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1
Gusić, Monika. "Ottoman religious architecture in Croatia." St open 3 (April 28, 2022): 1–33. http://dx.doi.org/10.48188/so.3.3.
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Objective: To provide a description and analysis of built, surviving, and lost Ottoman religious monuments in Croatia within the historical and sociopolitical context. Methods: Based on the analysis of relevant published sources, historical maps, online sources, as well as site analysis, we provide a description of Ottoman architectural, religious, and cultural heritage in the contemporary Croatian regions of the Dalmatian hinterland and Slavonia. This includes the art historical interpretation of the remains of the three surviving 16th-century domed mosques in three Croatian towns: Klis (today, the Catholic Church of St. Vitus in the Fortress), Drniš (now incorporated into the Catholic Church of St. Anthony held by the Franciscans), and Đakovo (today, the Catholic Church of All Saints). Results: The period of Ottoman rule saw the construction of a great number of Ottoman religious buildings in what is now the territory of the Republic of Croatia. There were two methods of mosque establishment: from the ground up, or by repurposing an older building, generally of Christian origin. With cessation of Ottoman rule these objects decayed and became less interesting for reutilization for Christian religious purposes. Many such converted objects perished in spite of their new utilization. The site analysis revealed the continuity of these sacred places in spite of religious conversion of the sacral site. Conclusion: The introduction of Ottoman architectural and urbanistic features was the defining feature of urban development in Croatia during the Ottoman era. In the settlements, the Ottomans built both sacral and utilitarian profane buildings, but Ottoman religious buildings were the most prominent. In the territory of present day Croatia, only three such Ottoman places of worship remain in existence as structures, albeit reconverted into Catholic churches. Today, due to the conversion and renovation works, they represent a fusion of several stylistic periods.
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Üstün, Berna, F. Özge Güven Ulusoy, Gamze Şensoy, and Fatma Kolsal. "A DESIGNER IN THE INTERSECTION OF ISLAMIC-OTTOMAN ARCHITECTURE: THE ARCHITECTURAL CONCEPT OF TURGUT CANSEVER (1920-2009)." Journal of Islamic Architecture 5, no. 4 (December 21, 2019): 229–42. http://dx.doi.org/10.18860/jia.v5i4.5346.
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Architects in the history of architecture try to be understood by their ideas that their designs need to be present on earth. Turgut Cansever (1920-2009) is an important opponent architect who was prized by Aga Khan Awards for architecture three times in his professional life and established his architectural understanding of the architecture of Ottoman and Islamic culture. This study aims to describe the life and work of the architect and his opinion about Islamic-Ottoman Architecture. Setting his architectural conception on a broader belief, Cansever strengthens his apprehension of architecture with his practice and literature studies. This unique approach in his works is shaped by a point of view that criticizes modernity but aims to validate it by reinterpreting in line with Islamic architecture. The references in the background of the structures of Cansever is thought to be too complex to read at a time. The understanding of Cansever's original designer perspective will be possible through the discussion of his synthesis resulted from the thoughts of Islamic architecture, Ottoman Architecture and modern architecture, and their reflections on his structures.
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Erzen-Jale, Nejdet. "Form and meaning in architectural theory." SAJ - Serbian Architectural Journal 7, no. 2 (2015): 75–84. http://dx.doi.org/10.5937/saj1501075e.
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Often architectural theory has been articulated on prescriptive views about what architecture should be, rather than on views formulated from historical experiences and examples of architecture. In this paper I will try to offer readings of architectural form by looking at a historical example from classical Ottoman architecture and at contemporary examples, to show how different architectures treat form. In examples taken from Sinan's architecture, symbols are investigated in relation to movement, to urban settlement, to religion and power. It is hoped that this analysis will offer an understanding of how the significance of architecture in human experience and in the urban context goes beyond structure and function
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Sagdic, Zafer, and Ipek Kosova. "Learning Architectural History by Movie Making: Ottoman Architecture." Procedia - Social and Behavioral Sciences 106 (December 2013): 1753–59. http://dx.doi.org/10.1016/j.sbspro.2013.12.197.
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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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Yergün, Uzay, and Banu Çelebioğlu. "Steel Frame Construction Technology in Ottoman Architecture and “Metro Khan”." Advanced Materials Research 133-134 (October 2010): 131–35. http://dx.doi.org/10.4028/www.scientific.net/amr.133-134.131.
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From the first quarter of the 18th century, an expansion to European civilization was beginning in Ottoman Empire and with Tanzimat period, this westernization fact had transformed to a fundamental innovation act in the structure of the state and society. European capital image gained by İstanbul created a symbolic view of change. However, a contradiction of traditional urban tissue, consisted by the timber buildings, necessitated a fundamental change in the urban and architectural structure. According to this aim, new building types which were necessary for the Tanzimat reforms (a period of time of political reforms during the Ottoman sultanate of Abdulmecid (r.1839-61) began to be constructed by the European architectural design models, with modern building materials and production technologies. In this context, construction technologies like jack arches, steel framework, fer-concrete and reinforced concrete, which are formed with structural materials like modern brick, iron beam, and concrete, are the factors of formation of the historical development process of the Ottoman architecture after the first years of the 19th century. From the middle of 19th century, use of the “steel beam” was beginning in the building product technology, depending on the evolution of the industrial metal technology in European countries. Technological level of the steel construction after “Jack Arch”, which is formed with the iron beam, has brought new expansions to the building production. As from the first years of the 20th century, buildings constructed by steel construction technology began to take place in Ottoman architecture. In this paper, the place of the steel-framed building technology in Ottoman architecture, especially the steel frame construction in the Tanzimat period buildings and their architectural design criteria will be presented. Besides, the conclusions based on the comparisons of structural and architectural design with the European architecture buildings will be indicated. “Metro Khan”, dated 1914, is the first building that was erected with this construction technology. This building is constructed as an administration and station building of the under ground train, named “Tünel”, which connects Pera and İstanbul Seaport. This paper traces the importance of the building in terms of conservation and cultural values, while benefiting from its characteristic architecture and static projects.
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Akboy-İlk, Serra. "Ali Saim Ülgen: Building a Historiography of Turkish Architecture." Turkish Historical Review 10, no. 1 (June 7, 2019): 71–97. http://dx.doi.org/10.1163/18775462-01001001.
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Ali Saim Ülgen (1913–63), a preservation architect, architectural historian, author, bureaucrat and educator, was a leading figure in the nascent field of heritage conservation during the early decades of the Republic of Turkey. This was a time when the Republican leaders sought to establish the national character of art and architecture by interpreting the “Turkishness” and uniqueness of the Ottoman heritage through the tenets of the Modern Movement. The reconciliation of the modernist rationale with nationalist historiography created contested paradigms in a nation searching for its cultural roots. Ülgen considerably contributed to the nationalist appropriation of the Ottoman heritage, but his taxonomical gaze stands out for its focus on contextual analysis. This essay addresses the dichotomy of documenting the Ottoman architectural patrimony through the lens of modernism, which is visible in Ülgen’s work, a remarkably understudied Republican intellectual.
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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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Matthews, Henry. "Bringing Ottoman Architecture into the Mainstream." Art Book 7, no. 4 (September 2000): 15–17. http://dx.doi.org/10.1111/1467-8357.00213.
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Petersen, Andrew. "Ottoman archaeology and architecture of Bulgaria." Heritage Turkey 5 (December 9, 2015): 40. http://dx.doi.org/10.18866/biaa2015.125.
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MEKKAS, Malika. "OTTOMAN INFLUENCES ON THE SIDI EL KETTANI MOSQUE IN CONSTANTINE ALGERIA." RIMAK International Journal of Humanities and Social Sciences 3, no. 4 (May 1, 2021): 173–82. http://dx.doi.org/10.47832/2717-8293.4-3.18.
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The city of constantine is considered one of the algerian cities , that witnessed tremendous urban and architectural devlopment during the ottoman era, and the ottoman chose it to be the capital of eastern algeria, and the city witnessed during this period the building of many mosques but most of these monuments were subjected to sabotage and destruction from the party of french colonialism, and perhaps the most important models that still presrve a large part of their orignal style, we mention the sidi el kettani mosque which was built by salih bey as it combined the local architectural style, with the incoming ottoman style and this gave it a unique characteristic in the field of architecture in addition, to its richness of exquisite architectural and decorative elements
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Sener, Mehmet, and Neslihan Türkmenoğlu Bayraktar. "ARCHITECTURAL POLYGLOSSIA IN PUBLIC BUILDING FACADES OF LATE OTTOMAN PERIOD." Journal of Islamic Architecture 5, no. 1 (June 21, 2018): 1. http://dx.doi.org/10.18860/jia.v5i1.4520.
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<p>The 19<sup>th</sup> century was a period of significant transformations in Ottoman architecture in terms of the professionalization of discipline and the actualization of new construction technologies and architectural styles. The basic reason for this situation was the changing politics of Ottoman rulers that was based on the aim of achieving westernization in every aspect of life. In this context, an architectural medium has occurred especially in public building constructions where western based design approaches dominated the architectural production. Whereas, public buildings having different architectural characteristics than this westernization based architectural production, were also constructed in different peripheries of the empire. It is argued in this article that public buildings with polyglossia architectures were built in those regions that were generally concentrated on the facades and had architectural qualities different than the public building constructions executed mostly in İstanbul and other central cities of the empire. In this framework, the characteristics of these polyglossia observed on public building facades that contributed to the formation of architectural diversities in the empire are aimed to be examined. These polyglossia approaches that didn’t transform into stabled architectural styles are evaluated within the framework of the design components and constructional elements applied on the buildings. </p>
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Katipoğlu Özmen, Ceren, and Selahaddin Sezer. "Making the Unwanted Visible: A Narrative on Abdülhamid Ii’s Ambitious Project for Yedikule Central Prison in Istanbul." Prostor 28, no. 2 (60) (December 22, 2020): 360–77. http://dx.doi.org/10.31522/p.28.2(60).11.
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This study aims to investigate three architectural projects proposed for constructing a central prison inside the Yedikule Fortress in Istanbul during the end of the 19th c. Ottoman State assigned the famous architects of the era for this mission such as August Jasmund, Alexandre Vallaury, and Kemaleddin. The narration on the projects shows that there was a strong intention for constructing a central prison in the capital of Ottoman Empire as a sign of success for the overall penalty and prison reform that was one of the main goals for Ottoman Sultan Abdülhamid II (r. 1876-1909). The interpretation of these distinctive projects is significant since this interpretation helps us both to understand the transformation of the criminal justice spaces of the Ottoman Empire and to provide a new perspective for reading 19th c. Ottoman architecture.
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Artkan, Merve. "A RESEARCH ON THE USE OF OTTOMAN-ISLAMIC HERITAGE AS A CONSUMPTION OBJECT IN CONTEMPORARY ARCHITECTURAL PRACTICE." Journal of Islamic Architecture 6, no. 4 (December 26, 2021): 338–48. http://dx.doi.org/10.18860/jia.v6i4.11811.
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The Islamic heritage contains a rich cultural diversity with residential and public buildings such as traditional houses, mosques, palaces, and caravanserais that belong to the Ottoman Empire period. The character of the Islamic tradition is reflected in the environment-form-space organizations and construction techniques of these buildings. But today, the influence of the Islamic heritage has begun to be represented with the dominance of consumption-oriented culture and technology. The references taken from the architecture influenced by Islam are reduced to pure visuality and fashion. Especially, Ottoman architecture and its traditional elements become consumption objects that put visuality in the foreground in contemporary design practices. The Ottoman-Islamic heritage is referenced by imitating traditional buildings’ facades or copying structural elements. These new buildings produced with today’s technologies under the name of continuity of historical culture aim to fulfill the demands of the capitalist economy rather than conveying the essence of design. The study criticizes the transformation of Ottoman-Islamic architecture’s authenticity into “looking/pretending authentic” as a theme. In this context, this study discusses the Ottoman-Islamic heritage has become an object of consumption through a variety of examples that are located in Turkey such as hotels, shopping centers, residential buildings.
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Tavsan, Cengiz. "The Impact of the Eras and Varieties of Kufic art, on the Placement of Kufic in Architectural Design." New Trends and Issues Proceedings on Humanities and Social Sciences 4, no. 11 (December 28, 2017): 194–99. http://dx.doi.org/10.18844/prosoc.v4i11.2874.
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Kufic script is a form of calligraphy that has been in existence since the earliest years of Islam. A glance at arts in Islamic states reveals that calligraphy and a number of other art forms fared well, as painting was considered objectionable on religious grounds. The introduction of different versions of calligraphy for use in such buildings produces a wealth of images, enhancing the aesthetics of the buildings. Kufic reached its zenith in the Ottoman state, and the most glamorous examples of Kufic in architecture of Turkish states can be found in Ottoman structures. Kufic exhibits certain variations in terms of the forms used and the spots occupied in structures. This study is a comparative analysis of the types of Kufic and spots used in architectural design, and an analysis of the important examples, for a more complete picture of the varieties of Kufic used in various periods. Keywords: Kufic, Kufic in Ottoman state, Kufic and architecture, Kufic and mosques.
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Major, Róbert, and Balázs Kósa. "Religious Architecture in Pécs during the Period of Ottoman Hungary." Műszaki Tudományos Közlemények 11, no. 1 (October 1, 2019): 133–36. http://dx.doi.org/10.33894/mtk-2019.11.29.
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Abstract In today’s increased pace of life there are some things with incomparable meanings that we are getting too used to. Because of this, architects today play a very big role in the defense of the legacy of our architecture. It is our duty and responsibility to keep defending this legacy, but not stop at just the level of simple preservation. The city of Pécs is filled with architectural remains from different time periods, but most of all buildings from the era of Ottoman Hungary. This architectural heritage was left from one of the bloodiest time periods from the history of our country, and it has become a symbol for the city. In the shadow of the Ottoman Empire, Pécs became an important trading and cultural center, being a bridge between east and west, north and south. While some of the buildings left from this era were brought to public awareness, a lot of them were forgotten, and only a few people know about the architectural treasures the city holds. In this paper I would like to highlight some of the forgotten Ottoman heritage, focusing on the religious buildings. As a conclusion to this paper, I would like to present an architectural plan to bring attention to these buildings.
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Ameen, Ahmed. "PATRONS OF OTTOMAN MOSQUES IN GREECE RECONSIDERED IN LIGHT OF THE IERAPETRA MOSQUE OF CRETE." Journal of Islamic Architecture 5, no. 3 (July 1, 2019): 137–44. http://dx.doi.org/10.18860/jia.v5i3.5365.
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TThe subject of this paper is based on a reconsideration of patrons of Ottoman mosques in Greece in light of the analyzed study of the Ierapetra Mosque of the island of Crete. This paper draws a layout of the Ierapetra city under the Ottomans based on the relevant sources with particular reference to the salnames and old photographs. It examines in details about the architecture, the inscriptions, and the historical context of Ierapetra mosque. This paper also corrects the reading of some inscriptions and proposes reading for some Arabic inscriptions for the first time. Based on a survey by the author conducted between 2006 and 2016, there are around eighty Ottoman historical mosques in Greece that still exist. It concludes that the Ierapetra mosque is a notable example with its architecture, inscriptions, and fountain. Moreover, it is one of the rare cases in Greece that were built by the contribution of the Muslim community of the city.
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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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AKBAŞ, Gamze, Arzu ERÇETİN, and Rana KUTLU. "OTTOMAN ARCHITECTURE IN İZNİK: ZAVİYE, İMARET, MOSQUE." TURKISH ONLINE JOURNAL OF DESIGN ART AND COMMUNICATION 10, no. 2 (April 1, 2020): 116–26. http://dx.doi.org/10.7456/11002100/005.
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Yenişehirlioğlu, Filiz. "How Global Is Ottoman Art and Architecture?" Art Bulletin 97, no. 4 (October 2, 2015): 359–63. http://dx.doi.org/10.1080/00043079.2015.1043821.
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Enab, Mohamed. "MADRASA OF MUSTAFA PASHA AL-NASHAĀR IN ZABĪD, YEMEN; ARCHITECTURAL AND ARCHEOLOGICAL STUDY." Journal of Islamic Architecture 7, no. 1 (June 28, 2022): 148–61. http://dx.doi.org/10.18860/jia.v7i1.13453.
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Madrasa of Mustafa Pasha Al-Nashaār is considered one of the most prominent buildings of Ottoman architecture in Yemen. It has commissioned by Mustafa Pasha al-Nashaār, the first Ottoman governor of Yemen, in 962-963AH/1554 AD. The Madrasa is built on the south side of Zabīd to spread the Hanafite and Shafite Sunni doctrines, replacing and eliminating the Zaydi Shiite doctrine. It contains a mausoleum dome for Mustafa Pasha Al- Nashaār and his family. The Madrasa's apparent Ottoman style is displayed through a main domed section and a multiple-domed portico. In this paper, the researcher provides a short biography of Mustafa Pasha Al-Nashaār, a descriptive and analytical study of The Madrasa and its distinctive architectural and artistic features. The paper sheds some new insights on the history of The Madrasa regarding its historical importance and distinctive architectural style as an excellent example of the Ottoman style in Yemen. The paper also aims to raise concerns about its exposure to demolition threats and ruin due to Yemen's current war and conflict.
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Altınöz, Meltem Özkan. "The Urban History of the Ottoman Empire in the Nineteenth Century." East Central Europe 42, no. 2-3 (January 20, 2015): 163–80. http://dx.doi.org/10.1163/18763308-04202001.
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This article demonstrates how architecture and politics concomitantly reflect Jewish history in the Ottoman Empire. Jewish architecture shows concrete cultural entities that may afford us with opportunities to broaden social inquiry and our understanding of history. The study traces Galata Jewry under the Ottoman Empire and deciphers their role in the formation of Galata’s urban texture and ethnic outlook. Additionally, it investigates the Ottoman administrative system and the active role of Galata Jewry in this system, whereby Jews contributed to the urban and economic development of the Empire.
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Alić, Dijana, and Maryam Gusheh. "Reconciling National Narratives in Socialist Bosnia and Herzegovina: The Baščaršija Project, 1948-1953." Journal of the Society of Architectural Historians 58, no. 1 (March 1, 1999): 6–25. http://dx.doi.org/10.2307/991434.
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The emergence of modernism in post-World War II Bosnia was simultaneous with the development of the Yugoslav socialist regime and the desire to redefine the role of religion and ethnicity in the construction of a new national identity. The debate as to the relevance of the Serbian, Croatian, and Muslim national narratives to the broader universalist and secular Yugoslav agenda brought into question the cultural significance of the Bosnian built heritage. How was the existing built fabric to inform the architecture of the revolution? In this context, the work of Juraj Neidhardt, a former employee of Le Corbusier's, is significant since his seminal text, Architecture of Bosnia and the Way Toward Modernity (1957), articulates a critical link between the existing built fabric and "modern socialist" architecture. In discussing his work within the broader political context of socialist Bosnia, this paper focuses on an architectural and textual analysis of Neidhardt's proposal to turn Baščaršija, the Ottoman-established urban core of Sarajevo, into a cultural center for socialist Bosnia and Herzegovina. It is argued that the specific urban and architectural strategies Neidhardt employed were reflective of his desire to secularize the Ottoman built fabric and thereby allow a distinctly Bosnian narrative to coexist and contribute to the architecture of the socialist regime.
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Kovács, Gergő Máté, and Krisztina Fehér. "The Survey Program of Ernő Foerk on the Türbe of Pécs." YBL Journal of Built Environment 7, no. 2 (January 1, 2019): 89–101. http://dx.doi.org/10.2478/jbe-2019-0016.
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Abstract Ernő Foerk (1868-1934) born 150 years ago has significant oeuvre in the field of monument preservation and architectural education. As professor, one of his achievements was the organisation of summer survey camps named as ‘szünidei felvételek’ (vacation records) which was also accessible in published form. In the year of 1917 under his supervision, his students have surveyed all the scored Ottoman monuments of Hungary. In the following year these survey drawings were published with a brief summary of the history of Ottoman architecture in the territory of Hungary. Our paper is to submit the general circumstances of the Ottoman survey program supervised by Ernő Foerk with its historical background and the analysis of the methodology of the survey by the example of the türbe of Pécs.
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Hamadeh, Shirine. "Ottoman Expressions of Early Modernity and the "Inevitable" Question of Westernization." Journal of the Society of Architectural Historians 63, no. 1 (March 1, 2004): 32–51. http://dx.doi.org/10.2307/4127991.
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Architectural transformations in the eighteenth-century Ottoman capital Istanbul are usually interpreted as expressions of an overarching process of cultural westernization that began in the wake of Ottoman military defeats against European powers in the late seventeenth century. In this article, I reevaluate the extent and significance of Ottoman westernization against visual and architectural evidence, and against two diverging discourses that emerged among contemporary Ottoman and European observers of architectural change. I argue that the architectural idiom of the eighteenth century was far more hybrid and culturally uncommitted than the notion of westernization implies. Based on a close reading of Ottoman poetry and narratives and European travelers' accounts, I show that although the rhetoric of westernization was dominant in the latter's descriptions of the built environment, Ottoman perceptions centered instead on notions of innovation and originality of expression, reflecting a new attitude toward change, novelty, and the canons of a long-established architectural tradition.
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Çiftçi, Aynur, and Uzay Yergün. "Brick as a Construction Material in the Modernization Process of the Ottoman Architecture." Advanced Materials Research 133-134 (October 2010): 107–12. http://dx.doi.org/10.4028/www.scientific.net/amr.133-134.107.
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Brick used with stone in an alternate order -especially on monumental masonry buildings- is one of the basic construction materials in Ottoman classical architecture. Parallel to the announcement of Tanzimat Declaration (1839), to the political and economical relations improved with European states and to the Industrial Revolution in Europe, an effective change had been seen on design concept and construction techniques in Ottoman architecture. Many new buildings were built using modern materials and imported techniques such as solid brick (in western norms) masonry walls, steel beams at the horizontal and vertical bearers, cement and concrete. The product of modern solid bricks in western standards had been realized in Ottoman territories in the last quarter of 19th century. The base of this research is constituted on 334 imported and local product solid bricks which remain to Zihni Göğer’s (firstly documented for this research), to Uzay Yergün’s, to Aynur Çiftçi’s and to the Yıldız Techical University, Department of Architectural Conservation’s private collections. Most of the bricks are in a good condition, clean and have stamps. From the stamps one learns where they were produced, in which country or even city, the names of the plants, the logos and the dates of product. During the documentation every brick is numerated, photographed and a catalogue is prepared including the dimensions of the bricks. The demolotion of the buildings made of solid brick masonry walls-especially those which are not registered as an essential cultural asset- the interventions undertaken and the use of new materials during restoration of bearer walls have damaged the original bricks. Finally they were not conserved and documented. The aim of this paper is to determine the change of the production and the standarts of the bricks, to indicate their varieties, their fields of use and their conservation problems before and after the modernisation period of Ottoman architecture. It is intended to take into consideration the conservation and documentation of this material during renovations reflecting the original construction technique of the period that belongs to monumental and civil architecture.
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Kale, Gül. "Intersections Between the Architect’s Cubit, the Science of Surveying, and Social Practices in CaʿFer Efendi’s Seventeenth-Century Book on Ottoman Architecture." Muqarnas Online 36, no. 1 (October 2, 2019): 131–77. http://dx.doi.org/10.1163/22118993-00361p07.
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Abstract In 1614 Caʿfer Efendi devoted four chapters of his book on architecture to the science of surveying. Caʿfer’s text is the only extant comprehensive book written by a scholar on the relation between architecture and various forms of knowledge. His sections on surveying have attracted little scholarly attention since they were often viewed as ad hoc chapters in a biography of the chief architect Mehmed Agha. An investigation into the intersection between architecture, as represented by the architect’s cubit, the science of surveying, and jurisprudence sheds significant light on how scholars assessed the legitimacy of early modern Ottoman architecture. In this article, I examine the relationship between architectural practices, mathematical knowledge, and social practices by focusing on Caʿfer Efendi’s elaborations on the architect’s cubit, units of measure, and mensuration of areas. These links need to be understood through the cultural and scientific context in which architects and scholars collaborated. I also explore Caʿfer Efendi’s identity, which gave him the tools to discuss such intrinsic connections. When read along with court decrees, and in conjunction with the use of mathematical sciences for civic affairs, this investigation reveals how Ottoman architecture was embedded in the scientific discourses, social practices, and ethical concerns of the early seventeenth century.
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Elcil, Fatih. "BENLIZÂDE MADRASAH AND ITS PLACE IN OTTOMAN ARCHITECTURE." Art of the Orient 6 (December 31, 2017): 52–64. http://dx.doi.org/10.15804/aoto201704.
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Erzen, Jale Nejdet. "Aesthetics and Aisthesis in Ottoman Art and Architecture." Journal of Islamic Studies 2, no. 1 (January 1, 1991): 1–24. http://dx.doi.org/10.1093/jis/2.1.1.
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Snodgrass, Adrian. "A history of Ottoman architecture (review)." Parergon 12, no. 2 (1995): 248–50. http://dx.doi.org/10.1353/pgn.1995.0063.
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Özgüven, H. Burcu. "Early Modern Military Architecture in the Ottoman Empire." Nexus Network Journal 16, no. 3 (September 3, 2014): 737–49. http://dx.doi.org/10.1007/s00004-014-0206-8.
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Kiessel, Marko, and Asu Tozan. "Mosque Architecture in Cyprus—Visible and Invisible Aspects of Form and Space, 19th to 21st Centuries." Religions 12, no. 12 (November 29, 2021): 1055. http://dx.doi.org/10.3390/rel12121055.
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A comprehensive analysis of Cypriot mosque architecture between the 19th and 21st centuries, from the Ottoman and British colonial periods to the present, does not exist. The phase after 1974, after the division of the island into a Turkish Cypriot, predominantly Muslim north and a Greek Cypriot, mainly Christian south, is especially insufficiently studied. This paper aims to interpret Cypriot mosque architecture and its meaning(s) through a comparative analysis, considering cultural, religious, and political developments. Based on an architectural survey and studies about Muslim Cypriot culture, this study investigates formal and spatial characteristics, focusing on the presence/absence of domed plan typologies and of minarets which, as visual symbolic markers, might express shifting cultural-religious notions and/or identities. Inconspicuous mosques without domes and minarets dominate until 1974. However, with the inter-communal tensions in the 1960s, the minaret possibly became a sign of Turkish identity, besides being a cultural-religious marker. This becomes more obvious after 1974 and is stressed by the (re)introduction of the dome. Since the late 1990s, an ostentatious and unprecedented neo-Ottoman architecture emphasizes visible and invisible meanings, and the Turkish presence in Cyprus stronger than before. The new architectural language visually underlines the influences from Turkey that North Cyprus has been experiencing.
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Idham, Noor Cholis, and Ibrahim Numan. "Megadome Evolution in The Ottoman’s Mosques; The Links." Journal of Design and Built Environment 20, no. 3 (December 31, 2020): 52–70. http://dx.doi.org/10.22452/jdbe.vol20no3.4.
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A long history of civilization through various cultural and technological influences, had shaped the Ottoman mosque architecture. Each of the objects has its unique characteristics yet connected each other. This paper examines how the classic Turkish mosque-dome architecture, have evolved by proposing examination on configuration similarities and its connection. The authors address 23 mosques in the high classical period of the Ottoman's era to reveal spatial and technical considerations of the main building. The dynasty's route in architecture from central Asia, Seljuk, Bursa, Edirne, and Istanbul is the context of the discussion. It is undeniable that the development of dome architecture in classical Turkey shows some clear linkages from the previous to the later age. Furthermore, some links connected pre and after Istanbul conquest, which contribute to clarify the dispute of the novelty of the architecture, were discovered.
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Karataş, Hasan. "An Idiosyncratic Building in Amasya? Early Ottoman Architecture and the Waqfiyya of the Yakub Pasha Çilehane-Mosque." Muqarnas Online 37, no. 1 (October 2, 2020): 291–313. http://dx.doi.org/10.1163/22118993-00371p11.
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Abstract This article examines the waqfiyya of the earliest surviving Halveti lodge, the Yakub Pasha Çilehane-Mosque in Amasya. Built in 1412 by the Ottoman vizier Yakub Pasha for his shaykh, Gümüşlüoğlu Abdurrahman, the foundation of this building stands at the intersection of historical processes such as the development of Ottoman architecture and Sufism, and urban colonization in Anatolia during Ottoman expansion in the fifteenth century. The particular layout of the Çilehane contributes to debates on the role of form vs. function in the categorization and naming of early Ottoman T-shaped buildings. Its waqfiyya, however, is the earliest record of the practices, organization, and rituals of the Halveti Sufi order and the networks involved in its transfer from Iran to the Ottoman world. In addition to providing the Arabic text, translation, and photographs of the waqfiyya, the article discusses the potential of this recently unearthed document to contribute to the abovementioned fifteenth-century debates.
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Кононенко, Е. И. "AK-TEKKE IN KARAMAN: TO THE QUESTION OF THE ORIGIN OF THE COMPOSITION." ВОПРОСЫ ВСЕОБЩЕЙ ИСТОРИИ АРХИТЕКТУРЫ, no. 2(11) (February 17, 2020): 132–46. http://dx.doi.org/10.25995/niitiag.2019.11.2.008.
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Ак-текке (1370) - мемориальный комплекс в Ларенде, столице княжества Караман, на протяжении XIV в. являвшегося главным политическим конкурентом Османов в Анатолии. Композиция центрально-купольной мечети Ак-текке схожа со многими раннеосманскими памятниками, резко выделяясь в общей массе предельно консервативных караманидских культовых построек, однако ее конструктивные достижения намного превосходят возможности мастеров, возводивших синхронные османские сооружения. Отдельные элементы композиции зала Ак-текке заставляют вспомнить позднесельджукские купольные медресе XIII в. и способы расширения пространства в мечетях северо-анатолийских бейликов XIV в. Эта малоизвестная постройка, генетически связанная с архитектурой Конийского султаната, отражает поиски оптимальной композиции мечети анатолийскими зодчими и не могла остаться в стороне от внимания османских архитекторов, особенно учитывая прямой османский архитектурный патронат в Ларенде. Вопрос о происхождении композиции Ак-текке включает выяснение ее места в истории архитектуры Карамана, выявление связи с предшествующей сельджукской и синхронной османской традициями. Ak-tekke (1370) is a memorial complex in Larend, the capital of the principality of Karaman, which was the main political competitor of the Ottoman state in Anatolia throughout the 14th century. The composition of the central-domed mosque Ak-tekke is similar to many Early Ottoman monuments, standing out sharply in the total mass of extremely conservative Karamanid religious buildings, but its constructive achievements far exceed the capabilities of masters who built synchronous Ottoman buildings. Some elements of the composition of the hall of Ak-tekke are reminiscent of the late Seljuk domed madrasah of the 13th century and the ways of expanding space in the mosques of the North Anatolian beyliks of the 14th century. This little-known construction, genetically related to the architecture of the Rum Sultanate, reflects the search for the optimal composition of the mosque by Anatolian architects and could not stay away from the attention of Ottoman architects, especially considering the direct Ottoman architectural patronage in Larend. The question of the origin of the composition of Ak-tekke includes elucidating its place in the history of Karaman architecture, revealing the connection with the preceeding Seljuk and synchronous Ottoman traditions.
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Salgirli, Saygin. "Architectural Anatomy of an Ottoman Execution." Journal of the Society of Architectural Historians 72, no. 3 (September 1, 2013): 301–21. http://dx.doi.org/10.1525/jsah.2013.72.3.301.
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Architectural Anatomy of an Ottoman Execution provides an architectural analysis of the execution in 1416 of Sheikh Bedreddin as the leader of one of the largest rebellions in Ottoman history. Saygin Salgirli argues that the selection of the execution site in the proximity of three Ottoman monuments in Serres, northern Greece (the Çandarlı Mosque, the first covered market of Serres, and the Gazi Evrenos hospice-kitchen), was closely related to the Ottoman political practice of governance through local institutions established with the hope of maintaining social consensus. By focusing on the relationship between the three monuments and their audiences, Salgirli stresses the contradiction between the conceived and the experienced political effects of the monuments as one of the main reasons behind the Rebellion of 1416. The same contradiction eventually led to the failure of the intended effect of Bedreddin’s public execution, both as a display of authority and as an attempt to reinforce social consensus.
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Koumaridis, Yorgos. "Urban Transformation and De-Ottomanization in Greece." East Central Europe 33, no. 1-2 (2006): 213–41. http://dx.doi.org/10.1163/187633006x00114.
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AbstractThis article examines the ways in which nationalism transformed Greek urban space during the nineteenth and early twentieth centuries. Through urban planning, architecture, archaeology, the destruction of Ottoman material remains and the promotion of Ancient Greek and (later) Byzantine heritage, urban space was gradually hellenized and cleansed of its Ottoman past. Specific examples, including the case of Thessaloniki, where the strong Ottoman character of the city was gradually effaced, are examined so as to outline the aims and the patterns of this transformation.
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Özmen, Sema Tuba, and Beyza Onur. "Government houses as presentation of power and ideology in the Ottoman State: The case of Safranbolu Government House." Volume 6, Issue 3 6, no. 3 (August 7, 2021): 133–45. http://dx.doi.org/10.26809/joa.6.3.05.
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Architecture, which is associated with the practice of producing space, has always rendered the powers and ideologies visible. This study investigates the government houses in the 19th century Ottoman State with regard to the notions of power and ideology and focuses on the Government House of Safranbolu. It is known that, in the specified period, government houses were important ideological interventions to urban space. This study aims to address the ideological context of the Safranbolu Government House, which is positioned with the ideal of the state. Based on this, first, the urban history of Safranbolu was examined. The importance of Safranbolu Government House in the history of the city, its relationship with the city, its ideological message to the city-dwellers and its architectural style were analyzed through a method based on archival research. All government houses of the period are the artifacts of urban-spatial structures and their architectural style as well as a shared ideology. Safranbolu Government House, which is one of the structures symbolizing the Ottoman State, was also built with a similar ideological consideration. Thus, the readability of the dominant ideology through the production style of Safranbolu Government House, one of the final period architectural artifacts of the Ottoman State, was verified.
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Attia, Ahmed S. "Traditional Islamic House (Ottoman House) Architecture, in Old Fatimid Cairo and Rosetta Cities, Egypt - An Example of Sustainable Architecture." International Journal of Sustainable Development and Planning 16, no. 8 (December 30, 2021): 1509–17. http://dx.doi.org/10.18280/ijsdp.160812.
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The unique Traditional Islamic architecture characterizes some cities in the Arab Republic of Egypt. The purpose of the study is to highlight the significance of the Traditional Islamic house design, architectural elements, and the use of low-technology in house construction concerning sustainable architecture, in Old Fatimid Cairo and Rosetta (Rashid) cities. The study's method includes a literature review; with an overview of the history, the urban form, and the Islamic house design and architectural elements influenced by the local Islamic context (natural and cultural environments). A field survey included: the selection of eleven examples, five from Old Fatimid Cairo city and six examples from Rosetta (Rashid) city representing the most famous houses including the different architectural elements, and analyzing its components, the house design, spatial organization, building materials, house elements, courtyard, Mashrabiyah, wind catchers, and the construction system. Moreover, a comparative study for the selected Islamic houses illustrates the contexts' impact on the house design. In conclusion, the study highlighted the significance of Islamic house design and low-technology in house design and construction, which could be considered sustainable architecture and developed in the form of advanced technology in the future.
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Alamri, Yahya Abdullah, Betül EKİMCİ, and Mehmet İNCEOĞLU. "AN APPROACH FOR PRESERVING OTTOMAN CULTURAL HERITAGE UNDER THREAT IN YEMEN: A CASE STUDY " THE OLD CITY OF SANA'A"." Journal of Islamic Architecture 7, no. 1 (June 28, 2022): 73–81. http://dx.doi.org/10.18860/jia.v7i1.13048.
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Cultural heritage is one of the human development aspects throughout the historical ages. Yemen is one of the wealthiest regions with cultural heritages in the Middle East, due to its important geographical location linking India, China, Africa, and the Mediterranean countries. Sana'a developed through successive Islamic eras, one of the most important of them was during Ottoman period. During their presence in Yemen, Ottomans were interested in constructing different types of buildings and bringing about a great civilizational and architectural renaissance in various regions of Yemen, especially in the city of Sana'a. However, cultural heritage in Sana'a was badly damaged during the Yemeni conflict, including Ottoman heritage. This study proposes an approach for preserving the building's cultural heritage under threat. This approach was based on the European Standard (EN 16096:2012 (E)), Conservation of cultural property - Condition survey and report of building’s cultural heritage. The methodology used will help preserve the cultural heritage in Sana'a by assessing the damage caused by the war in Sana'a, and appropriate proposals were made. This study considered a group of Ottoman structures in the old city of Sana'a as a case study. It shows the war-affected historical sites in all Yemeni cities. During the period of Ottoman rule in Yemen, various facilities were built in most regions of Yemen, most of which were concentrated in the old city of Sana'a. Ottoman establishments were counted in the old city of Sana'a, where there were twenty-eight of them, twenty-one installations still in existence, and seven destroyed and no longer existing.
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Ousterhout, Robert. "Ethnic Identity and Cultural Appropriation in Early Ottoman Architecture." Muqarnas 12 (1995): 48. http://dx.doi.org/10.2307/1523223.
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Ousterhout, Robert. "ETHNIC IDENTITY AND CULTURAL APPROPRIATION IN EARLY OTTOMAN ARCHITECTURE." Muqarnas Online 12, no. 1 (1994): 48–62. http://dx.doi.org/10.1163/22118993-90000345.
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Ersoy, Ahmet. "Büke Uras, The Balyans: Ottoman Architecture and Balyan Archive." Études arméniennes contemporaines, no. 14 (December 15, 2022): 209–15. http://dx.doi.org/10.4000/eac.3047.
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Numan, Ibrahim, and Revianto Budi Santosa. "Educating Architects in Turkish Culture, Gains and Loses: A Historical Perspective." SHS Web of Conferences 41 (2018): 02004. http://dx.doi.org/10.1051/shsconf/20184102004.
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Ottoman and Turkish architecture have exhibited a constancy and change in the course of history. Nevertheless these changes can only be understood by taking architectural education into account. Here it will be tried to discuss the gains and losses between the increase in the degree of architectural education/specialized knowledge and the blindness to the value judgements of the society and their reflection on the Turkish architecture. The edifice can not be separated from the architect, architect from the society; society and education from the idea. An architect is educated by society. Architect in turn is the product of the common idea of the civilisation he or she is affiliated to. Even a small diversity in the depth of belief or change in the approach in life style brings a deviation in the understanding of arts and architecture consequently architectural education also experience gains and losses along with it.
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Georgopoulou, Maria. "Vernacular Architecture in Venetian Crete: Urban and Rural Practices." Medieval Encounters 18, no. 4-5 (2012): 447–80. http://dx.doi.org/10.1163/15700674-12342115.
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Abstract The architecture built in Venice’s colony on Crete between its establishment in 1211 and the Ottoman conquest of the island in 1669 displays an intermingling of Western (Latin) architectural traditions with pre-Venetian Byzantine (Orthodox) forms and styles. Previous scholarship has explored the urban architecture of Venetian Crete, but less attention has been granted to the many rural Orthodox churches of the later medieval period that dot the Cretan countryside. While the official monuments of Cretan cities have been interpreted as employing architectural forms with a strong ideological—especially political—intent, the use of forms in rural buildings was not as ideologically charged. These more modest structures employed “Western” and “Byzantine” architectural styles in an ideologically neutral manner that reflected trends in fashion or taste rather than distinctions of cultural or political identity. By the fourteenth century, “Latin” and “Orthodox” architectural traditions had merged into a local style that expressed the cosmopolitan character of medieval Crete.
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TALBOT, MICHAEL. "The Exalted Column, the Hejaz Railway and imperial legitimation in late Ottoman Haifa." Urban History 42, no. 2 (October 28, 2014): 246–72. http://dx.doi.org/10.1017/s096392681400056x.
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ABSTRACT:This article examines the political and social tensions of late Ottoman Haifa through the history of the Hejaz Railway and a particular monument, the ‘Exalted Column’ (Sütūn-u ʿĀlī), a monument erected in 1903 to commemorate the beginning of Ottoman construction on the Haifa railway branch. By first establishing the use of railways and railway architecture as a means of exerting state power in a comparative and local perspective, the railway structures in Haifa are analysed in the context of that city's other monumental buildings. This then leads to a discussion of theSütūn-u ʿĀlīas a celebration of Ottoman authority and modernity, and of the developing Ottoman–German alliance. The symbolism of the column's iconography is shown to reflect a variety of problems that the Ottoman state faced in Haifa at the turn of the twentieth century.
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Salgirli, Saygin. "Soap Bars and Silk Cocoons: Microecologies of Connectivity in Late Medieval Mediterranean Architecture." Journal of Early Modern History 23, no. 2-3 (May 28, 2019): 121–51. http://dx.doi.org/10.1163/15700658-12342633.
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Abstract This article discusses connectivity in late medieval Mediterranean architecture from a microecological point of view, as initially formulated by Peregrine Horden and Nicholas Purcell. Combining their approach with Michel Foucault’s concept of governmentality, it argues that Ottoman multipurpose buildings of the fourteenth and early fifteenth centuries operated as architectures of governmentality on a microecological level. Their composite architectures became relevant and meaningful through their penetrations into everyday experiences, and through their management of a multitude of relationships. On the one hand, this made them world-making institutions in their own localities, and on the other, imperceptibly connected them to distant corners of the Mediterranean, and to different but comparable experiences.
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Aknesil, Ayşe Erdem, Neşe Yüğrük Akdağ, and Zerhan Yüksel. "Acoustic Evaluation of a 19thCentury Ottoman Palace Theatre." Architectural Science Review 48, no. 2 (June 2005): 179–86. http://dx.doi.org/10.3763/asre.2005.4822.
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Tomovska, Radmila, and Ana Radivojević. "The role of master-builder in development of traditional Ohrid house." SAJ - Serbian Architectural Journal 8, no. 1 (2016): 23–42. http://dx.doi.org/10.5937/saj1601023t.
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Master-builder of traditional Ohrid house had important role for the origin and development of some particular elements of construction and finalisation, which are typical solutions that create a specific expression of the Ohrid residential architecture. Formation and development of the traditional Ohrid house, as a regional variant of the Ottoman type of urban house, with specific indigenous characteristics that are specifically related to the spatial plan and the structural details, was created by master-builders of Ohrid, Struga and Debar. Their contribution in the stylistic unification of the Ottoman residential architecture, as well as in finding innovative and specific solutions, is very significant.
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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.