An Example of Neoclassical Civil Architecture in Kaleiçi, Edirne: İlhan Koman House
Mesut DündarKaleiçi, the initial settlement core of Edirne, holds historical significance as a dwelling place for non-Muslim communities. Distinguished from other Turkish districts by its grid-shaped (Hippodamus) settlement pattern and unique residences, Kaleiçi boasts several well-preserved historical houses. Among them is the İlhan Koman House, constructed by a Greek doctor, shedding light on the social and cultural fabric of its era. Despite its noteworthy architecture and ornamentation, the İlhan Koman House has yet to undergo a comprehensive study. This study aims to fill that gap, serving as a valuable resource for studying residential architecture and wall painting. The objective is to contribute to the field of art history by conducting a holistic assessment of the house’s architectural and ornamental features. Through this study, the house’s significance in both Edirne’s urban architecture and Ottoman residential design is sought to be unveiled. To achieve this, relevant literature and archives were meticulously scanned before conducting an on-site examination. The collected data from thorough research and analysis provided the foundation for a detailed evaluation of the İlhan Koman House. The goal was to elucidate its position and importance among similar structures. The findings reveal that this two-storey wooden house embodies classical Ottoman residential architecture through its material technique and plan features. However, it also exhibits a distinct Western influence, evident in its pronounced neoclassical emphasis on facades. The house, designed to connect with the external environment through expansive windows and balconies, further incorporates ceiling decorations reminiscent of ancient Greek architecture. With its architectural and decorative elements reflecting the socio-cultural interactions of its time, the İlhan Koman House occupies a vital place in both Edirne’s urban landscape and Ottoman civil architecture.
Edirne Kaleiçi’nde Neoklasik Bir Sivil Mimarlık Örneği: İlhan Koman Evi
Mesut DündarEdirne’nin ilk yerleşim merkezini teşkil eden Kaleiçi genellikle gayrimüslimlerin oturduğu bir yerdi. Izgara şeklindeki (Hippodamus) yerleşim planı ve kendine has özellikler taşıyan evleriyle Türk mahallelerinden ayrılan Kaleiçi’nde günümüze ulaşabilen çok sayıda tarihî konut bulunmaktadır. Döneminin sosyal ve kültürel hayatına ışık tutan bu evlerden birini de bir Rum doktor tarafından yaptırılan İlhan Koman Evi teşkil etmektedir. Mimarisi ve süslemeleriyle dikkati çeken ev hakkında daha önce yapılmış kapsamlı bir çalışma bulunmamaktadır. Konut mimarisi ile kalem işi ve duvar resmi çalışmalarına kaynak teşkil edeceği düşünülen bu çalışmada söz konusu ev, mimari ve süsleme özellikleri bakımından bütüncül bir yaklaşımla ele alınıp değerlendirilerek hem sanat tarihi alanına bir katkı sağlanması hem de evin Edirne kent mimarisi ile Osmanl ı konut mimarisindeki yerinin ortaya konması amaçlanmıştır. Bu amaçla, öncelikle konuya ilişkin literatür ve arşiv taraması yapılmış, sonrasında da yapı yerinde incelenmiş ve elde edilen verilerle birlikte söz konusu eser ayrıntılı biçimde irdelenerek değerlendirmeye tabi tutulmuştur. Yapılan araştırma ve değerlendirmeye göre, iki katlı ahşap ev, malzeme-teknik ve plan gibi özellikleriyle klasik Osmanlı k onut mimarisini yansıtmakla birlikte cephelerindeki güçlü Neoklasik vurgusu, pencere ve balkonlarla olabildiğince dışa açılması, Antik Yunan mimarisini referans alan tavan süslemeleri ile batılı bir karakter ortaya koymaktadır. Mimari ve süsleme özellikleriyle döneminin sosyo-kültürel etkileşimlerini yansıtan ev hem Edirne kent mimarisinin hem de Osmanlı sivil mimarisinin önemli bir yapısını teşkil etmektedir.
Edirne, strategically positioned between Europe and Anatolia, has been a significant settlement site since ancient times. The city’s importance grew, evolving into a fortified city following the construction of a castrum by the Romans. After the Ottoman conquest, Edirne became the capital of the empire for a period, solidifying its pivotal role. Serving as the Ottoman gateway to the West, Edirne has consistently maintained its significance, adopting a new identity with the construction of monuments and civil architectural works. In this rich historical context, Kaleiçi, the city’s initial settlement, predominantly inhabited by non-Muslims, has steadfastly maintained its hippodamus-shaped layout dating back to the Roman era. This area, renowned for its distinctive settlement plan and houses, primarily crafted by Greek, Bulgarian, and Jewish artisans, faced considerable damage in the 1905 fire. Despite the devastation, Kaleiçi underwent a meticulous re-planning and reconstruction process. Some Kaleiçi houses, renovated by the new zoning plan and occupied by Turks after the population exchange, have managed to endure over time, preserving their historical features. The İlhan Koman House stands out as a significant example of this preservation effort.
The İlhan Koman House, distinguished by its captivating architecture and decorations, has yet to be the focus of a comprehensive study. Existing research has been limited to brief architectural history investigations, mainly emphasizing stylistic aspects, with some passing mentions in studies on regional architecture. This study marks the first comprehensive exploration of the building, encompassing both its architectural and ornamental features, to make a substantial contribution and illuminate its significance within Edirne’s urban architecture and Ottoman residential architecture. For this purpose, the study involved a meticulous review of literature and archives related to the subject, followed by an on-site examination of the house. The gathered data from these endeavors were then subjected to a comprehensive analysis by comparing the architectural and ornamental features of the house with similar structures from its time to articulate its unique place in both Edirne’s urban landscape and Ottoman residential architecture.
Situated at Maarif Caddesi No: 20 and known as the “İlhan Koman House,” this residence was originally built in 1908 by the Greek Doctor Dimsa. Subsequently, it changed ownership and was acquired by Doctor Fuat Koman. Initially referred to as the “Doctor’s House,” its nomenclature evolved to bear the name of the renowned sculptor İlhan Koman, who was born within its walls. Undergoing numerous restoration efforts, the house now serves as the Edirne Cultural Heritage Preservation Regional Board service building.
This two-story house, featuring a hipped roof, was constructed as a wooden building set upon a masonry basement. Its facade design is characterized by a pronounced Neoclassical influence, evident in the composite-headed grooved plasters, floor moldings reminiscent of ancient entablatures, wide eaves, module windows, and triangular pediments. Noteworthy decorative elements include intricate console arrays and delicate flower rosettes. The facades facing the street and garden have been animated with projections such as bay windows and balconies. Numerous windows and doors have been strategically placed according to the internal floor plan to maximize the connection to the outside.
The house, originally conceived as a doctor’s office, integrates traditional sofa plan schemes into its floor plans. On the ground floor, dedicated to spaces like the examination room and library, an inner sofa plan is employed. Meanwhile, the upper floor, serving as the primary living area, adopts a central sofa plan, with other rooms arranged around it. Notably, the expansive upper floor hall, designed with a large open space, serves as the venue for hosting guests and hosting various celebrations, including engagements and weddings. The bay window protruding from the facade accentuates this room, marking it as a central and distinguished space within the house. In a general overview, the planning of the house is influenced by traditional values, reflecting the usage patterns based on the homeowner’s social and cultural lifestyle.
The neoclassical aesthetic is evident in the exterior design of the house seamlessly extends into its interiors, particularly showcasing the Baghdad-shaped ceilings adorned with intricate hand-drawn works and depictions. Executed in monochrome technique, these hand-drawn works create a captivating three-dimensional effect reminiscent of plaster relief. The monochromatic technique predominantly features floral motifs, such as ancient lotus and acanthus leaves, along with curved branches, and geometric compositions like meanders and series of eggs. The entrance hall, representing the pinnacle of the exterior neoclassical style, is resplendent with ceiling decorations, including an antique vase and fantastical figures like a griffin. However, the true opulence of the interior decorations lies in the depictions among these handdrawn works. Notably, frescoes take center stage, portraying rare scenes from ancient Greek temples and mythological narratives, a rarity within the Ottoman Empire. Portraits of key figures from the period are also prominently featured. On the ground floor hall ceiling, depictions of the Thesio and Erechtheion temples in Athens grace the space, while the staircase ceiling showcases the Parthenon Temple and Hadrian’s Gate. In the southwest corner room, there are two surviving portraits of Socrates and Homer. The identity of the partially deformed female portrait and the other destroyed portrait remains unknown. Although the depictions in the upper floor salon are no longer extant, historical records point to portraits featuring Artemis and Aphrodite and mythological scenes. The rooms flanking the entrance hall feature imaginative landscapes and depictions of specific locales like Rumeli Fortress and Fenerbahçe Cape. Executed with a realistic approach, these paintings reflect a romantic landscape sensibility. The deliberate inclusion of both ancient Greek and Istanbul-themed paintings in the ceiling decorations serves as a poignant indication of the owner’s allegiance to his cultural heritage and affiliation with the state to which he belongs.
In a general sense, the İlhan Koman House, being a Greek house, exhibits characteristics of traditional Turkish homes through its plan, material-technical aspects, and projections like bay windows. Simultaneously, it portrays a Western character with its neoclassical facade design, strong connection to the exterior, and ceiling paintings inspired by Ancient Greek themes. Serving as a synthesis of Turkish and Greek residential architecture, the house stands out as a remarkable example of late Ottoman residential architecture in Edirne. Reflecting the socio-cultural features of its era in terms of architecture and ornamentation, the İlhan Koman House holds significant importance in both the architectural landscape of Edirne and Ottoman residential architecture. As such, it is a valuable structure that should be preserved and passed on to future generations.
