Sadberk Hanım Museum

Sadberk Hanım Museumについて

Turkey's first private museum stands on the Bosphorus shore at Büyükdere, inside a nineteenth-century wooden yalı. The Vehbi Koç Foundation opened it on 14 October 1980 in memory of Sadberk Koç, who lived from 1908 to 1973 and was Vehbi Koç's wife; the collection began as hers, which is why it reads more like a household than an inventory.

The building has a biography of its own. Known as the Azaryan Yalısı, it belonged to a wealthy Armenian Catholic family from Sivas, rises three storeys plus an attic, and carries the crossed wooden mouldings of its period across the facade. The Koç family bought it as a summerhouse in 1950 and converted it for museum use between 1978 and 1980 under the architect Sedat Hakkı Eldem. The house covers 400 square metres inside grounds of 4,280.

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中には何が入っているのか

Two buildings hold two halves of the collection. The original yalı carries the Ottoman and Turkish material: İznik tiles and ceramics, Çanakkale ware, Ottoman silver and brass, Seljuk, Mamluk, Timurid and Safavid pieces, Chinese celadons and porcelains, Beykoz and Bohemian glass, silks, embroideries and women's costumes, and rooms staged around the domestic ceremonies — the coffee service, the henna night, the circumcision.

Next door, the Sevgi Gönül wing opened on 24 October 1988 and took a Europa Nostra prize immediately. Built in reinforced concrete with 625 square metres of exhibition space, it holds the archaeological collection bought from Hüseyin Kocabaş in 1983: Anatolia from the Late Neolithic through the Iron Age, Lydian, Greek, Hellenistic and Roman material and on into Byzantium, shown in lamps, jewellery, sculpture, glass, beads and coins. The foundation later acquired the kilim collection of the American traveller Josephine Powell.

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見学時間の目安

Ninety minutes. That is two collections in two buildings, either of which would be a respectable small museum standing alone, and neither of which rewards a march-through — the ethnographic rooms in particular are staged as interiors and want reading rather than scanning.

Split the time deliberately. An hour in the yalı, where the density is highest and the objects are smallest, and half an hour in the Sevgi Gönül wing, whose archaeology is arranged chronologically and therefore moves faster. The shop is worth ten minutes at the end. What ninety minutes does not include is the journey, which for most visitors is the larger number by some distance.

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季節と混雑状況

The museum opens at 10:00 and closes at 17:00, and it is closed on Wednesdays. It also closes on 1 January and on the first day of each religious holiday — dates that move through the calendar, so check the date rather than the weekday when travelling anywhere near Ramazan Bayramı or Kurban Bayramı.

A five o'clock close is early by Istanbul standards and it is the constraint that shapes the whole day. Arriving after two leaves you hurrying a ninety-minute museum; arriving after three means not seeing the second building properly at all. Treat this as a morning destination and build the rest of the day after it. Weekday mornings are quiet — the museum draws far fewer visitors than its quality deserves, and that is part of the pleasure of it.

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チケット

Full adult admission is 450 lira. Students pay 100, and holders of the Müzekart+ or Museum Pass pay 300 — this is one of the few museums in the city where the pass discounts the ticket rather than covering it outright, because the museum belongs to a private foundation rather than to the ministry.

The free list is unusually long and worth reading before joining the queue: teachers, licensed guides, ICOM card holders, visitors aged 65 and over, disabled visitors with one companion, young children with a companion, KoçAilem members, and Sotheby's Preferred Card holders with a guest. There is a shop by the exit selling books, textiles, ceramics, jewellery and accessories, and it is better than the average museum shop because it draws on what the collection is about.

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行き方

Büyükdere sits roughly 25 kilometres up the European shore from the old city, and that distance is the single most important planning fact about this museum. It is not a stop to slot into a day in the historic peninsula; it is a Sarıyer morning in its own right.

The address is on Büyükdere Piyasa Caddesi, and a long list of buses serves the shore road — the 25 group, the 40 and the 41 among them. The Büyükdere ferry terminal is about three minutes' walk away, which makes arriving by water both the pleasant option and the one worth engineering the day around. There is no museum car park; parking is on the street along the waterfront, which on a summer weekend is an optimistic plan. Pair the visit with something else in Sarıyer rather than doubling back down the shore.

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気をつけるべきこと

Wednesday. It is the closed day, and it is the mistake people make, because the museum is far enough out that a wasted journey costs most of a morning and a good deal of patience. Confirm the day before setting off, and keep the two calendar closures in mind as well — 1 January and the first day of each religious holiday.

The building is protected, and the museum states plainly that there are no ramps and no lifts. A three-storey historic yalı with an attic means stairs, and narrow ones; anyone with limited mobility should plan around that rather than discover it at the door. In the galleries, flash photography and selfie sticks are both prohibited. And since the doors close at 17:00, arrive with more than ninety minutes in hand rather than with exactly ninety.

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写真

Flash is prohibited and so are selfie sticks, which between them settle the technique before you start: available light, a fast lens or a steady hand, and no props. The yalı's rooms are lit through wooden-framed windows on the Bosphorus side, so the light is soft, strongly directional and better in the morning — one more argument for the early arrival that the closing time already recommends.

The textiles and the İznik pieces are the subjects that survive being photographed. Costume and embroidery need framing tight enough that the stitching reads, or the picture is only a dress in a case. Glass cases mean reflections: shoot at a slight angle to the pane and wear something dark rather than fighting it afterwards. Outside, the facade with its crossed mouldings photographs best from the garden rather than from the road, where traffic and parked cars occupy every frame.

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どこにありますか

近くの

外部リンク

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• +90 212 242 3813
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