Architect (B. 1908, Istanbul – D. 1988, Istanbul). He was raised in a family of artists. His father İsmail Hakkı Bey worked on paintings, made translations from foreign languages and was interested in music. He also engaged his children to these fields at early ages. Curator Osman Hamdi Bey and Halil Ethem Bey were kin of his mother. Eldem, who grew up in this environment, completes his primary education in Geneva, secondary education in Munich. He started his education of architecture in 1924 in Sanayi-i Nefise Mektebi (Fine Arts Academy of Mimar Sinan University). In 1928 he graduated ranking first and was granted a scholarship of three years. He went to France, England and Germany to make use of it. He worked with Auguste Perret and Hans Poelzig, and met Le Corbusier.
Upon his return to Turkey, he worked for a while in
Ankara in the office of the Italian architect Guilio Mongeri. In 1932 he
returned to Istanbul and opened his office. In the same time he became an
academic member in Fine Arts Academy. He continued this duty until his
retirement in 1978.
The times in which Eldem worked as an architect is a
period of uncertainty for Turkey between the dilemmas of national-international
and local-global, as it was the case for other countries in the world. Eldem
during this seek took a stance pro nationalism. This is clearly seen in his
educational works and theoretical explanations about how the architecture
should be. He started a work titled ‘Milli Mimari Semineri’ (T N. National
Architecture Seminar) during the first years of his academic membership in Fine
Arts Academy (1934). The purpose of ‘Milli Mimari Semineri’ was to expand the
scope of researches related to national architectural works, to prove that
civilian and anonymous architectural buildings were also worth to be researched
and find new foundations for modern Turkish architecture. Eldem's rationalistic
and functionalist designs in 1930s started to reflect his nationalist ideas
since the beginnings of 1940. The design he prepared for New York World Fair in 1939
called Türk Pavyonu, can be regarded
as the beginning of this period which defends this understanding in Turkish
architecture.
Eldem is an architect who could adapt to changing
conditions. Istanbul Palace of Justice (1949) he designed with Emin Onat by the
end of 1940 is a good example of it. This design within the rationalist and
functionalist approach played a great role to open Turkey to international
opinions after the 2nd World War years when it was closed to outside.
Following years make the period in which Eldem designed buildings to combine
national and international qualities. In fact Eldem was producing in both
perspectives. In his buildings addressing traditional functions such as houses,
coffee-shops he mainly used formations inspired by the Turkish architecture,
thus approaching the idea of national architecture.
The best example of this is Şark
Kahvesi in Istanbul Taşlık (1948-50; demolished in 1988). Aside from these,
when modern functions such as administration, education and accommodation come
into question, he chose a rationalist and functionalist way. Instead of using
traditional elements when forming his building, he headed for forms which were
appropriate for the conditions of the function, material and conveyor system.
Examples are Istanbul University, Faculty of Science and Literature (1944, with
Emin Onat), Ankara University, Faculty of Science (1947, with Emin Onat and
Paul Bonatz) and Istanbul Hilton Hotel (1952, with S. O. M and Gordon
Bunshaft). A successful example of Eldem’s new approach is Social Insurance
Institution in Istanbul Zeyrek, he designed by the beginning of 1960s
(1963-72), and another one is the Indian embassy in Ankara (1965; with Orhan
Çakmakçıoğlu).He has built numerous residential buildings, mansions and seaside
residences. Sirer Seaside Residence in Istanbul Yeniköy (1966-67) is one of the
most successful buildings of him in this period. This building, which brought
solutions to modern necessities with modern designing principles and building
methods, was also in harmony with the traditional Turkish architecture so it
would not be incongruous with the historical frame it was in.
Eldem has been a productive architect. Many buildings
of modern Turkish architecture carry his signature. Among them are, Turkish
Embassy in New Delhi (1966), Pakistan Embassy in Ankara (1966- 1976), Akbank
General Directorate in Istanbul Fındıklı (1970), Turkish Embassy in Beirut
(1972; with H. Şensoy and S. Sadık), Atatürk Library in Istanbul Taksim (1973)
and Alarko Business Blocks in Maslak (1980-88).
Another field, which was important to Eldem, likes designing and application works, was architectural
education. He administrated designing works during his duty in academy and
lectured on construction methods. He continued his works he started with
National Architectural Seminar later in Relief Chair administrated by him.
His interest in traditional Turkish architecture
required him to be in close relationship with protection of buildings, which
are products of this architecture. Eldem who was famous with knowing Istanbul
and buildings in it very well served between the years 1941-45 in Commission of
Antiquity Protection, 1962-78 in High Council of Fixed Ancient Artifacts and
Monuments. Besides he worked in preparation units of 1st
Construction Congress gathered in 1948 in Ankara. He was one of the
representatives of Turkey for International Union of Architects (UIA)
established after the 2nd World War and which realized its first
general meeting in 1948 in Lausanne.
Sedat Hakkı Eldem was a widely discussed architect. He
attracted many critics with his ideas. This caused his works to be pushed aside
from time to time. However, Eldem thought that he could only achieve something
with discipline, realized it and was in fact one of the most important Turkish
architects of 20th century.
Eldem with his writings published in reviews such as Mimar, Arkitekt, Akademi, Mimarlık, Güzel Sanatlar,
Sanat Dünyamız and Türkiyemiz
and with his published books contributed to Turkish architecture and thought
life.
He received numerous awards including
Sedat Simavi Foundation Architecture and Urban Planning Award (1982), Great
Arts Prize of Ministry of Culture and Tourism (1983) and Aga Khan Architectural
Prize (1986).
WORKS:
RESEARCH: Geleneksel Yapı Usulleri (1941),
Bursa Evleri (1948), Türk
Evi Plan Tipleri (1954; 2. ed. 1968), Geleneksel
Yapı Metotları (1967; 3. ed. 1970),
Rölöve I, II (1968, 1. volume; 1977, 2. volume; with F. Akozan
and K. Anadol), Köşkler ve Kasırlar
(1968, 1. volume; 1973, 2. volume),
Amcazade Hüseyin Paşa Yalısı (1970; with S. Ünver), Türk Mimari Eserleri (1976), Sadabad (1977), Boğaziçi Anıları (1979), İstanbul Anıları (1979), Topkapı Sarayı, Bir Mimari Araştırma
(1982; with F. Akozan), Büyük Konutlar
(1982), Türk Evi I, II (1984,
1. volume; 1986, 2. volume).
ARCHITECTURAL WORKS: Budapeşte Sergisi Türk Pavyonu (1931), Naci Paşa Köşkü (1932, Ankara), Tevfik Azmi Yalısı (1933, İstinye, Istanbul), Elektrik Şirketi Deposu (1934, Fındıklı, Istanbul; demolished), Seyhanlı Apartmanı (1934, Teşvikiye, Istanbul), İnhisarlar Umum Müdürlüğü (1934-38, Ankara; later Prime Ministry), Termal Oteli (1934:-37, Yalova; demolished in 1984), Okyar Köşkü (1936-37, Büyükada, Istanbul), Ahmed Ağaoğlu Evi (1936-37, Nişantaşı, Istanbul; demolished), Ayaşlı Yalısı (1938, Beylerbeyi, Istanbul), Tahsin Bey Yalısı (1938, Yeniköy, Istanbul), Ankara Devlet Konservatuarı Ek Yapısı (1938), Plaj Tesisleri (1956-59, Florya, Istanbul; with O. Çakmakçıoğlu), Plaj Tesisleri (1956-59, Kilyos, Istanbul; with O. Çakmakçıoğlu), Uşaklıgil Köşkü (1963, Emirgân, Istanbul), Kıraç Yalısı (1965, Vaniköy, Istanbul), Neslişah Sultan Yalısı (1971-72, Kandilli, Istanbul), Hollanda Büyükelçiliği (1976-77, Ankara), Kâmuran Sertel Köşkü (1975, Yeniköy, Istanbul), Rahmi Koç Köşkü (1975, Tarabya, Istanbul), Şark Sigorta Genel Müdürlüğü (1979, Bağlarbaşı, Istanbul), Mimar Sinan Üniversitesi Atölyeler Bloğu (1981-83, Fındıklı, Istanbul; with C. Eren).