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Journal articles on the topic 'Architect Sinan'
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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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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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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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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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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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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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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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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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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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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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Ediz, Özgür, and Michael J. Ostwald. "The Süleymaniye Mosque: a computational fractal analysis of visual complexity and layering in Sinan's masterwork." Architectural Research Quarterly 16, no. 2 (June 2012): 171–82. http://dx.doi.org/10.1017/s1359135512000474.
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Completed in the sixteenth century, the Süleymaniye Mosque in Istanbul has long been regarded as one of the great works of Sinan, the Ottoman Empire's foremost architect. In recent years, as our understanding of Sinan's design strategies and sensitivities has improved, a number of influential scholars have argued that there is a singular formal layering pattern present in Sinan's elevations. With the advent of recent advances in computational analysis it is possible to quantify the degree of visual layering (the hierarchical relationship between form, ornamentation and materiality) present in Sinan's Süleymaniye Mosque and thereby provide evidence, either for or against, this proposition. Using an advanced version of the computational fractal analysis method, the paper investigates the four facades of the Süleymaniye Mosque, along with two facade details, to provide a mathematical description of the layering visible in this building. Through this process the paper provides, for the first time, quantifiable data supporting the theorised properties of this famous building. In doing so, the paper also offers a description of the most advanced demonstration of fractal analysis ever applied in architecture.
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Uyumaz, Ali, and İsmail Dabanlı. "Architect Sinan's Kırkçeşme water supply system outside the city of Istanbul and city network." Water Supply 13, no. 3 (May 1, 2013): 626–37. http://dx.doi.org/10.2166/ws.2013.065.
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The city of Istanbul has important water system remnants from old civilizations among which water line systems begun with Byzantine period and continued during Ottoman era, including Kırkçeşme water supply system. The original gallery structure within the Kırkçeşme system has been altered with time at some places as a result of necessary planning activities, restoration and repair works. All these activities helped to keep almost the system originality. Since its first opening in 1564, its discharge increased steadily as a result of additional drainage feeding line connections to the main gallery. However, through time only a couple of the 570 additional lines have remained in operation. Although other similar establishments have perished in time without leaving even traces, the Kırkçeşme system is its vivid and harmonious appearance in front of eyes even today. Four dams were constructed at the most convenient locations along the water supply lines from 1620 to 1818. The water from the streams was collected during the rainy season and discharged to the city at times of need with increasing capacity. In general, the Kırkçeşme system has two branches: one extends towards the east, which seemed to have more water, due to its feedback from the Kirazlı, Topuz and Paşa tributaries of the Kağıthane stream; the other branch is westwards which is fed by the Ayvad Deresi, Orta Dere and Bakraç Dere tributaries of the Kağıthane stream. All the water are brought together at Başhavuz (main pool) south of Kemerburgaz, where they collectively enter the main supply line crossing the Alibey Stream over the Mağlova Aqueduct, and then joining a branch from the Cebeciköy Stream and finally flow in towards the south. In a historical document called Tezkiret'ül Bünyan, (The Book of Structures) the author states that Sinan pledged to the Sultan about the existence of some old waterways. However, the Roman waterway still remains in the vicinity of Cebeciköy, which is located at a higher elevation than the Kırkçeşme water supply line but ran parallel to it. The water supply system should have integrated perspective for operation and maintenances. On the other hand, standing structures give to humanity the impression that the stability and design carry not only water, but also valuable cultural heritage. Moreover, they connect many civilizations with each other and also past as well as future.
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Gaber, Tammy. "Incredible Ottoman Projects." American Journal of Islam and Society 31, no. 4 (October 1, 2014): 144–46. http://dx.doi.org/10.35632/ajis.v31i4.1080.
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When the term Ottoman architecture is used, the immediate image that comesto mind is that of the multitudes of mosque and religious buildings in Turkeyand the Ottoman Empire. One with a more in-depth knowledge of this fieldmay think of the prolific architect Sinan (d. 1588) and his hundreds of purpose-built works. However, this is not another book on Ottoman mosquesand pious foundations, but rather a focused collection of the empire’s oftenoverlookedcivic works, some of which demonstrate engineering innovationsin design. The empire’s geographical proximity to Europe gradually causedit to look westward for aspiration and engendered a palpable reflection ofEuropean influence in those of its architectural and infrastructure designsthat were the result of commissioning European experts to keep Istanbul andthe empire abreast of the latest innovations.This book is divided into thirty-five short sections, ranging from two tofourteen pages each, that consider particular urban, architecture, or infrastructuralinitiatives. Each section bears the name of the project in question, whichis amply illustrated with historical drawings (i.e., maps, urban plans, perspectivesrendered in watercolor, sections, and structural details), historical photographs,and relevant textual documents. However, almost no attempt hasbeen made to connect them to each other or to a larger thesis. And despite theintroduction’s portrayal of a wealthy, powerful, and vast empire with imperialinvestment in built innovations to improve the city, no indication is given asto the variety and breadth of the projects to be covered.An in-depth history of each one’s initiation is outlined, often revolvingaround an enlightened Ottoman sultan or an equally enlightened and forwardthinkingEuropean architect, urban planner, or engineer with occasional internationalbacking. The majority of these projects were never completed due tosuch international crises as war, natural disasters (e.g., earthquakes), the lack ...
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Akgun, H. Gokcen, and Ali Turk. "Determination and analysis of site selection factors for kulliyes of architect Sinan with respect to the locations in the Ottoman city of Istanbul." Building and Environment 43, no. 5 (May 2008): 720–35. http://dx.doi.org/10.1016/j.buildenv.2007.01.050.
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Özakin, Rabia, and Ayten Erdem. "The Protection Problems and Reparations of Ahi Çelebi Mosque in Istanbul." Advanced Materials Research 133-134 (October 2010): 1027–32. http://dx.doi.org/10.4028/www.scientific.net/amr.133-134.1027.
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The Ahi Çelebi Mosque, which is among Istanbul’s oldest mosques, is located on the shores of the Golden Horn in the Eminönü. This mosque, which was very probably built by Ahi Çelebi towards the end of the 15th century, was restored during the 16th century by Architect Sinan. It is a stone building with a rectangular plan, single dome, with a rear congregational area/son cemaat yeri in front of its main space, and a cut stone minaret at its right corner. Damaged by fires and earthquakes during its long history, this building, set on reclaimed land, was restored and strengthened at various times through the years. In the 1980s, the building was unfavourably affected by the construction of the new Galata Bridge; it began to sink and slide towards the sea, with the result that it had to be supported with steel girdles as a temporary measure and was abandoned. In 2000, the General Directorate of Foundations had concrete pillars added underground to stabilise the base, and the sea water around the foundations was pumped out. During the last restoration carried out in 2005-2006, the main dome and walls were strengthened, the minaret was rebuilt, and the interior plaster and decorations were redone. In this study we shall make a general re-evaluation of the restoration work undertaken on the 500 year old Ahi Çelebi Mosque. We shall determine to what degree the structural interventions and, in particular, the contemporary interventions have been able to maintain the original materials, shapes, workmanship and period additions, and whether or not these are distinguishable, reversible and suitable to the aesthetics of the whole.
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Akbash, Ayla. "Functions of ‘Madrasas’ in the Ottoman Period." Khazar Journal of Humanities and Social Sciences 17, no. 2 (July 2014): 65–73. http://dx.doi.org/10.5782/2223-2621.2014.17.2.65.
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In this study certain educational institutions such as madrassahs, kulliyes and mosques that contributed to environment in terms of education in the Ottoman period (middle of the fifteenth century-beginning of the nineteenth century)are researched with regards to educational system, curriculum, mudarrises, students and training. The functions and effects of the madrassahs at that time as well as their reflection in our time are dealt with. In this context, some educational institutions included by certain Anatolian madrassahs such as darulkurra, darulhadith, sahnıseman and schools, which are currently existed and not, have been taken in examination. Incorporating madrassahs, which are public instutions in the Ottoman period, in the state organisation has been started with the Fatih madrassahs that were established by Fatih (Sultan Mehmed the Conqueror) and structuring of madrassah order was quickened after the conquest. In time, the cities such as İstanbul (capital city), Edirne, Bursa, İznik, Trabzon, Konya and Diyarbakır have had the most madrassahs. The large majority of madrassahs of Sinan the Architect have been built in Anatolia and in other cities of the Empire. The first Ottoman madrassah was established in İznik and has become widespread in time. In consequence of being institutions in which training was giving according to the curriculum and ratification of mudarris and having distinctive architectural characteristics in their cubicles, porches, classes, iwans and şadırvans gave rise to them having a respectable position in the society. It is commented that the madrassahs that are the symbol of classical Ottoman arcitecture have been retrograded later on. In the scope of madrassahs located in the Antalya region the importance and contribution of them, which have been improved as the reflection of the social changes and have been opened to changes with their internal/external dynamics, and their capability of being met the requirements of society have been examined and explained descriptively together with their contributions to educational mantality in our time.
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Adams, Annmarie, and Mary Anne Poutanen. "Architecture, Religion, and Tuberculosis in Sainte-Agathe-des-Monts, Quebec1." Scientia Canadensis 32, no. 1 (July 7, 2009): 1–19. http://dx.doi.org/10.7202/037627ar.
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Abstract This paper explores the architecture of the Mount Sinai Sanatorium in Sainte-Agathe-des-Monts (Qc) to disentangle the role of religion in the treatment of tuberculosis. In particular, we analyze the design of Mount Sinai, the jewel in the crown of Jewish philanthropy in Montreal, in relation to that of the nearby Laurentian Sanatorium. While Mount Sinai offered free treatment to the poor in a stunning, Art Deco building of 1930, the Protestant hospital had by then served paying patients for more than two decades in a purposefully home-like, Tudor-revival setting. Using architectural historian Bernard Herman's concept of embedded landscapes, we show how the two hospitals differed in terms of their relationship to site, access, and, most importantly, to city, knowledge, and community. Architects Scopes & Feustmann, who designed the Laurentian hospital, operated an office at Saranac Lake, New York, America's premier destination for consumptives. The qualifications of Mount Sinai architects Spence & Goodman, however, derived from their experience with Jewish institutions in Montreal. Following Herman's approach to architecture through movement and context, how did notions of medical therapy and Judaism intersect in the plans of Mount Sinai?
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Gat, Moshe. "Kissinger, the Architect of Sinai-2 Agreement between Israel and Egypt, September 1975." ATHENS JOURNAL OF HISTORY 2, no. 4 (September 30, 2016): 239–48. http://dx.doi.org/10.30958/ajhis.2-4-2.
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Sakr, Yasir Mohammad. "Sinan’s Ambivalence." Journal of the Society of Architectural Historians 73, no. 3 (September 1, 2014): 398–416. http://dx.doi.org/10.1525/jsah.2014.73.3.398.
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Sinan’s Ambivalence: The Triangular Design of the Süleymanıye Schools Complex in Istanbul interrogates the anomalous configuration of the Süleymanıye schools, including the unorthodox angular Dar-ul-Hadith, the largest and most important Ottoman educational institution, designed by the great Ottoman master-builder Sinan in 1548–59. The Süleymanıye, as Yasir Mohammad Sakr demonstrates, is not a mere adaptation of preexisting symmetrical school models to contextual contingencies, as historians have contended. Rather, the Süleymanıye and its seeming anomalies are a function of the architect’s own relentless retrospection, repeatedly reinterpreting and opposing the very types that he initially created during the same design process. Sinan synthesized the idealized Ottoman planning patterns with a vigorous fragmentation and dispersal of its functional and symbolic elements to create an innovative hybrid typology for the Süleymanıye schools, especially the Dar-ul-Hadith. The study concludes that the triangular Dar-ul-Hadith is not a residual, ad hoc space as commonly perceived. It is the key to formulating the Süleymanıye master plan, which the author defines as a powerful symbolic scheme monumentalizing the new social arrangement by Sinan’s patron, Süleyman the Magnificent. Thus, far from the negative association usually attached to the notion of “ambivalence,” Sinan’s design practice presents it as a viable alternative approach for the history of Ottoman architecture.
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Prosser, Jay. "The invisible dome and the unbuilt bridge: Contemporary fiction and the mythologies of Ottoman architecture." Memory Studies 12, no. 5 (October 2019): 514–30. http://dx.doi.org/10.1177/1750698019870693.
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This essay investigates the representation of sixteenth-century architecture during the Ottoman Empire in Elif Shafak’s The Architect’s Apprentice (2014) and Mathias Enard’s Tell Them of Battles, Kings and Elephants (2018). Working with Walter Benjamin’s concept of architecture as testimony to mythology, the essay classifies the novels as architecture-ologies which demythologise empire at a moment of literal construction. The essay argues that, via the symbols of dome and bridge, the novels intervene in contemporary Ottoman nostalgia, both by treating architecture as memorialising transcultural exchange, and by reconstructing memories of transcultural violence founding the architecture and the Ottoman Empire. Building on the dialogue between literature and architecture, particularly Henry James’ ‘house of fiction’, the essay reveals how the novels’ ekphrases – their trans-mediation of dome and bridge into different forms of historical fiction – put into narrative perspective the imperial conquests and transcultural violence supporting the architecture of Sinan and Michelangelo.
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Pelham, Nicolas. "Gaza's Tunnel Phenomenon: The Unintended Dynamics of Israel's Siege." Journal of Palestine Studies 41, no. 4 (2012): 6–31. http://dx.doi.org/10.1525/jps.2012.xli.4.6.
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This article traces the extraordinary development of Gaza's tunnel phenomenon over the past decade in response to Israel's economic asphyxiation of the small coastal enclave. It focuses on the period since Hamas's 2007 takeover of the Strip, which saw the industry's transformation from a clandestine, makeshift operation into a major commercial enterprise, regulated, taxed, and bureaucratized. In addition to describing the particulars of the tunnel complex, the article explores its impact on Gaza's socioeconomic hierarchy, strategic orientation, and Islamist rule. The larger geopolitical context, especially with regard to Israel, the Sinai Peninsula, and the Nile Valley, is also discussed. The author argues that contrary to the intentions of its architects, the siege precipitated the reconfiguration of Gaza's economy and enabled its rulers to circumvent the worst effects of the blockade.
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Kıvılcım, C. Ö., and Z. Duran. "A SEMI-AUTOMATED POINT CLOUD PROCESSING METHODOLOGY FOR 3D CULTURAL HERITAGE DOCUMENTATION." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLI-B5 (June 15, 2016): 293–96. http://dx.doi.org/10.5194/isprsarchives-xli-b5-293-2016.
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The preliminary phase in any architectural heritage project is to obtain metric measurements and documentation of the building and its individual elements. On the other hand, conventional measurement techniques require tremendous resources and lengthy project completion times for architectural surveys and 3D model production. Over the past two decades, the widespread use of laser scanning and digital photogrammetry have significantly altered the heritage documentation process. Furthermore, advances in these technologies have enabled robust data collection and reduced user workload for generating various levels of products, from single buildings to expansive cityscapes. More recently, the use of procedural modelling methods and BIM relevant applications for historic building documentation purposes has become an active area of research, however fully automated systems in cultural heritage documentation still remains open. In this paper, we present a semi-automated methodology, for 3D façade modelling of cultural heritage assets based on parametric and procedural modelling techniques and using airborne and terrestrial laser scanning data. We present the contribution of our methodology, which we implemented in an open source software environment using the example project of a 16th century early classical era Ottoman structure, Sinan the Architect’s Şehzade Mosque in Istanbul, Turkey.
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Kıvılcım, C. Ö., and Z. Duran. "A SEMI-AUTOMATED POINT CLOUD PROCESSING METHODOLOGY FOR 3D CULTURAL HERITAGE DOCUMENTATION." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLI-B5 (June 15, 2016): 293–96. http://dx.doi.org/10.5194/isprs-archives-xli-b5-293-2016.
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The preliminary phase in any architectural heritage project is to obtain metric measurements and documentation of the building and its individual elements. On the other hand, conventional measurement techniques require tremendous resources and lengthy project completion times for architectural surveys and 3D model production. Over the past two decades, the widespread use of laser scanning and digital photogrammetry have significantly altered the heritage documentation process. Furthermore, advances in these technologies have enabled robust data collection and reduced user workload for generating various levels of products, from single buildings to expansive cityscapes. More recently, the use of procedural modelling methods and BIM relevant applications for historic building documentation purposes has become an active area of research, however fully automated systems in cultural heritage documentation still remains open. In this paper, we present a semi-automated methodology, for 3D façade modelling of cultural heritage assets based on parametric and procedural modelling techniques and using airborne and terrestrial laser scanning data. We present the contribution of our methodology, which we implemented in an open source software environment using the example project of a 16th century early classical era Ottoman structure, Sinan the Architect’s Şehzade Mosque in Istanbul, Turkey.
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Düzenli, Tuğba, Sema Mumcu, and Emine Tarakci Eren. "Peyzaj Mimarlığında Heykel Kullanımı: Trabzon Kenti Örneği / Monument Usage in Landscape Architecture: Example of Trabzon City." Journal of History Culture and Art Research 7, no. 1 (March 31, 2018): 553. http://dx.doi.org/10.7596/taksad.v7i1.1396.
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<p><strong>Abstract</strong></p><p>Monuments play a key role in the formation of a common memory and community consciousness by symbolizing important events or situations in the lives of people and societies and establish diverse dialogues with their surroundings in this context. The monument-art works to be placed in open spaces are important in terms of shaping social life and fulfill functions such as warning and activating society. For this reason, the use of monuments in open spaces is a matter for landscape architects to explore. The aim of the study is to determine the purposes and functions of monuments in urban open spaces. In this context, monuments in the city center of Trabzon are photographed and their usage types are classified. As a result, the monuments in urban open spaces in Trabzon are mostly composed of Atatürk and the persons in the history of the city (Kanuni Sultan Süleyman, Yavuz Sultan Selim, Mimar Sinan Etc.) And secondly the figures and events reflecting the culture of the city (horon/dancing figures, kamancha playing figures, anchovy, Trabzonspor etc.) Finally, it is seen that the expressions (military, martyr, etc.) reflect the national spirit. So in the monuments; it has been determined that the historical, cultural and social characteristics of the city are gaining more importance.</p><p> </p><p><strong>Öz</strong></p><p>Toplum ve bireylerin yaşamında yer alan önemli olayları simgeleyen, ortak toplumsal bilinç ve hafıza oluşturan heykeller çevreleriyle ilişki kurarlar. Açık mekanlarda yeralan heykeller, toplumun yaşantısında, sanatsal, estetik, kültürel öneme sahiptir. Bu nedenle heykellerin açık alanlardaki kullanım amaçları peyzaj mimarları için araştırılması gereken bir konudur. Çalışmada amaç kentsel açık mekanlardaki heykellerin kullanım amaçlarını belirlemektir. Bu bağlamda Trabzon kent merkezideki heykeller fotoğraflanarak kullanım türleri sınıflandırılmıştır. Sonuçta Trabzon’da kentsel açık mekanlardaki heykellerin çoğunlukla kentin kültürünü yansıtan figür ve olaylara (kemençe, horon, hamsi, Trabzonspor, taka vb.), ikinci olarak Atatürk ve kentin tarihinde yer alan kişilere (Kanuni Sultan Süleyman, Yavuz Sultan Selim vb.), ayrıca en son olarak milli ruhu yansıtan ifadelere (asker, şehit vb.) ait olduğu görülmüştür. Yani heykellerde; kente ilişkin tarihi, kültürel ve sosyal özelliklerin ağırlık kazandığı belirlenmiştir.</p>
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Sevim, Seckin. "ONE DOCUMENTARY, THREE MASTERS: REEVALUATING SUHA ARIN, HUSEYIN ANKA AND SINAN THE ARCHITECT." Idil Journal of Art and Language 8, no. 62 (October 30, 2019). http://dx.doi.org/10.7816/idil-08-62-02.
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Popovac, M. "Reconstruction of the Old Bridge of Mostar." Acta Polytechnica 46, no. 2 (January 2, 2006). http://dx.doi.org/10.14311/824.
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The Old Bridge of Mostar was built in 1566 by Hajrudin, a student of Kodza Mimar Sinan, the greatest Ottoman architect. It is a stone bridge of very slender and elegant shapes: its profile and its skyline are so thin and so high over the river waters that it is hard to believe that such a structure could be made out of huge stone blocks. The Bridge was destroyed in November 1993 by shelling during the recent war events. Its reconstruction was one of the biggest and most complicated projects involving UNESCO, The World Bank and many local and international experts. The task was to build a New Old Bridge – precisely the same in all details as the Old one. After many studies, tests and shape determinations, the project was completed and the actual reconstruction work could begin. Ancient techniques and methods, original materials and a perfectly reconstructed shape gave this Bridge its new life in post-war Mostar.
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Ismail, Alice Sabrina, and Nurul Syaheera Aziz. "An Assessment On Madrasa Design As Symbol Of Communal Value Using Semiotic Analysis – Case Study of Rustem Pasha Madrasa." Sains Humanika 11, no. 1 (December 30, 2018). http://dx.doi.org/10.11113/sh.v11n1.1318.
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The purpose of this paper is to propose an appropriate design solution for madrasa as a center of communal values development. This paper is vital as there are many arising issues relating to madrasa development in the present context that requires much needed attention from various parties. This is because the madrasa's utilitarian function and existence as a community center began to change once transformation occurred to civil society. This factor happened due to modernization and Western influence in the context of Islamic propagation. Past literature on madrasa development focused more on limited areas of study such as the documentation of historical ownership, management and maintenance, learning curriculum, discussion on the role of women in madrasa education, and the construction process of the madrasas. To date, none discusses on the strategies how to design the madrasa to function as a community center. This research analyses historic prominent madrasa Rustem Pasha (1547-1550) designed by the great architect Sinan during the expansion period of Ottoman empire (1453-1566) based on literature review using semiotic approach to establish the appropriate design attributes that interrelated with communal values. Findings indicate that five communal values involving transparency, propriety, modesty, gratitude and obligation are embedded in this historic madrasa built form and spatial arrangement for centuries as a form of ‘sign’ to convey message to the user. This established reference design approaches from this research is of benefit for designers, builders, developers and relevant authorities to build a communal type madrasa in the future.
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Avesta, Riantiza, Atikah Dwi Putri, Rana Alya Hanifah, Nurul Annisa Hidayat, and M. Deivito Dunggio. "Strategi Desain Bukaan terhadap Pencahayaan Alami untuk Menunjang Konsep Bangunan Hemat Energi pada Rusunawa Jatinegara Barat." Jurnal Rekayasa Hijau 1, no. 2 (July 1, 2017). http://dx.doi.org/10.26760/jrh.v1i2.1633.
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ABSTRAKIndonesia terletak pada garis ekuator yang kaya akan sumber daya sinar matahari sepanjang tahun, sehingga pencahayaan alami merupakan aspek penting dalam bangunan. Perencana bangunan (arsitek) harus mempertimbangkan pemanfaatan pencahayaan alami yang optimal melalui bukaan pada bangunan dan disamping itu harus sesuai dengan standar kenyamanan visual. Bangunan yang baik tentunya harus memenuhi kaidah keberlanjutan (sustainability) melalui konsep bangunan hijau (green building). Hasil pengamatan objek studi kasus bangunan Rusunawa Jatinegara Barat, Jakarta, menunjukkan bahwa tingkat iluminasi setiap tingkat (level) lantai berbeda. Semakin tinggi level lantai, maka semakin besar peluang sinar matahari masuk ke ruangan melalui bukaan dan semakin tinggi tingkat iluminasinya. Tingkat iluminasi yang melebihi standar kualitas pencahayaan alami berkontribusi pada ketidaknyamanan visual berupa silau (glare). Kondisi silau yang terjadi pada beberapa unit hunian rusun mengakibatkan penghuni menutup bukaan secara konvensional dan lebih memilih menggunakan pencahayaan buatan sepanjang hari, menyebabkan bangunan tidak hemat energi, yang artinya tidak mendukung konsep keberlanjutan (bangunan hijau). Oleh karena itu, diperlukan strategi desain bukaan yang tepat agar pada tahap perencanaan selanjutnya dapat dijadikan sebagai rekomendasi desain yang memenuhi kriteria standar kenyamanan visual. Studi ini bertujuan untuk mengevaluasi pencahayaan alami pada unit hunian Rumah Susun Jatinegara Barat. Metode penelitian kuantitatif dilakukan dengan menggunakan software IES-VE v5.3.1, dimana salah satu alat analisa simulasinya yaitu radiance, dapat menghitung tingkat iluminasi pencahayaan alami dalam ruang. Sampel penelitian dipilih berdasarkan metode purposive sampling dengan pertimbangan perletakan unit dan ketinggian lantai.Kata kunci: bangunan hijau, kenyamanan visual, desain bukaan, rumah susun ABSTRACTIndonesia lies on the equatorial line that is rich in sunlight throughout the year, sothat natural lighting is an important aspect of buildings. The building planners (architects) should consider the optimal use of natural lighting through openings in the building and in addition must conform to visual comfort standards. A good building must meet the principles of sustainability through the concept of green building. The observation of the case study, teh building of Rusunawa Jatinegara Barat Jakarta, shows that the level of illumination of each floor level is different. The higher the floor level, the greater the chances of sunlight entering the room through openings and the higher the illumination rate. Illumination levels that exceed natural lighting quality standards contribute to the visual discomfort of glare. Glares that occur in some tower units result in residents closing the openings conventionally and prefer to use artificial lighting throughout the day, causing the building not energy efficient, which means it does not support the concept of sustainability (green building). Therefore, it is necessary to design a proper opening in the next planning stage, which can be used as a design recommendation that meets the criteria of visual comfort standards. This study aims to evaluate natural lighting in residential units of Rumah Susun Jatinegara Barat. Quantitative research method is done by using IES-VE v5.3.1 software, where one of the simulation tool, that is radiance, can calculate the level of illumination of natural lighting in unit’s area. The sample was chosen based on purposive sampling method with consideration of unit placement and floor height.Keywords: green building, visual comfort, design openings, apartment