© Alican Aktürk

(C)美洲Aktürk

架构师提供的文本描述。2004年首次宣布了博物馆的建筑竞赛，同年9月完成了评估工作。大多数著名的建筑公司都提交了他们的建议，因为这个问题既具有挑战性，又很有威望。这是一个独特的机会，当谈到在博斯普鲁斯建立一个当代结构时，博斯普鲁斯立法部门和国家古迹委员会都遵守了严格的保护规则。以前的海事博物馆当时在同一地点提供服务，由不同时期堆积如山的被采纳的建筑物组成。除了船模、地图、照片、导航工具、装备等各种各样的材料外，收藏中最引人注目的方面-显然也是最宽敞的-是大约40艘奥斯曼苏丹船只在相当恶劣的条件下展出的部分。从15世纪到19世纪，从45米到10米不等，这可能是世界各地亲戚中最耐人寻味的藏品。其任务是为同一地点提出一项新的展览计划，保留由四十年代起由古迹委员会指定的一幢现有建筑物。博斯普鲁斯与奥斯曼宫结盟的博斯普鲁斯庄园(Beeşiktaş)提供了一个非常有限的空间，很难设计和建造；另一方面，为这样一个被密集都市生活和纪念碑所包围的地方提供了象征性的力量，比如博斯普鲁斯、宫殿、西南清真寺和巴巴罗斯-奥托曼海军上将曾经在整个地中海地区非常有名-广场上有雕像和墓碑。

Text description provided by the architects. The architectural competition for the museum was first announced in 2004 and the evaluation was completed in September, the same year. Most of the prominent architectural firms submitted their proposals as the problem was challenging as well as a prestigous one. It stands as a singular opportunity, when it comes to build a contemporary structure on Bosphorus, where strict conservation rules have been observed both by Bosphorus Legislative Department and National Monuments Council. The former Maritime Museum was in service then, in the same location, with a conglomeration of adopted buildings piled up from different periods. Apart from a wide range of materials like ship models, maps, photographs, navigation tools, outfits etc, the most striking aspect of the collection –and apparently the most spacious- was the part where about 40 Ottoman Sultan boats were exhibited in fairly miserable conditions. Ranging from 45 meters to 10, dating from 1500’s to 1900’s, this has been probably the most intriguing collection among its relatives throughout the world. The task was to propose a new exhibition scheme for the same site, preserving one –from 1940’s-of the existing buildings, as designated by the Monuments Council. The lot in Beşiktaş, by the Bosphorus aligned with Ottoman Palaces, offered  a very limited space with a set of difficulties to design and build; on the other hand, offering a symbolic strength to such a location surrounded by intense metropolitan life and monuments like Bosphorus, Palaces, Sinan Mosque and Barbaros –Ottoman Admiral once very famous in the whole Mediterranian Region- Square with the Statue and the Tomb.

 © Alican Aktürk

(C)美洲Aktürk

项目现场有3个FaherAdes-剩下的一个面向邻近的前烟草仓库实际上是不可见的，主要是为服务而保留的。波斯普鲁斯侧被保留在船廊上。在相反的方向，在连接到城市和交通通道的DolmahbahereBoulevard上，我们设置了入口。最后，在贝莱德方的广场上，我们展示了庭院，拥抱了野蛮的雕像，博物馆的节目围绕着这个雕像旋转。从入口开始，FaherAdes在一个螺旋循环之后展开，在一个角落引入了现有的建筑。

The project site had 3 façades -the remaining one facing the neighbouring ex-tabacco warehouse was virtually invisible and mainly reserved for sevices-. The Bosphorus side was reserved for the boat gallery. On the opposite direction, at the Dolmabahçe Boulevard where it is linked to the city and the traffic access, we placed the entry. Finally, at the Beşiktaş Square side, we revealed the courtyard, embracing the Barbaros statue, around which the program of the museum revolved. Starting from the entry, the façades unfolded following a spiral circulation that incorporated the existing building at one corner.

 © Alican Aktürk

(C)美洲Aktürk

获奖提案将游艇画廊作为整个建筑群的高潮，通过分形界面向博斯普鲁斯开放。鉴于该系列是永久性的和不变的，设计类似于一个‘手套’完美地适合。暗示某些品质的武库机库，提议的空间类型上是一个混合。

Winning proposal featured the boat gallery as the climax of the entire complex, openning it up to the Bosphorus through a fractal interface. Given the fact that the collection is permanent and unchangeable, the design resembles a ‘glove’ perfectly fitting. Alluding to certain qualities of arsenal hangars, the space proposed is typologically a hybrid one.

首先，它是一个单一的空间，在那里，长长的和纤细的苏丹船站在一起面对大海，提供了一个机会，以一个令人印象深刻的集合一目了然。其次，它是一个分隔空间，细分为窄带，每个预留给一艘船。看似矛盾的两个方面结合在一起，在一个单一的空间经验中共存。这种感觉是通过结构的设计来增强的。该画廊的广阔空间是由7座由6米高钢桁架组成的桥梁组成，长度从55米到25米不等。其结果是一个双高度画廊与一个交替的温度的空洞和钢桁架，其中的地面水平是完全左柱-自由。屋顶和立面反映了内部组织的交替变化。这一空间通过固体和空隙以一种相当克制的方式向天空和博斯普鲁斯开放。因此，“通用”博物馆的理想密封盒在这里被破坏，以利于自然光和风景。

First of all, it is a single space, where the long and slender sultan boats stand side by side facing the sea, providing the opportunity to perceive the collection in an impressive ensemble at a glance. Secondly, it is a compartmented space, subdivided into narrow bands each reserved for a boat. The seemingly two paradoxical aspects are brought together to co-exist in a single spacial experience. Such a feeling is enhanced by the design of structure. The extensive space allocated for the gallery is constructed with 7 bridges made of 6 meter high steel trusses varying in length from 55 to 25 meters. The outcome is a double height gallery with an alternating rythm of voids and steel trusses, where the ground level is totally left column-free. The roof and the facade reflect the alternating rythms of the interior organisation. The space opens up to the sky and the Bosphorus in a rather refrained fashion, through solids and voids.The ideal sealed box of the ‘generic’ museum is thus compromised here for the favour of natural light and views.

 © Alican Aktürk

(C)美洲Aktürk

分形线的平面折射作为收集的时间顺序和维序的结果，在三维上进一步强调了交替的固体和空隙，每一个对应的物质是：永恒的固体，铜的空隙。整个作品从一个浅浅的水池中升起，把画廊和大海连接起来。新结构的立面线是从Dolmabah e Boulevard的现有建筑中凹出的，在入口前形成一个开放空间，为那些原本相当拥挤的街道景观和狭窄的人行道上的人们提供一个会面和会合的地方。

The plannimetric refractions of a fractal line as an outcome of the chronological and dimensional order of the collection is further accentuated in three dimensions with alternating solids and voids, each corresponding a cladded material: Solids in eternite, voids in copper. The whole composition rises from a shallow pool, which connects the gallery to the sea.  The facade line of the new structure is recessed from the existing building at the Dolmabahçe Boulevard to form an open space in front of the entry that promises a meeting and gethering place for people in an otherwise fairly congested street scape with narrow sidewalks.

 Ground Floor

该工程使用的三种主要材料是砂岩、永久石和铜覆层。由于展区的尺寸来源于收藏的时间顺序和维度顺序，这个概念在三维中进一步强调，与这种三重材料的使用交替的固体和空隙。

Three main materials used in the Project is sandstone, eternite and copper cladding sheets. Since the exhibition area dimensions derived from the chronological and dimensional order of the collection, the concept further accentuated in three dimensions with alternating solids and voids with this triple material usage.

低E玻璃系统有助于防止收集不想要的和有害的太阳射线。

Low E glazing system helps to prevent collection from unwanted and harmful sun rays. 

 © Alican Aktürk

(C)美洲Aktürk

Architects TEGET

Location Istanbul, İstanbul, Turkey

Category Museum

Architects in Charge Mehmet Kütükçüoğlu, Ertuğ Uçar

Design Team Alev Dağlı, Saro Dionyan, Hande Köksal, Mert Üçer, Senem Akçay

Area 15000.0 m2

Project Year 2010

Photographs Alican Aktürk

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