If you give ear to the items of the glaziery that began in 19th century Beykoz, you listen to a very interesting and vivid story of a competition. Because, I believe in that through observing the items of Beykoz glass, you can listen to “the international industry competition, political decisions, the big investments, failures and the accomplishments” within which people have lived for a very long time, as a special glass item that written in a very strange language.

However, maybe the most important aspect of the historical Beykoz glass is not only its formal beauty, but actually, its multilayered meaning as the items of the international industrial and art competition of two centeranians that extends to our time.

Moreover, via this aspect, the Beykoz Glass is the very successful representative of “item identity scale” which was attained by the glaziery concept that was begun by Ottoman Empire’s industrialization project with great efforts.

Hence, the Beykoz glass which is silently present at the glass partition of the museums and the collections, actually represents the riveting and constructive days of the projects of transforming The Bosphorus region into a developed industrial area in 19th century. That is why, each item is a “work of İstanbul” that summarizes the vivacious events of those periods.

On the other hand, these works of art are the representatives of two centennials “Permanence of Creativity” in Beykoz region. From all directions, they also have a special meaning as the reflection of our art, poetry, music and culture of that era which are reinterpreted and summarized upon the glass technology.

As well as being the symbols of the renewal that began with Sultan Selim III, they also have become the brand that signifies the poetry, music and art of the Bosphorus in 19th century.

200 Yıllık Boğaziçi Cam Mirası İçinde Beykoz Camları

Türkiye Şişe ve Cam Fabrikaları A. Ş. , Ekim 2002
With the permission of the writer.