Script of tour
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- Bu səhifədəki naviqasiya:
- CERCLE D’ORIENT / ŞARK KULÜBÜ
- YERRORTUTYUN ERMENİ KATOLİK KİLİSESİ
- OLIVYA GEÇİDİ / KALLAVİ ÇIKMAZI
- SANTA MARIA DRAPERIS KİLİSESİ
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SCRIPT OF TOUR Giriş-1; Hi friends, welcome to all of you. Our group members are: Bade Özarslan, Seda Yarar, Hasan Şirzat Ceylan, Sultan Murat Yilmaz. We did not have a compromised route for the Pera side, so we took care to create a flexible route. In doing so, we gave priority to two things; We want to flatten as much as possible and move forward and offer a wide variety of monumental diversity, as much as possible, at the same time and at large. There are more options for transport to the area. Metro, bus, minibus, trams and taxis are at your service day and night. Starting from Taksim Square, going to Gezi Park, Atatürk Cultural Center and İstiklal Caddesi, you will be sure that you will do many architectures in our route. Our only suggestion of timing is that we are the only one from you to stay connected to the program without lagging behind in the group. If you want to give a meal break, you can eat anywhere after the end of the term. With fast circulation and tight recruitment plus seamless control of the municipality, the only thing that will determine where you need to dine is Istiklal Caddesi and the image and delicious smell that will entice you most. Enjoy the delicious meals of classical Ottoman cuisine in Hacı Abdullah. Stock Exchange, Pehlivan, Nizam, Fastfoods, Pizzacılar ...
Beyoglu, throughout history, was a gardens of alternate cultures that alternated from a residential area. Because of this feature, the city continued to exist in this unequaled competitive relationship with the rest of the city. Of course, the fate of Beyoğlu and the formations that settled the settlement, as well as trade, diplomacy and even more than them, were certainly fires. Ottoman military and religious architectural stone; civilian architects based on wood materials. Some claim that this is a consequence of the Turks seeing the space as part of the temporal, earthly, mortal life, even for this the 'host' word is given as an example. On the other hand, to the extent that it is negative, large fires also have partial - positive results in terms of determining and updating the urban population structure. Despite the painful consequences, at least in the settlements like Pera, there were also fires such as the restructuring of urban texture, the redesign of the roads, adaptation to the masonry-based building industry, re-parceling. In particular, the fires of 1831 and 1870, one of the major catastrophes of the 19th century, a period of political and technological transformation, were seen as opportunities for Pera's restructuring. In 1857, the streets of Pera began to be illuminated with gas. In 1860 the present Istiklal Street was expanded and the garden walls of some of the buildings there were shaved. In those years, about 60,000 inhabitants were living in the area, and this number increased at a great pace. The buildings to be built on the territory of the region due to the regulations of the Ebniye-i Hassa Directorate, which was issued in 1848 and 49, were obliged to be masonry, and every building had to be a fire wall. As a result, Beyoglu architecture was directed towards the use of contemporary materials and professional architectural works began to emerge. The basic characteristic of the period was the spread of apartment buildings based on narrow parceling, consisting of stone and plastered masonry buildings, instead of large courtyards. Historicist ornamentations on the facades of the buildings attract attention. Bulbs, pilasters, accented floral and occasional geometric ornaments in stone and metal consoles were widespread. Pera now has its own unique architectural targor. In this century, Pera turned into a 'showroom' of the great architects who have come to the fore. Elegant examples of Art nouveau, unique pieces of neoclassical adornment, lined up along the street; big hotels, consulates, schools, İşhans were rising in architectural masterpieces in the city 'West Side'.
Urban centers have two main functions in Western culture. Particularly, it is an area where basic everyday activities like market, shopping are carried out. Ottoman cities were planned in accordance with their own lifestyle in traditional buildings such as Grand Bazaar, bazaars, neighborhood markets. A second function comes from the need for leisure time, such as meeting, entertainment, eating, drinking, picnics. This second function was isolated from the first one in the Ottoman Empire and directed to cemetery areas and promenade sites. Taksim Square is a natural continuation of the Gezi Park in place of the famous Taksim Barracks. III. It is claimed that the architects of this barracks, built together with the Selimiye Kışlası, are the Balyanlar ones from the symbols of the regeneration movements of Selim. The training of the barracks, which had a large ceremonial gate, was made in the area called the Talimhane today. Artillery barracks, which were found here in 1940, were expropriated and removed. The main arteries surrounding the square in this period became roughly clear and finally took the present view of the 1980s with the destruction of the famous Tarlabaşı.
Republic Monument, Pangaltı, Tarlabaşı arteries intersection point, part of the old Taksim Barracks. As its name suggests, the sculptures and friezes on the monument depict the republic and the process of ending up there. It took about three years to build. In 1928 Italian sculpture was made by Pietro Canonica. Giulio Mongeri, the architect of the Saint Antonio Church, was involved in the creation of the environment and the creation of the kaleidoscope. The marble used in the monument was brought from Italy by ship. The 11-meter-long monument describes the pre-republic, war years and the republic with symbolic elements. The pink stone on the stone is the trainino and the green is the marble of the Zusa region. The presence of Sabiha Ziya Hanım, who won a project competition organized by Sanayi-i Nefise Mektebi and won the right to become an assistant to Canonica as a result, was included in this building with female figures on two sides of the sculpture: one percent nude, a traditional woman, the other percent modern as a female bust. Pietro Canonica's second assistant from the same school was Hadi Bara. The sculptures and arches of the monument were made by the famous architect Guillo Mongeri. In the creation of the monument, donations from large organizations such as Banca Commerciale Italiama, Deutsche Orient Bank have contributed. In addition, aid was collected from the receipt counter. Each face of a four-faceted, rectangular mass is carved into niche-like volumes with pointed arches. The figures of the group sculptures on each front are all related to the establishment process of the republic. During the National Struggle on the northern front, Ataturk, the people and soldiers surrounding him are displayed. War years have military identities here. On the southern front facing İstiklal Caddesi, there is a story about a civilian passage. It is now displayed as M. Kemal Atatürk in civilian clothes, surrounded by bureaucrats with the identity of a president. The most important of these are İsmet İnönü and Marshal Fevzi Çakmak. In the background of these figures that stand out with a dynamic movement, republican citizens carry a flag. On the other side, the soldiers and the people are celebrating victory. On these fronts of the monument, which was designed as a crescent pool, water was planned to flow from the pots under the soldiers' feet. This design was not implemented. Today the monument serves as a center for ceremonies of civil society organizations and some important official institutions. It also serves Istanbul residents as a meeting place in good weather. So, on rainy or not very sunny times, the small greens seem to be part of a continuation of everyday life in the almost monumental sculpture of crowds of people waiting around the monument inside. These sculptures are said to be the first human figures in a Muslim country.
The westernization program that started with the Ataturk Cultural Center Tanzimat accelerated in the republican period with less resistance. Law, social interaction tools, press, trade etc. This process of watching the scene painfully in the fields of art was heavily weighted. In this period, music and plastic arts, in particular, tried to spread to the basics of the success of the republican project and to raise it to Western standards. In the first decade of the Republic, balloons, receptions, etc. One of the positive results of the effort to introduce this new style of life and appreciation to the elite was through the Opera House, or the Atatürk Cultural Center today. Thus, the ideological priority of the republican era was emphasized by a institutionalized and monumental space. In short, AKM was considered as the symbol of the Republican philosophy as well as the Republican Monument. It does not mean that Istanbul does not need such a place. III. With the westernization movement after Selim, the theater, showroom, circus areas, concert halls started to be built near Pera and these types of enterprises demanded more than expected. However, this period did not last long, such large areas, such as a place to fire a fire, or at that time even the astronomical rents could not pay, and turned into commercials like Bommarche. Some of them, like the Tepebaşı Garden, were gradually destroyed as a result of neglect. The need for a monumental structure that would take their place gradually became more and more of a presence. It was decided to prepare an opera house project at the initiative of Istanbul Mayor Lütfi Kırdar. The first goal was to build an indoor concert hall. So, with the consultation of the famous French architect Auguste Parret, a contest for the selection of the project was opened. The works that won the international competition, II. There was no chance of being implemented due to World War II, and immediately after the war, a more modest project prepared by architect Feridun Kip and architect Rukneddin Güney was approved and established. The first building was designed keeping the modernist features of the Perret era. The seven porticos on the frontier of the center will be up the street and will be staircased. According to the project, there will be a foyer in the entrance section and a stage and concert halls in the center. In 1953, the municipality transferred the work to the Ministry of Public Works and Settlement. In 1956, engineer Hayati Tabanlıoğlu took the project to new heights, and the monumentality of the building gave priority to the functional and modern formation. AKM was finally completed in 1969 and Çeşmebaşı Ballet was opened with the premiere. The structure, which was adapted to the more modest scheme compared to the first design, still had the title of being the world's fourth largest cultural center in the 60's. In 1970, Arthur Miller's "Witch-Winning" game was destroyed by a fire, part of the building and large hall were damaged, while many other museums belonging to Murat VI burned. After the repair, the building was re-opened in 1987 with the name of Atatürk Cultural Center. The center, which was built on an architectural basis composed of rectangular volumes, is considered to be one of the important works of the modernist and functionalist movement of the era. As a consequence, neither monumental nor orthomorphic features are preliminary. The whole emphasis is on simplicity and comfort. The AKM. The metal elements that collapse as they get higher on the facade provide both an action of increasing perspective effect and a function of softening the hard light of the building which hits the facade. This gives a clue as to what is the priority in the architectural design of the building. The main hall for 1300 people, the concert hall for 500 people, the cinema halls for 240 people, hosted many music and show festivals in Istanbul, AKM also hosts plastic arts exhibitions.
The building is a Greek Orthodox church dedicated to the holy trio, a dignified dome that can easily be seen from Taksim Square. It was built in 1880 upon the burning of the wooden Ayia Yorgi Church in the same place. The Greek Cypriot Patroklos Kampanakis is the architect. The domed church construction ban in the Ottoman Empire. However, the existing ones could be repaired. The fact that a domed church was built during this period can be seen as a sign that the ban has been lifted. If you come at a convenient time, you can allow a church to be reached with a wide courtyard for independence, if you ask. If you are curious about the latest Orthodox church architecture, even a short trip will be enjoyable. It enters the Neo-bizanten class as the style Ayia Trias. Like the classical Byzantine churches, the dome rests on an elevated pulley. There are twelve windows around this hoop that represent the apostles of Jesus. Where the shops belonging to the church foundation were located, there was once a famous Eptalofos café and gazinos. The massive constructions far ahead of the same street belong to the Greek Zapyon and the Armenian Eseyan girls.
It was built in 1917 by the Marseille Chamber of Commerce as a hospital for the plague (Hospital des Français de Pera). After many repairs, it was made with stone materials in 1898 and took its present image. The building which served as the Red Cross center during the First World War was transformed into the French Embassy in 1920. The building is now working as a French Consulate and since 1975 as a cultural center. At the cultural center, language courses, exhibitions and various cultural events are organized.
II. Abdul Hamid's chief priest is one of the three handlers Ragip Pasha has made. The building, consisting of five cattles except the entrance floor, follows a symmetrical, monumental scheme. Despite the neoclassical emphasis, the entry in Istiklal Caddesi exhibits an eclectic feature, which is baroque. There are two more gates in the streets of Sakızağacı and Öğüt, which are connected by the main gate which functions like a passage. The arches on the first floor windows and the triangular fronts on the second floor exhibit a moving façade interior design that is simpler and more functional. There are pilasters between the corridors covered with mirrored vaults. The Rebul Eczanesi underneath is accepted as the continuation of the Pharisee Pharmacy (Pharmacia Parisienne), which was established in 1895.
Ağa Mosque was built in 1596 by Galatasaray Network, Şeyhül Harem Hüseyin Ağa. It was repaired during the period of Mahmut II in 1834. When it was repaired last time by Evkaf administration in 1938, the tiles were produced in Kütahya. The last congregation site of the cut stone building is the wooden roof. From the last congregation the stairs are climbed up to the harim section. Consoles with mukarnas are found at the meeting point of the bearers carrying a large cabinet. The lower part of the mahfilin is handled with pens. The main volume is divided into three parts with two piers. The walls are covered with tiles that end up slightly above the window level. The altar section makes a polygonal projection. All of the pavements of the building are surrounded by scalloped china. The lines that flow in a belt are written by Halim Özyazıcı; The summers in the plates belong to Ismail Almun Altunbezer and they are accepted as the best examples of calligraphy art. There is a fountain surrounded by pointed arches in Avud. It was the work of the architect Sinan and was brought to Sinan Pasha Mosque in Kasımpaşa. On the northwest corner of the small courtyard is a minaret of cut stone with a polygonal cone. Ağa Mosque is the only window opened to Istiklal Caddesi. Huseyin Aga's grave is in the treasure there.
The Pasaj was made by the famous Alleon family in 1880. The Banker Alleon brothers preferred to be buried in Feriköy Catholic Cemetery, although they spent their last years in France. For a while, the Istanbulites had 'organized' the saying 'as rich as Aaron' as 'rich as Alyon'. This should define the general characteristic of the Alleens. Since 1923, the cinema in Pasaj has been run by Cine Electra in the name of Safvet and Naci, and in 1925 it received its present name. There is a karyadite on either side of an elegant arched door in a narrow front. The arched door rises along two floors; a vaulted hole is opened with cassettes. The door is narrower than the height of the front, but it enhances the elegance of the building. The Alkazar Passage, which became a cinema showing sex films in the '70s, was restored in the 90s with the efforts of the late Onat Kutlar during the slaughter. Now one of the most important cinemas in Istanbul.
Their regulars were established as a banker, diplomat, senior executive, and a newly formed bourgeois elite. The club, which has very few Muslim members, started its operations in 1882. The first president of the club was Muhsin Han, the Iranian Ambassador. The name of the organization headed by Western diplomats was changed to 'Great Club' after the republic. Members of this period were also wealthy and influential people. With the misery that Beyoglu had fallen in the late '60s, the club was closed. Because the building was transferred to the Retirement Fund, it is now called Emek Pasajı. It was built by famous architect Alexandre Vallaury by Eremyan Pasha. Eremyan, who was born of the ascetic, rose up from the door stall and came up to the pasha. Eremyan, who was a kafalli Mehmet Pasha's jeweler, a curious person for billiards, hunting and tackling, and a little bit of a "seraphim", was in the prototypes of the Ottoman bourgeois class that was budding. The once famous Silk Movie was also in this passage. The front of the building is 45 meters and the bottom is 21 meters. The main entrance in the middle of the five-story structure also serves as an arcade. The loft apartments were used as the guest house of the club.
Known as the place where profiterol was invented, İnci Cookery is best known among the flavors on İstiklal Caddesi. The founder of the Albanian Greek Cypriot city, a young age, was made a pastry apprentice. He worked in many famous cafes and even in big hotels like Tokatliyan and he worked in the profession. In 1944 he established the present İnci Pastry as a partner with the Greek Lefter llyadis like himself. While Luca was managing the pastry, Lefter also assumed the responsibility of manufacturing. At that time, the least productive product in Beyoğlu was cake and sweet. At every corner, every guest had their favorite pasta with delicious products. In the war years, opening a patisserie is already a job that requires courage alone. In this case, the two young cake makers began working on a new formula to increase their chances of competition. This process, which can be summarized as an effort to gather people's favorite tastes, has resulted in the invention of profiterol. At first glance, this new dessert is nothing but a delicate scaling of cocoa, flour, oil, cream and sugar that seem irrelevant. However, it is very clear that those who love both pastry desserts and those who are interested in chocolate sauce appeal to a wide range of fans. Well, nowadays, if you look at the youngsters who are still out of fastfood restaurants and waiting impatiently for the profiterole in the tail, it can be said that this simple and sweet project is quite successful. It is also possible to see elderly Istanbul residents, furry ladies and students with a profiterole food at the end of the tuition. Their inventors 'profiterol' should not be as coincidental as the creation of sweet. Both the process of inventing and making a gain to the manufacturer, that is to say a name disturbing from the root of 'profit', seems to be a very subtle account from randomness. İnci Patisserie opened its first branch in Büyükada in 1960, but it closed in 1984. Do not try to say "I do not like that sweet," without looking at the taste of profiterolun served in the service at İnci Patisserie, which is not a branch today. Although known for its profiterol, the pearl of the Pearl and the delicious soda are worth mentioning.
It was built by the Hacar family in 1885. The building was referred to by this name because it was a Family Halepli. On either side, there are shop rows, some of which are covered with vaults. At the back of the pass, a section of wood built, Cirque de Pera was one of the largest circus theaters of the time. Here circus, horsemen and theater performances were performed. There was also a well-known Verdi theater. After the fire of 1904, the Greek architect Campanaki formed the lower part of the place as a theater again and his name changed to Varyete. During this period, Turkish 'companies' began to play games. The building, which was bought by Süreyya İlmen in the 1920s, was renamed the French Theater once again. In 1942, the same place began to be referred to as the Sound Cinema and the Sound Theater. It was restored and converted to Dormen Theater in 1963. A cinema was established here in 1972, and in 1984 the facade was preserved and rebuilt in the form of Aleppo Pasaji, İşhanı. In 1989, it was restored by Ferhan Şensoy and became a Middleoyan Scene. Beyoğlu Movie Theater was opened on the lower floor. The fifth floor in the neorealistic style was added afterwards to preserve its original design as a facade. At the end of the pass, there is a building to which the Şişmanoğlu family, the cousins of Elia Kazan, has donated to the Greek state. This building, which was recently moved by the Consulate of Greece, also served as the US News Office in the First World War.
Known as the ubiquitous, II. One of the two entrances to Abdülhamit's passage, which was first made by Rahab Pasha, who was first the head of the mosque and later by the vizier, Istakla opens to Alyon Street, which takes its name from the Alleon family. Ragip Pasha has two more passages in the region. One of them is Rumeli, the other is African Passage. It is said that each of them refers to a floor where the Ottoman Empire ruled. The African Passage today was one of the first applications of the small housing type to the region, although it lost its original character and turned into a narrow street that passes between the large Parmakkapi and the small Parmakkapi. The Anatolian Passage, built on a narrow parcel, is entirely made of stone. In the passageway there were luxury furnishings and texting shops that seduce the Istanbul societies. The famous Belfast Shirt, Lazzaro Franco was here. One of the frequent destinations of the intellectuals of the period was the Şark Kahvesi, which was run by Niko Valavanis, or La Brasserie de L'Orient. Besides, the place of Haci Salih Restaurant was unfortunately closed while this book was being prepared for publication. He will miss the beautiful food, especially the tasty sausage soup, which is not found in any place. The original texture of the interior architecture has been greatly obscured due to the minor modifications that are made today. The projection on the front is turning into a balcony on the fifth floor. Neoclassical lines are decorated with graceful plastrs and pillars on the pillars of the building. At the end of the pass, there is a building to which the Şişmanoğlu family, the cousins of Elia Kazan, has donated to the Greek state. This building, which was recently moved by the Consulate of Greece, also served as the US News Office in the First World War.
The building was built as a winter mansion by the Armenian saraf Agop Köceyan after the great Beyoglu fire (1870). After the fire, it is said to be one of the first houses built using durable materials. There were barns for special horses on the ground floor. For a while there was a small circus where horses were made. In 1948, it underwent major repairs and opened as an entertainment center. Pasaj also had the Theater of Little Stage established by the Atlas cinema, kulis Bam and Muhsin Ertuğrul, one of the biggest cinemas of the period. In the early 1950s, the famous banker, Cevher Özden (Banker Kastelli), was bought by the famous banker. However, after a short while after Kastelli went bankrupt, and finally transferred to the well-known filmmaker Türker İnanoğlu in 1989. After extensive restoration, the cinema department began to serve in three halls of 500, 130 and 85 people. The big screen of the cinema is designed to be able to be watched easily from every point of the big hall of amphitheater.
At the same point there was the theater of the famous Naum Efendi. This theater where the first Turkish operetin was staged was one of the cultural foci of Istanbul for a while. After the great Beyoglu fire in 1870, the construction of a theater was planned again between the completely destroyed Naum Theater, but due to the inadequacy of the remaining parcels after the expropriations, banker Christo Zografos Efendi took a passage from the prominent architects of the era to Cleathy Zanno. The passage called Cite de Pera was active in 1876. The main entrance is the second gate of the passage on Istiklal Caddesi is on the Stage Street. A total of 24 shops consisted of 18 apartments and each apartment had five or six rooms. Most of the shops and restaurants that once stood out were gathered here. The famous pastry shop of the Vallaury family, Nakumara's Japanese toys selling store, Pandelis florist shop, Panoyot Yorgiadis antique shop, Koylean hairdresser, Boyaciyan shoemaker, Acemyan tobaccos, Teodoridis pharmacy, Yorgo Meyhanesi, Hristo's café, Degustation Lokantasi. Although the name is Cite de Pera, the passage has never been mentioned by this name almost ever. In the beginning, because of its owner, it was called Hristaki Passage, and later Said Pasha, the grand vizier of Abdulhamit, took the name of Said Pasha Gorge after he bought it in 1908. Shortly thereafter, the auctions of the cooperatives of flower producers began to be made here. It is known that white Russian girls who fled Russia for a long time after the October Revolution sold flowers in this region. These girls, who had come to the streets in front of Galatasaray High School and sold flowers to them, took refuge in Çiçek Pasajı collectively to protect them from the harassment of French and British soldiers who disturbed themselves. This passage, which is usually run by a male relatives as a waiter or cook, is a safe haven for girls. Pasaj has taken his name in this unpleasant process. That is not the flower auction as it is claimed. In the 1950s, flower auctions were recorded on the side streets and the lower floors of the passages remained predominantly in restaurants and bars. In the first period, the places that were dwelling here were rather unqualified, but the quality level rose over time. Of course the quality of the governess ... The upper floors have been rented as a pension for a long time. The building, which was detached from maintenance in 1978, was restored and restored by the municipality under the leadership of the association established in 1988. Cicek Pasaji, which mainly serves as a tourist, seems to have lost its domestic customers to Nevizade bazaars recently. However, until a recent turn, Istanbul nights began or ended in Çiçek Pasajı. Some time ago, the renovation of the roof and the facade, the lighting of the elite was reopened in 2005. In the eclectic style, the conception of ornamentation which is formed by the passing of different architectural styles is dominant. The three-storey passage has a façade with girlands, deep friezes and karyadites. Nowadays, beer and raccoon have been going to enjoy the important 'station' of being one of the features continues to decrease even if the Çiçek Pasajı. The exact location of a small note: Raki was not always an indispensable drink for a locksmith's sofa. This habit is newer than you thought. Your racial sultanate begins with the Tanzimat period. At a time when many institutions and traditions were headed for the West, the city, which was the wine of the main drink, discovered a new 'national drink', namely the rivalry. Wine and beer, which started to find their place in the table again today, were among the most consumed drinks of the time.
It is on the Stage Street next to Çiçek Pasajı. Yerrortutyun means sacred trinity. There were also Armenians at the beginning of the minorities that grew rapidly in the region after the 16th century. Together with Tanzimat, Catholic Armenians were recognized by the Ottomans as 'nation'. Some philanthropic Armenians built the School of Surp Echmiadzin here and soon afterwards the school turned into a church with special permission of the sultan. At the beginning of the 19th century, Yerrortutyun was sanctified and opened a few years later, sharing the fate of the Latin church here and ruining it with fire. The new church, which was designed by the head of the palace Garabet Balyan, was finally completed in 1838 and worship was opened. The building passed through extensive repairs in 1890 and 1989. The basilica-planned central nave and chapel are covered with vaults. Cornerhead and grooved column arrays are found inside the exterior architecture, although the correct order is dominant. In the garden of the church, there is the grave of Patriarch Surp Agop, who died in 1680. Today there are three Armenian Catholic churches in the region.
This junction II. It is the first settlement area opened to the Muslim population during the Beyazid period. Here a hearth was set up to train the inner court of the palace. Since January 1868, Galatasaray became a graduate of the Academy of Fine Arts in French and Turkish. Ali Pasha and Fuat Pasha, as well as the French Chancellor Monsieur Bouree, were influential in the establishment of the school. It can be found in the Westernization of the organization of a school based on secular education, which is seen as a very radical step towards westernization. The inadequacy of the staff to organize, to carry out the Compensation project which can be defined as the restructuring of the greatest empire with all the institutions and traditions of the day reduced the whole process to those related to daily interests. This weakness could only be overcome if a well-trained assembly was introduced to work. Galata Palace Mekteb-i Sultaniye, Mekteb-i Sultani, Umim-i İdadi or shortly Galatasaray Mektebi was established for such a purpose. As many sources emphasize, the "repression" of the French state was a very talismanic element. When it was founded, this first secular educational institution, which was met with intense criticism by representatives of all religions, was also open to international conjunctural influences. Galatasaray Mekteb-i Sultani was moved to the Gülhane Mekteb-i Tıbbiye building a few years later while Galatasaray Mekteb-i Sultani felt a deep sense of every stage of the Ottoman-French relations outside. At the beginning of the 20th century, Galatasaray High School, which became a popular school, such as Tevfik Fikret, where elite intellectuals of the society also taught, lost its wooden buildings, archives, library, The repair took two years. In the years of the Republic, the status was reestablished, and after 1967, girls began to be accepted to the school. But a year later it was closed and in 1975 retraining could begin. The school is now in the status of Anatolian High School. The present building was a masonry building repaired in 1908. It follows an axial and symmetrical, monumental program. In the eclectic architecture Baroque and classical Ottoman elements are seen in places of ampiric traces. When it disappeared after it was dismounted from the enormous tuğra place on the door, it was replaced by Zeyad Ebuzziya, where an original imitation of the work was made.
It was built in 1875 by the Armenian businessman Theodor Sivaciyan. The entrance department was a pharmacy laboratory belonging to Apalonotos. In 1907, Huseyin Hasip Pasha, the Post Telegraph Minister, purchased the building and turned it into a post and telegraph center. German radio companies were broadcasting on the second floor of the building and British on the third floor. In 1943-44, the publications of Istanbul Radio were also made here. The building, which survived the fire three times, was opened after it was repaired in 1982. At the moment there is a comprehensive restoration. As far as I understand, the façade is preserved and completely reconstructed. It is said that this place will be a Galatasaray museum. The neoclassical elements in the building, which have eclectic architecture, become dominant from time to time. Elegant girlant consoles display a beautiful example of façade decoration.
At this point there were former Naum Theater and Jardin des Fleurs (Flower Garden) Hotel. It was at the point where the great circus of the 19th century was the scene of shadow theaters. The first circus display in the Ottoman Empire was organized here by Louis Soullier in 1856. Owner Michael Naum Duhani Instead of this building, which was destroyed by the 1870 fire just after its death in 1868, today's passage was built by an Armenian merchant named Onnik Düz. The building, which is designed by architect Pulgher, reminiscent of a large corridor but offers an eye-catching perspective thanks to its architectural subtleties, is 56 meters long. In the passage consisting of 22 shops, there was a staff room, a basement and a kitchen for each shop. The stones used in the design of the neoclassical style passage were brought from Malta. It is possible to see maltasia frequently in important structures built immediately after the big fire due to being resistant to fire. Trieste stone was used in the house. Peralilara presented a wide range of products such as passages, souvenirs, musical instruments, haberdashery, furnishings. Nowadays, souvenirs and antiques are sold in this passage. Passage was handed over to the Treasure in 1929, and in 1989 it was restored by the new owner. The long restoration gave the right to the original building. Because of the mirrors between the shops in the passageway, the people of Istanbul have named it "Miracle Passage". Passage design is a type of structure that modern architects bring out with pleasurable products. The European Passage is regarded by many as one of the five most beautiful passages in Turkey. I think this is the most beautiful passage of the country in terms of perspective, light and shadow relation, as well as functional volumes.
Although it does not look like the natural continuation of Istiklal Caddesi, Galatasaray forms the junction point between the historical Pera and the region developed after the 19th century. Moreover, it is not only an historical intersection, but also an intersection of north-south and east-west axis arteries passing through Pera. Even today Galatasaray's east, west, north and south are different. It is not likely that the difference in terms of both the culture of "governing" and the ambiance they produce is going to get out of sight. As it is known, historical Istanbul was made up of three cultural fragments built on the banks of the Bosphorus, Historical Peninsula and Golden Horn when Pera was separated. In a sense, Galatasaray is the point where these three elements meet. The Tepebaşı direction is the connection point of the Constitution Street, the hinterland of the Golden Horn, as well as the settlements extending to Dolapdere. In the southern region, there is a more traditional array of settlement areas, which serves as a gateway connecting the Bosphorus. The road that cuts from the Galatasaray High School to the slope of the slope leads to Hazelnut and Tophane once covered with hazelnut and olive trees. To the west was a steep and wide Petit Champsdes Morts, a small cemetery. This area is now full of flattened, steep slope feature as it is filled with soil burnt from the tunnel.
The architect of the Egyptian Apartment was built by Hosvep Aznavurian. Cafe Commerce was one of the leading places of this time. In 1983, the cafe was demolished and the passage was built. In 1993, it was restored in accordance with the original design. Today, ethnic clothing, souvenir gift, products that appeal to young people are sold to Istanbulites in a quality stop. In the middle of the arcade ceiling, a projection façade is activated. The upper part of this projection has become a balcony as it has tradition in the region. Elegant nouveau motifs dominate the facade.
The passage date from 1871 is known as Hacopulo (pronounced hozopulo) because of his famous owner. Although it has changed its name as Consultant Passage nowadays, it is one of the rare points that maintain its original function in Beyoğlu. Pasaj ties İstiklal Caddesi with Meşrutiyet Caddesi. Into Panaiya Isodion. Just as it was during the days of its foundation, there are again idols and queeries in the passage. Ahmet Mithat Efendi's printing press was here for a while. Moreover, as Namık Kemal's İbret-named newspaper was published in Hacopulo, the passage was in the meeting places of the june Turks. There was also Selle Adam's famous music store and Kalenese's favorite restaurant. Adam Music regularly performs chamber music and taught by leading music masters. The building, which consists of the merging of three buildings with four floors, is designed with neat lines in neoreness style. The ornamentation of the facade overlooking İstiklal Caddesi follows a scheme that is more prominent in neoclassical elements. The Meşrutiyet Caddesi has been quite destroyed. One of the upper floors of the pass was used as a period residence.
This is a fragmented passage. First, the arrangement of the Panayia Gate, followed by the construction of the stairways leading to the church, resulted in the opening of a new road so that the "rough construction" of the passage was completed. The street is named after the Olivier family who built an apartment in the early 1900s. It's in the Regent's office right now. There was a restaurant and a pub again. Mikhail Mikhailovic took over. Kallavi is a Turkish version of the famous name of Glavani originating from Genoa. He was one of the most prominent members of his time in finance and trade.
The Franciscan church and its buildings were designed by the Levantine architects Giulio Mongeri and Edoardo de Nari, a Catholic sect. The church, whose real name is San Antonio, was built on the land of the Condordia Garden, once a famous theater. The smaller 1762-year-old Saint Antonio di Padova Church has become an essential construction for a larger church that meets the needs of the rapidly growing Catholic community as it was demolished during the construction of the tramway. The construction adventure, which started in 1906, had to be stopped due to a few financial straits and finally ended in 1913. The church, the most important structure of the Franciscan sect, is seen as the continuation of San Francesco di Assisi, which was founded in Azapkapi in 1272 by the same sect. It is obvious that the congregation has tried to revive the magnificence of the legendary building that was destroyed by fire in 1969. There is an apartment building connected to the main building, which supplies the church with the rent, which opens the same courtyard with the church. The lower floors of this apartment block are street shops. To the south of the building is a two-storied monastery. The eclectic architecture that was fashioned in Istanbul at that time was designed as a response, with a plan scheme and adornment that was faithfully attached to the neogothic principles. The church that follows the Latin cross plan has a floor that is gained from inclination in the rear part although it is not clear from the frontal front, this is in the service of the Keldani community. This congregation, Hz. Jesus is also the mother tongue, and it consists of a small number of people who make and speak Aryan rituals. Ayins are made in Turkish as well as Keldanice. There are twelve columns in the main church of the church, symbolizing the apostles. Right next to Saint Antoine's presence there is a bust of the Reverend Massimiliano Maria Kolbe, who was killed in 1941 in Auschwitz. Underneath, Kolbe's words are written: "Kill the kin, let alone love. "The Jesus sculpture on the altar and the golden leaf sculptures of St. Antoine are the works of the Italian sculptor Luigi Bresciani. As the last Catholic church built in Istanbul, this is the most prominent church both architecturally and functionally. Especially at Christmas rituals, members of the Christian community complain about the presence of the Muslim visitor crowd.
It was destroyed in the fire of 1981 and rebuilt by Guistiniani Berthelemy. From 1860 to 1868, the building known as the Palais de Cristal, the Billur Palace, resembled today's Çiçek Pasajı, but served as a center for theater exhibitions. After passing through the restoration, in 1920, Arabzade Said Bey was bought and restored. This period of the house is more complicated than any other house in Çatalhöyük. Some argue that only the ceilings of the building built by Kyriakidis have been restored, while others insist that it was destroyed in the time of Said Bey in the early 1920s and a new building resembled here was built. Nevertheless, let us continue with our suggestion that there is some evidence that Vedat Tek does not restore the previous building but totally destroyed it and made the present inn. The cinema here is the same age as the republic. The cinema where the films of the vision were shown compete with the rest of the cadenza, even in the more central places. In 1931, the first Turkish Turkish actress starring as "A Nation wakes up" entered the theater. After being purchased by Cevat Adapazarlı in 1936, the name of the cinema was changed to Sakarya. After a few short changes in hand, it was reopened in 1944 with the name of the Alhambra, but in a tired and poor world in the last years of the war, the previous glitter days never caught on. It was transformed into a theater in 1958 and operetta and theater plays were exhibited until 1970, but in 1976 it was transformed into a cinema. In the 1980s a fire broke out and was repaired. In this new era, sex film became a slaughter with a great loss of quality. It was rediscovered in the near future and finally the old image - a bit of functionality. Alhambra will soon become a center of attraction by itself, even if it is slightly out of the center due to the fact that it is located below the Galatasaray-Taksim line which is the center of today's Pera. Mukarnas columns, stars, pointed arches, arabesque inspirations ... But there is nothing about the Alhambra in Andalusia. The eastern and vaguely Moorish elements were included in the façade regulation, which was evaluated within the scope of the national architectural movement. Pointed arches, different series of balconies, handrails with geometric decorations add a dynamic striking effect to the facade. Although the Alhambra can not show very genius discoveries about the fusion of different elements, it seems that Beyoglu will always maintain its place as a warm and friendly face due to the structure of Beyoglu being the only Oriental style in the region.
There was a mansion belonging to the Alleon family who escaped from the French Revolution. The family sold it to the Bartoli brothers in 1870. After a while, a shop consisting of many departments, resembling today's "Shopping Centers" in the name of Bon Mrarche, was established. This store was even richer than its peers in Paris. The shop where all kinds of products coming from jewelery to furniture, from toy to stationery, was presented to the sale in 1926. The Karlman family sued. Karlmanlar, a Levantine family of Jewish descent, was a prominent figure in the business world. Bon Mahre's new owners changed the name of this place to Karlman Passage. On the ground floor, the famous operator Mikhail Mikhailovic has put Turquoise, the largest restaurant-bat complex of the time, consisting of three walks. With the demonstrations of varieties and musicals, Beyoğlu became fully competing. The Karlmanlar had to leave this place because they could not pay the VAT which was issued in 1942. The building was used as a deposit for the Ottoman Bank for a period of time. In the 1970s, Ziraat Bank demolished the Karlman Passage and replaced it with the present Oda Kuleli. Architects Kaya Tecimen and Ali Taner completed the project in 1976. The building, which consists of 23 kattan with its bases, is considered a successful modernist practice. In 1991, it was partially damaged in a fire, but it was restored by loyal to the original architecture. It is currently being used by commercial and cultural institutions such as the Istanbul Chamber of Industry and the German Cultural Center.
The aim can be summarized as cultural activities and assistance. The first Garibaldi supporter was founded in 1863 by 41 refugees. The original name of the association, Societa Operaia di Muttuo Soccorso. Members of this long-term association, President Garibaldi, call Dopo Lavore, "overtime" in short. Dopo Lavore was initially at Jurnal Street opposite the British Embassy, aiming to reach the sick and devoted people through cultural events such as concerts, shows and proms, and in 1884 he built the building where the Levantines of Italy originated and were now in charge. The building, which was purchased from Caterina Lebon, is Vallaury, which has a "design in almost every street in Istanbul" The building retains its original character The first two floors of the three-storey Dopo Lavore are rented for the purpose of income generation.
At the same time, the wooden embassy building was appointed by the renowned architects Gaspare and Giuseppe Fossati for the new building in the Dutch government year. These architects should be influenced by the splendor they produce when they design the Russian palace. Fossati, although Swedish, were well known for their work in Moscow and came forward with the Russian embassy in Istanbul or the Russian palace at that time. He has been in the possession of the Dutch government since. The land in which the Dutch Embassy was founded was in the possession of the Dutch government since 1748. The monument facing the Bosphorus is three floors due to its incline like many monumental buildings. The front facade is two storeys. There is pilasters between the rounded arched windows on the street front where the neoreness style dominates. In addition to this rhythmic arrangement that enriches the facade, the upper floor belt mirrors are noteworthy. The building has recently undergone a comprehensive restoration. There is also a Dutch Chapel which is opened to the Postacılar Street from the side of the Consulate, which remained from 1711 and has been used by Union Curch since 1857. It is said that the market school located on the lower floor of this place is a prison for a period.
Before the conquest Franciscan church around the present day Sirkeci Station conquered the Galata fief passed. Mezhebin's father, Saint Francis (1182 1226), was a child of a wealthy family, who had abandoned his property and devoted himself well to his discovery. Those who came out of his way were called Franciscans. After 13 centuries in Byzantium, the Franciscan sect was officially recognized. The land donated by Madam Clara Bratola Draparis of this sect was founded in 1584 and the surname of the donating charitable woman was added to the name of the church. The church served in Galata, Mumhane Caddesi until 1660. This was a fire in 1660 and 1678, moved to Beyoğlu in 1691. In 1676, a masonry building was built in 1769, replacing the burning church once again. The neoclassical church today is the work of famous architect Guglielmo Samprini, built in the place of the ashes in 1870 with the great fire of Beyoglu. Samprini is an important architect who came to Istanbul in 1870 and worked hard to rebuild the city until 1912. Some claim that he did not study architecture. If so, the work that he puts forth seems even more precious to the human eye, according to Rivay, when the first building was burned, Mary found out through the ashes of Ana Mosaic, without any damage. Today it is the mosaic panel that embellishes the front of Draperis.
The building belonging to the Abud family was designed by the Greek architect Vasiliadis. The Abud family was one of the prominent families in the fur and leather business and was recognized with honesty in the Istanbul market. Pasaj ties İstiklal Caddesi to Gönül Sokak and Derviş Sokak from side. In fact, the entrance floor is designed as a bazaar and the upper floors are designed as independent spaces, but then they are combined. The Cine Centrale, located in the passageway, was the most modest cinema in the scene. Cinema in the name of Dawn, Republic and Victory is no longer in operation. II. The famous French Stanboul Newspaper, which started broadcasting in the Constitutional Monarchy and closed in 1964, was published here. The Greek Apoyevmatini newspaper is still being released here.
Markiz's pastry, which is a symbol of a period or even a mood, is one of the rare remnants that survive today. At the entrance of the East Aynalı Pasaji, the legendary Lebon opened at the site. Avedis Ohanyan Cakir, who continued the financial management of Tokatliyan Hotel, took over after Monsieur Lebon's death. In 1940, he gave this name to his pastry inspired by Marquise de Sevigne chocolate in Paris. It is said to have dreamed of producing chocolate at the same quality. I do not know what you're doing about chocolate, but Mariz, who is very popular with the leading intellectuals of the time and almost used as a club, is an elegant place that is separated from its counterparts with both drinks and pastries as well as decorations. The outstanding menu was served on the Christofle teams, in Limoges porcelain. There are tile panels in the walls, separated by three semi-circle arches, where pilasters are found, symbolized by elegant women in the seasons. Painter J.A. This panel, made by Arnoux in 1905, dates back to Lebon. The Boulanger chisy factory, which produces its panels, is now looked upon with antiquity as it was demolished during World War I. As soon as you get rid of the effects of the elegant and glorious air inside, the first thing you will notice is that the two tables are missing. The bird chart was broken on the way. Summer is called under a mirror. One of them can be seen in the Villa Mo Plaisir side of Kalamış. Ziya Pasha, Orhan Veli, Ümit Yaşar Oğuzcan, Namık Kemal, Pierre Loti, leading intellectuals and artists of the period, are some of the names who have enjoyed spending their free time in the Marquis.
It was built by architect Hovsep Aznavur. Egyptian Abbas Halim Pasha's estate, but after the death of his first owner, the heirs turned this mansion into an apartment. In the original design, the building on the lower floor was twice as high. Downstairs there was the famous furnishings of Lazzaro Franco. Mehmet Akif Ersoy spent the last years of his life in a building in this building. Facade architecture; art nouveau, an eclectic but balanced scheme of harmonious transitions of modernist and arabesque elements. Hasep Aznavur was a well-known Armenian architect. He was educated in architecture at the Academy of Fine Arts in Rome in 1867. After becoming one of Europe's leading architects, he returned to Istanbul where he built the Tepebaşı Garden Theater. The famous Stefan Sveti Church in Fener, the Cibali Tobacco Factory, the Sansaryan Inn and the Abbas Halim Pasha Mansion (Heybeliada). He was also the founder of the Constitutional Socialist Party.
Gustav Celsing, the first Swedish ambassador to the Ottoman Empire, bought it from a British and in 1757 built a chapel and an embassy building in it. People who think that Sweden can work with Istanbul. This is an office built to pay for the liberation of Protestant prisoners. Because the Catholic Church in Istanbul was the only rescue of Catholic prisoners. The Protestants had to look to the top of their heads. Thus, an additional tax was levied on Protestant prisoners in Sweden. The first building was burned in 1818 during the Easter celebrations. Since Ottoman-Swedish relations in this period were weak compared to the previous periods, a new building was not needed for a long period. In 1858, George Sibbern decided not to rebuild it, opened a worship service for the Protestant chapel inside, and soon afterwards moved on to a new hand building. This new structure would be a new state, not a Swedish Embassy, but a Swedish-Norwegian union. Finally, the current building was built in 1870 by the Australian architect Domeni-co Pulgher. It was added in 1954. It is emphasized that the building does not benefit much from the view of the Bosphorus and the Historical Peninsula. The garden retreat reminds me of the pavilions in the so-called Skane, the southern part of Sweden. Reminds me more than that; a person can close his eyes for a moment and assume himself at any moment in his garden. Yüklə 38,88 Kb. Dostları ilə paylaş:
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