Relevant bibliographies by topics / Architect Sinan

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Architect Sinan'

Author: Grafiati
Published: 4 June 2021
Last updated: 7 February 2022

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Journal articles on the topic "Architect Sinan"

1

Erarslan, Alev. "Mimar Sinan Era Kulliyes in the Ottoman Urban Landscape." Belleten 84, no. 299 (April 1, 2020): 75–104. http://dx.doi.org/10.37879/belleten.2020.75.

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The Master Ottoman Architect Sinan, known as Mimar Sinan, produced numerous works of different character, among these, mosques, madrasahs, masjids (prayer rooms), khans (inns), caravanserais, covered bazaars, hammams (bath-houses), darüşşifa (hospitals), imarets (hospices), darülkurra (Koranic schools), sibyan mektebi (primary schools), tekke (lodges), waterways, aqueducts, fountains and palaces. Sinan is an architect that imprinted his mark upon his era by not repeating himself in any of the structures he created. Appointed the head of the Sultan's Society of Architects in 1538, Sinan created a great number of architectural works. Throughout the years of his long career in Ottoman architecture, in which time he produced an expansive typology of works, Architect Sinan also made a major contribution to urban planning. As Chief Architect, Sinan was responsible for many urban activities having to do with wastewater, fire prevention and the repair of many public buildings in Istanbul. Although documentation pertaining to Sinan's concept of the urban environment is scant, an analysis of all his structures suggests the existence of a delicate notion of city planning. Looking into the placement of the structures, their functional distribution within the city, the special roles they play in the general urban landscape, as well as their relationships to each other, it is not difficult to witness the rational conceptualization of a city. This article will attempt to examine the works of Architect Sinan in terms of his perspective on kulliye architecture, analyzing the contributions he made to these structures within the urban fabric, and to review his major kulliyes as intrinsic parts of the entirety of the city.
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2

Erarslan, Alev. "An essay on Byzantine architectural influence on the spatial organization of the architect Sinan’s square baldachin single-domed mosques." Zograf, no. 42 (2018): 165–79. http://dx.doi.org/10.2298/zog1842165e.

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The works of the Ottoman Empire?s Master Architect Sinan that he attached great importance to and produced the greatest in number were mosques. Mimar Sinan made use of multiple-support systems such as 4, 6 and 8-baldachins in his domed structures, planning the layouts of his domed buildings around the framework of these systems. In this article, five of Mimar Sinan?s square baldachin, singledomed mosques (Edirnekap? Mihrimah Sultan, Zal Mahmut Pasha, L?leburgaz Sokullu Mehmet Pasha, Fatih Bali Pasha and Manisa Muradiye) are selected, aiming to present an essay on the observed influence of Byzantine architecture in the domed square-baldachin and adjacent spaces that form the main area of these buildings.
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3

Necipoğlu, Gülru. "“Virtual Archaeology” in Light of a New Document on the Topkapı Palace’s Waterworks and Earliest Buildings, circa 1509." Muqarnas Online 30, no. 1 (January 29, 2014): 315–50. http://dx.doi.org/10.1163/22118993-0301p0013.

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This article introduces an unpublished document concerning the water distribution network of the Topkapı Palace. Preserved in the Topkapı Palace Museum Archive, the undated document sheds light on not only the palace’s waterworks but also the locations and names of its earliest buildings. Clues suggest that it was written immediately after the 1509 earthquake. Its heading reads: “Description of the fountains and water jet fountains, some of which have been flowing since olden times and some of which were added later.” This oldest written source on the hydraulic landscape of the Topkapı Palace elucidates the original layout of the palace complex. It refers to the two architects responsible for this project as ʿAcem Miʿmar and Miʿmar Hamza, who are identified in this article as the chief architect who preceded Mimar Sinan, namely, Miʿmar ʿAlaʾüddin, nicknamed ʿAcem ʿAli (Persian ʿAli), and his son Hamza. The document is significant for understanding the water distribution networks and layout of the palace before a rebuilding campaign in the 1520s under this first chief architect of Sultan Süleyman.
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4

Rabb, Péter. "“We are all servants here!” Mimar Sinan – architect of the Ottoman Empire." Periodica Polytechnica Architecture 44, no. 1 (2013): 17–37. http://dx.doi.org/10.3311/ppar.7444.

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5

Bezgin, Niyazi Özgür. "Rediscovery of the Great Architect’s Bridge: Mimar Sinan Bridge, Istanbul, Turkey." Transportation Research Record: Journal of the Transportation Research Board 2673, no. 8 (April 12, 2019): 99–111. http://dx.doi.org/10.1177/0361198119835811.

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A bridge is an important element of transportation which improves the accessibility of a location. Before the Industrial Revolution, stone masonry arch construction was the preferred method of construction of bridges with the longest spans and the highest durability. Multiple arches provided the solution when a single arch was insufficient to provide the required span. Bridge design required thorough consideration of the seismicity, geology, hydrology, bathymetry, and topography of the particular region, along with considerations of the functional and architectural design requirements of the bridge. This paper introduces for the first time a new concept of an “intermittent-bridge” and presents a technical inquiry into historical design considerations and contemporary protective and maintenance efforts for a sixteenth-century, multi-arch masonry intermittent-bridge built in Istanbul during the epoch of the Ottoman empire by the chief imperial architect, or mimar, Sinan.
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6

Ahmed, Ahmed, and Abdullah Tayib. "Paradoxical relationships between Less and More in architectural Form." Sulaimani Journal for Engineering Sciences 7, no. 3 (December 30, 2020): 177–207. http://dx.doi.org/10.17656/sjes.10140.

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Nowadays, almost all forms that surround us, in our building's environment and even on papers became similar to each other. The problems with the form are related to the inability of creating it from scratch because the process of creating form today is a process of displacement of a previous formal perception towards a new formal one, or by the aid of computer, and that leads to creating the monotony in forms due to their similarities. What is predominantly accepted as logical may not necessarily be true. The idea that is generally accepted by all architects is that the role of the architect is to build by adding, it sounds illogical to expect architects to focus on the question of builds by subtracting. Our initial hypothesis assumed that the paradoxical soul of “less and more” in architectural form is revealed in the rhetorical figures, where the subtraction strategy is alternative of the addition strategy. For that, the concept of form in architecture in this research has been deconstructed to its primary elements: Type „deep structure‟ and style „surface structure‟. In addition, the research clarified and set up the primary variable represented by the subtraction, and secondary variables (Fragmentation and segmentation, Transparency, Geometrical rigor, Distortion of scale, Identical repetition, Erosion) which help of creating rhetorical forms, in another word, it makes us get 'More' from 'Less'. As a conclusion, the distinctive thing that the research revealed about the strategies of architectural form besides the subtraction strategy and the concept of rhetorical numbers, is the concept of the conceptual golden subtraction, where the research detected it in Islamic architectural design and interpreted and connected it with the disconnected letters of the holy Quran, Al-Jarjani theory of subtraction, and the design language of the architect Sinan.
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7

KAYGISIZ, ALİ, and GÜLŞEN DİŞLİ. "FUNCTIONAL SYSTEMS IN CLASSICAL OTTOMAN PERIOD ARCHITECTURE BUILDING COMPLEXES OF ARCHITECT SINAN: THE CASE OF SÜLEYMANİYE COMPLEX." TURKISH ONLINE JOURNAL OF DESIGN ART AND COMMUNICATION 11, no. 3 (July 1, 2021): 750–68. http://dx.doi.org/10.7456/11103100/001.

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8

Zia, Sana, and Safya Noor. "The Evolution of Ottoman Architecture and its Distinct Characteristics." Journal of Islamic Civilization and Culture 3, no. 01 (July 17, 2020): 156–67. http://dx.doi.org/10.46896/jicc.v3i01.89.

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Architecture reflects and pinpoints its nation’s progress and mindset. Ottoman Empire, which ruled over three continents, is known for its unique and magnificent architecture represented by grand mosques, seminaries and imperial palaces .The so called Ottoman Architecture was created with in the domain of the Ottoman Empire and is known for its distinct characteristics. This architecture was initially influenced by Seljuk architecture. All Ottoman Sultans had special taste for architecture .Later on, the center was shifted to the capital of the fallen Byzantine Empire, and thus got inspirations from byzantine art .The most well۔known architect of that era was Sinan who revolutionized the art of architecture. He designed almost three hundred buildings distinguished for spacious courtyards surrounded by vast gardens. In the 18th century, Ottoman Sultanate came into contact with Europe, and therefore Baroque influences came to be seen in their architecture. Hence, internal decorations became prominent in the architecture.
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9

Saliba, Nada. "The Significance and Representation of the Nuruosmaniye Mosque as a Baroque Monument." Chronos 21 (April 30, 2019): 167–86. http://dx.doi.org/10.31377/chr.v21i0.486.

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The Baroque style of architectural building, which had prevailed in much of Europe during the seventeenth and eighteenth centuries, emerged for the first time in the mid-eighteenth century in Istanbul. It was the Nuruosmaniye mosque in its Baroque tendencies that broke away from the traditional Anatolian and distinctive classical Sinan style of building. As Cerasi puts it, "It is no rough quotation or mere imitation of foreign styles, but a clever transposition of a foreign vocabulary into a perfectly dominated indigenous poesis." (Cerasi 1988: 98) This genius in reversing the roles and borrowing this foreign language of Baroque and applying it on a monument from Ottoman Turkey in a synthesis of two worlds is at the core of the Nuruosmaniye, which is considered one of the best representations of Baroque spirit in the Ottoman Empire. Moreover, what adds to this mystery is the little information regarding the architect and the direct origins that influenced the building of this mosque. This paper addresses the events that led to the building of the Nuruosmaniye and the penetration of Baroque influence into Turkey. While the character of the Nuruosmaniye retains a certain originality amongst the mosques of its time, true recognition of the Nuruosmaniye seems to have been suspended. With the exception of a few historians, the likes of Dogan Kuban and Aptullah Kuran, one may postulate that the Nuruosmaniye has been poorly represented in current historiography on Ottoman art—especially in contrast with previous Ottoman monuments, namely those of the Sinan period. While presenting a rich and rare evaluation of the Nuruosmaniye, this paper attempts to counterbalance the Nuruosmaniye's absence from literature dealing with Ottoman an history.
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10

Altuntas, C. "GEOREFERENCING AND REPROJECTION ERROR INVESTIGATION ON IMAGE BASED 3D DIGITIZATION AND MAPPING OF HISTORICAL BUILDINGS." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-2/W11 (May 4, 2019): 71–75. http://dx.doi.org/10.5194/isprs-archives-xlii-2-w11-71-2019.

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<p><strong>Abstract.</strong> Image based dense point cloud creation is easy and low-cost application for three dimensional digitization of small and large scale objects and surfaces. It is especially attractive method for cultural heritage documentation. Reprojection error on conjugate keypoints indicates accuracy of the model and keypoint localisation in this method. In addition, sequential registration of the images from large scale historical buildings creates big cumulative registration error. Thus, accuracy of the model should be increased with the control points or loop close imaging. The registration of point point cloud model into the georeference system is performed using control points. In this study historical Sultan Selim Mosque that was built in sixteen century by Great Architect Sinan was modelled via photogrammetric dense point cloud. The reprojection error and number of keypoints were evaluated for different base/length ratio. In addition, georeferencing accuracy was evaluated with many configuration of control points with loop and without loop closure imaging.</p>
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Dissertations / Theses on the topic "Architect Sinan"

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Katipoglu, Ceren. "An Analysis Of Architect Sinan&#039." Master's thesis, METU, 2007. http://etd.lib.metu.edu.tr/upload/3/12608641/index.pdf.

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This thesis focuses on the late period mosques of architect Sinan in terms of their structural systems, the relation with their environment, and the identities of their patrons. The links amongst the role of the patron, his or her status in the state, materials used in the mosques, location choice and the spatial distribution of the mosques are researched on the bases of these six late period mosques of Sinan. In this perspective, the social background of the Ottoman Empire in the sixteenth century is the first focal point of the thesis. The relations between the decadence of the institutions, the political conditions of the Ottoman Empire and the architectural production during the last quarter of the sixteenth century are examined in the second chapter of this thesis. In the third chapter these six late period mosques as the sampling case are described in detail and evaluated in terms of their bearing systems, construction materials, the site features and the relation with their patrons. Though, being one of the favorite subjects in the Ottoman architectural history, there are many research and interpretations on Sinan&
#8217
s architectural style, works on late period mosques are limited and not specifically focused. In the fourth chapter of the study these limited interpretations are brought together and evaluated in the light of the background information supplied in the previous chapter of the thesis. In this framework, the aim of this study is not only to assess the late period works of Sinan as a tool to trace his architectural process, but also to unveil the relations with the identities of the patrons and locational and structural features of the mosques.
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Books on the topic "Architect Sinan"

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Doumato, Lamia. Sinan, Ottoman architect. Monticello, Ill: Vance Bibliographies, 1987.

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2

Sözen, Metin. Sinan: Architect of ages. Edited by Güner Sami, Özel Mehmet, Pınar Maggie Quigley, and Turkey Kültür Bakanlığı. [Istanbul?]: Turkish Ministry of Culture and Tourism, 1988.

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3

Clark, Emma. Sinan: Architect of Istanbul. London: Hood Hood Books, 1996.

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4

Günay, Reha. Sinan: The architect and his works. İstanbul: Yapı-Endüstri Merkezi Yayınları, 2002.

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5

Sinan: The architect and his works. 4th ed. Istanbul: Yapı Yayın, 2006.

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Günay, Reha. Sinan: The architect and his works. Istanbul: Yapı-Endüstri Merkezi Yayınları, 1998.

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7

A guide to the works of Sinan the architect in Istanbul. İstanbul: Yapı-Endüstri Merkezi Yayınları, 2006.

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8

The age of Sinan: Architectural culture in the Ottoman Empire. Princeton: Princeton University Press, 2005.

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9

Necipoğlu, Gülru. The age of Sinan: Architectural culture in the Ottoman Empire. London: Reaktion Books, 2005.

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10

Oxford Centre for Islamic Studies, ed. Sinan. London: I.B. Tauris in association with the Oxford Centre for Islamic Studies, 2006.

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Book chapters on the topic "Architect Sinan"

1

Macaraig, Nina. "Ancestry." In Cemberlitas Hamami in Istanbul, 24–51. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474434102.003.0002.

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This chapter begins with the biography of the Çemberlitaş Hamamı’s patron, the queen-mother Nurbanu Sultan, and her motivations to construct the bathhouse. The second section turns towards the monument’s world-renowned architect, Mimar Sinan, presenting a brief biography as well as his involvement with the hamam’s construction. Much like humans have mothers and fathers, grandmothers and grandfathers, so does the Çemberlitaş Hamamı have a distinguished lineage ranging from Greek baths to Roman thermae, Byzantine baths, early Arab-Islamic, Perso-Islamic, Seljuk and finally earlier Ottoman hamams. The final section traces this complex lineage with the help of a genealogical tree (silsilename) in order to elucidate the origins and development of various features in Ottoman bathhouse architecture.
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