terkos tesisleri (Terkos), Kirazl\u0131 Bent (Bah\u00e7ek\u00f6y), Bend-i Cedid veya II. Mahmud Bendi, \u0130zmit \u00c7uhahanesi, Hereke Fabrikas\u0131, Bak\u0131rk\u00f6y Bez Fabrikas\u0131, Beykoz Deri Fabrikas\u0131, Zeytinburnu Demir \u00c7elik Fabrikas\u0131, Yedikule Surp P\u0131rgi\u00e7 Ermeni Hastanesi ve Surp Agop Kilisesi, Surp Asdvadzadzin Kilisesi (Be\u015fikta\u015f), Surp Yerevman Ha\u00e7 Kilisesi (Kuru\u00e7e\u015fme), Surp Yerrortutyun Kilisesi (\u00dc\u00e7 Horan – Beyo\u011flu, Ohannes Serveryan’la birlikte), Cemaran Okulu (\u00dcsk\u00fcdar).
\nGarabet Kalfa’n\u0131n yapt\u0131\u011f\u0131 bu e\u015fsiz yap\u0131lar\u0131n \u00e7o\u011fu bug\u00fcn sa\u011flam ve ayakta olup \u00f6zg\u00fcn durumlar\u0131n\u0131 korumaktad\u0131r. Hemen t\u00fcm\u00fc de birinci derecede korunmas\u0131 gereken k\u00fclt\u00fcr varl\u0131\u011f\u0131 say\u0131l\u0131p koruma alt\u0131na al\u0131nm\u0131\u015ft\u0131r.<\/p>\n

Agop Balyan <\/strong>(1837-1875)<\/strong><\/p>\n

\"\"<\/a>\u00a0<\/strong>Hassa mimar\u0131. Garabet Amira Balyan’\u0131n o\u011flu ve Sermimar-\u0131 Devlet Sarkis Balyan’\u0131n karde\u015fidir. Paris’te Sainte-Barbe Koleji’nin mimarl\u0131k b\u00f6l\u00fcm\u00fcnden mezun olmu\u015f, babas\u0131n\u0131n \u00f6l\u00fcm\u00fcnden sonra karde\u015fi Sarkis Bey’le birlikte hassa mimar\u0131 olarak \u00e7al\u0131\u015fmaya ba\u015flam\u0131\u015ft\u0131r. Edebiyat ve tiyatroya merakl\u0131, sanat\u00e7\u0131 e\u011filimleri g\u00fc\u00e7l\u00fc, Frans\u0131zca ve Frans\u0131z edebiyat\u0131n\u0131 iyi bilen ayd\u0131n bir ki\u015fi olarak tan\u0131t\u0131lan Agop Bey, e\u015finin \u00f6l\u00fcm\u00fc \u00fczerine gitti\u011fi Paris’te \u00f6ld\u00fc\u011f\u00fc bilinmektedir. \u0130\u015f ili\u015fkilerini ve \u015fantiye \u00e7al\u0131\u015fmalar\u0131n\u0131 Sarkis Bey’in y\u00fcr\u00fctt\u00fc\u011f\u00fc Balyan b\u00fcrosunun tasar\u0131m ve projelendirme sorumlulu\u011funu Agop Bey’in \u00fcstlendi\u011fi bilinmektedir. Balyanlar\u0131n genellikle bir tak\u0131m olarak \u00e7al\u0131\u015ft\u0131klan bilinir. Bu bak\u0131mdan Agop Bey’ in b\u00fcronun \u00e7izimcisi oldu\u011fu d\u00fc\u015f\u00fcn\u00fclmektedir. S\u00f6z konusu i\u015fb\u00f6l\u00fcm\u00fc hakk\u0131nda yaz\u0131l\u0131 bir belgeye rastlanmad\u0131\u011f\u0131 i\u00e7in Agop Bey’in bu yap\u0131lara olan katk\u0131s\u0131n\u0131 tam olarak bilinmemektedir.<\/p>\n

Simon Balyan<\/strong> (1846-1894) <\/strong><\/p>\n

Hassa mimar\u0131. Garabet Amira Balyan’\u0131n o\u011fludur. E\u011fitimini Avrupa’da yapt\u0131\u011f\u0131 s\u00f6ylenmekte ise de hangi okullarda okudu\u011fu bilinmemektedir. Mimar olarak karde\u015fi Sarkis Bey’le \u00e7al\u0131\u015fm\u0131\u015ft\u0131r. Ayn\u0131 zamanda desinat\u00f6r ve bezeme ustas\u0131 ve iyi bir minyat\u00fcr ressam\u0131 oldu\u011fu, Balyan at\u00f6lyesinde tasarlanan yap\u0131lar\u0131n g\u00f6r\u00fcn\u00fcmlerini suluboya tekni\u011finde resimledi\u011fi bilinmektedir. Mimar olarak tasar\u0131m\u0131na kat\u0131ld\u0131\u011f\u0131 yap\u0131lar, Ma\u00e7ka Silahhanesi, Ma\u00e7ka Karakolhanesi, Y\u0131ld\u0131z K\u00f6\u015fk\u00fc’d\u00fcr.<\/p>\n

Sarkis Balyan<\/strong> (1831-1899) <\/strong><\/p>\n

\"\"<\/a>\u00a0Hassa mimar\u0131 ve sermimar\u0131 devlet. Garabet Amira Balyan’\u0131n o\u011fludur. Balyan ailesinin di\u011fer bireyleriyle kar\u015f\u0131la\u015ft\u0131r\u0131ld\u0131\u011f\u0131nda ya\u015fam\u0131 hakk\u0131nda daha fazla bilgiye rastlanmaktad\u0131r. 1843’te karde\u015fi Nigo\u011fos ile birlikte Paris’e gitmi\u015f, karde\u015finin hastal\u0131\u011f\u0131 nedeniyle bir s\u00fcre ara verdi\u011fi e\u011fitimini 1855’te tamamlayarak \u0130stanbul’a d\u00f6nm\u00fc\u015ft\u00fcr. Paris’te \u00f6nce Sainte-Barbe Koleji’ni bitirmi\u015f, sonra Ecole Centrale’de okumu\u015f ve Ecole des Beaux Arts’dan mezun olmu\u015ftur. Paris’te yaln\u0131zca mimarl\u0131k de\u011fil m\u00fchendislik e\u011fitimi de ald\u0131\u011f\u0131, baz\u0131 mekanik bulu\u015flar yapt\u0131\u011f\u0131, hatta bunlar i\u00e7in patent ald\u0131\u011f\u0131 bilinmektedir. Balyan Ailesi’nin sanata merakl\u0131 bir bireyidir. Amat\u00f6r bir ressam ve m\u00fczisyen oldu\u011fu hatta Kristof Kolomb adl\u0131 bir opera besteledi\u011fi kay\u0131tlarda ge\u00e7mektedir.
\nBa\u015far\u0131l\u0131 bir hayat s\u00fcren Sarkis Balyan, Garabet Amira’n\u0131n \u00f6l\u00fcm\u00fcnden sonra, onun yerine hassa miman olmu\u015f, mimar ve y\u00f6netici olarak g\u00f6sterdi\u011fi ba\u015fanlar\u0131 nedeniyle Sermimar-\u0131 Devlet unvan\u0131n\u0131 alm\u0131\u015ft\u0131r.<\/p>\n

Sarkis Bey’in m\u00fcteahhit olarak da baz\u0131 giri\u015fimleri olmu\u015f, demiryolu yap\u0131m\u0131 ve maden i\u015fletilmesi vb. imtiyazlar\u0131 elde etmi\u015f, ancak bu giri\u015fimler nedeniyle hakk\u0131nda dava a\u00e7\u0131lm\u0131\u015f ve Paris’e gitmek zorunda kalm\u0131\u015ft\u0131r. On y\u0131ldan \u00e7ok s\u00fcren Paris s\u00fcrg\u00fcn\u00fcnden Hazine-i Hassa Naz\u0131r\u0131 Agop Pa\u015fa Kazazyan’\u0131n izniyle \u00fclkeye d\u00f6nm\u00fc\u015ft\u00fcr. Ya\u015fam\u0131n\u0131n son y\u0131llar\u0131n\u0131 kendisine ait olan Kuru\u00e7e\u015fme Adas\u0131’ndaki (Galatasaray Adas\u0131) evinde ge\u00e7irmi\u015ftir. Karizmatik bir ki\u015fili\u011fi olan Sarkis Bey’in ilgin\u00e7 bir ya\u015fam\u0131 vard\u0131r. M\u00fczikten m\u00fchendisli\u011fe bir\u00e7ok alanda \u015fa\u015f\u0131rt\u0131c\u0131 yetenekleri olan, 5.000-6.000 i\u015f\u00e7i \u00e7al\u0131\u015ft\u0131rd\u0131\u011f\u0131 \u015fantiyelerinin y\u00f6netimindeki becerileri ile tan\u0131nan, kaliteden \u00f6d\u00fcn vermeden o y\u0131llar i\u00e7in \u015fa\u015f\u0131rt\u0131c\u0131 h\u0131zda yap\u0131mlar ger\u00e7ekle\u015ftirmi\u015ftir. Sarkis Bey’in pop\u00fcler bir karakter olmas\u0131n\u0131n bir sebebide \u00fcnl\u00fc dostlar\u0131n\u0131n olmas\u0131d\u0131r. \u0130mparatori\u00e7e Eugenie’den \u00fcnl\u00fc ressam Ayvazovski’ ye \u00e7e\u015fitli \u00e7evrelerden yabanc\u0131 dostlar\u0131 vard\u0131r.<\/p>\n

Alt\u0131nda imzas\u0131 olan yap\u0131lar\u0131n pek\u00e7o\u011fu h\u00e2l\u00e2 ayakta, sapasa\u011flam, \u00f6zg\u00fcn halleriyle durmakta ve koruma alt\u0131ndad\u0131rlar. Ba\u015fl\u0131ca yap\u0131tlar\u0131 \u015funlard\u0131r: Beylerbeyi Saray\u0131, \u00c7\u0131ra\u011fan Saray\u0131, Adile Sultan Saray\u0131 (Kandilli), Y\u0131ld\u0131z Saray\u0131 B\u00fcy\u00fck Mabeyin Binas\u0131, \u00c7ad\u0131r K\u00f6\u015fk\u00fc, Malta K\u00f6\u015fk\u00fc, \u015eale K\u00f6\u015fk\u00fc (2. k\u0131s\u0131m), \u00c7it Kasr\u0131, \u00c7a\u011flayan Kasr\u0131 (Ka\u011f\u0131thane), Ayaza\u011fa K\u00f6\u015fk\u00fc (Maslak), Kalender K\u00f6\u015fk\u00fc, Zincirlikuyu Kasr\u0131, Tokat K\u00f6\u015fk\u00fc (Beykoz), Alemda\u011f Av K\u00f6\u015fk\u00fc, Abd\u00fclaziz Av k\u00f6\u015fkleri (Valideba\u011f ve Ayaza\u011fa), Sultan \u00c7iftli\u011fi K\u00f6\u015fk\u00fc (\u0130zmit), Akaretler, Valide Camii (Aksaray), Ka\u011f\u0131thane Camii, Harbiye Nezareti, Bahariye Nezareti, G\u00fcm\u00fc\u015fsuyu K\u0131\u015flas\u0131, Ma\u00e7ka Silahhanesi, Ma\u00e7ka Karakolhanesi, Galatasaray Mektebi, Makruhyan Okulu (Be\u015fikta\u015f), Hamidiye Saat Kulesi, (Dikran Kalfa C\u00fcberyan ile birlikte).<\/p>\n","protected":false},"excerpt":{"rendered":"

\u0130stanbul’da \u00f6nemli hangi yap\u0131ya baksan\u0131z alt\u0131nda Balyan imzas\u0131n\u0131 g\u00f6r\u00fcrs\u00fcn\u00fcz. Balyan Ailesi 19. yy Osmanl\u0131 mimarl\u0131\u011f\u0131n\u0131n en \u00f6nermli adlar\u0131 olarak tan\u0131nm\u0131\u015flard\u0131r. Ermeni k\u00f6kenli bir aile olan Balyanlar, baba, o\u011ful ve karde\u015fler olarak art arda d\u00f6rt ku\u015fak hassa mimar\u0131 yeti\u015ftirmi\u015flerdir. K. Pamukciyan’\u0131n yapt\u0131\u011f\u0131 ara\u015ft\u0131rmalara g\u00f6re, aile hassa mimar\u0131 Meremet\u00e7i (Onar\u0131mc\u0131) Bali Kalfa’ya dayanan uzun bir \u015fecereye sahiptir.\u00a0 […]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[44],"tags":[],"class_list":["post-106","post","type-post","status-publish","format-standard","hentry","category-unluler"],"yoast_head":"\nBalyan Ailesi - Bati Ermenistan Ve Bati Ermenileri Sorunlari Ara\u015ftirmalar Merkezi<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/akunq.net\/turkish\/2010\/03\/14\/balyan-ailesi\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Balyan Ailesi - Bati Ermenistan Ve Bati Ermenileri Sorunlari Ara\u015ftirmalar Merkezi\" \/>\n<meta property=\"og:description\" content=\"\u0130stanbul’da \u00f6nemli hangi yap\u0131ya baksan\u0131z alt\u0131nda Balyan imzas\u0131n\u0131 g\u00f6r\u00fcrs\u00fcn\u00fcz. Balyan Ailesi 19. yy Osmanl\u0131 mimarl\u0131\u011f\u0131n\u0131n en \u00f6nermli adlar\u0131 olarak tan\u0131nm\u0131\u015flard\u0131r. Ermeni k\u00f6kenli bir aile olan Balyanlar, baba, o\u011ful ve karde\u015fler olarak art arda d\u00f6rt ku\u015fak hassa mimar\u0131 yeti\u015ftirmi\u015flerdir. K. 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Balyan Ailesi 19. yy Osmanl\u0131 mimarl\u0131\u011f\u0131n\u0131n en \u00f6nermli adlar\u0131 olarak tan\u0131nm\u0131\u015flard\u0131r. Ermeni k\u00f6kenli bir aile olan Balyanlar, baba, o\u011ful ve karde\u015fler olarak art arda d\u00f6rt ku\u015fak hassa mimar\u0131 yeti\u015ftirmi\u015flerdir. K. 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