MARMARA ÜNİVERSİTESİ PENDİK EĞİTİM VE ARAŞTIRMA HASTANESİ

At the end of World War I, the presence of aircraft belonging to various nations, the oldest of which was from 1912, and one, two or three of each type of aircraft built by the Germans during World War I, in the hangars, led the Air Force Inspectorate to decide to establish an air museum. . Trophy aircraft captured from the enemy have also begun to be collected for the same purpose. However, it was planned to take these planes collected for the museum to Kartal Maltepe to prevent them from being damaged during the War of Independence, but some of the planes were severely damaged during transportation. These damages and the aircraft crashes that occurred during the War of Independence delayed the idea of establishing an air museum.

In 1960, then Air Force Commander Hv. Organ. With the directive of İrfan Tansel, the idea of establishing an Air Museum in Turkey came to the fore, and for this purpose, an order issued in 1963 requested the preservation of one of each aircraft used in the Air Force and other units. As a result of the ongoing studies, the Air Museum Organization was established in 1966 and Turkey's First Air Museum was opened at Izmir Cumaovası Civil Airport on May 15, 1971. Although it attracted great attention at its opening, it was unable to attract the desired level of attention from visitors due to its distance from the city center and transportation difficulties, so a new residential area was sought for the Air Museum. Since the repair of the Cumaovası runway, the development of the airfield for training flights and the decision to use this square for civil air traffic created new problems in terms of settlement and settlement, it became necessary to transfer the Air Museum to a more suitable place. The Air Museum continued its activities in İzmir-Cumaovası until 1978. As a result of the examination, considering its location, visitor potential, development and maintenance facilities, being the place where the first air force was established and its historical importance, the most suitable settlement area for the Air Museum was determined as the Military Museum in Yeşilköy, Istanbul, where the Air Force Academy is located near the Air Force Academy. It strengthened the idea of taking the decision to locate it in the area adjacent to the airport.

For the reasons explained above, the construction of the new Air Museum building started in 1977 and was completed in 1983. The interior architecture and decoration of the museum, which was built on a total area of 65 thousand square meters, including 2 thousand 365 square meters of closed and 12 thousand square meters of open exhibition areas, within the understanding of modern museology, was carried out by technical staff and experts from Istanbul Provincial Directorate of Culture, Surveying and Monuments and Mimar Sinan University. and was opened to visitors by Air Forces Commander General Halil SÖZER on 16 October 1985.

The Naval Museum was opened on 31 August 1897 by Major Süleyman Nutki, with the orders of the Minister of the Navy Bozcaadalı Hasan Hüsnü Pasha and the support of the Shipyard Commander Admiral Arif Hikmet Pasha, in the building belonging to the Mine Detachment Command within the Tersane-i Amire, as one of the rare examples of the world. and Library Administration". It was not classified at first and was put on display as a museum warehouse. Cemal Pasha, who became the Minister of the Navy in 1914, reformed the museum, as in all branches of maritime, and appointed Naval Captain Painter Ali Sami Boyar as the director, allowing the museum to be reorganized in a scientific sense. Ali Sami Boyar published the first catalog of the museum in 1917, and established the "ship model workshop" to make full and half models of Turkish ships and the "mulage (casting)-mannequin workshop" where mannequins were made, laying the foundation for the development of the museum and its current form.

Pera Museum, opened on June 8, 2005, is a private museum established by the Suna and İnan Kıraç Foundation to provide qualified and large-scale culture and arts services. It operates in the building that was built as a contemporary and well-equipped museum by preserving the facade of the historical Bristol Hotel in Tepebaşı, within the framework of the project prepared by the restorer architect Sinan Genim between 2003 and 2005. Pera Museum, Suna and İnan Kıraç Foundation's "Orientalist Painting", "Anatolian Weights and Measures" and "Kütahya Tiles and Ceramics" collections and the values represented by these collections, exhibitions, publishing products, oral events, educational activities and scientific studies. It shares it with the public and aims to pass it on to future generations.

Among them are Tate Britain, Victoria and Albert Museum, St. Pera Museum, which produces joint art projects with the world's leading museums, collections and foundations such as St. Petersburg Russian State Museum, JP Morgan Chase Collection, New York School of Visual Arts, Maeght Foundation, hosts periodic exhibitions such as "Jean Dubuffet", "Henri Cartier-Bresson" , “Rembrandt”, “Niko Pirosmani”, “Josef Koudelka”, “Joan Miró”, “Akira Kurosawa”, “Marc Chagall”, “Pablo Picasso”, “Fernando Botero”, “Frida Kahlo”, “Diego Rivera”, “ It brought together the works of the world's master artists such as "Goya" with the art lovers of our country. Pera Museum, which has organized exhibitions supporting young artists in cooperation with national and international education and art institutions every year since its opening, also supports all its exhibitions with books, verbal activities and children's education programs. Drawing attention with its periodic programs and events, Pera Film organizes comprehensive screenings for visitors and cinema enthusiasts, ranging from classics to independent films, animations and documentaries, sometimes parallel to exhibitions.

The Great Palace Mosaics Museum is located in the Arasta Market, south of the Sultanahmet Mosque Complex. The building was built to include the partially intact mosaic floor in the northeastern part of the porticoed courtyard of the Byzantine Empire Grand Palace.

The mosaics exhibited in the Great Palace Mosaics Museum, dating back to 450-550 AD, are crafted with unique mastery and are magnificent both artistically and in terms of the richness of the depicted scenes. Mosaic stones consist of limestone, terracotta and colored stones with an average size of 5 millimeters. The depictions are placed between pieces of marble and surrounded by contours.

Religious subjects are not found in the mosaics, which are processed in fish scale style on a white background. The topics are taken from daily life and nature. These include scenes depicting a griffon eating a lizard, a fight between an elephant and a lion, a mare nursing her foal, children herding geese, a man milking a goat, a boy feeding his donkey, a young girl carrying a jug, bears eating apples, and the fight with a hunter tiger.

The museum was opened in 1953 as part of the Istanbul Archaeological Museums, and in 1970 it was connected to the Hagia Sophia Museum.

Turkish Foundation Calligraphy Museum II, which is affiliated with the General Directorate of Foundations and located in the Beyazıt District of Istanbul. It is within the Beyazıt Madrasa, which belongs to the Beyazıt Social Complex. Since there was previously a large rectangular pool to the right of the entrance gate, it is also known as the "Pool Madrasa" among the public. Sultan II. It was built by Beyazıt between 1506-1508.

History of the madrasah where the museum is located: The construction of the madrasah was completed in 1506-1508. The construction of the mosque took place between 1497-1506, but the Foundation Certificate in the General Directorate of Foundations bears the date 1505. This situation shows that after the mosque was completed, the social complex was included in the foundation and in the foundation deed of Beyazıt Madrasa, it was stipulated that sheikh al-Islams should serve as professors. However, it is understood that due to the intensity of their work, the sheikh al-Islams appointed substitutes for education, and thus the institution of substitute teaching was born. Located in the northwest of the mosque and a little further away, is the II. Beyazıt Madrasa has a decorative appearance on three sides of a central classroom, with simple moldings, red and white stones at the entrance and buds on its crown. After an area with a dome resting on checkered corners and sets on both sides, a low arched, simple molded door is encountered. On the door, there is a pediment consisting of Rumi and Hatai figures painted in yellow and black. Normal rooms are close to square in plan. Corner rooms are larger. Corner rooms have three lower and one upper window. The portico has 25 domes. There is a passage with a vaulted top on the left arm. The function of this passage is not understood. It is thought that it was probably used as a transition to a section connected here. The classroom building is 3.65 meters away from the cloisters and there is only a wall connection between them. It has nine lower and twelve upper windows. There is a closet space on the sides. There is no stove. The dome arch is round, the door arch is made of pink and white marble, and the dome drum has eight arches. In front of the entrance door, there is a wooden eaves that rests on a thin marble column and is thought to have been added later.

The fountain has a diamond-shaped eaves on six columns without bases. The pool section has eight arches and is a simple work. There is no inscription on the door of either the classroom or the madrasa. The madrasa has undergone many repairs. After the closure of the madrasahs, Beyazıt Madrasah was used as a document distribution place, a settlement for the poor, a dormitory for a while, and finally a Municipal Museum and a General Library. After 1943, upon the repair of Gazanfer Ağa Madrasa, the Municipal Revolution Museum was moved from Beyazıt Madrasa to Gazanfer Ağa, leaving only the library here. The Writing Museum, which was first opened in 1968 in Yavuz Selim Madrasa, was opened to visitors on 28 October 1984 under the name of the Turkish Foundation Calligraphy Museum, after the Bayezid Madrasa was restored by the General Directorate of Foundations. In addition to manuscripts and plate works, there are works written on various materials (stone, glass, fabric, metal) in the museum. There are a total of 3638 works, 277 of which are on exhibition. Sacred relics are also exhibited in the classroom room. The works in the museum are divided according to the types of writing and exhibited with the emphasis on being educational. There are two sundials made by Ahmet Ziya Bey in the museum garden.

Istanbul Railway Museum was opened on 23.09.2005 in Sirkeci Train Station. 300 cultural assets are exhibited in the museum, which operates on an area of 45.50 square meters.

Sabancı University Sakıp Sabancı Museum is located in Emirgan, one of the oldest settlements along the Bosphorus in Istanbul. The villa, which is the main building of the museum, was built by the Italian architect Edouard De Nari in 1927 by Prince Mehmed Ali Hasan of the Egyptian Khedive family and was used as a summer residence by various members of the Khedive family for many years and served as the Montenegrin Embassy for a short time. The mansion, which was purchased from Princess İffet, a member of the Khedive family, by the industrialist Hacı Ömer Sabancı from Adana in 1951, became known as the "Horse Mansion" because of the horse statue made in 1864 by the French sculptor Louis Doumas, which was purchased in the same year and placed in front of it. The second horse statue within the grounds of the Horseman's Palace is a cast of one of the four horses taken from Istanbul's Sultanahmet Square, which was looted by the Crusader forces during the 4th Crusade in 1204, and placed in front of the Venetian San Marco church.

Atlı Köşk, which started to be used as a permanent residence by Sakıp Sabancı, the elder of the family, after the death of Hacı Ömer Sabancı in 1966, housed Sakıp Sabancı's rich calligraphy and painting collection for many years, and in 1998, it was transferred to Sabancı University to be converted into a museum with the collection and belongings inside. What has been allocated? The exhibition areas of the Museum, which was opened to visitors in 2002 with the addition of a modern gallery, were expanded with the arrangement in 2005 and reached international standards at the technical level. Today, Sabancı University Sakıp Sabancı Museum offers a versatile museum environment with its rich collection, comprehensive international temporary exhibitions, conservation units, exemplary educational programs, and various concerts, conferences and seminars.

Fenerbahçe Sports Club, the pillar of Turkish sports, has received valuable awards and trophies in its 100 years of successful work in 35 branches. Fenerbahçe won its first cup on June 5, 1910, by beating Istanbul's famous Greek club Sturugglers 3-1. In 1913, when the number of trophies and statues reached 10 in the local at the mouth of Altıyol, a small showcase was purchased for them. In 1914, when the two-storey wooden tavern was built in Kuşdili, a room on the second floor was allocated for the museum, which gradually took on a rich identity. New showcases were built to display the prizes won. After a while, it became clear that this small room reserved for awards (trophies) at the Kuşdili Tavern, where we stayed until the fire in 1932, was not enough and did not meet the needs. Some of the trophies, cushions and vases began to be placed in other rooms and in the large hall downstairs.

The number of trophies of Fenerbahçe Sports Club exceeded 150 in the early summer of 1932. However, these cups, mats, etc., which are evidence of the club's first 25 years of activities. The awards were destroyed along with the clubhouse in a fire on the night of 5/6 June 1932. Fenerbahçe Museum, which was reset, was reborn immediately after the fire. With the diversification of the fields of study after 1932, we have reached the present day with countless trophies, medals and plaques won every year. After the opening of the social facilities on the Fenerbahçe cape, the trophies, medals and plaques won for many years were exhibited in the showcases there.

During the reconstruction of Fenerbahçe Şükrü Saracoğlu stadium, the board of directors chaired by Aziz Yıldırım decided to establish a modern museum above European standards in the stadium. This decision was implemented in a short time. After nearly a year of intensive work under the leadership of Mr. Sertaç Kayserilioğlu, Chairman of the Fenerbahçe Sports Club Museum History and Archives Board, the official opening of the museum was held on October 19, 2005.

Location and Sections of the Museum:

• The birth of football in the world section.
• The section where the first founding meeting of Fenerbahçe Sports Club is recreated with period items and mummies.
• The episode where the moment of smuggling weapons and ammunition to the front from our local in Dereağzı during the Armistice and Occupation period is recreated with mummies.
• The section where the phases of the stadium are presented to Şükrü Saracoğlu from the Union Clup field.
• All kinds of certificates, medals, photographs, documents, etc. symbolizing the achievements in all branches since the establishment. Sections where materials are exhibited.
• Sections where some of the original uniforms, socks, etc. clothes from every period from the establishment to the present are exhibited.
• Early statutes, old membership cards, old licenses, old match tickets, club lottery tickets, etc. sections where documents are presented.
• Cinema room where movies from old matches and Fenerbahçe documentaries are played.
• The section where Atatürk's visit to the club on May 3, 1918 and the moment of signing the book of honor are recreated with a mummified version.

From all these sections, 426 of the 3 thousand trophies and plaques won by Fenerbahçe Sports Club in various branches in 100 years, classified according to years, are exhibited in the museum.

It was opened on 06.11.1995 in order to announce, promote and popularize the mission of Turkish maritime transportation from past to present, with the works that have been waiting to be unearthed since the company's establishment, to large masses. The museum is located in the same building as the General Directorate of Business Administration. The building was built in 1912–1914. The works on display are manuscripts, paintings written by Mustafa Kemal Atatürk in the ship diary, (Diyarbakırlı Tahsin, İbrahim Çallı, Fikret Otyam, etc.), models, ship objects (compass, telegraph, lantern, etc.), which have been transferred from the establishment of the Enterprise to the present day. .

The collections of the Museum of Ancient Oriental Antiquities consist of works from the pre-Greek ages of Anatolia and Mesopotamia, and the pre-Islamic ages of Egypt and the Arabian Peninsula. The majority of these artifacts were unearthed during archaeological excavations that started at the end of the 19th century and continued until World War I, and were brought to Istanbul, the capital of the Ottoman Empire, which was the ruler of these countries at that time.

In the Museum of Ancient Oriental Artifacts, which consists of Pre-Islamic Arabian Artifacts, Egyptian Artifacts, Mesopotamian Artifacts, Anatolian Artifacts, Urartian Artifacts and Cuneiform Documents sections, the narrative is made with a regional classification; The cultures of the Arabian Peninsula, Egypt, Mesopotamia and Anatolia are presented in their historical development. In addition to unique works such as the Stele of Akkadian King Naramsi, the Treaty of Kadesh, and the Ishtar Gate, the Tablet Archive, which contains 75 thousand cuneiform documents, is also located in this section. History The building where the Old Oriental Works are located today was built by Osman Hamdi Bey in 1883 as Sanayi-i Nefise Mektebi, that is, the Academy of Fine Arts.

This academy, which will form the foundations of Mimar Sinan Fine Arts University in the future, is the first fine arts school opened in the Ottoman Empire. The architect of the building is Alexander Vallaury, who would later build the Istanbul Archaeological Museums Classical building. When the academy was moved to another building in Cağaloğlu in 1917, this building was allocated to the Directorate of Museums. The museum director of the period, Halil Edhem Bey, thought that it would be more appropriate to exhibit the works of the ancient cultures of the Near Eastern countries separately from the Greek, Roman and Byzantine works, and arranged for the building to be organized as the Museum of Ancient Oriental Works. The German expert Eckhard Unger, who was invited for this job, worked in Istanbul between 1917-1919 and 1932-1935, completed the exhibition of the museum and made a series of publications on the works.

II. The museum, which was evacuated for defense purposes during World War II, was later reorganized by Osman Sümer according to Unger's principles. A major reorganization was made in the museum structure in 1963 and it was reopened to visitors in 1974. The Museum of Ancient Oriental Works, which was last maintained and repaired in 1999-2000, reached its current state on September 8, 2000.

The Islands Museum, which was implemented within the scope of the Istanbul 2010 European Capital of Culture Agency projects, with the joint work of the Islands Foundation, Islands Municipality and Islands District Governorate, became fully operational on September 10, 2010. Istanbul's first contemporary city museum offers a different experience for visitors with its approach, content, presentation, spaces, layout and activities. The entrance animation, prepared as a result of studies on various maps and space photographs of the 9 Istanbul Islands, welcomes the visitors and provides basic urban information about the Islands. The Dunkleosteus armored fish replica, whose fossilized traces were found on the island rocks and is known to have lived in these seas 400 million years ago, is right in front of you.

The Museum Gives the Message of Let's Protect Nature

While the nature of the Islands, all their riches, their diversity throughout history, the species that disappeared over time, the destruction of nature and its consequences are explained to the general audience, surprises await especially children. The species that have disappeared over time in the waters surrounding the Islands are also in this section. Recently lost fish, crustaceans and plants. Extinct life in Marmara is discussed, from algae, of which there are hundreds in a drop of seawater, to "mucilage", the wastes of microscopic creatures consisting of carbohydrates, fats and proteins. In this section, video and microscope examination are used, especially for children. Geology Travel Board Birds of the Islands Islands from the Notes of Ancient Writers and Travelers Life Beginning to Shape in the Islands The First Owners of the Islands From Exile to Resorts...

Connection of the Islands to Istanbul and the Settlement Area The Islands are a Resort Place Loved from a Distance and Visited in the Summer Architecture of the Islands Population Changes and Migration Transportation to the Islands / Transportation within the Islands / Boat Races Sea Transportation and Water Sports Island Musicians Islands and Flavor Escape Place and Again Discovered Islands Databases Accessible from Every Point of the Museum Maps, Ottoman Archive documents, Architectural Heritage, Oral History and Island celebrities database on touch screens that allow access to information about the history, present and future of the Islands...

Other Sections of the Museum; Library • Archive, Website www.adalarmuzesi.org, Activities, Workshops, Children's Education Programs, Island Taste Tours, Museum Friends

Turkey's first modern and contemporary art museum, Istanbul Modern, mediates the sharing of our country's artistic heritage on a global scale and transferring it to the future, bringing together productions from different geographies in Istanbul.

It was built in the same location as the old building of Istanbul Modern, which opened its doors in 2004 in the Warehouse building no. 4, built on the edge of the Bosphorus. The museum building hosts exhibitions and programs; It contains exhibition halls, multi-purpose spaces, offices, areas for education, different cultural events and other activities.

The Quincentennial Foundation Turkish Jews Museum, which is Turkey's first and only museum in this field, was opened on November 25, 2001, in the Zülfaris Synagogue building, which has not been in actual service since 1985. The name of the street is read as Zülfaris on old city maps. This word is a colloquial abbreviation of the Ottoman "Zülf-ü Rus", which means "bride's forelock". The synagogue, whose real name was "Kal Kadosh Galata", was also known by this name among the people. It was built in 1671, probably on the foundations left over from the Genoese. This building, which was rebuilt at the beginning of the 19th century and served as a synagogue until 1985, was restored and turned into a museum by the 500th Anniversary Foundation within the framework of the "500th Anniversary Celebration Events".

The entrance courtyard of the museum, which is built on three floors, is decorated with the work of sculptor Nadia Arditti, "Rising Fire", erected in memory of the Turkish Jewish soldiers who sacrificed their lives for the defense of the homeland during World War I, the Dardanelles Front and the War of Independence. In the main hall on the first floor, which was once reached from the stairs where brides ascended on the arm of their fathers and descended on the arm of their husbands; History of Turkish Jews, interaction in religious objects and social life, participation in different areas of social life, the first printing house in the Ottoman Empire, history of the Turkish Jewish Press, waiver of Article 42 of the Treaty of Lausanne, invitation to our country by the great leader Atatürk in 1933. German and Austrian scientists who escaped from Nazi oppression and continued their academic lives in our universities, "Turkish Schindlers" who saved hundreds of Jews from death in Nazi-occupied cities where they served during World War II, Turkish diplomats' corner of honor and many other information; It is presented with objects, panels, graphs and maps. The history of Zülfaris and some quotes from important events that took place in the synagogue are displayed in the illuminated octagon that coincides with the projection of the main dome. In the upper gallery, which was reserved for women's worship when it functioned as a synagogue, on the right wing there are human scenes (men, women, couples, children, families and picnics) and on the left wing are the 400th and 500th anniversary celebration events, the introduction of the Ashkenazi community, each with a separate story. There are panels displaying the stories of Haydarpaşa Hemdat Israel Synagogue and Manisa Moris Şinasi Children's Hospital, which are exemplary documents.

In the ground floor hall, which is organized as the ethnography section, in addition to postpartum-birth and circumcision, dowry and wedding compositions, photographs of the bride and groom in chronological order between the 1860s and 1960s refresh nostalgic memories in a time tunnel function, different clothes, wedding dresses, amulets, Examples of jewelery and similar subjects are also included in this section...

As you leave the museum, on the panel on the right wall towards the street door; It is possible to read summaries of the statements of Atatürk, İsmet İnönü, Turgut Özal, Süleyman Demirel and Mesut Yılmaz regarding Turkish Jews.

Yıldız Clock Tower is a clock tower belonging to the Yıldız Palace complex. It is located in the Yıldız district of Beşiktaş District of Istanbul. It is located in the southwest corner of the Yıldız Mosque courtyard. The ground floor was established with a pointed arched opening on each facade and an inscription above it, as well as a composition in which the chamfered corners were softened by thin columns. The upper floor is separated from the lower floor with floral motifs and muqarnas bands. There is a barometer near the bottom of the facade, which narrows on the upper floor, and an orientalist window at the top. The softening of the corners is also seen here, and this time it is separated from the upper floor only by a stalactite band. At the bottom of the top floor there is an orientalist arched window and a clock dial above it. There is a window on each side of the segmented vaulted crown at the top of the arrangement, which also has a band between it and the crown.