As one of the most magnificent symbols of the Ottoman Empire's changing identity in the 19th century during the transition from a sultanate to a republic, Istanbul's Dolmabahçe Palace still stands proud at 166 years old.

During the reign of Sultan Abdülmecid I, it was felt that the Beşiktaş coastal palace was lacking in terms of functionality. Plans for Dolmabahçe Palace's construction were laid and the process officially started on June 13, 1843.

The important architects of the period, Abdülhalim Bey, Altunizade İsmail Zühtü Pasha, Karabet Balyan, Ohannes Serveryan, Nikoğos Balyan and James William participated in the construction of the palace.

With a spectacular view and stretching 110,000 square meters on the waterfront, Dolmabahçe Palace was opened for use on June 7, 1856. The bay, where ships were moored in ancient times, became a favorite spot for the sultanate after the construction of the palace.

The fact that the Ottoman ruler's residence was moved to Dolmabahçe from Topkapi Palace demonstrated a shift in Ottoman political and social life. The structure of Dolmabahçe Palace, blended with Western-style architecture, revealed that something was changing in society in terms of ideas and spirit.

The palace hosted Sultan Abdülmecid I, Sultan Abdülaziz, Sultan Abdülhamid, Sultan Murad V, Sultan Reşat, Sultan Vahideddin and khalifa Abdülmecid. After the proclamation of the republic, it also hosted Mustafa Kemal Atatürk, the founding father of the Turkish republic.

Turkey's largest mono-block palace

Dolmabahçe Palace, which is divided into three parts, consists of the administrative offices (Mabeyn-i Humayun, Decency), where the administrative affairs of the state were carried out, the harem (Harem-i Humayun) belonging to the private life of the sultan and his family, and the ceremonial suits (Muayede Salonu) reserved for important state ceremonies of the sultan between these two sections.

Dolmabahçe Palace, with its 285 rooms, 44 halls, 68 bathrooms, six Turkish baths and six balconies, remains the largest mono-block palace in Turkey.

It also reflects rococo, baroque and neoclassical architectural styles, differing from Topkapı Palace in terms of its architectural plan.

While Topkapı Palace was designed through expansion and reconstruction, a predetermined layout was implemented for Dolmabahçe.

Grandeur: Baroque-style crystal staircases

Dolmabahçe Palace's exterior walls are made of stone, and its interior walls are made of brick. Its floors are made of wood and other materials such as Sarıyer, Foça (Phokaia) and Karamürsel stone, as well as stones from Marseille and Trieste.

As for marble, Marmara marble was preferred. The ceilings of the palace are generally wood or lead; however, the roof cover of the crystal stairs, the most magnificent part of the palace, is a vaulted glass skylight.

The stairs leading to the upper floor from the entrance hall (Medhal Salon), the main entrance, are of significant importance for the layout of the palace. The stairs' handrail spindles are made of crystal, curving in baroque style, and the staircase is illuminated by a magnificent crystal chandelier.

Ceremonial hall's glow

During the westernization process, the Ottoman Empire placed importance on glass products in the decoration of the palace. Among the most important of them were the French Baccarat and the English-made chandeliers. From everyday items to architectural pieces, every part of the structure is eye-catching with the sparkle of crystal.

The most magnificent section reflecting this trend is the ceremonial hall (Muayede salonu). This hall, where festive ceremonies were held, was sometimes used as a venue for banquets for official guests from foreign states, and after the proclamation of the republic, it also witnessed the reform efforts of Mustafa Kemal Atatürk.

The huge crystal chandelier in the hall is a guest favorite and further accentuates the volume of the most spacious and highest hall of the palace. The chandelier was ordered from the United Kingdom by Sultan Abdülmecid in 1852 and reached Istanbul 1 1/2 years later.

This unique chandelier, weighing 4.5 tons with 664 candle holders, was designed by Frederick Rixon in London and manufactured by Hancock Rixon & Dunt. This majestic chandelier arrived in Istanbul from the U.K. with 67 spare parts in a crate. Two Briton craftspeople were able to install the chandelier in two months.

Symbol of modernization

Güller Karahüseyin, the head of the Museology and Publicity Department of the Directorate of National Palaces, told an Anadolu Agency (AA) correspondent the story of the construction of Dolmabahçe Palace and the important elements contained in it.

Stating that there was a need to build a Western-style palace to introduce a secluded state to the outside world, Karahüseyin said, "Therefore the palace is one of the most important architectural structures of the 18 century."

"Dolmabahçe Palace shows the process of westernization and renewal, which began with Sultan Ahmed III in the 19th century, and is a symbol of modernization at the same time," he added, pointing out that the transition from Topkapı Palace to Dolmabahçe Palace was not immediate and feast ceremonies continued to be held in the Topkapı Palace until 1868.

"After the declaration of the republic, it started to be used as the office of the president. Atatürk lived in Dolmabahçe Palace for four years, and the palace hosted many foreign guests and historical congresses," he said.

"Mustafa Kemal Atatürk passed away in Room 71, which he used between the years of 1927-1938. Hundreds of thousands visited Dolmabahçe Palace after his death," he said.

"Atatürk's catafalque was presented to people who came to commemorate it in the ceremonial hall (Muayede salonu). Mehmet Şerafettin Yaltkaya performed Atatürk's funeral prayer here," he added.

Explaining that though Dolmabahçe Palace has the appearance of a Western palace when viewed from the outside, the details of Ottoman traditions and culture are widely reflected throughout, Karahüseyin emphasized that the palace was designed according to the traditional Turkish house plan.

Karahüseyin stated that there are also crown prince, agavat, bendegan and baltacılar suits and palace kitchens sections in the palace.

"Charles Sechan, the Paris Opera decorator, took part in the furnishing and decoration of the palace, and the artist determined the elements in the decore, especially in the spaces belonging to the sultan," Karahüseyin stated.

Karahüseyin noted that nearly 8,000 people from many countries visit Dolmabahçe Palace, which now serves as a museum, every day.