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The Relation between Space and Function in the use of the Iwan in Turkish Architecture of the Middle-ages
No full textThe iwan, which has a deep-rooted history in near eastern and Asian buildings, is a landmark of Islamic architecture. Iwans are used in all building typology, such as vernacular and public architecture. Iwans have an especially important role in Turkish architecture, both in spatial organization and in forming typologies. An iwan is covered on three sides and can be used as portal, interconnection unit, room or royal room, but its most prevalent usage is in the form of four-iwan courtyard. This schema has both a functional role and symbolic meaning as evidenced by the first iwans, found in the houses of Horasan and Maveraunnehir
A New Element in Interior Decoration in 18th and 19th Century Ottoman Mansions: Istanbul Panoramas of Kalemişi as Wall Paintings
Get PDFWith the start of the Period of Westernization in Ottoman architecture at the beginning of the 18th century, not only palaces and shoreside residences of the sultans, but also kiosks (köşk), mansions (konak), summer pavilions (kasır), and other civil structures such as waterfront residences (yalı) came under the influence of European styles in interior decoration. A significant movement in civil architecture began in this period and it was first the Baroque, Rocaille and Empire styles that made their imprint on Ottoman structures, followed subsequently by other Western trends. A new element that appeared in the program of westernization in architecture that was applied to palaces, shoreside residences of the sultan, kiosks, pavilions and yalı’s was kalemişi wall paintings. The subjects of this decorative artwork, most of which was created by foreign architects, were landscapes and urban panoramas rather than geometric or floral decorations. The city panoramas mostly depicted Istanbul, the capital of both Anatolia and the Balkans. The aim of this article is to introduce examples of structures of Ottoman residential architecture that began, as from the second half of the 18th century, to boast of kalemişi wall paintings and to demonstrate how those depicting urban panoramas were primarily devoted to Istanbul and embodied a reflection of the influence these paintings had on the westernization movement
A Distinctive Architectural Example from the Era of Ottoman Westernization. Palazzo Corpi; The Former American Embassy Building
No full textOttoman architecture begin to change around the beginning of the 18th century. The main factors influencing this change were the opening out to the West of Ottoman culture, relations with the West, and the inclusion of western architects in Ottoman society. The new look that classic Ottoman architecture assumed was to evolve under the thematic influence of European architects. Modifications were manifested not only in civil architecture but even in religious structures, which represented the breaking point of tradition. One of the cultural dynamics that represented the driving force of the changes in Ottoman architecture in the 18th century, producing innovatively novel effects under the European influence, was the various imported styles. The influence of Western art continued to make a mark on Ottoman architecture as from the start of the 18th century up until the end of the 19th century. The Edict of Reform (Tanzimat Fermanı) proclaimed in 1839 added momentum to the westernization movement, bringing with it new cultural dynamics and new types of structures as a result of the changing social clime. One of these architectural types was represented by buildings that housed diplomatic missions. The aim of this article is to examine the architectural and decorative characteristics of one of the important representations of the type of embassy architecture prevailing in the era of Ottoman westernization–the former American Embassy building in Istanbul, originally called the “Palazzo Corpi.” Toward this purpose, we will introduce in detail the plan and spatial organization of the building, the features of its mass, facades and interior
The Ubaid Period In The Urbanisation Process; The Birth Of Urbanism In The Near East (5500-3800 B.C.)
No full textThe Ubaid culture, which takes its name from Tell-al Ubaid, plays a crucial role in the process of urbanization in the Near East. Surviving for more than 1500 years (5500-3800 BC), it was characterised by important social, economic and political developments which influenced the development of urban polities both the Near East and the East and Southeastern Anatolia Regions. With this culture, certain radical structural changes peculiar to complex societies, urban societies, such as political and economic centralisation based on control over product, production and labor organisation with sealing practices, socio-economic differences, a high degree of economic specialisation and technological development, indicate that a complex economy, and organised trade had begun to take place in the social, political and economical organisations of the societies of the Near East. This paper is concerned with enlightening the role of the Ubaid Culture in the development of urban societies in the Near East. With this aim, this culture will be analyzed from the viewpoint of those characteristics peculiar to urban societies mentioned above
Mimar Sinan Era Kulliyes in the Ottoman Urban Landscape
No full textThe 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
A Contemporary Interpretation of Vernacular Architecture. The Architecture of Nail Çakirhan, Turkey
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Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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