Gezilebilecek yerler
Gezilecek yerler
Anadolu yakasının ikinci, İstanbul’un ise son gazhanesi olarak 1892 yılında hizmet vermeye başlayan Hasanpaşa Gazhanesi, tam 101 yıl boyunca şehrin aydınlatma ve yakıt ihtiyacını karşıladı. Zamanla teknolojisi eskidi, faaliyetinin çevre ve insan sağlığı için sakıncalı olduğu düşünüldü. 1993 yılında şehrin diğer gazhaneleriyle birlikte üretimine son verildi.
130 yıllık geçmişiyle Türkiye’nin en önemli endüstriyel miraslarından olan tarihi yapı, bir dönem İETT garajı olarak kullanıldıktan sonra kendi haline terk edilmişken yıllarca süren kamusal bir mücadeleyle kurtarılarak kapsamlı bir restorasyon sürecine alındı. Yeni dönemde kültür – sanat odaklı bir “yaşam alanı” konseptiyle İstanbul’a kazandırılan Müze Gazhane, 9 Temmuz 2021 tarihinde İstanbullulara kapılarını açtı.
7’den 70’e tüm kent sakinlerini kucaklayan Müze Gazhane, yerel mirasından ve kamusal yapısından aldığı gücü, evrensel bir vizyonla birleştirerek İstanbul için ilham verici bir yaşam durağına dönüşmeyi amaçlıyor.
16 명의 현지인이 추천하는 곳
Müze Gazhane
No:125 Kurbağalıdere CaddesiAnadolu yakasının ikinci, İstanbul’un ise son gazhanesi olarak 1892 yılında hizmet vermeye başlayan Hasanpaşa Gazhanesi, tam 101 yıl boyunca şehrin aydınlatma ve yakıt ihtiyacını karşıladı. Zamanla teknolojisi eskidi, faaliyetinin çevre ve insan sağlığı için sakıncalı olduğu düşünüldü. 1993 yılında şehrin diğer gazhaneleriyle birlikte üretimine son verildi.
130 yıllık geçmişiyle Türkiye’nin en önemli endüstriyel miraslarından olan tarihi yapı, bir dönem İETT garajı olarak kullanıldıktan sonra kendi haline terk edilmişken yıllarca süren kamusal bir mücadeleyle kurtarılarak kapsamlı bir restorasyon sürecine alındı. Yeni dönemde kültür – sanat odaklı bir “yaşam alanı” konseptiyle İstanbul’a kazandırılan Müze Gazhane, 9 Temmuz 2021 tarihinde İstanbullulara kapılarını açtı.
7’den 70’e tüm kent sakinlerini kucaklayan Müze Gazhane, yerel mirasından ve kamusal yapısından aldığı gücü, evrensel bir vizyonla birleştirerek İstanbul için ilham verici bir yaşam durağına dönüşmeyi amaçlıyor.
Validebağı adı verilen ve bazı rivayetlerde iki bin dönüm olduğu ifade edilen bağın oluşumu 19. yüzyılın ortalarına doğru oldu. Hem bir avlak, hem de sayfiye bölgesi olarak yeni yeni keşfedilen, III.Selim ve II.Mahmud’un av ve gezinti alanı olarak tercih ettikleri Çamlıca’nın tarihinde bir dönüm noktası olan olay, bu arazinin Sultan Abdülmecid tarafından validesi Bezmialem Valide Sultan’a hediye edilmesiydi. Bezmialem Valide Sultan
19. yüzyılın en önemli Meyve meraklılarından biriydi. En büyük arzusu , çeşit çeşit meyve ağaçlarının bulunduğu emsalsiz bir bağ meydana getirmekti. Onun meyve ağaçlarına yönelik tutku seviyesindeki ilgisi Hekimbaşı Salih Efendi sayesinde başladı. Bezmialem Valide Sultan, Hekimbaşı Salih Efendi’nin Anadoluhisarı’nda kurduğu ve içinde binbir çeşit meyvenin bulunduğu bahçenin methini duymuştu. Salih Efendi’nin bahçesinin tesirinde kalan Valide Sultan, kendisi de bir meyve bağı kurmaya karar verir. Validesinin bu arzusundan haberdar olan Sultan Abdülmecid en uygun arazi olarak Dersaadet’e de yakın olan Üsküdar’daki bu bölgeyi görmüş, ya Bezmialem Sultan’ın talebi üzerine ya da validesinin haberi olmaksızın hazırladığı sürpriz sonucu, ona hediye etmişti. Valide Sultan oğlunun hediye ettiği bu araziyi kısa zaman içinde parmakla gösterilen bir meyve bahçesi haline getirecekti. Valide Sultan sadece İmparatorluğun muhtelif köşelerinden Meyve ağaçları getirip dikmekle yetinmedi. Aynı zamanda yabancı ülkelerden fidanlar getirtti, daha önce farklı ülkelerden getirilip saray bahçelerinde olan meyve ağaçlarını burada topladı, topraklarda tutunmasını sağladı. Bu bağda onlarca çeşit ağaç bulunuyordu.
Meyve ağaçları galerisi ya da botanik bahçesi gibi olan bağın ünü tüm İmparatorluğa yayılmıştı. Validebağı’nda yetiştirilen meyvelerden mühim bir kısmının hem kendisi, hem tatları, hem de isimleri unutuldu. Validebağı’nda 206 armut, 98 elma, 25 ayva, 43 şeftali, 13 vişne, 31 kiraz, 21 kayısı, 9 nar, 11 incir, 11 dut, 15 muşmula, 59 üzüm ve 31 portakal cinsi bulunmaktaydı.
Bağdaki meyvelerin arasında 206 farklı armut cinsinin her birinin ayrı ismi vardı.
Meyvelerin ilk mahsulleri ilk önce Sultan II.Abdülhamit’e tattırılıyordu. Validebağ’da eğitimli bahçıvanlar çalışıyordu bunlardan biride Zakaryan Efendi idi.
1980 yılına kadar arazinin bir bölümünde meyve, sebze, tahıl yetiştirilmekte kümes hayvanları ve inek beslenmekte, gelir elde edilerek binanın gereksinimleri karşılanmaktadır. Binalar arasında, hala rayların bir kısmı bugüne kadar gelen servis amaçlı raylı bir taşıma sistemi yapılmıştır
Koru’da 1999 yılında bir sayım yapılmış ve 3419 ağaç tespit edilmiş. 2006’da yapılan bir sayımda ise 6321 ağaç, ağaççık ve çalı listelenmiş.
Meşe, Selvi, Sedir, Mazı, Çam, Çitlembik, Dişbudak, Akasya, Defne en fazla bulunan ağaç çeşitleri. Yaşları kimisinin 400 yıla uzanıyor. Ayrıca 200 kadar çeşitli meyve, Dut, Zeytin, Ceviz, Kestane, Ihlamur, Sakız ağacı mevcut.
2015 yılında yapılan çalışmayla Koruda 1 Adet Erguvan, 4 Adet Sakız, 5 Adet Meşe toplam 10 adet Anıt ağaç , 42 Meşe, 14 sakız,1 Adet Londra Çamı, 3 Adet Doğu Çınarı ,1 Adet Fıstık Çamı , toplam 61 adet Korumaya Değer Ağaç tespiti yapıldı.
Validebağı, Bezmialem Valide Sultan adı verilmiş olmasına rağmen, Adile Sultan ile meşhur olmuştur.
-Adile Sultan Kasrı süreç içerisinde bakımsız kaldıysa da köşk ve bağlara asıl müdahale 1980 darbesi sonrasında meydana gelmiştir. Bir rivayete göre 2000 dönüm, daha sonra 700 dönümlük köşk, yapı ve bağdan oluşan alan bir kararla bugünkü haline yani 354 dönüme düşürülmüştür.
7 명의 현지인이 추천하는 곳
validebağ korusu
Validebağı adı verilen ve bazı rivayetlerde iki bin dönüm olduğu ifade edilen bağın oluşumu 19. yüzyılın ortalarına doğru oldu. Hem bir avlak, hem de sayfiye bölgesi olarak yeni yeni keşfedilen, III.Selim ve II.Mahmud’un av ve gezinti alanı olarak tercih ettikleri Çamlıca’nın tarihinde bir dönüm noktası olan olay, bu arazinin Sultan Abdülmecid tarafından validesi Bezmialem Valide Sultan’a hediye edilmesiydi. Bezmialem Valide Sultan
19. yüzyılın en önemli Meyve meraklılarından biriydi. En büyük arzusu , çeşit çeşit meyve ağaçlarının bulunduğu emsalsiz bir bağ meydana getirmekti. Onun meyve ağaçlarına yönelik tutku seviyesindeki ilgisi Hekimbaşı Salih Efendi sayesinde başladı. Bezmialem Valide Sultan, Hekimbaşı Salih Efendi’nin Anadoluhisarı’nda kurduğu ve içinde binbir çeşit meyvenin bulunduğu bahçenin methini duymuştu. Salih Efendi’nin bahçesinin tesirinde kalan Valide Sultan, kendisi de bir meyve bağı kurmaya karar verir. Validesinin bu arzusundan haberdar olan Sultan Abdülmecid en uygun arazi olarak Dersaadet’e de yakın olan Üsküdar’daki bu bölgeyi görmüş, ya Bezmialem Sultan’ın talebi üzerine ya da validesinin haberi olmaksızın hazırladığı sürpriz sonucu, ona hediye etmişti. Valide Sultan oğlunun hediye ettiği bu araziyi kısa zaman içinde parmakla gösterilen bir meyve bahçesi haline getirecekti. Valide Sultan sadece İmparatorluğun muhtelif köşelerinden Meyve ağaçları getirip dikmekle yetinmedi. Aynı zamanda yabancı ülkelerden fidanlar getirtti, daha önce farklı ülkelerden getirilip saray bahçelerinde olan meyve ağaçlarını burada topladı, topraklarda tutunmasını sağladı. Bu bağda onlarca çeşit ağaç bulunuyordu.
Meyve ağaçları galerisi ya da botanik bahçesi gibi olan bağın ünü tüm İmparatorluğa yayılmıştı. Validebağı’nda yetiştirilen meyvelerden mühim bir kısmının hem kendisi, hem tatları, hem de isimleri unutuldu. Validebağı’nda 206 armut, 98 elma, 25 ayva, 43 şeftali, 13 vişne, 31 kiraz, 21 kayısı, 9 nar, 11 incir, 11 dut, 15 muşmula, 59 üzüm ve 31 portakal cinsi bulunmaktaydı.
Bağdaki meyvelerin arasında 206 farklı armut cinsinin her birinin ayrı ismi vardı.
Meyvelerin ilk mahsulleri ilk önce Sultan II.Abdülhamit’e tattırılıyordu. Validebağ’da eğitimli bahçıvanlar çalışıyordu bunlardan biride Zakaryan Efendi idi.
1980 yılına kadar arazinin bir bölümünde meyve, sebze, tahıl yetiştirilmekte kümes hayvanları ve inek beslenmekte, gelir elde edilerek binanın gereksinimleri karşılanmaktadır. Binalar arasında, hala rayların bir kısmı bugüne kadar gelen servis amaçlı raylı bir taşıma sistemi yapılmıştır
Koru’da 1999 yılında bir sayım yapılmış ve 3419 ağaç tespit edilmiş. 2006’da yapılan bir sayımda ise 6321 ağaç, ağaççık ve çalı listelenmiş.
Meşe, Selvi, Sedir, Mazı, Çam, Çitlembik, Dişbudak, Akasya, Defne en fazla bulunan ağaç çeşitleri. Yaşları kimisinin 400 yıla uzanıyor. Ayrıca 200 kadar çeşitli meyve, Dut, Zeytin, Ceviz, Kestane, Ihlamur, Sakız ağacı mevcut.
2015 yılında yapılan çalışmayla Koruda 1 Adet Erguvan, 4 Adet Sakız, 5 Adet Meşe toplam 10 adet Anıt ağaç , 42 Meşe, 14 sakız,1 Adet Londra Çamı, 3 Adet Doğu Çınarı ,1 Adet Fıstık Çamı , toplam 61 adet Korumaya Değer Ağaç tespiti yapıldı.
Validebağı, Bezmialem Valide Sultan adı verilmiş olmasına rağmen, Adile Sultan ile meşhur olmuştur.
-Adile Sultan Kasrı süreç içerisinde bakımsız kaldıysa da köşk ve bağlara asıl müdahale 1980 darbesi sonrasında meydana gelmiştir. Bir rivayete göre 2000 dönüm, daha sonra 700 dönümlük köşk, yapı ve bağdan oluşan alan bir kararla bugünkü haline yani 354 dönüme düşürülmüştür.
One of the magnificent ancient buildings of İstanbul is the Basilica Cistern located in the southwest of Hagia Sofia. Constructed for Justinianus I, the Byzantium Emperor (527-565), this big underground water reservoir is called as “Yerebatan Cistern” among the public because of the underground marble columns. As there used to be a basilica in the place of the cistern, it is also called Basilica Cistern.
The cistern is 140 m long, and 70 m wide, and covers a rectangular area as a giant structure. Accessible with 52-step staircase, the Cistern shelters 336 columns, each of which is 9 m high. Erected at 4.80 m intervals from one another the columns are composed of 12 rows, each has 28 columns. The case-bay of the cistern is conveyed by the columns through arches. Majority of the columns, most of which is understood to have been compiled from the ancient structures and sculpted of various kinds of marbles, is composed of a single part and one of it is composed of two parts. The head of these columns bear different features in parts. 98 of them reflect the Corinthian style and part of them reflect the Dorian style. The cistern has 4.80 m high brick walls, and the floor is covered by bricks, and plastered by a thick layer of brick dust mortar for water tightness. Covering 9,800 sqm area in total, the cistern has an estimated water storage capacity of 100,000 tons.
Medusa Heads
Except couple of the edged and grooved columns of the cistern, majority of them are shaped as a cylinder. Two Medusa heads, which are used as supports under the two columns at the northwest edge of the cistern, are the great work of art from the Roman period. What attracts most attention from the visitors is that the structure from which the Medusa heads have been taken is unknown. The researchers often consider that it has been brought for being used as supports to the column at the time of construction of the cistern. However, this has not prevented myths for the heads of Medusa.
As the legend has it, Medusa is one of the three Gorgonas that are female monsters in the underground world in Greek mythology. The snake-head Medusa, one of the three sisters, has the power of gorgonising the ones that happen to look at her. Accordingly, Gorgone paintings and sculptures were being used for protecting big structures and special venues in that time. And putting the head of medusa in the cistern was for protecting purposes. According to another rumour, Medusa was a girl who boasted for her black eyes, long hair and beautiful body. She loved Perseus, the son of Zeus. Athena was also in love with Perseus and this made Medusa jealous. Therefore, Athena converted medusa's hairs into snakes. Now, everybody that happened to look at Medusa was gorgonised. Afterwards, Perseus headed off medusa and beat many enemies by using her power.
Therefore, the head of Medusa was engraved on the handles of the swords in Byzantium, and applied onto supports of the communes in reverse (so that the onlookers would not be gorgonised). According to another rumour, Medusa gorgonised herself by looking sideways. For this reason, the sculptor that made it generated Medusa in three different positions depending on the reflection angles of the light. The Basilica Cistern has been renovated repeatedly until today. It was repaired by the Architect Kayserili Mehmet Ağa during the reign of Ahmad III (M.1723) in the Ottoman Empire, followed by Sultan Abdulhamid II (1876-1909) in the 19th century. There are 8 columns in front of the northeast wall towards the middle of the cistern, and they were exposed to the risk of breaking during the construction works in 1955-1960, thus each of them were surrounded by a thick layer of cement, so they lost their previous feature though.
During the rule of Byzantium, the Basilica Cistern used to meet the water needs and requirements of the great palace that covered a wide area where the emperor resided, as well as the other denizens in the region. After conquest of the city of Istanbul in 1453, it was used for a little while and water was supplied to Topkapı Palace where the sultans resided.. However, the Ottomans preferred running water over still water, and established their own water facilities in the city. It is understood that the cistern was not used thereafter and the western world did not notice it until the mid XVI century. It was in 1544-1550 when P. Gyllius, a Dutch traveller that came to Istanbul for making researches on Byzantium ruins was rediscovered and introduced to the western world. In one of his researches, P. Gyllius, while roaming around Hagia Sofia, managed to enter inside the cistern with a torch carrying in his hand by proceeding from the stone steps that went towards the underground from the backyard of a wooden building surrounded by walls situated on a large underground cistern as he was told that the householders there pulled water with buckets down inside the large round holes similar to well on the ground floor of their houses, and even fished there. P. Gyllius ranged around the cistern on a rowing boat under harsh conditions, measured it and identified the columns. The information acquired from his experience was published in the travel book, and Gyllius had influence on many travelers.
The cistern was subject to repeated renovations since its establishment. Renovated twice during the reign of the Ottoman Empire, the cistern was repaired during the rule of Ahmed III (1723) by the Architect Kayserili Mehmet Ağa for the first time. And the second repair was made during the rule of Sultan Abdulhamid II (1876-1909). In republican period, the cistern was cleaned by Istanbul Municipality in 1987, and was opened to visits for creating a route. Another extensive cleaning was made in May 1994.
This mysterious venue is an integral part of the Istanbul itineraries and has been visited -among others- by the US former President Bill Clinton, Wim Kok the Prime Minister of the Netherlands, Lamberto Dini, Former Minister of foreign Affairs of Italy, Göran Persson, Former Prime Minister of Sweden and Thomas Klestil, Former prime Minister of Austria until today.
Currently operated by Kültür A.Ş. (Culture Co.), one of the affiliates of Istanbul Metropolitan Municipality, the Basilica Cistern functions as a museum and is the home for many national and international events.
638 명의 현지인이 추천하는 곳
예레바탄 사라이
1/3 Yerebatan Cd.One of the magnificent ancient buildings of İstanbul is the Basilica Cistern located in the southwest of Hagia Sofia. Constructed for Justinianus I, the Byzantium Emperor (527-565), this big underground water reservoir is called as “Yerebatan Cistern” among the public because of the underground marble columns. As there used to be a basilica in the place of the cistern, it is also called Basilica Cistern.
The cistern is 140 m long, and 70 m wide, and covers a rectangular area as a giant structure. Accessible with 52-step staircase, the Cistern shelters 336 columns, each of which is 9 m high. Erected at 4.80 m intervals from one another the columns are composed of 12 rows, each has 28 columns. The case-bay of the cistern is conveyed by the columns through arches. Majority of the columns, most of which is understood to have been compiled from the ancient structures and sculpted of various kinds of marbles, is composed of a single part and one of it is composed of two parts. The head of these columns bear different features in parts. 98 of them reflect the Corinthian style and part of them reflect the Dorian style. The cistern has 4.80 m high brick walls, and the floor is covered by bricks, and plastered by a thick layer of brick dust mortar for water tightness. Covering 9,800 sqm area in total, the cistern has an estimated water storage capacity of 100,000 tons.
Medusa Heads
Except couple of the edged and grooved columns of the cistern, majority of them are shaped as a cylinder. Two Medusa heads, which are used as supports under the two columns at the northwest edge of the cistern, are the great work of art from the Roman period. What attracts most attention from the visitors is that the structure from which the Medusa heads have been taken is unknown. The researchers often consider that it has been brought for being used as supports to the column at the time of construction of the cistern. However, this has not prevented myths for the heads of Medusa.
As the legend has it, Medusa is one of the three Gorgonas that are female monsters in the underground world in Greek mythology. The snake-head Medusa, one of the three sisters, has the power of gorgonising the ones that happen to look at her. Accordingly, Gorgone paintings and sculptures were being used for protecting big structures and special venues in that time. And putting the head of medusa in the cistern was for protecting purposes. According to another rumour, Medusa was a girl who boasted for her black eyes, long hair and beautiful body. She loved Perseus, the son of Zeus. Athena was also in love with Perseus and this made Medusa jealous. Therefore, Athena converted medusa's hairs into snakes. Now, everybody that happened to look at Medusa was gorgonised. Afterwards, Perseus headed off medusa and beat many enemies by using her power.
Therefore, the head of Medusa was engraved on the handles of the swords in Byzantium, and applied onto supports of the communes in reverse (so that the onlookers would not be gorgonised). According to another rumour, Medusa gorgonised herself by looking sideways. For this reason, the sculptor that made it generated Medusa in three different positions depending on the reflection angles of the light. The Basilica Cistern has been renovated repeatedly until today. It was repaired by the Architect Kayserili Mehmet Ağa during the reign of Ahmad III (M.1723) in the Ottoman Empire, followed by Sultan Abdulhamid II (1876-1909) in the 19th century. There are 8 columns in front of the northeast wall towards the middle of the cistern, and they were exposed to the risk of breaking during the construction works in 1955-1960, thus each of them were surrounded by a thick layer of cement, so they lost their previous feature though.
During the rule of Byzantium, the Basilica Cistern used to meet the water needs and requirements of the great palace that covered a wide area where the emperor resided, as well as the other denizens in the region. After conquest of the city of Istanbul in 1453, it was used for a little while and water was supplied to Topkapı Palace where the sultans resided.. However, the Ottomans preferred running water over still water, and established their own water facilities in the city. It is understood that the cistern was not used thereafter and the western world did not notice it until the mid XVI century. It was in 1544-1550 when P. Gyllius, a Dutch traveller that came to Istanbul for making researches on Byzantium ruins was rediscovered and introduced to the western world. In one of his researches, P. Gyllius, while roaming around Hagia Sofia, managed to enter inside the cistern with a torch carrying in his hand by proceeding from the stone steps that went towards the underground from the backyard of a wooden building surrounded by walls situated on a large underground cistern as he was told that the householders there pulled water with buckets down inside the large round holes similar to well on the ground floor of their houses, and even fished there. P. Gyllius ranged around the cistern on a rowing boat under harsh conditions, measured it and identified the columns. The information acquired from his experience was published in the travel book, and Gyllius had influence on many travelers.
The cistern was subject to repeated renovations since its establishment. Renovated twice during the reign of the Ottoman Empire, the cistern was repaired during the rule of Ahmed III (1723) by the Architect Kayserili Mehmet Ağa for the first time. And the second repair was made during the rule of Sultan Abdulhamid II (1876-1909). In republican period, the cistern was cleaned by Istanbul Municipality in 1987, and was opened to visits for creating a route. Another extensive cleaning was made in May 1994.
This mysterious venue is an integral part of the Istanbul itineraries and has been visited -among others- by the US former President Bill Clinton, Wim Kok the Prime Minister of the Netherlands, Lamberto Dini, Former Minister of foreign Affairs of Italy, Göran Persson, Former Prime Minister of Sweden and Thomas Klestil, Former prime Minister of Austria until today.
Currently operated by Kültür A.Ş. (Culture Co.), one of the affiliates of Istanbul Metropolitan Municipality, the Basilica Cistern functions as a museum and is the home for many national and international events.
When you think of Kadiköy then Moda comes to mind and when you think of Moda then Barış Manço comes to mind. Kadiköy Municipality renewed and transformed Barış Manço house into the Museum, where he lived and created most of his works. As Barış Manço says ‘When someone’s name ceases to be mentioned, that person is considered dead from then on.” Specially his wife Lale Manço and his sons Doğukan Hazar and Batıkan Zorbey brought many details into light, which reminds of Barış Manço. Barış Manço House Museum was opened to public on 9 June 2010 and Museum reflects not only his musician side also reflects his different characters of his identity as an artist. Barış Manço name will always live at his Moda 81300 house in the Arts and Culture Town of Kadiköy due to Manço’s family’s dedicated works with the Kadiköy Municipality leadership and contribution of the Turkiye Halk Bank. The address of his Moda house is known by heart in Turkey. In the house, which is opened on June 9, 2010, a space was created that reflects the musician’s identity as an artist as well as his different characteristics. By inaugurating
“Baris Manco, Moda 81300” in a city of culture and arts as Kadıköy, Barış Manço will continue to live at his home in Moda, thanks to the dedication of the Manço family, the initiative of Kadikoy municipality, and the contribution of Turkiye Halk Bankasi. Thanks to this house where Turkey knows its address by heart, Barış lovers will meet Barış Manço, whom they miss, while the ones who do not know him will have the opportunity to meet him.
25 명의 현지인이 추천하는 곳
바리시 맨조 박물관
No:5 Yusuf Kamil Paşa Sk.When you think of Kadiköy then Moda comes to mind and when you think of Moda then Barış Manço comes to mind. Kadiköy Municipality renewed and transformed Barış Manço house into the Museum, where he lived and created most of his works. As Barış Manço says ‘When someone’s name ceases to be mentioned, that person is considered dead from then on.” Specially his wife Lale Manço and his sons Doğukan Hazar and Batıkan Zorbey brought many details into light, which reminds of Barış Manço. Barış Manço House Museum was opened to public on 9 June 2010 and Museum reflects not only his musician side also reflects his different characters of his identity as an artist. Barış Manço name will always live at his Moda 81300 house in the Arts and Culture Town of Kadiköy due to Manço’s family’s dedicated works with the Kadiköy Municipality leadership and contribution of the Turkiye Halk Bank. The address of his Moda house is known by heart in Turkey. In the house, which is opened on June 9, 2010, a space was created that reflects the musician’s identity as an artist as well as his different characteristics. By inaugurating
“Baris Manco, Moda 81300” in a city of culture and arts as Kadıköy, Barış Manço will continue to live at his home in Moda, thanks to the dedication of the Manço family, the initiative of Kadikoy municipality, and the contribution of Turkiye Halk Bankasi. Thanks to this house where Turkey knows its address by heart, Barış lovers will meet Barış Manço, whom they miss, while the ones who do not know him will have the opportunity to meet him.
HOME OF EVERYDAY LIFE, NATURE AND MYTHOLOGY MOSAICS
The mosaics unearthed in excavations in the northeastern section of the cloister in Eastern Roman Grand Palace in 1935, are magnificent both in terms of artistic and in terms of the richness of depictions of the scenes. The works exhibited in the Great Palace Mosaics Museum, dated between 450-550 AD do not have religious content. The depictions taken from daily life, nature and mythology probably owe their vitality to the many experts under the leadership of the leading masters of the era.
The museum is located inside the Arasta Market in the Blue Mosque Complex, and it was formed to cover the mosaic floor treatment which remained partially preserved in the northeastern part of the colonnaded courtyard of the Great Palace belonging to the Eastern Roman Period. Only 180 square meters of the mosaic area was uncovered.
The Great Palace Mosaics Museum was under the new management of Istanbul Archaeology Museum in 1953. As of 1979, it became a unit of the Hagia Sophia Museum. The restoration and conservation, started in 1982 with the protocol between the General Directorate of Monuments and Museums of the Ministry of Culture and the Austrian Academy of Sciences, was completed in 1997.
LIZARD EATING GRIFFON OR THE GOAT MILKING MAN MOSAICS.
The mosaic grains of limestone, terracotta and colored stones have an average size of 5mm. ‘Opus Vermiculite’ style descriptions were placed in between the marble pieces whereas ‘Fishscale’ technique is applied on the white marble parts. Besides, the depictions are bounded by contours. The most outstanding mosaics in the museum are scenes describing lizard eating griffon, fighting elephant and lion, a mare breast feeding its colt, goose shepherding children, man milking goat, child feeding his donkey, young girl carrying a jug, bears eating apples, and fighting hunter and tiger. There are 150 human and animal figures and 90 different themes on the mosaics.
WHILE YOU’RE HERE
Make sure you see the Blue Mosque! It was built by Sedefkar Mehmet Aga, one of the students of Sinan the Architect by the order of Sultan Ahmed I in the 17th century. It is also known as the "Blue Mosque" because there are 21 thousand 43 eye-catching Iznik tiles on its walls to the second window. Since Sultan Ahmed 14, is the 14th Sultan, there are 14 minaret balconies. Its complex is one of the largest building complexes in Istanbul. Sultan I Ahmed's tomb is also adjacent to the mosque garden.
19 명의 현지인이 추천하는 곳
모자이크박물관
21 Torun SokakHOME OF EVERYDAY LIFE, NATURE AND MYTHOLOGY MOSAICS
The mosaics unearthed in excavations in the northeastern section of the cloister in Eastern Roman Grand Palace in 1935, are magnificent both in terms of artistic and in terms of the richness of depictions of the scenes. The works exhibited in the Great Palace Mosaics Museum, dated between 450-550 AD do not have religious content. The depictions taken from daily life, nature and mythology probably owe their vitality to the many experts under the leadership of the leading masters of the era.
The museum is located inside the Arasta Market in the Blue Mosque Complex, and it was formed to cover the mosaic floor treatment which remained partially preserved in the northeastern part of the colonnaded courtyard of the Great Palace belonging to the Eastern Roman Period. Only 180 square meters of the mosaic area was uncovered.
The Great Palace Mosaics Museum was under the new management of Istanbul Archaeology Museum in 1953. As of 1979, it became a unit of the Hagia Sophia Museum. The restoration and conservation, started in 1982 with the protocol between the General Directorate of Monuments and Museums of the Ministry of Culture and the Austrian Academy of Sciences, was completed in 1997.
LIZARD EATING GRIFFON OR THE GOAT MILKING MAN MOSAICS.
The mosaic grains of limestone, terracotta and colored stones have an average size of 5mm. ‘Opus Vermiculite’ style descriptions were placed in between the marble pieces whereas ‘Fishscale’ technique is applied on the white marble parts. Besides, the depictions are bounded by contours. The most outstanding mosaics in the museum are scenes describing lizard eating griffon, fighting elephant and lion, a mare breast feeding its colt, goose shepherding children, man milking goat, child feeding his donkey, young girl carrying a jug, bears eating apples, and fighting hunter and tiger. There are 150 human and animal figures and 90 different themes on the mosaics.
WHILE YOU’RE HERE
Make sure you see the Blue Mosque! It was built by Sedefkar Mehmet Aga, one of the students of Sinan the Architect by the order of Sultan Ahmed I in the 17th century. It is also known as the "Blue Mosque" because there are 21 thousand 43 eye-catching Iznik tiles on its walls to the second window. Since Sultan Ahmed 14, is the 14th Sultan, there are 14 minaret balconies. Its complex is one of the largest building complexes in Istanbul. Sultan I Ahmed's tomb is also adjacent to the mosque garden.
Introduction of Rezan Has Museum to world of culture and art has been realized with the exhibition “Timeless Simplicity” which was the opening exhibition of 11th Oriental Carpet Conference.
Hosting genuine exhibitions and cultural activities since 2007 in the frame of its vigorous museum studies, Rezan Has Museum has become a museum site connecting the past to the future with its Ottoman structure dated back to 17th century and Byzantine cistern to 11th century. The Museum enriched its collection by acquiring documents and objects belonging to Cibali Tobacco and Cigarette Factory in 2009 along with its collection of archeological artifacts with nearly a history of 9,000 years.
Seferikos Cistern and Ottoman Structure
The cisterns, water reservoirs made of stone, were structures which played an important role in meeting water requirements of Istanbul in Byzantine period. The Byzantine period cistern taking place in our museum and dated back to late 11th century is comprised of 48 arches, 15 pillars and 20 columns. This structure having a square-like rectangular plan was built directly to accumulate water.
After losing its function as a cistern, it was first used as the tobacco warehouse of Cibali Tobacco and Cigarette Factory and then as a supply warehouse during the 2nd World War.
It is thought that the building remains within the exhibition area belong to the 17th century AD. The structure consists of two separate blocks. Although the ultimate purpose of use is not yet known It is estimated that it has a function for the use of water.
Rezan Has Museum
Kadir Has CaddesiIntroduction of Rezan Has Museum to world of culture and art has been realized with the exhibition “Timeless Simplicity” which was the opening exhibition of 11th Oriental Carpet Conference.
Hosting genuine exhibitions and cultural activities since 2007 in the frame of its vigorous museum studies, Rezan Has Museum has become a museum site connecting the past to the future with its Ottoman structure dated back to 17th century and Byzantine cistern to 11th century. The Museum enriched its collection by acquiring documents and objects belonging to Cibali Tobacco and Cigarette Factory in 2009 along with its collection of archeological artifacts with nearly a history of 9,000 years.
Seferikos Cistern and Ottoman Structure
The cisterns, water reservoirs made of stone, were structures which played an important role in meeting water requirements of Istanbul in Byzantine period. The Byzantine period cistern taking place in our museum and dated back to late 11th century is comprised of 48 arches, 15 pillars and 20 columns. This structure having a square-like rectangular plan was built directly to accumulate water.
After losing its function as a cistern, it was first used as the tobacco warehouse of Cibali Tobacco and Cigarette Factory and then as a supply warehouse during the 2nd World War.
It is thought that the building remains within the exhibition area belong to the 17th century AD. The structure consists of two separate blocks. Although the ultimate purpose of use is not yet known It is estimated that it has a function for the use of water.
İstanbul’un Fatih tarafından alınmasıyla birlikte, yeni baştan tanımlanan İmparatorluk, birçok yeni kurumu da ortaya çıkartmak zorundaydı. Çünkü artık dönemin em önemli şehirlerinden birisi, yeni bir kimliğin yaratılmasında kaynak rolü oynayacaktı.
Özellikle ekonomik yönden yapılması gereken işlerin başında, “ürün” düşüncesinin en geniş anlamıyla tanımlanması gerekiyordu.
Diğer yandan, herhangi bir şeyi “korumak” ve geliştirmek için, onun üstünü “örtmek ve korumak” gerekmiştir. İşte Kapalıçarşı’nın “üstünün örtülmesi” hiç kuşkusuz böyle büyük bir projenin hayata geçirilmesi amacıyla yapılmıştı. Eğer içinde gerçekten korunması gereken bir şey yaşatılmayacaksa, bu büyüklükte bir organizasyona ve yatırıma niçin gidilmiş olsun?
Bu açıdan bakılınca, Kapalıçarşı, belki de Osmanlı İmparatorluğu’nun geliştirdiği en önemli ve karmaşık projelerden birisidir.
Çünkü 500 yıllık yaşamı içinde, İmparatorluk inanılmaz değişimler yaşamış, başarılar ve başarısızlıklarla karşılaşmış, çok büyük projeler hayata geçirilmiştir. Ama bugün bunlardan hiçbiri hayatta değildir. Diğer yandan dev boyutlu sanayiler kurulmuş, Tersane, Darphane kurulmuş, okullar, saraylar inşa edilmiştir. Ama bugün bunlardan pek azı gerçek işlevini sürdürebilmektedir.
Oysa Kapalıçarşı, İmparatorluğun ürün kimliğinin ve ekonomisinin canlı kalmasını sağlayan dev bir mekanizma olarak tanımlanmış, düzenlenmiş, inşa edilmiş, gelişmiş ve günümüze kadar gelmiştir. Bu uzun süre içinde birçok önemli sorunla karşılaşmış, depremler yaşamış, yanmış, yıkılmış, ama her seferinde hızla onarılarak yeniden geliştirilmiştir.
Çünkü Kapalıçarşı, dünyadaki birçok kapalı çarşının yanında önemli bir özelliğe sahipti. O sadece bir çarşı değildi. O bir imparatorluğun ürün kimliğinin sürekliliği ve uluslararası rekabetin sağlanması için, devletin en önemli ekonomik projelerinden birisiydi. Doğu-Batı Kuzey-Güney arasındaki çok yönlü ve etkin bir rekabetin denetlenip dengelendiği büyük bir mekanizmaydı.
Yoksa sadece günlük alışveriş için bu büyüklükte bir inşaat ve yönetim organizasyonu niçin kurulmuş olsun? Çünkü Kapalıçarşı bir “gücün simgesiydi” **.
Osmanlı Dönemi’nde içinde Bedesten de bulunan kapalıçarşılar, sarayın değerli eşyalarının korunduğu hazine olmanın yanısıra ticaret yoluyla sermaye birikimi yapılmasına yol açan birer finans merkezi işlevi de taşırdı. Fatih Sultan Mehmet, Ayasofya’ya gelir getirmesi amacıyla Cevahir ve Sandal bedestenlerini kurdurmuş, bunların etrafında 250 yıl boyunca İstanbul Kapalıçarşısı gelişmişti. Günümüzdeki bedestenler artık işlevlerini yitirmiş bugün Kapalıçarşı’da oluşan arz ve talep göstergeleriyle Türkiye’deki altın ve döviz fiyatları için “Kapalıçarşı” hâlâ önemli bir merkez! ***
Kapalıçarşı 110 bin 868 m2’lik bir alana yayılmış, 45 bin m2 kapalı alana, 65 sokak üzerinde 3600 dükkân ve 14 hana sahiptir. Günümüzde çoğu değişikliğe uğrasa da Kapalıçarşı’nın sokakları ve hanlarının taşıdığı adlar ile eskiden orada ne yapıldığını ne satıldığını anlamak mümkündür.
Kapılar: Beyazıt, Çarşıkapı, Çuhacıhan, Kuyumcular, Mahmutpaşa, Nuruosmaniye, Örücüler, Sepetçihan, Takkeciler, Tavukpazarı ve Zenneciler.
Hanlar: Ağa, Alipaşa, Astarcı, Balyacı, Bodrum, Cebeci, Çukur, Çuhacı, Hatipemin, İçcebeci, İmamali, Kalcılar, Kapılar, Kaşıkçı, Kebapçı, Kızlarağası, Mercan, Perdahçı, Rabia, Safran, Sarnıçlı, Sarraf, Sepetçi, Sorguçlu, Varakçı, Yağcı, Yolgeçen, Zincirli ve Evliya.
Sokaklar: Acıçeşme, Ağa, Altuncular, Aminçiler, Araracıoğlu, Aynacılar, Basmacılar, Çuhacıhanı, Bitpazarı, Fesçiler, Ganiçelebi, Hacıhasan, Hacıhüsnü, Hacımemiş, Halıcılar, Hazırelbiseciler, İplikçiler, Kahvehane, Kalpakçılar, Karakol, Karamanlıoğlu, Kavaflar, Kazazlar, Keseciler, Kilitçiler, Kolancılar, Koltukçu, Kürkçüler, Lütfullahefendi, Mercançıkmazı, Muhafazacılar, Mühürdaremin, Ortakazazcılar, Örücülerhamamı, Parçacılar, Perdahçılar, Püskülcüler, Reisoğlu, Ressam, Sahaflarbedesteni, Sandal, Sandalbedesteni, Serpuççular, Sıraodalar, Sipahi, Tacirler, Takkeciler, Tavukpazarı, Terlikçiler, Terzibaşı, Terziler, Tuğcular, Varakçıhan, Yağlıkçılar, Yarımtaşhan, Yeşildirek, Yorgancılar, Yüncühasan ve Zenneciler.
KAZANÇ DENİLEN ŞEY HAVAYA UÇAN BİR VAHŞİ KUŞTUR…
Fatih Sultan Mehmet’in Kapalıçarşı’nın inşaatına başladığı 1461 yılı, Kapalıçarşı’nın kuruluş yılı olarak kabul görmüş. Asıl büyük çarşı ise Kanuni Sultan Süleyman tarafından ahşap olarak inşa ettirilmiş. Evliya Çelebi burayı muazzam güçlü bir kale gibi tanımlamıştı. Çelebi, 1640’lı yıllarda Kapalıçarşı esnafını ise şöyle anlatmış: “…İstanbul’un kalabalık ve seçme yerinde, Osmanoğulları’nın büyük hazinesidir ki gûya kahkaha kalesidir. Bütün sefere gidenlerin, vezirlerin ve âyânın malları buradadır ki yeraltında nice yüz demir kapılı mahzenleri vardır… Doğuya açılan kuyumcular kapısı vardır ki bu kapı üzerinde kanatlarını açmış korkunç bir kuş sureti vardır… Bu sureti kapıya nakşetmekteki amaç şuydu:… Kazanç denilen şey havaya uçan vahşi bir kuştur. Eğer bu kuşu nezaketle avlayabilirsen bu bezistanda kâr edebilirsin!” ***
Kaynaklar:
* NTV İstanbul Ansiklopedisi, Önder Küçükerman, “Kapalıçarşı” maddesi, 2010.
**Kapalıçarşı, Önder Küçükerman, Kenan Mortan, T.C. Kültür ve Turizm Bakanlığı Yayınları, 2007.
***Çarşı, Pazar, Ticaret ve Kapalıçarşı, Kenan Mortan, Önder Küçükerman, İş Bankası Kültür Yayınları, 2010.
810 명의 현지인이 추천하는 곳
그랜드 바자르
Beyazıt Caddesiİstanbul’un Fatih tarafından alınmasıyla birlikte, yeni baştan tanımlanan İmparatorluk, birçok yeni kurumu da ortaya çıkartmak zorundaydı. Çünkü artık dönemin em önemli şehirlerinden birisi, yeni bir kimliğin yaratılmasında kaynak rolü oynayacaktı.
Özellikle ekonomik yönden yapılması gereken işlerin başında, “ürün” düşüncesinin en geniş anlamıyla tanımlanması gerekiyordu.
Diğer yandan, herhangi bir şeyi “korumak” ve geliştirmek için, onun üstünü “örtmek ve korumak” gerekmiştir. İşte Kapalıçarşı’nın “üstünün örtülmesi” hiç kuşkusuz böyle büyük bir projenin hayata geçirilmesi amacıyla yapılmıştı. Eğer içinde gerçekten korunması gereken bir şey yaşatılmayacaksa, bu büyüklükte bir organizasyona ve yatırıma niçin gidilmiş olsun?
Bu açıdan bakılınca, Kapalıçarşı, belki de Osmanlı İmparatorluğu’nun geliştirdiği en önemli ve karmaşık projelerden birisidir.
Çünkü 500 yıllık yaşamı içinde, İmparatorluk inanılmaz değişimler yaşamış, başarılar ve başarısızlıklarla karşılaşmış, çok büyük projeler hayata geçirilmiştir. Ama bugün bunlardan hiçbiri hayatta değildir. Diğer yandan dev boyutlu sanayiler kurulmuş, Tersane, Darphane kurulmuş, okullar, saraylar inşa edilmiştir. Ama bugün bunlardan pek azı gerçek işlevini sürdürebilmektedir.
Oysa Kapalıçarşı, İmparatorluğun ürün kimliğinin ve ekonomisinin canlı kalmasını sağlayan dev bir mekanizma olarak tanımlanmış, düzenlenmiş, inşa edilmiş, gelişmiş ve günümüze kadar gelmiştir. Bu uzun süre içinde birçok önemli sorunla karşılaşmış, depremler yaşamış, yanmış, yıkılmış, ama her seferinde hızla onarılarak yeniden geliştirilmiştir.
Çünkü Kapalıçarşı, dünyadaki birçok kapalı çarşının yanında önemli bir özelliğe sahipti. O sadece bir çarşı değildi. O bir imparatorluğun ürün kimliğinin sürekliliği ve uluslararası rekabetin sağlanması için, devletin en önemli ekonomik projelerinden birisiydi. Doğu-Batı Kuzey-Güney arasındaki çok yönlü ve etkin bir rekabetin denetlenip dengelendiği büyük bir mekanizmaydı.
Yoksa sadece günlük alışveriş için bu büyüklükte bir inşaat ve yönetim organizasyonu niçin kurulmuş olsun? Çünkü Kapalıçarşı bir “gücün simgesiydi” **.
Osmanlı Dönemi’nde içinde Bedesten de bulunan kapalıçarşılar, sarayın değerli eşyalarının korunduğu hazine olmanın yanısıra ticaret yoluyla sermaye birikimi yapılmasına yol açan birer finans merkezi işlevi de taşırdı. Fatih Sultan Mehmet, Ayasofya’ya gelir getirmesi amacıyla Cevahir ve Sandal bedestenlerini kurdurmuş, bunların etrafında 250 yıl boyunca İstanbul Kapalıçarşısı gelişmişti. Günümüzdeki bedestenler artık işlevlerini yitirmiş bugün Kapalıçarşı’da oluşan arz ve talep göstergeleriyle Türkiye’deki altın ve döviz fiyatları için “Kapalıçarşı” hâlâ önemli bir merkez! ***
Kapalıçarşı 110 bin 868 m2’lik bir alana yayılmış, 45 bin m2 kapalı alana, 65 sokak üzerinde 3600 dükkân ve 14 hana sahiptir. Günümüzde çoğu değişikliğe uğrasa da Kapalıçarşı’nın sokakları ve hanlarının taşıdığı adlar ile eskiden orada ne yapıldığını ne satıldığını anlamak mümkündür.
Kapılar: Beyazıt, Çarşıkapı, Çuhacıhan, Kuyumcular, Mahmutpaşa, Nuruosmaniye, Örücüler, Sepetçihan, Takkeciler, Tavukpazarı ve Zenneciler.
Hanlar: Ağa, Alipaşa, Astarcı, Balyacı, Bodrum, Cebeci, Çukur, Çuhacı, Hatipemin, İçcebeci, İmamali, Kalcılar, Kapılar, Kaşıkçı, Kebapçı, Kızlarağası, Mercan, Perdahçı, Rabia, Safran, Sarnıçlı, Sarraf, Sepetçi, Sorguçlu, Varakçı, Yağcı, Yolgeçen, Zincirli ve Evliya.
Sokaklar: Acıçeşme, Ağa, Altuncular, Aminçiler, Araracıoğlu, Aynacılar, Basmacılar, Çuhacıhanı, Bitpazarı, Fesçiler, Ganiçelebi, Hacıhasan, Hacıhüsnü, Hacımemiş, Halıcılar, Hazırelbiseciler, İplikçiler, Kahvehane, Kalpakçılar, Karakol, Karamanlıoğlu, Kavaflar, Kazazlar, Keseciler, Kilitçiler, Kolancılar, Koltukçu, Kürkçüler, Lütfullahefendi, Mercançıkmazı, Muhafazacılar, Mühürdaremin, Ortakazazcılar, Örücülerhamamı, Parçacılar, Perdahçılar, Püskülcüler, Reisoğlu, Ressam, Sahaflarbedesteni, Sandal, Sandalbedesteni, Serpuççular, Sıraodalar, Sipahi, Tacirler, Takkeciler, Tavukpazarı, Terlikçiler, Terzibaşı, Terziler, Tuğcular, Varakçıhan, Yağlıkçılar, Yarımtaşhan, Yeşildirek, Yorgancılar, Yüncühasan ve Zenneciler.
KAZANÇ DENİLEN ŞEY HAVAYA UÇAN BİR VAHŞİ KUŞTUR…
Fatih Sultan Mehmet’in Kapalıçarşı’nın inşaatına başladığı 1461 yılı, Kapalıçarşı’nın kuruluş yılı olarak kabul görmüş. Asıl büyük çarşı ise Kanuni Sultan Süleyman tarafından ahşap olarak inşa ettirilmiş. Evliya Çelebi burayı muazzam güçlü bir kale gibi tanımlamıştı. Çelebi, 1640’lı yıllarda Kapalıçarşı esnafını ise şöyle anlatmış: “…İstanbul’un kalabalık ve seçme yerinde, Osmanoğulları’nın büyük hazinesidir ki gûya kahkaha kalesidir. Bütün sefere gidenlerin, vezirlerin ve âyânın malları buradadır ki yeraltında nice yüz demir kapılı mahzenleri vardır… Doğuya açılan kuyumcular kapısı vardır ki bu kapı üzerinde kanatlarını açmış korkunç bir kuş sureti vardır… Bu sureti kapıya nakşetmekteki amaç şuydu:… Kazanç denilen şey havaya uçan vahşi bir kuştur. Eğer bu kuşu nezaketle avlayabilirsen bu bezistanda kâr edebilirsin!” ***
Kaynaklar:
* NTV İstanbul Ansiklopedisi, Önder Küçükerman, “Kapalıçarşı” maddesi, 2010.
**Kapalıçarşı, Önder Küçükerman, Kenan Mortan, T.C. Kültür ve Turizm Bakanlığı Yayınları, 2007.
***Çarşı, Pazar, Ticaret ve Kapalıçarşı, Kenan Mortan, Önder Küçükerman, İş Bankası Kültür Yayınları, 2010.
Türkiye’nin sanatsal yaratıcılığını ve kültürel kimliğini ulusal ve uluslararası sanat ortamıyla paylaşmak amacıyla 2004 yılında ülkemizin ilk modern ve çağdaş sanat müzesi olarak kurulan İstanbul Modern, disiplinlerarası etkinliklere ev sahipliği yapıyor.
İstanbul Modern, uluslararası bir yönelimle, modern ve çağdaş sanat yapıtlarına, fotoğraf, tasarım, mimari ve yeni medya alanlarındaki üretimlere koleksiyonunda yer veriyor. Türkiye’nin kültürel kimliğinin uluslararası sanat ortamıyla paylaşılmasına aracılık eden müze, sanatçıların üretimlerine ve yurt dışında işbirlikleri kurabilmelerine destek oluyor.
Sanatı kitleler için erişilebilir kılmayı misyon edinen İstanbul Modern, bu amaçla her yaştan sanat izleyicisine eğitim programları sunuyor. Müzenin koleksiyonları, sergileri ve eğitim programları, tüm ziyaretçilere sanatı sevdirmeyi ve etkin biçimde katılımlarını sağlamayı hedefliyor.
İstanbul Modern’in Karaköy’de kapılarını açtığı 4 numaralı Antrepo ile aynı konumda olan yeni binası, dünyadaki simgeleşmiş müze ve kültür-sanat kurumlarını tasarlayan Renzo Piano imzasını taşıyor. Yeni müze binasının yakın zamanda ziyaretçilerle buluşması planlanıyor.
618 명의 현지인이 추천하는 곳
Istanbul Museum of Modern Art
No:1/1 Meşrutiyet Cd.Türkiye’nin sanatsal yaratıcılığını ve kültürel kimliğini ulusal ve uluslararası sanat ortamıyla paylaşmak amacıyla 2004 yılında ülkemizin ilk modern ve çağdaş sanat müzesi olarak kurulan İstanbul Modern, disiplinlerarası etkinliklere ev sahipliği yapıyor.
İstanbul Modern, uluslararası bir yönelimle, modern ve çağdaş sanat yapıtlarına, fotoğraf, tasarım, mimari ve yeni medya alanlarındaki üretimlere koleksiyonunda yer veriyor. Türkiye’nin kültürel kimliğinin uluslararası sanat ortamıyla paylaşılmasına aracılık eden müze, sanatçıların üretimlerine ve yurt dışında işbirlikleri kurabilmelerine destek oluyor.
Sanatı kitleler için erişilebilir kılmayı misyon edinen İstanbul Modern, bu amaçla her yaştan sanat izleyicisine eğitim programları sunuyor. Müzenin koleksiyonları, sergileri ve eğitim programları, tüm ziyaretçilere sanatı sevdirmeyi ve etkin biçimde katılımlarını sağlamayı hedefliyor.
İstanbul Modern’in Karaköy’de kapılarını açtığı 4 numaralı Antrepo ile aynı konumda olan yeni binası, dünyadaki simgeleşmiş müze ve kültür-sanat kurumlarını tasarlayan Renzo Piano imzasını taşıyor. Yeni müze binasının yakın zamanda ziyaretçilerle buluşması planlanıyor.
THE ŞEREFİYE CISTERN: A PLACE WHERE HISTORY MEETS ART AND TECHNOLOGY
Mesmerizing the visitors with a history of 1600 years, the Şerefiye Cistern meets history with art and technology using 360° mapping system for the first time in Turkey.
Situated in the Historical Peninsula of Istanbul as one of the earliest examples of the water structures of the city with a history of 1600 years, the Şerefiye Cistern does not offer an inscription but is believed to be built during the rule of Theodosius II (408-450) based on the architectural characteristics.
CISTERNS: THE SOURCE OF LIFE OF THE CITY
Istanbul always required structures to store water due to the lack of sufficient sources as well as high population and sieges. The city used exposed and enclosed water reservoirs through the centuries. In this sense, it is known that great structures such as the Şerefiye and Basilica cisterns provided water to the baths of the Great Palace, Nymphaeum and Zeuxippus.
Built on a 24m x 40m area with a ceiling up to 11 meters, the Şerefiyes Cistern has 45 sail vaults and 32 columns. All the Corinthian capitals bearing impost blocks were made of the Marmara Island marble brought specially for the cistern. The capitals are decorated with acanthus leaves. The inner walls of the structure were covered with watertight plaster while the corners are curved to ensure pressure resistance. The walls are around 2.5m thick.
THE HIDDEN HERITAGE OF 1600 YEARS
The cistern derives the name from Roman Emperor Theodosius II. Above the cistern rises the Arif Pasa Estate which is believed to be built in the late 18th or early 19th century and was used as the Istanbul Municipality building in 1912. Later on, the building served as the Municipal Services Building of Istanbul and then Eminonu Municipal Building between 1930 and 1984. In 2010, Istanbul Metropolitan Municipality demolished the annexes to the Eminonu Municipal Building and revealed the recently-discovered Theodosius Cistern beneath without damage to the historical monument.
Compared to the Byzantine infrastructures in Istanbul, the Şerefiye Cistern draws attention with the original floor and well-preserved Corinthian capitals. The surrounding area has been transformed as an archaeological park after the concrete buildings were demolished and a landscape plan was implemented.
FIRST TIME IN THE WORLD: 360° PROJECTION MAPPING
The Şerefiye Cistern is the first Turkish museum and the oldest building of the world with the 360° projection mapping system. The cistern offers a new experience to interact with the 1600-years old monument, ensure three-dimensional space perception and trace the water culture of both the Şerefiye Cistern and Istanbul.
A NEW HISTORICAL SPACE EXPERIENCE
Composed of five main parts, the 10-minute show invites visitors to witness the spatial characteristics of the Şerefiye Cistern with the 3D effects that respectively meets the walls, columns and the ceiling and enhances spatial perception and awareness.
BROUGHT TOGETHER BY WATER
The second part of the show tracks the water routes of Istanbul: the reference to aqueducts and distribution lines is followed by an experience of the connections between aqueducts and cisterns through schematic waterway depictions.
THE MEMORY OF 1600 YEARS
The third part offers the collective memory and historical layers of Istanbul with a new interpretation and revives the periods of the Byzantium and the Ottoman Empire on the walls of the cistern. The interpretations are accompanied by icons and Turkish tile art.
VICTORY REFLECTED ON WATER
The final part of the special show demonstrates the story of the people who founded the new Republic following the Turkish War of Independence in the aftermath of the World War I. Consequently, the Theodosius Cistern returns back to its unique historical and architectural appearance.
The mapping shows of the Şerefiye Cistern are offered in cooperation with TUCE Investment.
JOURNEY THROUGH MUSIC WITH THE CISTERN CONCERTS!
Şerefiye Cistern brings together music lovers with distinguished works from classical Turkish music to classical Western music and baroque music by hosting periodical concerts. The matchless acoustics of the 1600-year old Şerefiye Cistern ensures a memorable music experience for art-lovers.
26 명의 현지인이 추천하는 곳
세레필이 시스토
No:2/1 Piyer Loti Cd.THE ŞEREFİYE CISTERN: A PLACE WHERE HISTORY MEETS ART AND TECHNOLOGY
Mesmerizing the visitors with a history of 1600 years, the Şerefiye Cistern meets history with art and technology using 360° mapping system for the first time in Turkey.
Situated in the Historical Peninsula of Istanbul as one of the earliest examples of the water structures of the city with a history of 1600 years, the Şerefiye Cistern does not offer an inscription but is believed to be built during the rule of Theodosius II (408-450) based on the architectural characteristics.
CISTERNS: THE SOURCE OF LIFE OF THE CITY
Istanbul always required structures to store water due to the lack of sufficient sources as well as high population and sieges. The city used exposed and enclosed water reservoirs through the centuries. In this sense, it is known that great structures such as the Şerefiye and Basilica cisterns provided water to the baths of the Great Palace, Nymphaeum and Zeuxippus.
Built on a 24m x 40m area with a ceiling up to 11 meters, the Şerefiyes Cistern has 45 sail vaults and 32 columns. All the Corinthian capitals bearing impost blocks were made of the Marmara Island marble brought specially for the cistern. The capitals are decorated with acanthus leaves. The inner walls of the structure were covered with watertight plaster while the corners are curved to ensure pressure resistance. The walls are around 2.5m thick.
THE HIDDEN HERITAGE OF 1600 YEARS
The cistern derives the name from Roman Emperor Theodosius II. Above the cistern rises the Arif Pasa Estate which is believed to be built in the late 18th or early 19th century and was used as the Istanbul Municipality building in 1912. Later on, the building served as the Municipal Services Building of Istanbul and then Eminonu Municipal Building between 1930 and 1984. In 2010, Istanbul Metropolitan Municipality demolished the annexes to the Eminonu Municipal Building and revealed the recently-discovered Theodosius Cistern beneath without damage to the historical monument.
Compared to the Byzantine infrastructures in Istanbul, the Şerefiye Cistern draws attention with the original floor and well-preserved Corinthian capitals. The surrounding area has been transformed as an archaeological park after the concrete buildings were demolished and a landscape plan was implemented.
FIRST TIME IN THE WORLD: 360° PROJECTION MAPPING
The Şerefiye Cistern is the first Turkish museum and the oldest building of the world with the 360° projection mapping system. The cistern offers a new experience to interact with the 1600-years old monument, ensure three-dimensional space perception and trace the water culture of both the Şerefiye Cistern and Istanbul.
A NEW HISTORICAL SPACE EXPERIENCE
Composed of five main parts, the 10-minute show invites visitors to witness the spatial characteristics of the Şerefiye Cistern with the 3D effects that respectively meets the walls, columns and the ceiling and enhances spatial perception and awareness.
BROUGHT TOGETHER BY WATER
The second part of the show tracks the water routes of Istanbul: the reference to aqueducts and distribution lines is followed by an experience of the connections between aqueducts and cisterns through schematic waterway depictions.
THE MEMORY OF 1600 YEARS
The third part offers the collective memory and historical layers of Istanbul with a new interpretation and revives the periods of the Byzantium and the Ottoman Empire on the walls of the cistern. The interpretations are accompanied by icons and Turkish tile art.
VICTORY REFLECTED ON WATER
The final part of the special show demonstrates the story of the people who founded the new Republic following the Turkish War of Independence in the aftermath of the World War I. Consequently, the Theodosius Cistern returns back to its unique historical and architectural appearance.
The mapping shows of the Şerefiye Cistern are offered in cooperation with TUCE Investment.
JOURNEY THROUGH MUSIC WITH THE CISTERN CONCERTS!
Şerefiye Cistern brings together music lovers with distinguished works from classical Turkish music to classical Western music and baroque music by hosting periodical concerts. The matchless acoustics of the 1600-year old Şerefiye Cistern ensures a memorable music experience for art-lovers.
The Galata Tower was built by the Genoese in mid-fourteenth century as part of the Galata Walls when Galata quarter was a Genoese colony in the Byzantine Era. After it was used as a dungeon for some time in the Ottoman Era, it was converted to a fire lookout tower. The tower which suffered damages due to earthquakes and fires from time to time underwent several renovations during the Ottoman Era. The tower that had fallen into ruins by 1960s was restored by Istanbul Municipality and opened for visitors. The Galata Tower was restored by the General Directorate of Foundations in 2020, and the reinforced concrete elements which were added later, and the cafeteria were removed, and the Tower reopened its gates to visitors as a museum.
In the Galata Tower museum, artefacts are displayed, reflecting all the historical periods of Istanbul that has been populated since prehistoric times and served as a capital for sixteen centuries for three great empires. One of the tallest buildings in Istanbul until the mid-20th century, the Galata Tower has one of the most beautiful panoramic views of Istanbul that you can enjoy on the top floor. The Tower is in the tentative list of Unesco World Heritage Sites along with the Genoese Towers in the Mediterranean and the Black Sea.
Now That You Are Here
You are at walking distance to Galata Mevlevi Lodge, the first Mevlevi lodge of Istanbul and the most important Ottoman work of art in Beyoğlu. Also, if you walk up from the Tower to İstiklal Avenue, you can visit Tarık Tunaya Cultural Center which is free for visitors.
1235 명의 현지인이 추천하는 곳
갈라타
The Galata Tower was built by the Genoese in mid-fourteenth century as part of the Galata Walls when Galata quarter was a Genoese colony in the Byzantine Era. After it was used as a dungeon for some time in the Ottoman Era, it was converted to a fire lookout tower. The tower which suffered damages due to earthquakes and fires from time to time underwent several renovations during the Ottoman Era. The tower that had fallen into ruins by 1960s was restored by Istanbul Municipality and opened for visitors. The Galata Tower was restored by the General Directorate of Foundations in 2020, and the reinforced concrete elements which were added later, and the cafeteria were removed, and the Tower reopened its gates to visitors as a museum.
In the Galata Tower museum, artefacts are displayed, reflecting all the historical periods of Istanbul that has been populated since prehistoric times and served as a capital for sixteen centuries for three great empires. One of the tallest buildings in Istanbul until the mid-20th century, the Galata Tower has one of the most beautiful panoramic views of Istanbul that you can enjoy on the top floor. The Tower is in the tentative list of Unesco World Heritage Sites along with the Genoese Towers in the Mediterranean and the Black Sea.
Now That You Are Here
You are at walking distance to Galata Mevlevi Lodge, the first Mevlevi lodge of Istanbul and the most important Ottoman work of art in Beyoğlu. Also, if you walk up from the Tower to İstiklal Avenue, you can visit Tarık Tunaya Cultural Center which is free for visitors.
Istanbul Archaeological Museums are a complex of museums consisting of three main units. The Archaeological Museum, The Museum of Ancient Oriental Works, The Tiled Kiosk Museum. Istanbul Archaeological Museum, the first museum in Turkey, has about a million artifacts from a variety of cultures, brought from the imperial lands.
The interest in collecting historical artifacts in the Ottoman period dates back to the reign of Mehmet the Conqueror, but the institutional emergence of museums coincides with the establishment of Istanbul Archaeological Museums in 1869 as Müze-i Hümayun (Imperial Museum). Müze-i Humayun, housing the archaeological works collected in the Hagia Irene Church, is the foundation of the Istanbul Archaeological Museum. The Tiled Kiosk built during the reign of Mehmet the Conqueror, was converted into a museum because of the insufficiency of Hagia Irene. The Tiled Kiosk which is still under the administration of Istanbul Archaeological Museum, was restored and opened its doors in 1880.
When Osman Hamdi Bey was assigned as the museum director in 1881, there was a breakthrough in Turkish museology. Osman Hamdi Bey excavated in Mount Nemrud, Myrina, Kyme, other Alolia Necropolises and Lagina Hekate Temple and as a result of excavations he conducted in Sayda (Sidon) between 1887-1888, he reached the necropolis of King Sidon and returned to Istanbul with many sarcophagi, especially the famous one; Alexander the Great.
The oldest building (1472 CE) in the Istanbul Archaeological Museum complex is the The Tiled Kiosk. The Tiled Kiosk Museum, which currently displays examples of Turkish tiles and ceramics, is one of the oldest examples of Ottoman civil architecture in Istanbul.
The building, which was used as the Museum of Ancient Oriental Works, was constructed by Osman Hamdi Bey in 1883 as Sanayi-i Nefise school, that is, the Academy of Fine Arts. The architect of the building was Alexander Vallaury, who would later build the Istanbul Archaeological Museum Classic building.
The Archaeological Museum stands out as one of the rare buildings constructed as a museum in that time period in the world. It is one of the most beautiful and splendid examples of neo-classical architecture in Istanbul. It reads 'Asar-ı Atika Museum' (Museum of Ancient Works) in Ottoman language on the pediment. The writing on the tughra belongs to Sultan II. Aldulhamid.
A new museum building was needed to display magnificent works such as Iskender Tomb, crying women Tomb, Lycia Tomb and Tabnit tomb, which were brought to Istanbul from Sidon King Necropolis excavation performed by Osman Hamdi Bey between 1887 and 1888. Across from The Tiled Kiosk, Istanbul Archeological Museums Classical Building, built by the famous architect Alexandre Vallaury, was opened in June 13th 1891.
Halls 1, 16, 17, 18, 19, 20 located downstairs of the Directorate of Istanbul Archaeological Museums, all the halls on the upper floor, Assos Exhibition Hall and Istanbul Neighbor Culture: Thrakia, Bithynia - Biyzantium Exhibition Halls on the ground floor of the annex building are closed for visitors.
179 명의 현지인이 추천하는 곳
이스탄불고고학박물관
Istanbul Archaeological Museums are a complex of museums consisting of three main units. The Archaeological Museum, The Museum of Ancient Oriental Works, The Tiled Kiosk Museum. Istanbul Archaeological Museum, the first museum in Turkey, has about a million artifacts from a variety of cultures, brought from the imperial lands.
The interest in collecting historical artifacts in the Ottoman period dates back to the reign of Mehmet the Conqueror, but the institutional emergence of museums coincides with the establishment of Istanbul Archaeological Museums in 1869 as Müze-i Hümayun (Imperial Museum). Müze-i Humayun, housing the archaeological works collected in the Hagia Irene Church, is the foundation of the Istanbul Archaeological Museum. The Tiled Kiosk built during the reign of Mehmet the Conqueror, was converted into a museum because of the insufficiency of Hagia Irene. The Tiled Kiosk which is still under the administration of Istanbul Archaeological Museum, was restored and opened its doors in 1880.
When Osman Hamdi Bey was assigned as the museum director in 1881, there was a breakthrough in Turkish museology. Osman Hamdi Bey excavated in Mount Nemrud, Myrina, Kyme, other Alolia Necropolises and Lagina Hekate Temple and as a result of excavations he conducted in Sayda (Sidon) between 1887-1888, he reached the necropolis of King Sidon and returned to Istanbul with many sarcophagi, especially the famous one; Alexander the Great.
The oldest building (1472 CE) in the Istanbul Archaeological Museum complex is the The Tiled Kiosk. The Tiled Kiosk Museum, which currently displays examples of Turkish tiles and ceramics, is one of the oldest examples of Ottoman civil architecture in Istanbul.
The building, which was used as the Museum of Ancient Oriental Works, was constructed by Osman Hamdi Bey in 1883 as Sanayi-i Nefise school, that is, the Academy of Fine Arts. The architect of the building was Alexander Vallaury, who would later build the Istanbul Archaeological Museum Classic building.
The Archaeological Museum stands out as one of the rare buildings constructed as a museum in that time period in the world. It is one of the most beautiful and splendid examples of neo-classical architecture in Istanbul. It reads 'Asar-ı Atika Museum' (Museum of Ancient Works) in Ottoman language on the pediment. The writing on the tughra belongs to Sultan II. Aldulhamid.
A new museum building was needed to display magnificent works such as Iskender Tomb, crying women Tomb, Lycia Tomb and Tabnit tomb, which were brought to Istanbul from Sidon King Necropolis excavation performed by Osman Hamdi Bey between 1887 and 1888. Across from The Tiled Kiosk, Istanbul Archeological Museums Classical Building, built by the famous architect Alexandre Vallaury, was opened in June 13th 1891.
Halls 1, 16, 17, 18, 19, 20 located downstairs of the Directorate of Istanbul Archaeological Museums, all the halls on the upper floor, Assos Exhibition Hall and Istanbul Neighbor Culture: Thrakia, Bithynia - Biyzantium Exhibition Halls on the ground floor of the annex building are closed for visitors.
The History of Islamic Science and Technology
Was opened in 2008 with a concept prepared by Prof. Dr. Fuat Sezgin, an Islamic science historian. Exhibiting works, devices and tools invented and developed by Islamic scientists between the 9th and 16th centuries, the museum consists of 12 sections including astronomy, clocks and marine, war technology, medicine, mining, physics, maths and geometry, architecture and city planning, chemistry and optics, geography and cinevision screening room.
The Elephant Clock
The mechanical devices invented by al-Jazari who is considered to be the first scientist in the field of cybernetic and robotics will take you to a journey in time. He designed The Elephant Clock to show his admiration to the Universality of Islam which spread from Spain to the Middle Asia in that period. The Elephant Clock which draws attention of everyone welcomes visitors in the Entrance Hall of the museum.
Astronomy Section
Astronomy is accepted as one of the oldest science in the world. In this section, miniatures of important observatories of the Islamic Period, astrolabes, world globes and measuring sets are exhibited. Clock and Marine Section Sun dials which indicate the time by means of a shadow, clocks designed by al-Jazari and al-Biruni, mechanical clocks by Taqial-din who is one of the most important astronomers of the Ottoman Period, chandelier clock, the Andalusian candle clock with twelve doors and marine equipment are displayed in this section. Physics Section Tools and devices described in the book “Kitabü’l-Hıyel” of al-Jazari are shown in scale models in this section.Other than the pycnometer which determines the specific gravity numerically of al-Biruni, helical pump, 6 piston pump, door bolt with 4 bolts, perpetuum mobile, scissors shaped elevator and block and tackle pulley system are also among the displays.
17 명의 현지인이 추천하는 곳
이스탄불과학기술사박물관
No:8A Taya Hatun SkThe History of Islamic Science and Technology
Was opened in 2008 with a concept prepared by Prof. Dr. Fuat Sezgin, an Islamic science historian. Exhibiting works, devices and tools invented and developed by Islamic scientists between the 9th and 16th centuries, the museum consists of 12 sections including astronomy, clocks and marine, war technology, medicine, mining, physics, maths and geometry, architecture and city planning, chemistry and optics, geography and cinevision screening room.
The Elephant Clock
The mechanical devices invented by al-Jazari who is considered to be the first scientist in the field of cybernetic and robotics will take you to a journey in time. He designed The Elephant Clock to show his admiration to the Universality of Islam which spread from Spain to the Middle Asia in that period. The Elephant Clock which draws attention of everyone welcomes visitors in the Entrance Hall of the museum.
Astronomy Section
Astronomy is accepted as one of the oldest science in the world. In this section, miniatures of important observatories of the Islamic Period, astrolabes, world globes and measuring sets are exhibited. Clock and Marine Section Sun dials which indicate the time by means of a shadow, clocks designed by al-Jazari and al-Biruni, mechanical clocks by Taqial-din who is one of the most important astronomers of the Ottoman Period, chandelier clock, the Andalusian candle clock with twelve doors and marine equipment are displayed in this section. Physics Section Tools and devices described in the book “Kitabü’l-Hıyel” of al-Jazari are shown in scale models in this section.Other than the pycnometer which determines the specific gravity numerically of al-Biruni, helical pump, 6 piston pump, door bolt with 4 bolts, perpetuum mobile, scissors shaped elevator and block and tackle pulley system are also among the displays.
TWO CONTINENTS, ONE MUSEUM
The Fortress Museum incorporates Rumeli, Yedikule and Anadolu Fortresses. Among all, Rumeli Fortress however clearly stands out. The Fortress covering a 30-acre area in Sarıyer, also gives its name to the location. It was built in a short period of four months. By Mehmet the Conqueror in 1452 before the conquest of Istanbul in order to prevent attacks and block aids from the north of Bosphorus. This monument is located opposite the Anadolu Fortress, built by Sultan I. Beyazıt in 1394, and is located in the narrowest part of the Bosphorus.
The name of Rumeli Fortress was “Kulle-i Cedide” in Fatih Foundations and “Yenice Hisar” in the history of Neşri and in history of Kemalpaşazade, Aşıkpaşazade and Nişancı it was “Boğazkesen Fortress”. The timber used in the construction was brought from Izmit and Karadeniz Ereğlisi and the stones were brought from various parts of Anatolia and the ruins are the remains of Byzantine structures in the surrounding area. This monumental building was restored as a museum in 1953 and was opened its doors to visitors in 1968. The open theatre structure was added then and now performances are not organized here. The mosque which was built during Rumelihisari construction and then which was demolished, was built again in its original form in 2014. It also houses some events.
WATCHING THE BREATHTAKING VIEW OF THE BOSPHORUS FROM ITS LUSH GARDEN
There are 4 main gates named; “Mountain Gate”, “Dizdar Gate”, “Hisarpeçe Gate” and “Sel Gate” and a secondary gate named, “Mezarlik Gate”. There is a total of 17 high and small towers: “Saruca Pasha”, “Halil Pasha”, “Great Zaganos Pasha” and “Young Zaganos Pasha” are among the main ones. Because there is no exhibition hall or a warehouse in the museum, cannonballs, balls, a piece of the chain that was used across the sides of Golden Horn against attacks, are exhibited in the garden. Just to enjoy the view of Bosphorus from its lush garden is even a good enough reason to visit.
88 명의 현지인이 추천하는 곳
루멜리 히사르
Yahya Kemal CaddesiTWO CONTINENTS, ONE MUSEUM
The Fortress Museum incorporates Rumeli, Yedikule and Anadolu Fortresses. Among all, Rumeli Fortress however clearly stands out. The Fortress covering a 30-acre area in Sarıyer, also gives its name to the location. It was built in a short period of four months. By Mehmet the Conqueror in 1452 before the conquest of Istanbul in order to prevent attacks and block aids from the north of Bosphorus. This monument is located opposite the Anadolu Fortress, built by Sultan I. Beyazıt in 1394, and is located in the narrowest part of the Bosphorus.
The name of Rumeli Fortress was “Kulle-i Cedide” in Fatih Foundations and “Yenice Hisar” in the history of Neşri and in history of Kemalpaşazade, Aşıkpaşazade and Nişancı it was “Boğazkesen Fortress”. The timber used in the construction was brought from Izmit and Karadeniz Ereğlisi and the stones were brought from various parts of Anatolia and the ruins are the remains of Byzantine structures in the surrounding area. This monumental building was restored as a museum in 1953 and was opened its doors to visitors in 1968. The open theatre structure was added then and now performances are not organized here. The mosque which was built during Rumelihisari construction and then which was demolished, was built again in its original form in 2014. It also houses some events.
WATCHING THE BREATHTAKING VIEW OF THE BOSPHORUS FROM ITS LUSH GARDEN
There are 4 main gates named; “Mountain Gate”, “Dizdar Gate”, “Hisarpeçe Gate” and “Sel Gate” and a secondary gate named, “Mezarlik Gate”. There is a total of 17 high and small towers: “Saruca Pasha”, “Halil Pasha”, “Great Zaganos Pasha” and “Young Zaganos Pasha” are among the main ones. Because there is no exhibition hall or a warehouse in the museum, cannonballs, balls, a piece of the chain that was used across the sides of Golden Horn against attacks, are exhibited in the garden. Just to enjoy the view of Bosphorus from its lush garden is even a good enough reason to visit.
Turkish and Islamic Art Museum is the first museum in our country to include Turkish - Islamic art works together. It opened its doors for the first time in 1914 in the imaret building of Suleymaniye Mosque Social Complex, one of the most important structures of Mimar Sinan (Sinan the Architect) by the name of "Evkaf-ı Islamiye Museum" (Islamic Foundations Museum). It was moved to Ibrahim Pasha Palace to the west of Blue Mosque Square, in 1983. Apart from the Sultan palaces, the museum building is one of the earliest surviving palace buildings to the present day, dates back to the late 15th century.
Ibrahim Pasha Palace, one of the most important structures of Ottoman civil architecture, rises above the old “Racetrack Square” stairs. In 1520, it was repaired by Suleiman the Magnificent and gifted to Ibrahim Pasha of Pargali, his son-in-law and grand vizier.
The elevated structure on the arches surrounds the terrace on the three sides. One of the most pleasant places in the museum is this terrace, overlooking the Sultanahmet (Blue Mosque) Square.
After 1983, Turkish and Islamic Arts Museum was closed to visitors for restoration in 2012, and after extensive work, it was opened again in 2014, on the 100th anniversary of its first opening, with a new understanding of exhibition and new places of visit.
HOSTS THE RARE ARTS OF ISLAMIC WORLD
The works of the museum’s rare examples of Emevi, Abbasi, Artuklu, Eyyubi, Ilhanlı, Timurid, Safavi, Kaçar, Memluk, Seljuk and Ottoman periods were collected from different areas of the Islamic world. The museum is famous for having the best rug collection in the world. The masterpieces among the rugs are rare 13th century Seljuk carpets that cannot be found elsewhere.
In addition to its rug collections, the museum also stands out with its pristine works of art. Glassware, stone and terracotta artifacts and metal and ceramic objects are among the precious pieces exhibited. A large hall in the courtyard of the museum is devoted to the collection of ethnography, reflecting the daily life of 19th century Istanbul. The Holy Relics section in the museum brings the most important works of this area like the ones in Topkapı Palace.
WHILE YOU ARE HERE
Explore the Blue Mosque and its surroundings. The park in the Square is especially colorful when tulips bloom. The racetrack which constitutes the most important part of the square witnessing many historical events, is a monument that cannot be overlooked. The must-see artworks in the Racetrack, where horse carriage races were held in Byzantine times, are Kaiser Wilhelm (German) Fountain, Theodosius Obelisk and Spiral Column. But after all, the place not to be missed in Sultanahmet Square is the Blue Mosque which gives its name to the square.
65 명의 현지인이 추천하는 곳
Ibrahim Pasha Palace Museum of Turkish and Islamic Arts
44 Atmeydanı Cd.Turkish and Islamic Art Museum is the first museum in our country to include Turkish - Islamic art works together. It opened its doors for the first time in 1914 in the imaret building of Suleymaniye Mosque Social Complex, one of the most important structures of Mimar Sinan (Sinan the Architect) by the name of "Evkaf-ı Islamiye Museum" (Islamic Foundations Museum). It was moved to Ibrahim Pasha Palace to the west of Blue Mosque Square, in 1983. Apart from the Sultan palaces, the museum building is one of the earliest surviving palace buildings to the present day, dates back to the late 15th century.
Ibrahim Pasha Palace, one of the most important structures of Ottoman civil architecture, rises above the old “Racetrack Square” stairs. In 1520, it was repaired by Suleiman the Magnificent and gifted to Ibrahim Pasha of Pargali, his son-in-law and grand vizier.
The elevated structure on the arches surrounds the terrace on the three sides. One of the most pleasant places in the museum is this terrace, overlooking the Sultanahmet (Blue Mosque) Square.
After 1983, Turkish and Islamic Arts Museum was closed to visitors for restoration in 2012, and after extensive work, it was opened again in 2014, on the 100th anniversary of its first opening, with a new understanding of exhibition and new places of visit.
HOSTS THE RARE ARTS OF ISLAMIC WORLD
The works of the museum’s rare examples of Emevi, Abbasi, Artuklu, Eyyubi, Ilhanlı, Timurid, Safavi, Kaçar, Memluk, Seljuk and Ottoman periods were collected from different areas of the Islamic world. The museum is famous for having the best rug collection in the world. The masterpieces among the rugs are rare 13th century Seljuk carpets that cannot be found elsewhere.
In addition to its rug collections, the museum also stands out with its pristine works of art. Glassware, stone and terracotta artifacts and metal and ceramic objects are among the precious pieces exhibited. A large hall in the courtyard of the museum is devoted to the collection of ethnography, reflecting the daily life of 19th century Istanbul. The Holy Relics section in the museum brings the most important works of this area like the ones in Topkapı Palace.
WHILE YOU ARE HERE
Explore the Blue Mosque and its surroundings. The park in the Square is especially colorful when tulips bloom. The racetrack which constitutes the most important part of the square witnessing many historical events, is a monument that cannot be overlooked. The must-see artworks in the Racetrack, where horse carriage races were held in Byzantine times, are Kaiser Wilhelm (German) Fountain, Theodosius Obelisk and Spiral Column. But after all, the place not to be missed in Sultanahmet Square is the Blue Mosque which gives its name to the square.
Was born on 24 December 1798 in Zaosie in the vicinity of Nowgrèdek, he died in Istanbul on 26 November 1855. Poet, drama writer, patriot and author of the Polish national epic poem, he is regarded as the greatest Romantic poet of Polish literature and is compared to the most outstanding European writersof the first half of nineteenth century: George Byron and Johann Wolfgang Goethe. He worked as a teacher at the Kovno school and lecturer at the Lausanne Academy and at the Paris Collège de France. He was editor in chief of Polish newspapers published in exile and organized Polish legion in Italy in 1848.
In years 1852-55 he took care of valuable collection of the Biblioètheque de l'Arsenal in Paris. On September 1855 he set off on his last journey to the East where he planned to organize Polish legions to fight the Tsarist Russia during the Crimean War. He died suddenly on 26 November 1855 in Istanbul in a rented house where today is located the museum in memory of the poet. On November 1855, Adam Mickiewicz, Armand Lévy, and Henryk Sluźalski rented a house from a certain Mrs Rudnicka at the juction of Yeni Şehir and Kalyoncu Kulluk. In March 1870, an enormous fire devoured almost all of the Pera district, including the building in which the Polish poet stayed during the last weeks of his life and where he passed away. That very year, Jόsef Ratyński purchased the plot from the municipality of Istanbul paying 100 Turkish pounds for it, after which he built an exact copy of the destroyed building. Today's Adam Mickiewicz Museum is located at the junction of Tatlı Badem Sokak (Sweet Almonds) and Seadr Ömerpaşa Caddesi Streets.
This last of Mickiewiczs accomodations was exceptionally simple and penorious. The following description was made by one of the Polish visitors after the poet had passed away:’’…I saw that large parlour of one quadrangle window thta he had lived in. A vestibule led into it. The furbishing was made up of a table, several simple chairs, and a bed, even simplier, covered with a straw matress and a Turkish rug, was in the corner. The room emanated emptiness, it was dark an deven damp, and it reminded me of our inn room; the kind you sometimes find during autumn travels on the Ukranian trails’’. This was the accomodation that that the poet had regarded only as transitory before his planned trip to Bulgaria and Serbia. Yet, it was here that he died on November 26, 1855.
Adam Mickiewicz Müzesi
No:23 Tatlı Badem SokakWas born on 24 December 1798 in Zaosie in the vicinity of Nowgrèdek, he died in Istanbul on 26 November 1855. Poet, drama writer, patriot and author of the Polish national epic poem, he is regarded as the greatest Romantic poet of Polish literature and is compared to the most outstanding European writersof the first half of nineteenth century: George Byron and Johann Wolfgang Goethe. He worked as a teacher at the Kovno school and lecturer at the Lausanne Academy and at the Paris Collège de France. He was editor in chief of Polish newspapers published in exile and organized Polish legion in Italy in 1848.
In years 1852-55 he took care of valuable collection of the Biblioètheque de l'Arsenal in Paris. On September 1855 he set off on his last journey to the East where he planned to organize Polish legions to fight the Tsarist Russia during the Crimean War. He died suddenly on 26 November 1855 in Istanbul in a rented house where today is located the museum in memory of the poet. On November 1855, Adam Mickiewicz, Armand Lévy, and Henryk Sluźalski rented a house from a certain Mrs Rudnicka at the juction of Yeni Şehir and Kalyoncu Kulluk. In March 1870, an enormous fire devoured almost all of the Pera district, including the building in which the Polish poet stayed during the last weeks of his life and where he passed away. That very year, Jόsef Ratyński purchased the plot from the municipality of Istanbul paying 100 Turkish pounds for it, after which he built an exact copy of the destroyed building. Today's Adam Mickiewicz Museum is located at the junction of Tatlı Badem Sokak (Sweet Almonds) and Seadr Ömerpaşa Caddesi Streets.
This last of Mickiewiczs accomodations was exceptionally simple and penorious. The following description was made by one of the Polish visitors after the poet had passed away:’’…I saw that large parlour of one quadrangle window thta he had lived in. A vestibule led into it. The furbishing was made up of a table, several simple chairs, and a bed, even simplier, covered with a straw matress and a Turkish rug, was in the corner. The room emanated emptiness, it was dark an deven damp, and it reminded me of our inn room; the kind you sometimes find during autumn travels on the Ukranian trails’’. This was the accomodation that that the poet had regarded only as transitory before his planned trip to Bulgaria and Serbia. Yet, it was here that he died on November 26, 1855.
With its historical Main Door, Galata Mevlevi Lodge awaits you at one end of İstiklal Street of Beyoğlu, and to the left at the beginning of Galip Dede Street. This lodge would be referred to as Galata or Kulekapısı Mevlevi Lodge or Galip Dede Tekke, during the Ottoman era. It was established in 1491 and represents the most important Ottoman works in Beyoğlu along with Galata Palace School. In 1975, it was opened to visitors as Divan Literature Museum before it was reorganized as Galata Mevlevi Lodge Museum in 2011.
9 Sema Area (Sema House ground floor) There is an epitaph above the gateway about the renovation done during the reign of Sultan Abdulmejid I. Passing through the gateway, you are faced with the Sema area covered with walnut floor. The mihrap (prayer niche) and minber (pulpit) are found at the back of the Sema area. There is a calligraphy panel, reading “Ya Hazrat-e Mawlana,” penned by Yesarizade Mustafa İzzet, before the Mıtrıb Mahfili (lodge) facing the Sema 9 Lodges (Sema House upstairs) The lodges (mahfil) and back rooms facing the Sema area from three sides except the prayer niche (mihrap) direction are used to exhibit other works from the Museum collections. In the lodges can be found the Marbling Exhibition by Mustafa Düzgünman, the Calligraphy Exhibition, the Hilye-i Şerif (Sublime Characteristics of Prophet Muhammad) Sheets Exhibition, the Çelebi Lodge, the Royal Lodge and the Ottoman Army Band and Musical Instruments Exhibition. 6 Tomb of Sheikh Galip (İsmail Ankaravi) 3 Tomb of Halet Efendi (Kudretullah Dede) The Tomb of Sheikh Galip is a rectangular tomb, with a lead-covered roof, built in 1819. İsmail Ankaravi (d. 1731), İsa Dede (d. 1771), Selim Dede (d. 1777), Galip Dede (d. 1799) and Mehmed Ruhi Dede (d. 1810) were buried in the tomb. The Tomb of Halet Efendi was built in 1872. Halet Efendi (tombstone), Kudretullah Dede, Ataullah Dede, Ubeydullah Dede and Emine Hanım were buried in the tomb.
151 명의 현지인이 추천하는 곳
갈라타메블라비하네시박물관
No:15 Galip Dede Cd.With its historical Main Door, Galata Mevlevi Lodge awaits you at one end of İstiklal Street of Beyoğlu, and to the left at the beginning of Galip Dede Street. This lodge would be referred to as Galata or Kulekapısı Mevlevi Lodge or Galip Dede Tekke, during the Ottoman era. It was established in 1491 and represents the most important Ottoman works in Beyoğlu along with Galata Palace School. In 1975, it was opened to visitors as Divan Literature Museum before it was reorganized as Galata Mevlevi Lodge Museum in 2011.
9 Sema Area (Sema House ground floor) There is an epitaph above the gateway about the renovation done during the reign of Sultan Abdulmejid I. Passing through the gateway, you are faced with the Sema area covered with walnut floor. The mihrap (prayer niche) and minber (pulpit) are found at the back of the Sema area. There is a calligraphy panel, reading “Ya Hazrat-e Mawlana,” penned by Yesarizade Mustafa İzzet, before the Mıtrıb Mahfili (lodge) facing the Sema 9 Lodges (Sema House upstairs) The lodges (mahfil) and back rooms facing the Sema area from three sides except the prayer niche (mihrap) direction are used to exhibit other works from the Museum collections. In the lodges can be found the Marbling Exhibition by Mustafa Düzgünman, the Calligraphy Exhibition, the Hilye-i Şerif (Sublime Characteristics of Prophet Muhammad) Sheets Exhibition, the Çelebi Lodge, the Royal Lodge and the Ottoman Army Band and Musical Instruments Exhibition. 6 Tomb of Sheikh Galip (İsmail Ankaravi) 3 Tomb of Halet Efendi (Kudretullah Dede) The Tomb of Sheikh Galip is a rectangular tomb, with a lead-covered roof, built in 1819. İsmail Ankaravi (d. 1731), İsa Dede (d. 1771), Selim Dede (d. 1777), Galip Dede (d. 1799) and Mehmed Ruhi Dede (d. 1810) were buried in the tomb. The Tomb of Halet Efendi was built in 1872. Halet Efendi (tombstone), Kudretullah Dede, Ataullah Dede, Ubeydullah Dede and Emine Hanım were buried in the tomb.
Inaugurated on 8 June 2005, Pera Museum is a private museum founded by the Suna and İnan Kıraç Foundation. The aim of offering an outstanding range of diverse high quality culture and art services is as important today as when the Museum first opened its doors to the public.
Couched in the historic quarter of Tepebaşı, the impressive building was originally conceived as the Bristol Hotel, designed by architect Achille Manoussos. Restorer and architect Sinan Genim was given the daunting renovation operation in 2003; the triumph of transforming the interior into a modern and fully equipped museum is only matched by the architect’s mastery in simultaneously preserving the exterior façade, safeguarding an integral part of Istanbul’s architectural flavour.
Through Suna and İnan Kıraç Foundation's three permanent collections, “Orientalist Paintings”, “Anatolian Weights and Measures”, and “Kütahya Tiles and Ceramics”, Pera Museum seeks not only to diffuse the aesthetic beauty of these collections but also to create a dialogue with the public concerning the values and identities they encompass. Utilizing a full scope of innovative methods, including exhibitions, publications, audio-visual events, learning activities, and academic works, the objective of transmitting the beauty and importance of these works to future generations is realised. Having organized joint projects with leading international museums, collections, and foundations including Tate Britain, Victoria and Albert Museum, St. Petersburg Russian State Museum, JP Morgan Chase Collection, New York School of Visual Arts, and the Maeght Foundation, Pera Museum has introduced Turkish audiences to countless internationally acclaimed artists. Some of the most illustrious amongst these include Jean Dubuffet, Henri Cartier-Bresson, Rembrandt, Niko Pirosmani, Josef Koudelka, Joan Miró, Akira Kurosawa, Marc Chagall, Pablo Picasso, Fernando Botero, Frida Kahlo, Diego Rivera, Goya, Manolo Valdés, Andy Warhol, Cecil Beaton, Alberto Giacometti, Giorgio de Chirico, and Sergey Parajanov
Since its inauguration, Pera Museum collaborates annually with national and international institutions of art and education to hold exhibitions that support young artists. All of the Museum’s exhibitions are accompanied by books, catalogues, audio-visual events in addition to learning programs. Parallel to its seasonal programs and events, Pera Film offers visitors and film buffs a wide range of screenings that extend from classics and independent movies to animated films and documentaries. Pera Film also hosts special shows that directly correlate with the temporary exhibitions’ themes.
Pera Museum has evolved to become a leading and distinguished cultural center in one of the liveliest quarters of İstanbul.
History of the Building
The construction of Hôtel Bristol, designed in unison with the general architectural character of the time by architect Achille Manoussos, was completed in 1893. The building was owned by the Armenian Catholic Patriarchate.
Hôtel Bristol was among the city’s most important hotels, and it frequently hosted high-ranking international guests. It remained in service until the early 1980s.
Constructed with brick masonry, Hôtel Bristol displayed features of neoclassical architecture: It had a large lobby, marble stairs, a lift, comfortable suites, halls, and a spacious dining hall with separate table seating.
Over the years, Hôtel Bristol had famous managers, such as Logothetti, Adampoulos, Djiras and Hadjira. Reflecting the changes in the region’s demographic composition in the early 1930s, Ömer Lütfi Bengü bought the hotel and continued to manage it until the 1980s.
In the 1980s, Hotel Bristol could no longer compete with newer hotels. Following the passing of the final owner of the hotel, Ömer Lütfi Bengü, in 1983, his heirs put it up for sale. The building was first purchased by Yıldız Lastikçilik, a rubber manufacturer, and then by Esbank, a national bank.
The building was redesigned by architect Doğan Hasol in order for it to function as the headquarters of Esbank. The hotel and the adjacent five-storey residential building underwent comprehensive renovation; their lots were combined but their façades facing Meşrutiyet Street were retained.
The building served as the headquarters of Esbank until 2002. It was redesigned as a modern and fully equipped museum by architect Sinan Genim, who retained Manoussos’ original façade as well as the lots combined by Hasol.
281 명의 현지인이 추천하는 곳
페라 미술관
65 Meşrutiyet Cd.Inaugurated on 8 June 2005, Pera Museum is a private museum founded by the Suna and İnan Kıraç Foundation. The aim of offering an outstanding range of diverse high quality culture and art services is as important today as when the Museum first opened its doors to the public.
Couched in the historic quarter of Tepebaşı, the impressive building was originally conceived as the Bristol Hotel, designed by architect Achille Manoussos. Restorer and architect Sinan Genim was given the daunting renovation operation in 2003; the triumph of transforming the interior into a modern and fully equipped museum is only matched by the architect’s mastery in simultaneously preserving the exterior façade, safeguarding an integral part of Istanbul’s architectural flavour.
Through Suna and İnan Kıraç Foundation's three permanent collections, “Orientalist Paintings”, “Anatolian Weights and Measures”, and “Kütahya Tiles and Ceramics”, Pera Museum seeks not only to diffuse the aesthetic beauty of these collections but also to create a dialogue with the public concerning the values and identities they encompass. Utilizing a full scope of innovative methods, including exhibitions, publications, audio-visual events, learning activities, and academic works, the objective of transmitting the beauty and importance of these works to future generations is realised. Having organized joint projects with leading international museums, collections, and foundations including Tate Britain, Victoria and Albert Museum, St. Petersburg Russian State Museum, JP Morgan Chase Collection, New York School of Visual Arts, and the Maeght Foundation, Pera Museum has introduced Turkish audiences to countless internationally acclaimed artists. Some of the most illustrious amongst these include Jean Dubuffet, Henri Cartier-Bresson, Rembrandt, Niko Pirosmani, Josef Koudelka, Joan Miró, Akira Kurosawa, Marc Chagall, Pablo Picasso, Fernando Botero, Frida Kahlo, Diego Rivera, Goya, Manolo Valdés, Andy Warhol, Cecil Beaton, Alberto Giacometti, Giorgio de Chirico, and Sergey Parajanov
Since its inauguration, Pera Museum collaborates annually with national and international institutions of art and education to hold exhibitions that support young artists. All of the Museum’s exhibitions are accompanied by books, catalogues, audio-visual events in addition to learning programs. Parallel to its seasonal programs and events, Pera Film offers visitors and film buffs a wide range of screenings that extend from classics and independent movies to animated films and documentaries. Pera Film also hosts special shows that directly correlate with the temporary exhibitions’ themes.
Pera Museum has evolved to become a leading and distinguished cultural center in one of the liveliest quarters of İstanbul.
History of the Building
The construction of Hôtel Bristol, designed in unison with the general architectural character of the time by architect Achille Manoussos, was completed in 1893. The building was owned by the Armenian Catholic Patriarchate.
Hôtel Bristol was among the city’s most important hotels, and it frequently hosted high-ranking international guests. It remained in service until the early 1980s.
Constructed with brick masonry, Hôtel Bristol displayed features of neoclassical architecture: It had a large lobby, marble stairs, a lift, comfortable suites, halls, and a spacious dining hall with separate table seating.
Over the years, Hôtel Bristol had famous managers, such as Logothetti, Adampoulos, Djiras and Hadjira. Reflecting the changes in the region’s demographic composition in the early 1930s, Ömer Lütfi Bengü bought the hotel and continued to manage it until the 1980s.
In the 1980s, Hotel Bristol could no longer compete with newer hotels. Following the passing of the final owner of the hotel, Ömer Lütfi Bengü, in 1983, his heirs put it up for sale. The building was first purchased by Yıldız Lastikçilik, a rubber manufacturer, and then by Esbank, a national bank.
The building was redesigned by architect Doğan Hasol in order for it to function as the headquarters of Esbank. The hotel and the adjacent five-storey residential building underwent comprehensive renovation; their lots were combined but their façades facing Meşrutiyet Street were retained.
The building served as the headquarters of Esbank until 2002. It was redesigned as a modern and fully equipped museum by architect Sinan Genim, who retained Manoussos’ original façade as well as the lots combined by Hasol.
라흐미M.코츠박물관
No:5 Aziz Sk.In 1897, Naval Museum was established under the name of “The Museum and Library Administration Office” in a small building in the Imperial Dockyard with Sultan Abdülhamit II’s permission and Minister of Navy Bozcaadalı Hasan Hüsnü Pasha’s orders. The museum served in various buildings regarding the conditions of that time. Finally, in 1961, the Museum was moved to a building in Beşiktaş (which was previously served as the Treasury) and began to serve here under the name of “The Naval Museum and Archive Directorate”. Storage near this building which was built in the 20th century and had been previously used as aircraft shed, repair workshop and garage was assigned for the Museum. The historical boats collection consisting of the galley and the imperial caiques was transferred to this building and this collection was opened to public in “The Gallery of Historical Caiques” in 1971.
As the building which served as the Gallery of Historical Caiques was actually designed as a depot, the museum staff encountered some problems in preserving and displaying the collection. In order to overcome these obstacles, it was decided to build a new museum building in the available area. In this context, a national architectural design competition was organized on 14 August 2005. In 2008, the award-winning architectural design was chosen to be built as the new museum building. Finally, the construction of the new museum building consisting of the annex exhibition building, the gallery of historical caiques, the cultural center and the open exhibition area began according to the modern museology concept. First of all, a temporary depot was built in order to preserve the historical caiques during the construction period. In 2009, the caiques were transferred to this depot. When the renovation/restoration process of the Naval Museum completed in September 2013, the collection of historical caiques was transferred to this building. The new museum began to welcome its visitors on 4 October 2013.
73 명의 현지인이 추천하는 곳
해양 박물관
No:6 Beşiktaş Cd. In 1897, Naval Museum was established under the name of “The Museum and Library Administration Office” in a small building in the Imperial Dockyard with Sultan Abdülhamit II’s permission and Minister of Navy Bozcaadalı Hasan Hüsnü Pasha’s orders. The museum served in various buildings regarding the conditions of that time. Finally, in 1961, the Museum was moved to a building in Beşiktaş (which was previously served as the Treasury) and began to serve here under the name of “The Naval Museum and Archive Directorate”. Storage near this building which was built in the 20th century and had been previously used as aircraft shed, repair workshop and garage was assigned for the Museum. The historical boats collection consisting of the galley and the imperial caiques was transferred to this building and this collection was opened to public in “The Gallery of Historical Caiques” in 1971.
As the building which served as the Gallery of Historical Caiques was actually designed as a depot, the museum staff encountered some problems in preserving and displaying the collection. In order to overcome these obstacles, it was decided to build a new museum building in the available area. In this context, a national architectural design competition was organized on 14 August 2005. In 2008, the award-winning architectural design was chosen to be built as the new museum building. Finally, the construction of the new museum building consisting of the annex exhibition building, the gallery of historical caiques, the cultural center and the open exhibition area began according to the modern museology concept. First of all, a temporary depot was built in order to preserve the historical caiques during the construction period. In 2009, the caiques were transferred to this depot. When the renovation/restoration process of the Naval Museum completed in September 2013, the collection of historical caiques was transferred to this building. The new museum began to welcome its visitors on 4 October 2013.
아타투르크 박물관
No:140 Halaskargazi Cd.Founded by Garanti BBVA in 2011, Salt is a cultural institution in public service producing research-based exhibitions, publications, web and digitization projects, as well as developing programs including screenings, conferences and workshops. Aiming to offer an environment for debate and co-learning with its users and collaborators, Salt does not engage in formal arguments or favor one period, discipline or object-based practice over another.
Salt focuses on art, architecture and design, and social and economic histories. The research projects, visual presentations, international publications and local archival collections at Salt expand beyond linear chronologies, medium-based questions, and the traditional separation of fields of study.
Salt’s multi-layered programs are distributed at Salt Beyoğlu and Salt Galata in Istanbul. Located on the pedestrian İstiklal Caddesi, Salt Beyoğlu comprises spaces for exhibitions, public programs, and research. Salt Galata resides in the former headquarters of the Imperial Ottoman Bank (1892-1999) on Bankalar Caddesi. Designed by Alexandre Vallauri, the building houses spaces dedicated to exhibitions, public programs, special events as well as Salt Research. A library, an archive, an online entity, and a range of research and support programs, Salt Research provides public access to the institution’s print and digital resources while contributing to the development of local and regional memory through its expanding collections. The digital presentations of the Ottoman Bank Museum, which is the first private bank museum in Turkey, are distributed across Salt Galata visualizing the bank’s 145-year history.
Salt is the only member of the European museums confederation L’Internationale from Turkey. Encouraging its users to participate, interact and critique, Salt offers its spaces, exhibitions, programs, web projects, print and digital collections for public use free of charge.
209 명의 현지인이 추천하는 곳
튜더와인즈
No:11 Bankalar Cd.Founded by Garanti BBVA in 2011, Salt is a cultural institution in public service producing research-based exhibitions, publications, web and digitization projects, as well as developing programs including screenings, conferences and workshops. Aiming to offer an environment for debate and co-learning with its users and collaborators, Salt does not engage in formal arguments or favor one period, discipline or object-based practice over another.
Salt focuses on art, architecture and design, and social and economic histories. The research projects, visual presentations, international publications and local archival collections at Salt expand beyond linear chronologies, medium-based questions, and the traditional separation of fields of study.
Salt’s multi-layered programs are distributed at Salt Beyoğlu and Salt Galata in Istanbul. Located on the pedestrian İstiklal Caddesi, Salt Beyoğlu comprises spaces for exhibitions, public programs, and research. Salt Galata resides in the former headquarters of the Imperial Ottoman Bank (1892-1999) on Bankalar Caddesi. Designed by Alexandre Vallauri, the building houses spaces dedicated to exhibitions, public programs, special events as well as Salt Research. A library, an archive, an online entity, and a range of research and support programs, Salt Research provides public access to the institution’s print and digital resources while contributing to the development of local and regional memory through its expanding collections. The digital presentations of the Ottoman Bank Museum, which is the first private bank museum in Turkey, are distributed across Salt Galata visualizing the bank’s 145-year history.
Salt is the only member of the European museums confederation L’Internationale from Turkey. Encouraging its users to participate, interact and critique, Salt offers its spaces, exhibitions, programs, web projects, print and digital collections for public use free of charge.
Turkish poet and author Mr. Sunay Akın has opened the first and the only private toy museum of Turkey on 23.April.2005. This opening date was not chosen randomly. April 23rd is an important day in the history of the Turkish Republic. It was on this day that the Grand National Assembly first met in 1923. It is also when the country simultaneously celebrates National Sovereignty and Children’s Day. Mustafa Kemal Atatürk, the founder of the Turkish Republic, dedicated this important date to the children of the world.
Sunay Akın had noticed a toy museum in Nürnberg-Germany in 1990 and laid the foundations of the Istanbul Toy Museum with a toy horse he purchased from an antique shop in Germany. He expanded his collection for over 15 years and has collected 7000 antique toys. Meanwhile he has made serious efforts to convert the historical villa, belonging to his family, into a cozy museum. 4000 toys are on display in this four-floor museum located in Göztepe, Istanbul. The oldest is a miniature violin manufactured in France in the year 1817. A doll made in the United States in the 1820’s, a set of marbles also from United States dating back to the 1860’s, tin toys from Germany, plus porcelain dolls are amongst other items of the extensive collection.
The interior décor and displays were arranged by a professional stage designer. Each room resembles a different theater stage. For instance, when you enter the gallery of space toys, you encounter hining stars overhead, whereas miniature train sets are exhibited in a genuine train compartment.
Istanbul Toy Museum became a model for the other toy museums to be established in our country. In 2011 Antalya Toy Museum (belongs to Antalya Metropolitan Municipality), in 2013 Gaziantep Play and Toy Museum (belongs to Gaziantep Metropolitan Municipality), in 2015 Düştepe Play and Toy Museum (belongs to Ataşehir Municipality), in 2017 Canik Toy Museum (belongs to Canik Municipality) and Kartal Fairy Tale Museum (belongs to Kartal Municipilaty) opened their doors to the visitors under the counseling and the curating of Sunay Akın who is the founder of Istanbul Toy Museum.
Our museum tells the history of dreams and science with the language of toys. While the stories of toys present visitors a history of the world, it opens the doors leading back to their past.While entering the museum your child will hold one of your hands and when leaving, your childhood will be holding the other...
56 명의 현지인이 추천하는 곳
이스탄불 장난감 박물관
No:15 Dr. Zeki Zeren SkTurkish poet and author Mr. Sunay Akın has opened the first and the only private toy museum of Turkey on 23.April.2005. This opening date was not chosen randomly. April 23rd is an important day in the history of the Turkish Republic. It was on this day that the Grand National Assembly first met in 1923. It is also when the country simultaneously celebrates National Sovereignty and Children’s Day. Mustafa Kemal Atatürk, the founder of the Turkish Republic, dedicated this important date to the children of the world.
Sunay Akın had noticed a toy museum in Nürnberg-Germany in 1990 and laid the foundations of the Istanbul Toy Museum with a toy horse he purchased from an antique shop in Germany. He expanded his collection for over 15 years and has collected 7000 antique toys. Meanwhile he has made serious efforts to convert the historical villa, belonging to his family, into a cozy museum. 4000 toys are on display in this four-floor museum located in Göztepe, Istanbul. The oldest is a miniature violin manufactured in France in the year 1817. A doll made in the United States in the 1820’s, a set of marbles also from United States dating back to the 1860’s, tin toys from Germany, plus porcelain dolls are amongst other items of the extensive collection.
The interior décor and displays were arranged by a professional stage designer. Each room resembles a different theater stage. For instance, when you enter the gallery of space toys, you encounter hining stars overhead, whereas miniature train sets are exhibited in a genuine train compartment.
Istanbul Toy Museum became a model for the other toy museums to be established in our country. In 2011 Antalya Toy Museum (belongs to Antalya Metropolitan Municipality), in 2013 Gaziantep Play and Toy Museum (belongs to Gaziantep Metropolitan Municipality), in 2015 Düştepe Play and Toy Museum (belongs to Ataşehir Municipality), in 2017 Canik Toy Museum (belongs to Canik Municipality) and Kartal Fairy Tale Museum (belongs to Kartal Municipilaty) opened their doors to the visitors under the counseling and the curating of Sunay Akın who is the founder of Istanbul Toy Museum.
Our museum tells the history of dreams and science with the language of toys. While the stories of toys present visitors a history of the world, it opens the doors leading back to their past.While entering the museum your child will hold one of your hands and when leaving, your childhood will be holding the other...
THE BUILDING OF THE MUSEUM
From 1840 on, the year in which the postal administration was established in the Ottoman Empire, the building of the museum served as a centre providing postal services in the courtyard of Yenicami. The big wooden building in this area that had been used as a tax office was reorganised as ‘’the Grand Post Office’’, because it had a courtyard large enough to accommodate a great number of animals with a location near the trade centres and the promenade of the city. In 1870 the administrations for the postal and telegrm services were reorganised into a single administration operating under a ministry, and the Grand Post Office was renamed into Post Office of Istanbul. As, over the course of time, this wooden building had failed to provide enough space both for the ministry agencies and postal services, a need arose for a bigger building. Thus this wooden structure was demolished in 1890, and the masonry building that houses the Isbank Museum today was built. The building was inaugurated on September 23, 1892.
In 1909 the Post Office of Istanbul was relocated to a new building, namely to that of Grand Post Office in Sirkeci, and the building in Yenicami continued to serve as “parcel post office” until 1917, the year in which the building began to serve as premises of Osmanli Itibar-i Milli Bank (Ottoman National Credit Bank) that was founded in that year.
In 1927 the building was transferred to Isbank when Itibar-i Milli Bank was merged with Isbank. After the transfer, the building had to undergo several renovations to reorganise it into a bank branch, in the course of which new office rooms were built to accommodate the personnel of the bank then numbering 70 employees. On February 28, 1928 the building was inaugurated as Isbank Istanbul Branch. As overtime new branches were opened in Istanbul in the 1950s, the branch was renamed into Yenicami Branch, under which it was used as a bank branch until 2004.
In 2005 a project was designed to reorganise the building into the Isbank Museum. During the reorganisation and restructuring of the building, all the fixed furnishings and details belonging to the original structure of the building were preserved in their original form as they were used in the bank branch, and only air-conditioning, security and illumination systems required for a functioning as a museum were added. The spaces in the basement where the Main Vault and Safe-Deposit Boxes had been held were reorganised to hold exhibitions, and one of the storerooms that served as an archive was restructured into a depot to store the collections and the other one into a hall to be used for workshop activities for 50 people.
The ground floor of the building has been designed as an exhibition hall, with all the counters and cashier’s desks preserved in their original form as they were used in the bank branch. This floor also hosts the bookstore of Isbank Kültür Yayınları. The rooms on the first floor, on the other hand, house exhibition halls for collections, offices and wet spaces.
PERMANENT EXHIBITION
The collections of Isbank Museum permanently exhibited in two floors in the building can be visited all the year round. This permanent exhibition begins in Hall I in the first floor of the building. Here the collections are exhibited in eight successive halls within the framework of certain themes represented in an order aiming at giving the visitors a summary of the history of Isbank, a bank having the same age as the Turkish Republic, in a chronological way as follows: foundation, money boxes and saving money, subsidiaries and growth, Sisecam, advertisements and promotional materials, branches abroad and technology. The visitors can also visit a special hall designed for Mustafa Kemal Ataturk, founder of the Republic of Turkey and Isbank. The exhibition in the basement is a part of the collection displayed as permanent exhibition. The rooms where the main vault and the safe deposit-boxes, which are normally accessible to only a few authorised personnel in banks, were held have been designed as a special area that can be visited by the visitors. In the hall that connects these two rooms there is a moving installation of lighting and sound.
BOOKSTORE
The museum also houses a bookstore of Isbank Kültür Yayınları, where the visitors can buy books at various discounts.
터키 Is 은행 박물관
No:2 Bankacılar Sk.THE BUILDING OF THE MUSEUM
From 1840 on, the year in which the postal administration was established in the Ottoman Empire, the building of the museum served as a centre providing postal services in the courtyard of Yenicami. The big wooden building in this area that had been used as a tax office was reorganised as ‘’the Grand Post Office’’, because it had a courtyard large enough to accommodate a great number of animals with a location near the trade centres and the promenade of the city. In 1870 the administrations for the postal and telegrm services were reorganised into a single administration operating under a ministry, and the Grand Post Office was renamed into Post Office of Istanbul. As, over the course of time, this wooden building had failed to provide enough space both for the ministry agencies and postal services, a need arose for a bigger building. Thus this wooden structure was demolished in 1890, and the masonry building that houses the Isbank Museum today was built. The building was inaugurated on September 23, 1892.
In 1909 the Post Office of Istanbul was relocated to a new building, namely to that of Grand Post Office in Sirkeci, and the building in Yenicami continued to serve as “parcel post office” until 1917, the year in which the building began to serve as premises of Osmanli Itibar-i Milli Bank (Ottoman National Credit Bank) that was founded in that year.
In 1927 the building was transferred to Isbank when Itibar-i Milli Bank was merged with Isbank. After the transfer, the building had to undergo several renovations to reorganise it into a bank branch, in the course of which new office rooms were built to accommodate the personnel of the bank then numbering 70 employees. On February 28, 1928 the building was inaugurated as Isbank Istanbul Branch. As overtime new branches were opened in Istanbul in the 1950s, the branch was renamed into Yenicami Branch, under which it was used as a bank branch until 2004.
In 2005 a project was designed to reorganise the building into the Isbank Museum. During the reorganisation and restructuring of the building, all the fixed furnishings and details belonging to the original structure of the building were preserved in their original form as they were used in the bank branch, and only air-conditioning, security and illumination systems required for a functioning as a museum were added. The spaces in the basement where the Main Vault and Safe-Deposit Boxes had been held were reorganised to hold exhibitions, and one of the storerooms that served as an archive was restructured into a depot to store the collections and the other one into a hall to be used for workshop activities for 50 people.
The ground floor of the building has been designed as an exhibition hall, with all the counters and cashier’s desks preserved in their original form as they were used in the bank branch. This floor also hosts the bookstore of Isbank Kültür Yayınları. The rooms on the first floor, on the other hand, house exhibition halls for collections, offices and wet spaces.
PERMANENT EXHIBITION
The collections of Isbank Museum permanently exhibited in two floors in the building can be visited all the year round. This permanent exhibition begins in Hall I in the first floor of the building. Here the collections are exhibited in eight successive halls within the framework of certain themes represented in an order aiming at giving the visitors a summary of the history of Isbank, a bank having the same age as the Turkish Republic, in a chronological way as follows: foundation, money boxes and saving money, subsidiaries and growth, Sisecam, advertisements and promotional materials, branches abroad and technology. The visitors can also visit a special hall designed for Mustafa Kemal Ataturk, founder of the Republic of Turkey and Isbank. The exhibition in the basement is a part of the collection displayed as permanent exhibition. The rooms where the main vault and the safe deposit-boxes, which are normally accessible to only a few authorised personnel in banks, were held have been designed as a special area that can be visited by the visitors. In the hall that connects these two rooms there is a moving installation of lighting and sound.
BOOKSTORE
The museum also houses a bookstore of Isbank Kültür Yayınları, where the visitors can buy books at various discounts.
Aya İrini Kilisesi Bizans`ın İlk Kilisesidir. Roma İmparatorlarından Konstantin, şehri yeniden kurarken kendi adına bir forum, saray ve hipodromun yanı sıra, 330`larda Roma tapınaklarının üzerine Aya İrini Kilisesi`ni inşa ettirir. Aya İrini ya da Hagia Eirene`nin sözlükteki anlamı `Kutsal Barış`; ama aynı zamanda da, aynı yüzyılda yaşamış bir azize. Azizenin gerçek adı Penelope`dir. Hıristiyanlığı yaymaya çalışır. Putperestler tarafından yılanlarla dolu bir kuyuya atılır ancak ölmez ölmez. Taşlanır, atlara bağlanıp sürüklenir; yine de ölmez. Mucizelerin sonunda putperestler Hristiyan olur; İrini de bir azize. İmparator Konstantin, bu olağanüstü olay üzerine yaptırdığı tek tanrılı dinin ilk mabedine Aya İrini adını verir.
Aya İrini, Bizans`tan günümüze kalan atriumlu tek kilisedir. Atrium, eski Roma tapınaklarının ortasındaki çevresi revaklı bir avludur. Aya İrini yerini aldığı tapınağın özelliklerini bugüne kadar taşımıştır. Ancak bugünkü Aya İrini, aynı Aya İrini değil. Çünkü ahşap ilk Aya İrini, 532`de yanmış. İmparator Iustinianos, çok tanrılı inancı kesinlikle yasaklayınca ayaklanan halk, Zeus`a sığınarak hem Ayasofya`yı, hem de Aya İrini Kilisesi`ni yakmış... İustinianos, Ayasofya ve Aya İrini`yi yeniden yaptırmış. Ancak Aya İrini 564`te bir kez daha yanmış. Onarılmış... İki yangından sonra, bu defa depremlerle sallanmış. Yani kilise üç kez onarılmış. Osmanlı sultanı II. Mehmet, İstanbul`a girip yeni bir dönemi başlatır. Yapımına başlanan Topkapı Sarayı`nın dış duvarları, Ayasofya ve Aya İrini`nin arasından geçer. Aya İrini bir süre sonra silâhların bakım ve onarımının yapıldığı iç cephane olur.
Aya İrini, Osmanlı`nın ilk müzesidir. Depodaki silâhlar antika olunca 19. yy.`da ilk müze Aya İrini`de açılır. Aya İrini`nin galerilerine çıkışı sağlayan çift kanatlı merdivenler o sıra yapılır. Osmanlı Devleti, Aya İrini`ye, ana kapıdaki 1726 tarihli kitabeyi ve merdiveni ekler. Aya İrini`yi sallayan o eski depremler sırasında Bizans`ta ikonalar, dinen yasaklandığı için onarımlarda duvarlar süslemesiz bırakılmış. Bugün, Osmanlı`nın üzerine bir bayrak asarak kapattığı apsis yarım kubbesindeki İsa`yı simgeleyen haç ve haçın altında İsa`nın çarmıha gerildiği Golgota Tepesi`ni simgeleyen birkaç basamaklı kürsü çizimi dışında bir motif kalmıştır. 1453 yılında İstanbul`un fethinden sonra kilise camiye çevrilmediği için yapıda önemli bir değişiklik yapılmamıştır. Uzun süre ganimet ve silah deposu olarak kullanılmıştır. Tophane müşirlerinden Damat Ahmet Fethi Paşa 1846 yılında Türk müzesinin ilk nüvesini oluşturan eserleri burada sergilenmiştir. 1869 yılında Aya İrini, Müze-i Hümayun (İmparatorluk Müzesi) adını almıştır. Zamanla, sergi mekânlarının yetersiz kalması nedeniyle buradaki eserler 1875 yılında Çinili Köşk`e taşınmıştır. 1908 tarihinden itibaren Aya İrini Askeri Müze olarak kullanılmıştır. Daha sonra bir süre boş kalan yapı onarılmış ve Ayasofya Müzesi Müdürlüğü`ne bağlı bir birim haline getirilmiştir.
40 명의 현지인이 추천하는 곳
하기아 이레네
1 Topkapı SarayıAya İrini Kilisesi Bizans`ın İlk Kilisesidir. Roma İmparatorlarından Konstantin, şehri yeniden kurarken kendi adına bir forum, saray ve hipodromun yanı sıra, 330`larda Roma tapınaklarının üzerine Aya İrini Kilisesi`ni inşa ettirir. Aya İrini ya da Hagia Eirene`nin sözlükteki anlamı `Kutsal Barış`; ama aynı zamanda da, aynı yüzyılda yaşamış bir azize. Azizenin gerçek adı Penelope`dir. Hıristiyanlığı yaymaya çalışır. Putperestler tarafından yılanlarla dolu bir kuyuya atılır ancak ölmez ölmez. Taşlanır, atlara bağlanıp sürüklenir; yine de ölmez. Mucizelerin sonunda putperestler Hristiyan olur; İrini de bir azize. İmparator Konstantin, bu olağanüstü olay üzerine yaptırdığı tek tanrılı dinin ilk mabedine Aya İrini adını verir.
Aya İrini, Bizans`tan günümüze kalan atriumlu tek kilisedir. Atrium, eski Roma tapınaklarının ortasındaki çevresi revaklı bir avludur. Aya İrini yerini aldığı tapınağın özelliklerini bugüne kadar taşımıştır. Ancak bugünkü Aya İrini, aynı Aya İrini değil. Çünkü ahşap ilk Aya İrini, 532`de yanmış. İmparator Iustinianos, çok tanrılı inancı kesinlikle yasaklayınca ayaklanan halk, Zeus`a sığınarak hem Ayasofya`yı, hem de Aya İrini Kilisesi`ni yakmış... İustinianos, Ayasofya ve Aya İrini`yi yeniden yaptırmış. Ancak Aya İrini 564`te bir kez daha yanmış. Onarılmış... İki yangından sonra, bu defa depremlerle sallanmış. Yani kilise üç kez onarılmış. Osmanlı sultanı II. Mehmet, İstanbul`a girip yeni bir dönemi başlatır. Yapımına başlanan Topkapı Sarayı`nın dış duvarları, Ayasofya ve Aya İrini`nin arasından geçer. Aya İrini bir süre sonra silâhların bakım ve onarımının yapıldığı iç cephane olur.
Aya İrini, Osmanlı`nın ilk müzesidir. Depodaki silâhlar antika olunca 19. yy.`da ilk müze Aya İrini`de açılır. Aya İrini`nin galerilerine çıkışı sağlayan çift kanatlı merdivenler o sıra yapılır. Osmanlı Devleti, Aya İrini`ye, ana kapıdaki 1726 tarihli kitabeyi ve merdiveni ekler. Aya İrini`yi sallayan o eski depremler sırasında Bizans`ta ikonalar, dinen yasaklandığı için onarımlarda duvarlar süslemesiz bırakılmış. Bugün, Osmanlı`nın üzerine bir bayrak asarak kapattığı apsis yarım kubbesindeki İsa`yı simgeleyen haç ve haçın altında İsa`nın çarmıha gerildiği Golgota Tepesi`ni simgeleyen birkaç basamaklı kürsü çizimi dışında bir motif kalmıştır. 1453 yılında İstanbul`un fethinden sonra kilise camiye çevrilmediği için yapıda önemli bir değişiklik yapılmamıştır. Uzun süre ganimet ve silah deposu olarak kullanılmıştır. Tophane müşirlerinden Damat Ahmet Fethi Paşa 1846 yılında Türk müzesinin ilk nüvesini oluşturan eserleri burada sergilenmiştir. 1869 yılında Aya İrini, Müze-i Hümayun (İmparatorluk Müzesi) adını almıştır. Zamanla, sergi mekânlarının yetersiz kalması nedeniyle buradaki eserler 1875 yılında Çinili Köşk`e taşınmıştır. 1908 tarihinden itibaren Aya İrini Askeri Müze olarak kullanılmıştır. Daha sonra bir süre boş kalan yapı onarılmış ve Ayasofya Müzesi Müdürlüğü`ne bağlı bir birim haline getirilmiştir.
Ural Ataman Classic Car Museum
No:107 Nuri Paşa CaddesiThe Museum of Innocence is both a novel by Orhan Pamuk and a museum he has set up. From the very beginnings of the project, since the 1990s, Pamuk has conceived of novel and museum together. The novel, which is about love, is set between 1974 and the early ’00s, and describes life in Istanbul between 1950 and 2000 through memories and flashbacks centred around two families – one wealthy, the other lower middle class. The museum presents what the novel’s characters used, wore, heard, saw, collected and dreamed of, all meticulously arranged in boxes and display cabinets. It is not essential to have read the book in order to enjoy the museum, just as it is not necessary to have visited the museum in order to fully enjoy the book. But those who have read the novel will better grasp the many connotations of the museum, and those who have visited the museum will discover many nuances they had missed when reading the book. The novel was published in 2008, the museum opened in Spring 2012.
192 명의 현지인이 추천하는 곳
순수 박물관
2 Dalgıç Çk.The Museum of Innocence is both a novel by Orhan Pamuk and a museum he has set up. From the very beginnings of the project, since the 1990s, Pamuk has conceived of novel and museum together. The novel, which is about love, is set between 1974 and the early ’00s, and describes life in Istanbul between 1950 and 2000 through memories and flashbacks centred around two families – one wealthy, the other lower middle class. The museum presents what the novel’s characters used, wore, heard, saw, collected and dreamed of, all meticulously arranged in boxes and display cabinets. It is not essential to have read the book in order to enjoy the museum, just as it is not necessary to have visited the museum in order to fully enjoy the book. But those who have read the novel will better grasp the many connotations of the museum, and those who have visited the museum will discover many nuances they had missed when reading the book. The novel was published in 2008, the museum opened in Spring 2012.
A Brief History of the Military Museum
Considering the size and diversity of its collection, the Military Museum and Cultural Centre Command in Istanbul, which is linked to the Ministry of National Defense, can be counted among the world’s leading museums. The foundation of the Military Museum, albeit not in the form of a modern museum, dates back to the 15th century. Following the Turkish conquest of Istanbul in 1453, the Church of Hagia Irene was used as an armoury, for storing precious weapons and military equipment. In 1726, the items in the Armoury were rearranged and a new institution was founded under the name ‘Dar-ül-Esliha’. The establishment of the Military Museum and the birth of Turkish museum curatorship in the modern sense occurred in 1846, primarily through the efforts of Ahmet Fethi Pasha, director of the Cannon Foundry. The cloisters of Hagia Irene were converted into exhibition spaces by placing showcases in the gaps between columns. Some of these spaces were used for exhibiting collections of historical weapons, together with military equipment, while in others archaeological artefacts were on display. Shortly after the formation of these collections in Hagia Irene, the museum was renamed ‘Müze-i Hümayun’ or ‘Imperial Museum’, the first time it was explicitly referred to as a museum.
The Military Museum continued its activities in Hagia Irene until 1940 and then remained inactive for a while, since it was feared that the Second World War would spread to Türkiye. In 1959, once the risk of war had passed, the artefacts that had been deposited in the Maçka Armoury in 1949 were retrieved and displayed once more in the gymnasium of the Military Academy. In the course of time, this building was found to be ill-suited for modernisation and too small to house the collections of the Military Museum. For this reason it was decided that the new home for the Museum would be the main building of the former Military Academy, where restoration work got underway in 1966. This building opened to visitors on February 10, 1993, after reorganization of the museum’s contents had taken place. Initially, the Museum consisted purely of the weapons that it inherited from the Ottoman Armoury. Over time, though, the collections were expanded thanks to new acquisitions, purchases and donations. The Museum now boasts an impressive number of artefacts of military culture, covering a period stretching from as far back as the 13th century up to the present day.
In recent years, the Museum has started to make use of more modern methods of displaying objects, supplementing the more traditional display cabinets we still find in the exhibition halls. Since 2007, entire halls have been devoted to displays related to the foundation of the Turkish Army, the Seljuk period, the foundation and rise of the Ottoman Empire, the conquest of Istanbul, and the Battle of Gallipoli. In these displays, alongside authentic objects we find giant dioramas, maps, illuminated panels, sculptures, and oil paintings.
In addition, to commemorate the years Mustafa Kemal Atatürk spent as a student at the Military Academy, one room in the Museum has been decorated in the style of that period, so visitors are now able to experience Atatürk’s classroom at the Military Academy!
Besides functioning as a museum, the Military Museum is also home to the world’s oldest military band, the ‘Mehter Band’. The Cultural Centre complex within the Museum also plays host to a wide range of cultural and artistic activities, with contributions coming from Türkiye and abroad, from both civil and military spheres.
A Brief History of the Former Military Academy Building
The building of the former Military Academy is actually a complex of structures extending along a north-south axis. 18,600m² in area, it was built on a 54,000m² plot of land. Construction of the building we see today began in 1834, under the supervision of architect Garabed Balyan, who was also one of the architects of the Dolmabahçe Palace. The building, originally intended to serve as the hospital of the Imperial Cannon Foundry, was officially opened on 10 October 1846 under the name ‘Mekteb-i Fünûn-u Harbiye-i Şahane’ (literally, Imperial Academy of the Science of War). 1848 saw the addition of a number of classrooms for the education of staff officers (the so-called ‘Erkan-ı Harbiye’), which constitute the foundation of today’s Military Academy. Between 1850 and 1851, a building for equestrian training was constructed, designed by an English architect Smith. At the time of the Crimean War (1853- 1856), both the British and the French requested use of the Academy building. At the time the French were using it as a hospital, the Academy was damaged by a major fire, so much so that it needed to be rebuilt by Garabed Balyan in 1864. The construction costs, which amounted to 6,551,229 kurushes, were met by the Treasury.
Until the Military Academy was moved to Ankara in 1936, this building was intermittently used for education and training. Between 1899 and 1905, Atatürk studied here, as did many other esteemed commanders and officers. Following the Academy’s relocation to Ankara, between 1936 and 1966 the building served various functions, being used as the Reserve Officer Preparatory School, the Chief Munitions Office, a Recruitment Office and an Officers’ Club, as well as being allocated to the First Army, Third Army Corps and Central Command Headquarters.
In 1966, plans were made to restore the building and convert it into a truly modern military museum. The conversion of the school into a museum involved many changes to both the interior and exterior of the building. The façade overlooking Cumhuriyet Street was completely overhauled and the rooms behind this façade were modified so that they could better serve the purposes of a museum. A 500-seater amphitheatre was incorporated into the southern end of the central courtyard, so that people could listen to concerts by the Mehter band. A two-storey car park was built in the space left by a number of demolished buildings.
Restoration of certain areas was completed in 1985, and on 10 February 1993, together with the Cultural Centre and other sections, these areas were opened to the public as a 'Military Museum and Cultural Centre.
88 명의 현지인이 추천하는 곳
하르비예 군사 박물관 및 문화 사이트 지휘부
No:2 Vali Konağı Cd.A Brief History of the Military Museum
Considering the size and diversity of its collection, the Military Museum and Cultural Centre Command in Istanbul, which is linked to the Ministry of National Defense, can be counted among the world’s leading museums. The foundation of the Military Museum, albeit not in the form of a modern museum, dates back to the 15th century. Following the Turkish conquest of Istanbul in 1453, the Church of Hagia Irene was used as an armoury, for storing precious weapons and military equipment. In 1726, the items in the Armoury were rearranged and a new institution was founded under the name ‘Dar-ül-Esliha’. The establishment of the Military Museum and the birth of Turkish museum curatorship in the modern sense occurred in 1846, primarily through the efforts of Ahmet Fethi Pasha, director of the Cannon Foundry. The cloisters of Hagia Irene were converted into exhibition spaces by placing showcases in the gaps between columns. Some of these spaces were used for exhibiting collections of historical weapons, together with military equipment, while in others archaeological artefacts were on display. Shortly after the formation of these collections in Hagia Irene, the museum was renamed ‘Müze-i Hümayun’ or ‘Imperial Museum’, the first time it was explicitly referred to as a museum.
The Military Museum continued its activities in Hagia Irene until 1940 and then remained inactive for a while, since it was feared that the Second World War would spread to Türkiye. In 1959, once the risk of war had passed, the artefacts that had been deposited in the Maçka Armoury in 1949 were retrieved and displayed once more in the gymnasium of the Military Academy. In the course of time, this building was found to be ill-suited for modernisation and too small to house the collections of the Military Museum. For this reason it was decided that the new home for the Museum would be the main building of the former Military Academy, where restoration work got underway in 1966. This building opened to visitors on February 10, 1993, after reorganization of the museum’s contents had taken place. Initially, the Museum consisted purely of the weapons that it inherited from the Ottoman Armoury. Over time, though, the collections were expanded thanks to new acquisitions, purchases and donations. The Museum now boasts an impressive number of artefacts of military culture, covering a period stretching from as far back as the 13th century up to the present day.
In recent years, the Museum has started to make use of more modern methods of displaying objects, supplementing the more traditional display cabinets we still find in the exhibition halls. Since 2007, entire halls have been devoted to displays related to the foundation of the Turkish Army, the Seljuk period, the foundation and rise of the Ottoman Empire, the conquest of Istanbul, and the Battle of Gallipoli. In these displays, alongside authentic objects we find giant dioramas, maps, illuminated panels, sculptures, and oil paintings.
In addition, to commemorate the years Mustafa Kemal Atatürk spent as a student at the Military Academy, one room in the Museum has been decorated in the style of that period, so visitors are now able to experience Atatürk’s classroom at the Military Academy!
Besides functioning as a museum, the Military Museum is also home to the world’s oldest military band, the ‘Mehter Band’. The Cultural Centre complex within the Museum also plays host to a wide range of cultural and artistic activities, with contributions coming from Türkiye and abroad, from both civil and military spheres.
A Brief History of the Former Military Academy Building
The building of the former Military Academy is actually a complex of structures extending along a north-south axis. 18,600m² in area, it was built on a 54,000m² plot of land. Construction of the building we see today began in 1834, under the supervision of architect Garabed Balyan, who was also one of the architects of the Dolmabahçe Palace. The building, originally intended to serve as the hospital of the Imperial Cannon Foundry, was officially opened on 10 October 1846 under the name ‘Mekteb-i Fünûn-u Harbiye-i Şahane’ (literally, Imperial Academy of the Science of War). 1848 saw the addition of a number of classrooms for the education of staff officers (the so-called ‘Erkan-ı Harbiye’), which constitute the foundation of today’s Military Academy. Between 1850 and 1851, a building for equestrian training was constructed, designed by an English architect Smith. At the time of the Crimean War (1853- 1856), both the British and the French requested use of the Academy building. At the time the French were using it as a hospital, the Academy was damaged by a major fire, so much so that it needed to be rebuilt by Garabed Balyan in 1864. The construction costs, which amounted to 6,551,229 kurushes, were met by the Treasury.
Until the Military Academy was moved to Ankara in 1936, this building was intermittently used for education and training. Between 1899 and 1905, Atatürk studied here, as did many other esteemed commanders and officers. Following the Academy’s relocation to Ankara, between 1936 and 1966 the building served various functions, being used as the Reserve Officer Preparatory School, the Chief Munitions Office, a Recruitment Office and an Officers’ Club, as well as being allocated to the First Army, Third Army Corps and Central Command Headquarters.
In 1966, plans were made to restore the building and convert it into a truly modern military museum. The conversion of the school into a museum involved many changes to both the interior and exterior of the building. The façade overlooking Cumhuriyet Street was completely overhauled and the rooms behind this façade were modified so that they could better serve the purposes of a museum. A 500-seater amphitheatre was incorporated into the southern end of the central courtyard, so that people could listen to concerts by the Mehter band. A two-storey car park was built in the space left by a number of demolished buildings.
Restoration of certain areas was completed in 1985, and on 10 February 1993, together with the Cultural Centre and other sections, these areas were opened to the public as a 'Military Museum and Cultural Centre.
사방추 대학교 사방추 박물관
42 Sakıp Sabancı Cd.아야 소피아
No:1 Ayasofya MeydanıBorusan Contemporary
No:5 Balta Limanı Hisar Cd.Dolmabahce Sanat Galerisi
Dolmabahçe CaddesiRailway Museum, Istanbul
Akbank Art
Türvak Sinema Ve Televizyon Müzesi
No:4 Şehit Teğmen Ali Yılmaz SokakSadberk Hanim Museum
No: 25 Piyasa Cd.이스탄불 항공 박물관
Eski Havaalanı Caddesi,국립궁전회화박물관
Dolmabahçe CaddesiEnerji Müzesi
No: 2/13 Kazım Karabekir CaddesiIRHM (İstanbul Resim ve Heykel Müzesi)
No:6 Meclis-i Mebusan CaddesiMSFAU Istanbul Museum of Painting and Sculpture
No: 2 Meclis-i Mebusan CaddesiThe Quincentennial Foundation Museum of Turkish Jews
39 Büyük Hendek Cd.Saray Koleksiyonları Müzesi (Milli Saraylar)
Dolmabahçe CaddesiFethiye Muzesi (Pammakaristos Church)
Draman CaddesiDogancay Museum
No:42 Balo Sk.PTT Museum
Yapi Kredi Kazim Tashkent Art Gallery
İstiklal CaddesiTiled Pavilion Museum
Osman Hamdibey YokuşuII Bayezid Türk Hamam Kültürü Müzesi
Kimyager Derviş Paşa Sokak아타투르크 박물관
No:140 Halaskargazi Cd.