Authors: Ekinsu Tuncer, Burcu Aydın
Abstract
In this article, it is investigated that the statue of nymph brought to Ankara at the beginning of the twentieth centurycould not take a positionfor themselves. Althoughit was very valuable at first, as time goes by, it could not find a permanent place for itself, and its location is constantly changed. While the statue is researched, at the same time the locations are mentioned to be able to comprehend the main reasons and the results of the arrangements. The topic is discussed since why these statues were brought and could not be long lasting is arouses our curiosity. In this paper, the Nymph statues are briefly mentioned in order to get background information and to address our research. Then, it is studied why these statues were imported to Ankara. Moreover, the chronological order of its locations are examined with the explanations.Surveying the different sources and visitingCerModern information is gathered and discussed.
Keywords: Public square, Visual investment, Culturalexchange, Urban space, Modernism
1. Introduction
When Ankara has become the capital, the city was just a meadow just like other cities in the Anatolian Region. However, it should have been more than that since it has not just a significant place in the national struggle history but also it had also a mission to heritage the Anatolian culture.1 Therefore, it is intended to Ankara be a model for other cities and many developments and regulations were carried out. For that, Jansen Plan is brought into force in which the community was a priority in 23 July 1932.2 It was both aimed that the city is physically and socially modernized. There is no doubt that there were many constructions of new buildings meaning that there is a physical development. However, there should be also social structure. It could be possible by creating social areas for the local people. There should be a place that gathers people from all strata to radiate and spread the modernist movement to a broader public segments. For that reason, social places such as cultural centers, civic centers, squares are designed.
The only way was not designing landscapes and constructing new structures. During the urban transformation of Ankara, sculptures and statues were brought to the city from different countries. One of them was “Su Perileri” Statue which was not just a visual element of the new city planning but also performs important functions that will be mentioned later on. The reason why one of the statues brought was thought to be this statue may be the nymph statues reflect the beauty in Greek Culture. Bronze “Su Perileri” Statue, imported abroad in 1920s, is the most well-known nymph statue. There are contradictions about where it was brought from. According to some, the statue was brought from Italy while the other say that it was brought from France. Moreover, some people even say that it was gifted by the Vienna municipality. Contradictions about where the statue was brought from are still continue. However, in the website of CerModern, it is mentioned that “Su Perileri” is ordered from Italy in the early years of the Republic.3 What is certain that the design of the statue(fountain) was made by Michel Joseph Napoléon Liénard and Mathurin Moreau and the iron casting of the fountain were carried out by the Val d’Osne art foundry. In this paper, “Su Perileri” Statue’s different locations and their importance in the history of urbanization of Ankara and the reasons behindthe constant displacement will be mentioned.
2. Initial Location
The first location of this statue in Ankara was Hürriyet Square. (Figure 1) In the first years of the republic, the new capital had the appearance of a giant construction site with its boulevards, streets, institutional buildings and residences. Therefore, the traditional landscape of this Anatolian town begins to change completely in the mid-1930s. “Atatürk Boulevard”, the strongest artery connecting the old and new city, is one of the two strong transportation axes determined by the 1932 Jansen plan.4 It reaches to Çankaya- Ulus in the north- south direction. The new city is growing by hold on to the sides of Atatürk Boulevard. The other axis extending in the east-west direction is Ziya Gökalp Street. Hürriyet Square is found at the intersection of these two main axes. Therefore, it has an important place in urban macroform. Moreover, it is said that “This square is the most prestigious urban space of the modern capital of the Republic of Turkey, where the Republican ideology and national ideals are shaped.” 5 While new social experiences and new social culture are changing in the city, the physical features of the square begin to take shape with new visuals and institutional structures. Around that time, Su Perileri statue which is brought by Asaf İlbay, the mayor of Ankara, has become an attraction point for the citizens of Ankara. In the first years of the republic this statue was located in the park opening towards Hürriyet Square, where Atatürk Boulevard and Ziya Gökalp Street intersect. The park where the statue is located was one of the cleanest and well-kept parks in the city. Although there is no information about the year of construction, its producer and designer, it has been stated in many sources that it has been used extensively. It is quite conceivable that these statues were placed to enrich such a popular and widely used place. The statue, which was placed in such an important place, gained value and started to be known by people. As time passed the statue has become a landmark that is used to guide people. Then, the name of the square has started to be calledas “Havuzbaşı” rather Hürriyet Square. The statue was so valuable that it gives the name to the square “Havuzbaşı” meaning poolside in Turkish. With the arrangements made over the years, many structures have been built around the Havuzbaşı such as Kızılay Genel Merkez Building. This building built on a diagonal corner of the fountain, and it was constructed in 1929. Later on, as a part of urban development, a large park, pool and a sandbox for children are built in front of this fascinating architectural building that occupies one corner of the square.Due to the change in environmental arrangements, while the new complex become more prominent, the statue and its created surrounding have relatively lost theirsignificance. It can be said that the water nymphs, which initially aroused interest in the middle of the void, lost its light with the expansion of its environment and the construction of large buildings that left its glory behind.
Figure 1. Ankara, Havuzbaşı. Su Perileri at Havuzbaşı.
3. Nymph Statues in Gençlik Park
The statue was moved to Gençlik Parkı as a second stop. In order to be able to understand the reason why the statue was worth to put there, Gençlik Parkı is needed to be examined. It seems that the park was built for the same purposes in line with the Jansen plan. It was to create common social areas and so that to build modern social structure.In the 1931-1932, “Su Perileri” statue was moved to Gençlik Parkı. (Figure 2) When necessary research is done, it can be clearly realized that the reason behind building Gençlik Parkı and importing “Su Perileri” are intersected. Both of them’s purpose were creating a social platform for local people and by this way making the capital modern. The reason that the statue is moved to Gençlik Parkı could be consolidating the park. However, the statue couldstay in the place for only 4 years. There are different arguments about the reason that statue could not stay for more years. The park was right next to the İncesuStream and it is a swamp area,many sicknesses are lead such as malaria and therefore drain swamp works are planned to do. For this reason, some actions had to be taken. On the other hand, over the years, park has become a place for trade, fun, food and beverage and many commercial places are opened. This created another reason to gather people and may caused the statue to lose its significance. Consequently, this statue again hadto find another place for itself.
Figure 2. Su Perileri at Gençlik Parkı. (1932)
4. Hacettepe Park
As its third place, the statue is brought to “Hacettepe Parkı”. (Figure 3) The park is designed by Hermann Jansen who is also the architect of Gençlik Parkı. Hacettepe Parkı served as a gathering and socializing area not only for the close vicinity but also for Atpazarı, Ulucanlar and Samanpazarı. At that time the city was growing towards the hills. Thus Hacettepe is also peopled. In time, the park where the pool is located was expropriated. Together with the pool, the “Su Perileri” statue were also removed again. Even though it could not survive for a long period in that park as well, it stayed there for fourteen years. After they are placed in this park, the top part of the statues were gone. There are conflicts about that case whether it was vandalism, robbery or accident. Despite the misfortune, local people were enjoying the statue until an instruction has revealed, by Adnan Menderes, which was about a new hospital construction. In 1954-1955, Hacettepe Hospital and University construction was initiated.6 With the risingconstruction, the park has become unusable after cutting down most of trees and it has lost its significance. As a result, the statue is broken into pieces and removed to the municipal warehouse.
Figure 3. Su Perileri at Hacettepe Parkı.
It is plausible that as if western democracy was interrupted, the fairies were disappearing. Halil Soyuer, a former journalist and a poet, remembered them in the late 1960s. With the suggestion of Halil Soyluer, the statue, almost thrown into a corner, was rescued from the dusty warehouse. It is placed into the Tandoğan Square and stayed there between the years 1970-1980. (Figure 4) The statue, which is significate for the public at that time and was known to almost everyone, was also a meeting point for people. Even today if we ask the people of Ankara about the pool and statue, which is the symbol of Tandoğan Square in the 1970-80s, and the resting area around it, they will immediately remember. Due to the rallies and protests carriedout in the wide streetsof Tandoğan, new regulations have been made to limit these events. With especially the “Ankaray” railway construction, the statue were compulsorily removed. These radical changes in the urban planning prepared the right environment for the statue to be displaced. Although the reason for the removal of the statue is mentioned in the sources as Ankaray railway construction, this issue is open to discussion in many ways. After 15 years, the Tandoğan railway was completed, but instead of putting the “Su Perileri” back, goat statues were placed on the square. The newly arrived municipality doubtless preferred the angora goats and the teapot- cup figures they put at the subway exis instead of the water nymphs statues. (Figure 5) It is said that Ankara had transformed from singing fairies to goats grazing by the teapot. This time, the statue is removed to the Council of Yenimahalle warehouse. In 2008, Metin Yurdanur, the sculptor of significant statues of Ankara,has restored the “Su Perileri” Statue has been waiting for sixteen-eighteen years.
Figure 4. Su Perileri at Tandoğan Meydanı.
Figure 5. Su Perileri and the Teapot.
5. Final Stop: An Artwork in the Art Museum
On December 20, 2010, the fountain was placed in front of CerModern which was transformed into an art centre by restoring the old” Cer Atalier” (Figure 6) Today’s CerModern building, located in the Sıhhıye, was built many years ago, in 1926-1927, for TCDD’s locomotive maintenance and repair. Its name comes from the Arabic word “Cerr” (drag). Cer Atalier have served for more than 50 years and it was restored later. After restoration, it was opened as an art gallery. Thereafter, the gallery was opened, and the “Su Perileri” statue were placed in the garden of CerModern, and this historical monumenthas been standingin a corner of CerModern for years in a resentful state. Putting the statue in a modern arts center like CerModern as its last stop was a positive step for the statue. “Su Perileri” lives with people who will appreciate it and have an aesthetic sense, to say the least.
Figure 6. Su Perileri at CerModern.
6. Conclusion
To conclude, with Ankara being the capital, various arrangements were made in the city, and it was aimed to make the city modern and become a model for other cities. For that, many urban regenerations were made, buildings and parks were built and decorated with visual elements such as “Su Perileri” was imported to Ankara to be gained more strength to the squares, parks namely the whole city during renewal of the capital and landscape design. However, the statue has been relocated for many times to the many different neighborhoods and environments. Although there are debates and different thoughts about this issue, it cannot be denied that the changing in the urban planning entirely affected the travel of the statue. When “Su Perileri” was first brought it was a component to enrich the city. At the end of its story, it has becomea “symbolic workof art” in the historyof Ankara. Today, the statue be found in the garden of CerModern, which is its last stop for now. Briefly, although the statue achieved its purpose by creating a platform to spread modernism, at the end, it has lost the mission and has been a component of a gallery.
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END NOTES
1 Erol Demir, “Toplumsal Değişme Süreci İçinde Gençlik Parkı: Sosyolojik Bir Değerlendirme,” Planlama 4 (2006): 71.
2 Serra Utkum İkiz, “Hermann Jansen’in Ankara Planı”, 12 October n.d.
3 Meydane Esma, “ Su Perileri Heykeli”,(2015):1
4 Nur Çağlar, Zeynep Uludağ, Adnan Aksu, “Hürriyet Meydanı: Bir Kentsel Mekanın Yenilik ve Dönüşüm Öyküsü”,(2005):2
5 Demir, 71.
6 n.d., “ Hacettepe Parkı”: 1. https://archiscapes.wixsite.com/tobbetu/kzlay-park-ce9v
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