Alexandre Vallauri and His Works for the Italian Community of Istanbul

Italian Architects and Builders in the Ottoman Empire and Modern Turkey: Design across Borders Edited by Paolo Girardelli and Ezio Godoli Italian Architects and Builders in the Ottoman Empire and Modern Turkey: Design across Borders Edited by Paolo Girardelli and Ezio Godoli Copy-editor Claire Karaz Graphic design by Emiliano Bugatti This book first published 2017 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2017 by Paolo Girardelli, Ezio Godoli and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-5194-9 ISBN (13): 978-1-4438-5194-7 Table of ConTenTs Introduction vii Paolo Girardelli and Ezio Godoli Part I - Landmarks, Spaces and Politics From Andrea Memmo to Alberto Blanc: Metamorphoses of Classicism in the Italian Buildings for Diplomacy (1778-1889) Paolo Girardelli 5 Palazzo Venezia in the mid-19th Century: Contributions by Gaspare Fossati and Domenico Pulgher Rudolf Agstner 29 Political Ideals and their Architectural Visibility: Gaspare Fossati’s Projects for Tanzimat Istanbul (1845-1865) Göksün Akyürek 45 The Contribution of Luigi Storari to the Analysis and Development of the Levantine Urban Fabric Emiliano Bugatti 63 The Italian Presence in the Romanian Principalities by the Year 1878: The Historical and Cultural Context Raluca Tomi 75 Part II - Individual Experiences in Context Nicola Carelli in Constantinople and in the Levant: Some Notes Fabio Mangone Brothers but not Compatriots: The Fossatis in Milan Giuliana Ricci Giulio Mongeri’s Photo Collection: The Eye of a Milanese Architect in Turkey Giovanna D’Amia 97 111 125 vi Table of Contents Luigi Rossetti in Izmir Cenk Berkant Italian Architects in Thessaloniki: New Elements a bout the Work of Vitaliano Poselli and Pietro Arrigoni Vassilis Colonas 139 149 Part III - Institutions and Investments Alexandre Vallauri and his Works for the Italian Community of Istanbul Seda Kula Say The Italians of Istanbul and their Properties: An Analysis through the Petitions addressed to the Italian Consulate, 1873-1910 Zeynep Cebeci 165 183 The Interests in Land and Real Estate of the “Assicurazioni Generali” in Ottoman Turkey Francesco Krecic and Diego Caltana 199 Giulio Mongeri, Edoardo De Nari and the “Società Anonima Ottomana Costruzioni” (S.A.O.C.) Vilma Fasoli 213 Part IV - Late Empire to Republic - A Plural Modernity Rediscovering Edoardo De Nari, Italian Architect in Turkey (1874-1954) Büke Uras 233 The Italian Participation in the Competition for Atatürk’s Mausoleum in Ankara Milva Giacomelli 249 Finding a Balance between Art and Technique: The Sports Centers Designed by Paolo Vietti Violi in Turkey Paola Ricco 267 Contributors 281 165 alexandre VallaurI and hIs arChITeCTural works for The ITalIan CommunITy In IsTanbul Seda Kula Say Alexandre Vallauri, the eminent architect of the late 19th century in the Ottoman Empire, was born in 1850 in Istanbul and died in France in 1921. In 1868, Vallauri was enrolled in architecture classes at the prominent Ecole des Beaux Arts in Paris, and was accepted to work in Ernest Coquart’s studio during his education which lasted until at least 1879, at a time when eclecticism, within a milieu of fast technological progress, was most profoundly felt in architectural theory and practice. Upon his return to Istanbul at the beginning of the 1880s, his educational background catapulted him to a highly advantageous position among his contemporaries and peers. Subsequently, Vallauri is known to have been closely associated with Osman Hamdi Bey, the orientalist painter who had also studied at the Ecole des Beaux Arts of Paris and was a pioneer in Ottoman archeology, and who had then just been appointed director of the Imperial Museum in Istanbul. Shortly afterwards, he would be engaged in founding the Imperial School of Fine Arts. Vallauri designed and built the buildings for the school and the new museum (“MF.MKT 94-112” 1887), both created within the campus concept, reminiscent of that of the Ecole des Beaux Arts in Paris1. Vallauri was also appointed as professor of architecture in the newly established Imperial School of Fine Arts, modeled after the Ecole des Beaux Arts of Paris, where he would be the only professor of architecture for 25 years and educate many architects. Thus, it is not surprising that he had such a profound impact on late Ottoman and probably early Republican architecture in Turkey. Vallauri had indeed led a very active professional life. He is the designer of numerous prestigious buildings, mostly in Istanbul, 1 It should be noted that Osman Hamdi Bey must have had a considerable influence on the early career of Vallauri, whom he directed, both as his superior and collaborator, as well as being the foremost member of an Ottoman bureaucrat family that shaped the cultural policies of late Ottoman empire. Part III Institutions and Investiments 166 2 and many of which are still in-use . Aside from his professorship at the Imperial School of Fine Arts, he worked as the architect of the Administration of Indirect Contributions (Düyun-u Umumiye İdaresi) from September 10, 1889 (“İ.DH 1154-90240” 1889); for the Regie Tobacco Company (Tütün Rejisi) in the 1890s; was recruited by the Ottoman State for post-earthquake restorations of state and wakf (foundation) buildings in July 1894 (“Y.MTV 102-120” 1894); appeared as the architect of the Ottoman Army in June 1898 (“İ.. TAL 139-1316 M071” 1898), and is known to have also taught at the Ottoman School of Industry (Mekteb-i Sanayi) in 1902 (“MF.MKT 622-61” 1902). This paper attempts to analyze and combine data from primary sources such as the Ottoman Archives, Italian Consulate Archives, Societa Operaia archives, newspapers as well as church and consulate registers: firstly to resolve the conflicting data about Vallauri’s origins, shed light on his Italian roots, as well as his affiliation with other communities and nationalities (since all these, within the context of the highly cosmopolitan, multicultural and hence quite liberal atmosphere of late 19th century Istanbul, must have had a considerable impact on his architecture) and; secondly, to examine his contributions to the buildings of the Italian community in Istanbul. Vallauri’s Origins Vallauri is often referred to as French in many sources. There also is an ambiguity about his name and surname. We can observe different combinations of Alexandre/Alessandro and Vallauri/Vallaury on different documents, even on different instances of his own signature or inscriptions on his buildings. Actually all church and cemetery registers use the name Vallauri. As for the first name, it is often written as Alexandre and seldom as Alessandro. The newspapers also refer to him as Vallauri until the end of 1890s. 2 Among Vallauri’s many works, the Cercle d’Orient building in Pera (1884), the Archeological Museum (1891, until 1907 in three steps), the Ottoman Bank Headquarters (1892), the Pera Palas Hotel (1893), The Headquarters of General Administration of Debts - Düyun-u Umumiye (1897), the French Hotel or Greek orphanage at Büyükada (1898-1903), and the Imperial School of Medicine at Haydarpaşa (1903 - with Raimundo d’Aronco) are the best known ones. Seda Kula Say 167 Vallauri had a strong affiliation with France and French culture; however his school register at the Ecole des Beaux Arts (ANF AJ/52/384), shows that he was an Ottoman subject at the age of eighteen, and is clear proof that he was not a French citizen nor did he have French origins then. However, based on information from different sources we can ascertain that he was a Levantine of Italian origin: his father, Francesco Vallauri, was a well-known master confectioner in Istanbul, a favorite of Sultan Abdülmecid. Francesco Vallauri was born on March 11, 1800 in Pinerolo in the province of Turin (Consulate of Sardinia, Izmir), whereas according to another official document (of the Italian Consulate in Istanbul), he is from Cuneo, Piemonte in Italy. Francesco Vallauri is known to have come to Izmir some time after 1840, where he met his second spouse Helena Moro-Papadopoulo3. According to their elder son Pietro’s marriage record (Apostolic Vicariate of Istanbul, Archives of the Cathedral of St. Esprit), Pietro was born and baptized in Izmir in 1842 and then the family moved to Istanbul in 1849. A newspaper advertisement dated 19 Sept 1849 (Journal de Constantinople-Echo de l’Orient 1849) announcing the opening of a new confectionery by M.François Vallauri on Grand Pera Street across from the Hotel d’Angleterre also supports this view. Francesco and Helena had four sons and two daughters; but the couple did not marry in a Catholic church since Francesco was probably still married in Italy; so in the church baptism acts (St. Antoine Church 1850) of Alexandre and Edouardo Vallauri, the two brothers are noted down as illegitimate children with the abbreviation “illegm” in the relevant document. Hence Alexandre Vallauri had, not only Italian, but probably also Greek origins; what is more, his first wife Constantia was a Greek Catholic (Levantine Heritage team, pers. comm.). On the other hand, we know that Alexandre Vallauri, as well as his elder brother Pietro, were members of the Società Operaia4 in Istanbul, where only people of Italian origin were 3 This precise knowledge, and relevant documents about Vallauri’s family’s origins were accessed via correspondence with descendents of his family and other Levantine families. I am especially thankful to Levantine Heritage team members Ms. MarieAnne Marandet, Mr. Jacques Caporal and Ms. Catherine Saiko who have shared their genealogy work and valuable original documents with me (Vallauri, pers. comm.), (Levantine Heritage team, pers. comm.). 4 Alessandro Vallauri was accepted as a member in January 1883 with the reference of Part III Institutions and Investiments 168 accepted . Alexandre Vallauri was also a member of the Masonic Lodge Italia Risorta di Costantinopoli with the registration number 67586 (Grande Oriente d’Italia, Servizio Biblioteca, pers. comm.). It comes as no surprise that in the years to come, the multicultural and multinational background and connections of Vallauri, along with the very colorful and liberal atmosphere and society of late 19th century Constantinople, would reflect on his professional career and choices. 5 Prior to 1895, in meeting minutes of the Società Operaia, Vallauri’s name often appeared as a participant or subject. Vallauri was engaged in the design and construction of two important buildings for the Società Operaia and the Italian community in Pera, Istanbul: Società Operaia’s “nuovo locale” and the Italian Primary School for Boys. After 1895, the Società Operaia membership records cease to include Vallauri and an Ottoman archive document dated July 6, 1896 (“BEO 806-60440” 1896) refers to him as a French subject. French Consulate official correspondence also notes that his naturalization took place by a decree dated April 10, 1897 (Consulat General de France in Istanbul, letter to Gilberto Vallauri 1987). So Vallauri, who had been very much involved in French culture and society since his youth, chose to change his nationality to French at the peak of his career. After 1901 the architect was referred to as Vallaury, and remarried a French woman sometime after 1909. In his sixties, he moved to France where he settled with his wife in the perfume industry town of Grasse, on the French Riviera, which is not far from his father’s hometown. In 1921, he died and was buried in Grasse (Consulat General de France in İstanbul, letter to Gilberto Vallauri 1987) (Vallauri, pers.comm.). Dr. Gabuzzi and with members numbering 123. In the membership records between 1883 and 1885, his “patria” is recorded as Costantinopoli; however in the records of 1886-1887, his status is changed to “socio perpetuo”. As of September 1886, his “patria” was changed to “di qui Torino”. (Societa Operaia member files) His membership record continues that way, unchanged until 1895. 5 It should also be noted that by the time Vallauri returned to İstanbul from Paris, his sister Victorine had been living in New York running a tobacco business for some time and his brother Edouardo happened to be settled in Port Said as a businessman (Vallauri, pers.comm.). 6 This information had also been published in the article “Socialità massonica e socialità operaia. Il caso di Costantinopoli” by Angelo Iacovella in Italiani di Istanbul. Fig., comunità e istituzioni dalle Riforme alla repubblica 1839-1923, ed. by A. De Gasperis and R. Ferrazza, Edizioni della Fondazione Giovanni Agnelli, Torino, 2007. Seda Kula Say 169 The New Premises of the Società Operaia in Istanbul In the early years of his career, Vallauri, by 1884, had already been the architect of the Imperial School of Fine Arts (1882) and Cercle d’Orient Club (Dec 1883) and probably also the mansion of the ex-Egyptian Khedive in Üsküdar. In 1884, the Società Operaia of Istanbul decided to move to new premises in Pera, where a new edifice was to be built. Vallauri is known to have made considerable “contributions” to the construction of this building. Tokay, based on research in the Società Operaia’s archives, mentions that the building was designed by Vallauri and its construction was undertaken by Bottarlini (Tokay 1994). The association’s “Memoria Storica- 18631906” book gives the same information (Società Operaia 1906, 16). A recent examination of the association’s archives (Società Operaia meeting minutes) revealed the following regarding the construction of the new edifice7: From the March-April 1884 meeting minutes, we understand that the association decided to have its new edifice built on a plot that would be formed by purchasing the properties and buildings of Vallauri, his mother Elena Moro and Carolina Lebon – Vallauri’s elder stepsister – and a certain Signora Barbara Dussi; the relevant procedure and legal affairs would be handled by Lebon. In April, Caroline Lebon was accepted as a new member of the Società –somewhat surprisingly since normally members were men. As for Alexandre Vallauri, he, along with Bottarlini, Stephan Gallerini, Recchia and Pasquali, took part in the new commission that would determine the cost of the new building. All this already shows a strong link between the Società Operaia and the Vallauri family, and points to Vallauri’s considerable contribution towards the new building. In April-May 1884, a commission was elected, in which the three architects Vallauri, Bottarlini and Stefano Gallerini from the commission, officially predicted the cost to be 896 lira. The new site was referred to as being three parts, one in ruins. The board also wished the combined plots to be registered as “mülk”, that is, as property, to be promoted to status of a “wakf”, that is, a foundation; though we do not know the consequences. Also a new commission was elected for the construction and Vallauri, receiving 16 of 23 7 I am grateful to Mr. Büke Uras with the help of whom I translated the meeting minutes in the society’s archives. 170 Part III Institutions and Investiments votes, was elected “consiglieri”, or consultant to this commission. By the end of August 1884, only Bottarlini had come up with a project, while the architects Vallauri and Breschi had not sent anything. Evidently the funds were very limited; not even half of the sum required had been collected; so the president proposed that only the outer walls be built and to leave the rest for later on. In this meeting Bottarlini described the building project at length and a member, Bacchetti, proposed that the building be supported by small brick vaults, which both Bottarlini and Vallauri were against, as that would be too costly. Vallauri proposed that the ground floors be let, as separate units in the form of a canteen or restaurant, in order to cover some of the expenses. Finally the decision to start the construction within 1884 and to form a technical commission were voted and accepted with unanimity. The technical commission would include Bottarlini, Vallauri, Semprini, S. Gallerini and Bacchetti. At the beginning of October 1884, we find that the property was already registered as “mülk” and demolition was being carried out. The major change is that Bottarlini was appointed architect and director of the new building project; the relevant commission approved this change and subsequent meeting minutes do not contain other decisions that reappointed Vallauri as the architect; so that, as of October 5, 1884, Bottarlini became the architect in charge and his plans relevant to the walls and space organization, as well as his cost calculation had been presented to the board and accepted. However, through meeting minutes, we witness the contributions of Vallauri and other architect members as well. For example, a certain “sporgente”, or projection of the building was discussed, which Bottarlini and Bocchetti were against, while Semprini and Vallauri’s votes, though illegible, were possibly in favor. Finally, the board decided in favor of the projection so that the hall could be more spacious; but this was followed by a dispute between Vallauri and Bottarlini. November 2, 1884 was the day of the laying8 of the first stone for the new edifice9 and also a meeting day. The association’s 8 This event also found a place in newspapers; it was reported that “Last Sunday (Nov 2) the first stone of the new edifice of the Italian Workers’ Society was laid. To this interesting ceremony attended numerous officials and notables of the Italian community” (“La Societa Operaja” 1884). 9 A parchment was prepared to be placed in a bottle and put under the first stone of the edifice. On the parchment was written the date November 2, 1884, Sunday, the phrase “Italy under the reign of Umberto I, and here is reigning the great sultan Abdul Hamid han”, a list of members and the commission. Apart from this, Italian Seda Kula Say 171 meeting minutes on January 4 give details about donations for the building, along with information that Consigliere Vallauri was reproached according to the 53rd article of the constitution, as he had not attended the association’s meetings for a long time10. As a result, Vallauri’s contribution to this building is two-fold: first, regarding the purchase of the land; and second, as consultant for the construction of the new building, though Bottarlini was the architect of the building. The new Società Operaia building was inaugurated on November 15, 1885 with a grand ceremony, including a march composed for the inauguration, a lottery, a concert and a ball11 (“La Società Operaia Italiana - La Ceremonie de L’inauguration” 1885). Both Stamboul and La Turquie newspapers give information about the opening events. That of La Turquie on November 17, 1885 included a rather detailed description (“Società Operaia Italiana” 1885), which can be transcribed as follows: …“The building is situated at number 4 of the impasse Eczacı, in a house constructed through funds of the Society which is settled on the ground floor: cloakroom, office, cafeteria, buffet, restaurant, billiard room, all conveniently organized. On the upper floor we reach via stairs – maybe a bit narrow – a spacious auditorium (‘salle de spectacle’) lit by a dome covered with frosted glass; around the hall, except for the side of the scene, is a gallery at a floor’s height and which could accomodate numerous spectators. A chandelier and wall lamps serve to illuminate. Finally, this hall is coquette, charming, and also for this occasion ornamented by garlands of greenery, by dyes and by Italian and Ottoman flags.” and Ottoman coins as well as the society’s constitution, a newspaper clipping about the Societa Operaia and a blank certificate of debt were enclosed in the bottle. 10 There is some information about the ongoing construction. There was a delay due to a lack of long iron bars. The small brick arches already discussed were being constructed. There were still some debts to pay. The iron cost would be covered by Society’s own resources. That month the doors, windows and stairs would be finished according to Bottarlini’s plans. The project would be on display for 15 days; however a member, Garetti, already found the report insufficient and asked architect to clarify some issues. 11 As expressed in talks, this year had been very fruitful for the Italian community: The first secular Italian school was opened in May, the new Societa Operaia edifice was inaugurated, the Italian Chamber of Commerce was founded and finally the monument in memory of Italian soldiers who died during the Crimean War was inaugurated. 172 Part III Institutions and Investiments The building underwent a comprehensive restoration between 1908 and 1910 by Mongeri and De Nari (Girardelli 2012a). However there are some clues about the original edifice: The main part had only two floors and, probably, a basement, and the roof was pierced and very likely heightened by a cupola for light. The Goad map dating to 1905 also reflects the situation described in the newspaper column, and provides some more information (Dağdelen 2007, 37) (see Fig. 1). On the map it can be observed that the doors were marked, with their location unchanged. The tripartite plot was somewhat reflected in the resulting edifice: on the map, the central part of the building with a ballroom and a cupola overhead, as can be observed in an old photograph (see Fig. 3), is marked as three storeys high; the part including the stage and the backstage area has four floors and a basement; the wing of the main staircase is marked as having four floors. The whole building is colored pink on the map which means stone or concrete, but a small part near the main staircase is marked “bois” or wooden. A projection cannot be observed on this map, so it may be inferred that the projection of the first floor is new. An examination of more recent plans of the building12, reveals that the basement and ground floors were not changed (see Fig. 2). The jack-arches of the floor structure on the basement’s ceilings can be observed. The basement plans in particular follow the tripartite schema of the building observed on the Goad map. In these sections, a barrel vault-like structure of the basement ceiling can be observed. These three long vaults inserted in the ceiling might correspond to the “brick arches/vaults” so much discussed during the Society’s meetings. The staircase changes after the first floor, which could be due to the fact that the upper floor is an addition. The first and second floor plans reflect the post-restoration state. However the thick walls of the windowless sides could be the original wall structures, as these parts were also four storeys high in the original version. Based on the description of the newspaper article, an old photo entitled “antico locale” probably depicts the original situation of the building (see Fig. 3). Here the octagonal cupola opening on the 12 Four sets of drawings are available: some old, but still post-1910 blueprints of the plan of the building (Uras, pers. comm.), plans dated 1950 (Boari, pers. comm.), some more plans dated 1960 (Uras, pers. comm.) and finally a very recent projection of the building (Bornovalı, pers. comm.). These of course reflect the state of the building after, or at the point of restoration. Seda Kula Say 173 ceiling as well as the galleries then surrounding the three sides of the main hall are visible. The galleries display forged iron balustrades; we can spot marble or stucco square sectioned columns flanking the stage. The ceiling designed as a square featuring an octagonal cupola with an opening in the middle is organized and ornamented in panes. So are the walls of the auditorium. The painted decoration on the ceiling and walls probably used to bear some flower and foliage designs and maybe even small landscape paintings. Italian Primary School Building in Istanbul The establishment of a new and secular Italian school seems to be on the agenda of Società Operaia at least from January 1885 on; the subject was voted on, and as we learn from the speeches on the inauguration day of the new edifice of the Società Operaia (“La Società Operaia Italiana - La Ceremonie de L’inauguration” 1885), the school had been opened in May; however in a rented building. With the support from the Italian state and the society’s efforts, these schools multiplied; however there was always a need to construct a new and modern building that would accomodate these schools, while also meeting the required modern educational standards. The Società’s meeting minutes of March 5, 1893 show that for the construction of this school building, a total of 20,000 franks were donated and the debts/credits taken were to be paid back in 15 years (Società Operaia meeting minutes). The property was bought in November 1893, and in April 1894 a contract was signed with the Italian government for the new school. In the minutes of the General Board’s meeting on May 6, 1894 there is detailed information about the laying of the first stone and the building’s architect, Vallauri: “It is announced that this same day the first stone of the edifice was laid and during the ceremony a metal chest of drawers was placed in the foundation. In it were placed coins and parchment was included; bearing the following words: “…On April 20, 1894 in Constantinople, the Società Operaia Italiana di Mutuo Succurso has signed an agreement with the Royal Italian government to construct a building in this city to be used as a school for boys. For this building whose first stone is being laid now, the following resources are used: 1. A total of 28,000 franks raised by 174 Part III Institutions and Investiments the community so far. 2. 5000 Turkish liras provided as debt in the name of Società Operaia.The plans of the building are prepared by Alessandro Vallauri and the constructor is Carlo Pusterla. The controlling and supervising commission is made up of Bignami Luigi, Angelo Gallerini-son, Golzia Giovanni, Fioravante Rossi and Alessandro Vallauri.” Mori, in his book, also refers to this event; he writes that the whole plot is 843 m2 and reports that on 281 m2 of this property a new educational building would be constructed according to plans approved by the Ministry of Foreign Affairs and the Ministry of Public Education, and prepared by Vallauri (Mori 1906, 135). He emphasizes that Vallauri was assisted by the architects d’Aronco, Semprini, Iaschi, and Gallerini. He adds that the construction was realized by member C. Pusterla, under the surveillance of Gallerini, Rossi, Golzio and Bignami. A correspondence of the Italian embassy dated September 22, 1894 reveals that the Ministry of Foreign Affairs sent a payment of 12,000 for the school year 1894-5 and for the school building in Galata and Pera (“Italian Consulate Correspondence Regarding New Boys’ School” 1894). Thus, the school would have a new hall. But with this donation, the ministry included the condition that the Società Operaia should complete the three parts of the building for the primary school, technical school and commercial school within one year. Indeed in the minutes from December 2, 1894, the construction of the new school was declared as about to be completed (Società Operaia meeting minutes). Mori also states that the actual delivery of the building was made with an act on January 8, 1895 (Mori 1906, 136). However, official documents from Ottoman archives reveal that the new Italian School for Boys was in service on February 9, 189513. 13 Ottoman archives hold a dossier of multiple documents about investigations of Italian schools in Galata and Pera over a period of 4 months, which informs us that Italian schools were reported as being inaugurated without permission, so they were to be shut down, and there was a series of correspondences between the relevant units in the ministry, altogether eleven pages. The final document after investigation, dated February 12, 1895, remarked that all the schools in question were under protection and administration of the Italian consulate, these being one boys’ school on 82 Yeniçarşı Street on the upper side of the gas factory, another on 23 Polonya Street and a third on 43 Hamalbaşı Street (“MF.MKT 230-34” 1895). The first of these had, the Saturday before - that is February 9, 1895 - moved to the newly built - “cesim ve kargir” – ‘big, stone school for boys’ on 14 Yeniçarşı Street (now Hayriye Street) and the other two schools will be moving in to this new edifice in a very short time. This document shows that the new Italian School for Boys was in service on Feb 9, 1895. Seda Kula Say 175 That this followed an investigation and the temporary closing of schools might explain why there is no news about the inauguration of the edifice in the first quarter’s issues of Istanbul’s newspapers in 1895. Moreover, this transfer to the new edifice in February 1895 corresponded with celebrations of the sultan’s anniversary. However, six years later, that is on January 1, 1901, a marble plate was placed on the corridor of the 1st floor of the building, in a ceremony that was reported in the newspapers as an event with “imposing character” (“L’école Italienne de Garçons” 1901) (“Inauguration D’un Marbre a L’école Italienne de Garçons” 1901). The new Italian School for Boys was designed by Vallauri when he was at the peak of his career. By then, he had a very busy schedule dealing with docks and customs. He was occupied with the works on the famous hotel, the Pera Palace (opened January 25, 1895) and the Summer Palace (opened June 23, 1894, just before the earthquake). He was also preparing for the construction of Ottoman international exhibition buildings in Şişli and the medical school with Raimondo d’Aronco. Apparently the destructive earthquake of the summer of 1894 in Istanbul entirely changed the building agenda of Istanbul, and for Vallauri it brought important restoration tasks throughout the city, often in cooperation with d’Aronco. It is probable that the earthquake, as well as his heavy workload might have delayed the completion of the Italian school building. From 1894 on, Vallauri worked in close cooperation with d’Aronco; so Mori’s remark that d’Aronco among other architects was assisting Vallauri seems logical, however there is no primary source for this information. The Pervititch map showing the school site provides us with some details (Pervititch and Türkiye Ekonomik ve Toplumsal Tarih Vakfı 2000, 106) (see Fig. 4). The building is four storeys high on the street side and five storeys high on the back side. All storeys are 4 meters high or more. Above the 4th floor on the street side is a large terrace. As for the fifth attic storey on the back, it is listed as having a “French vault” on it, which could mean a mansard roof, and “fênètres nonprotégées” or unprotected windows. The separate sports hall in the backyard was probably vaulted with two parallel barrel vaults, and on top of it was a ridge roof with “French” bricks. 176 Part III Institutions and Investiments The building is preserved, albeit with some changes14. A comparison of its actual state with the Pervititch map, and also a description on a tax declaration form (“Tax Declaration Form for Building on 492/13” 1932) dated 1932, reveals that its final roof floor should normally have a spacious terrace which seems to have been closed-up. The tax form details the organization of the building as such: “…Basement: cafeteria, WC, central heating room. Ground floor: A spacious recess hall, cloakroom, coal depots, hallway, kitchen. 1st floor: marble hallway, three classrooms on a wide corridor, another porters’ room. 2nd floor: Corridor, one big, one small, 2 rooms flowing into each other, an auditorium, two rooms and a cloakroom. 3rd floor: 3 rooms and 2 rooms and a cloakroom, a repair room, WC, a spacious terrace. Water, electricity, central heating, courtyard, sports hall.” Other than the attic floor the building does not seem to have changed much (see Fig. 5 and Fig. 6). Only the rooms flowing into each other seem to have been combined. It is a rationally planned functional building on an irregularly shaped plot, carefully organized so as not to waste any space. It has no axis of symmetry. The base area is too small to accomodate an atrium, typical of Vallauri buildings, but all the spaces are well lit via broad windows; and the staircase could be counted as a light-well, especially when imagining that the former roof structure was made of glass. The lateral and rear façades do not have ornamentation, nor cornices. Only the ground floor windows have round arches; all others are linteled. But the street side façade is rather elaborate and imposing (see Fig. 7). Though reminiscent of Italian palace façades, it is much simpler, floor levels are less emphasized and lighter due to the very wide window openings. Vallauri’s often rich repertory of ornamental elements and historical references are rather limited here. Had the terrace been present, its banisters might have added more effect to this arrangement. Only a vague sense of symmetry can be felt with the front façade, with 9-paned square windows in triples on each storey, a window scheme also followed on the rear façade. On the 14 The ownership of the Italian Boys’ School building, after a legal procedure in 2005, passed to the Administration of Foundations of Turkey (“Correspondence for building on 492 / 13” 2005). Its plans were changed in 2008 to accomodate touristic functions and it was restored accordingly. It has been rented and now houses on the top two floors the firm having undertaken the restoration, and on the other floors (and garden) a restaurant with its independently used conference rooms. Seda Kula Say 177 street side, the storeys are emphasized by a very modest cornice. The ground floor level has a rather simple ashlar wall and small rectangular window openings. The identical first and second floor levels bear embossed ashlar walls flanking the windows, however, these cut-stones are plain near the windows, whereas the ones in the middle are rustic and colored. The spaces between windows and the upper and lower cornices accomodate niched panes, while the upper ones contain two small rosettes. The entrance door is a design in itself. Its rectangular frame has a very heavily profiled topping, the middle of which is even more emphasized by a keystone-like protruding element, echoing the rectangular lower floor window groupings topped by cut stone keystones on the Ottoman Bank façade, but more dominant here. The upper part of this frame has two small windows separated by columnettes with square sections. The lower part leads inside via a flight of stairs to reach the iron door. The third floor has a modest organization of more obviously neoclassical elements. Its wall is plastered and its square-like windows in-line with those of the lower storeys are flanked by colonnettes topped with ionic capitals, and supported by small voluted consoles. In the spaces between these groups there are also windows, so that the transparent surfaces become continuous on this last floor. The rather shallow eaves overhead are supported by a number of small consoles. The interesting design of the entrance is continued inside by a circular arched door with art-nouveau designs in stained glass and a circular arched ceiling on top. Further stairs lead to yet another stained glass door, and inside it is an entrance hall with semicircular apsides. On one side is access to the main stairs via a forged iron frame. These last details relevant to the entrance have some features rarely used by Vallauri such as the stained glass and the semicircular apsides; however an entrance accessed by stairs, triple windows, ashlar and embossed cut-stones on the façade and neo-classical references are elements often used in his buildings. 178 Part III Institutions and Investiments The rather elaborately ornate staircase is a center of focus. The balustrades, as with many other Vallauri buildings are forged iron bearing a rather simple design. Apart from this the interiors are not particularly ornate: windows are merely topped on the inner side by plain depressed arches. The building was known to have been fitted with modern equipment for its time. There are at least 3 shafts, probably meant to accomodate infrastructural elements. All of the visible floor structure incorporates jack arches. Conclusion It should be emphasized that Alexandre Vallauri, who was of Italian and Greek origins as well as having Ottoman and French affiliation, is a character representative of the late 19th century plural environment of Pera and Istanbul, and he was no doubt one of the most important actors of late Ottoman architecture. Girardelli lists three important phenomena affecting the Italian community in this milieu: the link with the medieval past as a marker of identity, the affiliation with Italian nation-building efforts and finally “…the constantly changing relations and links with late Ottoman society and the Levantine world” (Girardelli 2012b). This third one, rather than the other two, must have had the greatest impact on Vallauri’s life and his career. In this context, Vallauri succeeded, owing to his adaptive qualities; but this did not hinder him from negotiating different demands and exigencies to produce optimal but original solutions within an architectural vocabulary of his own. Abbreviations ANF: French National Archives BOA: Ottoman Archives of the Turkish Prime Ministry Seda Kula Say 179 Bibliography ANF AJ/52/384. AJ/52/384. Archives Nationales de France. Apostolic Vicariate of Istanbul, Archives of the Cathedral of St. Esprit “Marriage Records.” “BEO (Bab-ı Ali Evrak Odası) 806-60440.” 1896. 6.7.1896 (25 Muharrem 1314). BOA. Bornovalı, Sedat. pers. comm. “Società Operaia Building Drawings.” Boari, Enrico. pers. comm. “Società Operaia Building Drawings.” Consulat General de France in Istanbul, letter to Gilberto Vallauri, dated. October 14, 1987 (Gilberto Vallauri private archive) Consulate of Sardinia, İzmir. “Official Register.” Dağdelen, İrfan, ed. 2007. Charles Edouard Goad’in İstanbul Sigorta Haritalari. İstanbul: İstanbul Büyükşehir Belediyesi, Kütüphane ve Müzeler Müdürlüğü. Girardelli, Paolo. 2012a. “İstanbul İşçi Yardımlaşma Derneği Binası Renovasyonu (1908-1910), Beyoğlu = The Renovation of the Sociéta Operaia Italiana di Mutuo Soccorso in Istanbul (1908-1910), Beyoğlu.” In Değişen zamanların mimarı = The architect of changing times: Edoardo de Nari, 1874-1954, 122–127. Istanbul: Istanbul Araştırmaları Enstitüsü. —. 2012b. “Italian Architects in an Ottoman Context: Perspectives and Assessments.” In İstanbul Araştırmaları Yıllığı 1, 101–122. İstanbul: Suna ve İnan Kıraç Vakfı İstanbul Araştırmaları Enstitüsü. Grande Oriente d’Italia, Servizio Biblioteca, pers. comm. “İ..DH (İrade Dahiliye) 1154-90240.” 1889. 10.9.1889 ( 14 Muharrem 1307). BOA. “İ..TAL (İrade Taltifat) 139-1316 M071.” 1898. 14.6.1898 (24 Muharrem 1316). BOA. “Inauguration D’un Marbre a L’école Italienne de Garçons.” 1901. Stamboul, January 3. Italian Consulate in Istanbul. A1 register no: 613. Italian Consulate in Istanbul, Correspondence Regarding New Boys’ School , September 22, 1894 . ITCNC0600490-1-2. SALT archives. Journal de Constantinople-Echo de l’Orient. 1849, September 19. KTVKK İstanbul I nolu Yenileme Kurulu. pers. comm. “Plans and Elevations for Building on 492 / 13 by Bukowa Architects.” KTVKK İstanbul I nolu Yenileme Kurulu. “L’école Italienne de Garçons.” 1901. Stamboul, January 2. “La Società Operaia.” 1884. Stamboul, November 5. “La Società Operaia Italiano- La Ceremonie de L’inauguration.” 1885. Stamboul, November 17. “MF.MKT (Maarif Vekaleti Mektubi Kalemi) 230-34.” 1895. 12 Feb 1895 (31 Kanunusani 1310). BOA. “MF.MKT (Maarif Vekaleti Mektubi Kalemi) 622-61.” 1902. 24.4.1902 (15 Muharrem 1320). BOA. “MF.MKT (Maarif Vekaleti Mektubi Kalemi) 94-112.” 1887. 11.8.1887 (21 180 Part III Institutions and Investiments Zilkadde 1304). BOA. Mori, Angiolo. 1906. Gli Italiani a Costantinopoli. Modena: Antica Tipografia Soliani. Pervititch, Jacques, and Türkiye Ekonomik ve Toplumsal Tarih Vakfı. 2000. Jacques Pervititch Sigorta Haritalarında İstanbul. Istanbul: Tarih Vakfı: AXA OYAK. Società Operaia. 1906. Società Operaia Italiana Di Mutuo Soccorso, in Costantinopoli Memoria Storica 1863-1906. Costantinopoli: Società Operaia. Società Operaia meeting minutes. “Meeting Minutes.” Società Operaia member files. “Member Files.” “Società Operaia Italiana.” 1885. La Turquie, November 17. St. Antoine Church, Istanbul. 1850. “Baptism Act of A.Vallauri” (Liber Baptizatorum ab anno 1831 usque ad 1856) “Tax Declaration Form for Building on 492/13.” 1932. 492 ada 13 parsel. KTVKK İstanbul I nolu Yenileme Kurulu. Tokay, Hale. 1994. “Società Operaia.” Dünden Bugüne İstanbul Ansiklopedisi. İstanbul: T.C.Kültür Bakanlığı Yayınları - Tarih Vakfı. Uras, Büke. pers. comm. Società Operaia Building Drawings Vallauri, Gilberto. pers. comm. “Y.MTV (Yıldız Mütenevvi Maruzat Evrakı) 102-120.” 1894. 19.8.1894 (16 Safer 1312). BOA. Seda Kula Say 181 Figure 1 Società Operaia, “Nuovo Locale” on the Goad map (Dağdelen 2007, 37). Figure 2 Società Operaia, “Nuovo Locale”, Ground Floor plan- post-1910 heliographic print from Büke Uras private archive (Uras, pers. comm.). Figure 3 Società Operaia, “Nuovo Locale” Auditorium (Mori 1906, 261). 182 Figure 4 Italian Boys’ School site on Pervititch map (Pervititch and Türkiye Ekonomik ve Toplumsal Tarih Vakfı 2000, 106). Figure 5 Italian Boys’ School, 1st Floor Plan (KTVKK İstanbul I nolu Yenileme Kurulu). Figure 6 Italian Boys’ School Section (KTVKK İstanbul I nolu Yenileme Kurulu). Figure 7 Italian Boys’ School entrance façade