ITU A|Z • Vol 12 No 2 • July 2015 • 119-129 German traces in Ottoman Istanbul: The Kaiser Wilhelm Fountain Ceren GÖĞÜŞ1, Zeynep KUBAN2 1 [email protected] • Department of Architecture, Faculty of Architecture, Istanbul Kültür University, Istanbul, Turkey 2 [email protected] • Department of Architecture, Faculty of Architecture, Istanbul Technical University, Istanbul, Turkey Received: January 2015 Final Acceptance: April 2015 Abstract In 1901 German Kaiser Wilhelm II commissioned a fountain in İstanbul as a gift for Sultan Abdülhamid II and his subjects. The fountain was not only a sym- bol of the amity between these rulers and their two nations, but also stood as an architectural embodiment of its creator. Wilhelm II was personally involved in the design phase; he chose the plan and the style, also supervised the entire cre- ation process. By the time it was completed, it had already become a monument to himself. German in construction and design, the fountain was representative of the re- vivalist style of its time. It belonged in the Ottoman capital with its Neo-Byzantine style. Besides being born out of Wilhelm II’s personal preferences, the choice of style conveyed fragments of İstanbul’s past as well. Thus, history of the site became one of the factors contributing to the fountain’s design. German Fountain, also known as Kaiser Wilhelm Fountain represented a mid- dle ground between the Ottoman and German cultures of the time. Furthermore, it was to become a souvenir from an era which left profound vestiges in both of these empires and their subsequent future. Keywords German Fountain (Alman Çeşmesi), Wilhelm II, Neo-Byzantine. 120 1. Introduction chitectural styles than most of the large 1 The rapid growth In Sultanahmet Square, one of the buildings around it. of industry in the German Empire most significant and historical sites in 1880s created of İstanbul, stands a fountain easily 2. The history of the Fountain a demand for distinguishable from the monuments The fountain, originally named ‘Kai- natural resources around it by its style and workmanship. ser Wilhelm Brunnen’ or ‘Kaiserbrun- like metals and It is a small baldachin structure with nen’, is known to the Turkish public minerals. Adding to that the need a central octagonal plan and consists as the ‘German Fountain’. It was a gift for food resources of an elevated platform, eight columns from the German Kaiser Wilhelm II for the growing and a semi-circular dome. Its front following his ambitious second visit to population, The façade is on the southern side and is the Ottoman Empire in 1898. During German State demarcated by a gate and stairs. The this trip Wilhelm II did not only vis- found itself in need of a fertile rest of its façades have cast bronze fau- it İstanbul and the Sultan, but also “Hinterland”. In cets and marble basins to distribute the Holy Land and Damascus (Figure the time of Wilhelm water. Except for its columns, which 2). While consolidating his political II, prestigious are of green granite, the fountain is and economic relationship with the projects such as the predominantly made out of white mar- Ottoman Empire, he also intended to Baghdad Railways ble. The ripped dome is covered with strengthen his influence in this part of were put in action. 1 Building a railway copper and has a cast bronze gutter. the world and on the Christian, espe- to ensure easy The column capitals and bases are also cially Catholic community back in Eu- access to Anatolian cast in bronze and have floral engrav- rope2. The Kaiser himself was a devout and Middle Eastern ings. These columns situated on the Protestant and religion had an import- natural resources was an ambitious platform carry the dome by circular ant role in his political strategies. European dream. arches (Figure 1). Impressed by the meticulous prepa- British Empire was At first glance, the domed form of rations the Ottoman State undertook the first to start the structure reminds visitors of Otto- for this trip and the enthusiastic wel- the constructions. man architectural works. As it distrib- come the public gave him, he decided After the fallout between British utes water through faucets, it functions to commission a fountain as a sign and Ottoman like an Ottoman fountain rather than of his gratitude to the Sultan and the Empires following a European one. However, when the inhabitants of İstanbul (Figure 3). the annexation of architectural elements of the building, Reports concerning this decision ap- Cyprus in 1878 such as the ripped copper dome, the peared in German newspapers as early and invasion of Ottoman Egypt cube capitals and composition of its as 24 October 1898 while the Kaiser in 1882, French mosaics, are examined more closely, it was on his way to Jerusalem (Deutsche took over these becomes obvious that this tiny build- Tageszeitung, 1898.10.26). The state constructions, but ing has more references to different ar- correspondence regarding its con- the Franco-Russian struction, on the other hand, started defence treaty put an end to that in in 1899 after the Kaiser’s return to the 1894. German German Empire. Empire, Figure 1. The German Fountain (Photo: Figure 2. Kaiser in the Encampment Site (Yıldız Albümleri, 779- Ceren Göğüş, 2013). 76--0018, İ.Ü. Nadir Eserler Kütüphanesi). ITU A|Z • Vol 12 No 2 • July 2015 • C. Göğüş, Z. Kuban 121 with its lack of and even fidelity if the circumstances imperial tradition called for it. and geographic remoteness, replaced these 3. Placement of the Fountain countries as The location of a monument is al- “protector against most as important as its design. This the Russian threat” was also the case for the German Foun- and took over the railway project. The tain. advantages of this In correspondences with the Otto- collaboration for man officials, German officials empha- Ottoman Empire size the fact that the fountain was a gift were not only Figure 3. The Reception Ceremony for for the inhabitants of İstanbul and that restricted to this the Kaiser in İstanbul on 18th October protection, but also it had to be situated accordingly. Ad- the railways would 1898 (Yıldız Albümleri, 90548---0014, ditionally, its location had to coincide provide the Empire İ. Ü. Nadir Eserler Kütüphanesi). with the design without requiring any with a swift way changes. It was designed to be situated to deploy troops to The German Fountain’s existence on open space, such as a square (BOA. troubled areas like was outlined by two main aspects. Y.PRK. EȘA. 35/39). eastern Anatolian Primarily, it was a functional fountain (McMeekin, 2011). The German government preferred built to be used by the public. Second- the Nişantaşı neighborhood for con- ly, it was a monument symbolizing a 2 struction, but the Ottoman officials It was speculated sovereign’s presence. The latter was widely that the suggested Sultanahmet Square as there Kaiser aimed to established by the name given by the was not enough water in the Nişantaşı become the new German government: “Kaiser Wilhelm district (BOA. Y.A.HUS. 394/119). protector of the Brunnen” or “Kaiserbrunnen”. Taking Christians in Sultanahmet Square, the ancient Hip- the absence of monuments in Otto- podrome of the Roman era, had been the Jerusalem, man cultural life into consideration, Protestans and serving as an important gathering Catholics alike. one could even conclude that it was place throughout the city’s history. It This was one of the built primarily as a monument, but had functioned as a venue bringing reasons Wilhelm was cloaked as a fountain in order to II’s trip had caused the rulers and public together through ensure public approval. Building mon- hippodrome attractions or festivals. It unease in Europe uments under the disguise of function- and Russia, among had also been the place where public German Empire’s al structures such as fountains or clock gathered to let their voices be heard by enemies and allies towers was also the way Abdülhamid II their rulers. Notable riots in the histo- alike. In October preferred to build “monuments” under 1898 ‘Berliner ry of Constantinople had taken place his name for the 25th anniversary of on this square adjacent to the imperial Blatt’ wrote that his reign (Erkmen, 2010). French and Vatican palace and the imperial church. Con- were worried that A massive monument movement, sequently, it remained public open German Empire or rather a ‘Monument-epidemic’ as space during the Ottoman era and was trying to take some contemporary critics called it, the protection of the was the stage for practice of equestri- was seen in Germany during this time an sports, demonstrations, meetings catholic community period (Dolgner, 1993). It started after in Jerusalem and religious festivals sponsored by from the French. the unification in 1871 and grew with the rulers (Grélois, 2010). The square Russians feared the death of its heroes Wilhelm I and was also designated as the site of “Ser- that it wanted to Bismarck (Bruchhausen, 1999). Dol- get a part of the gi-i Umumî-i Osmanî”, the first World gner explains this as the ‘war fervor’ of Exhibition organized in the Ottoman Ottoman land unification wars, procreating ‘mystical- and the British Empire in 1863 (Yazıcı, 2010). was anxious about ly blazoned person cults’ and bringing This square is the only place in İs- the talks between the Emperors and Chancellors to an el- tanbul with a historical continuity in the Kaiser and evation of God-like idolization, almost the Sultan about public memory and its monumentality. like the deification of the Roman Em- Like a chronological catalogue of mon- Syria which they perors (Dolgner, 1993).