Archnet 2.0: Building a New Asset Management System for MIT’S Online Architectural Library of the Islamic World
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The Application of Visualisation
THE APPLICATION OF VISUALISATION TOOLS TO ENABLE ARCHITECTS TO EXPLORE THE DYNAMIC CHARACTERISTICS OF SMART MATERIALS IN A CONTEMPORARY SHANASHIL BUILDING DESIGN ELEMENT FOR HOT ARID CLIMATES Tamarah Alqalami Ph.D. Thesis 2017 THE APPLICATION OF VISUALISATION TOOLS TO ENABLE ARCHITECTS TO EXPLORE THE DYNAMIC CHARACTERISTICS OF SMART MATERIALS IN A CONTEMPORARY SHANASHIL BUILDING DESIGN ELEMENT FOR HOT ARID CLIMATES School of the Built Environment University of Salford, Salford, UK Submitted in Partial Fulfilment of the Requirements of the Degree of Doctor of Philosophy, August 2017 Table of Contents TABLE OF CONTENTS ......................................................................................................................... I LIST OF FIGURES ................................................................................................................................ V LIST OF TABLES ................................................................................................................................. IX ACKNOWLEDGEMENT ....................................................................................................................... X DEDICATION ...................................................................................................................................... XI ABBREVIATIONS ............................................................................................................................. XII ABSTRACT ...................................................................................................................................... -
Arabesques, Unicorns, and Invisible Masters: the Art Historian's Gaze
ARABESQUES, UNICORNS, AND INVISIBLE MASTERS 213 EVA-MARIA TROELENBERG ARABESQUES, UNICORNS, AND INVISIBLE MASteRS: THE ART HISTORIAN’S GAZE AS SYMPTOMATIC ACTION? Is it still true that art history, traditionally understood as be to look at these objects. As Margaret Olin has argued, an explicitly object-based discipline, lacks a thorough “The term ‘gaze’ … leaves no room to comprehend the understanding of an “action tradition” that could be em- visual without reference to someone whose vision is un- ployed to explain and theorize, for example, artistic der discussion.”3 Although she refers generally to the agency? And that therefore art history, as opposed to gaze of all possible kinds of beholders, viewers, or spec- other disciplines such as sociology or linguistic studies, tators, she also stresses: “While most discourse about the has found it particularly difficult to look at its own his- gaze concerns pleasure and knowledge, however, it gen- toriography in terms of academic or scholarly action or erally places both of these in the service of issues of agency? Such explanations were employed until quite power, manipulation, and desire”; furthermore, “The recently when expounding the problem of a general de- choice of terms from this complex can offer a key to the lay in critical historiography concerning the discipline’s theoretical bent or the ideology of the theorist.”4 Ac- traditions and methods, particularly in relation to Ger- cordingly, an action-based theory of historiography man art history under National Socialism.1 must find -
The Traditional Arts and Crafts of Turnery Or Mashrabiya
THE TRADITIONAL ARTS AND CRAFTS OF TURNERY OR MASHRABIYA BY JEHAN MOHAMED A Capstone submitted to the Graduate School-Camden Rutgers, The State University of New Jersey In partial fulfillment of the requirements For the degree of Master of Art Graduate Program in Liberal Studies Written under the direction of Dr. Martin Rosenberg And Approved by ______________________________ Dr. Martin Rosenberg Camden, New Jersey May 2015 CAPSTONE ABSTRACT The Traditional Arts and Crafts of Turnery or Mashrabiya By JEHAN MOHAMED Capstone Director: Dr. Martin Rosenberg For centuries, the mashrabiya as a traditional architectural element has been recognized and used by a broad spectrum of Muslim and non-Muslim nations. In addition to its aesthetic appeal and social component, the element was used to control natural ventilation and light. This paper will analyze the phenomenon of its use socially, historically, artistically and environmentally. The paper will investigate in depth the typology of the screen; how the different techniques, forms and designs affect the function of channeling direct sunlight, generating air flow, increasing humidity, and therefore, regulating or conditioning the internal climate of a space. Also, in relation to cultural values and social norms, one can ask how the craft functioned, and how certain characteristics of the mashrabiya were developed to meet various needs. Finally, the study of its construction will be considered in relation to artistic representation, abstract geometry, as well as other elements of its production. ii Table of Contents Abstract……………………………………………………………………….……….…..ii List of Illustrations………………………………………………………………………..iv Introduction……………………………………………….…………………………….…1 Chapter One: Background 1.1. Etymology………………….……………………………………….……………..3 1.2. Description……………………………………………………………………...…6 1.3. -
Towards a Deleuzian Approach in Urban Design
Difference and Repetition in Redevelopment Projects for the Al Kadhimiya Historical Site, Baghdad, Iraq: Towards a Deleuzian Approach in Urban Design A Dissertation submitted to the Graduate School of the University of Cincinnati In partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY IN ARCHITECTURE In the School of Architecture and Interior Design Of the college of Design, Architecture, Art, and Planning 2018 By Najlaa K. Kareem Bachelor of Architecture, University of Technology 1999 Master of Science in Urban and Regional Planning, University of Baghdad 2004 Dissertation Committee: Adrian Parr, PhD (Chair) Laura Jenkins, PhD Patrick Snadon, PhD Abstract In his book Difference and Repetition, the French philosopher Gilles Deleuze distinguishes between two theories of repetition, one associated with the ‘Platonic’ theory and the other with the ‘Nietzschean’ theory. Repetition in the ‘Platonic’ theory, via the criterion of accuracy, can be identified as a repetition of homogeneity, using pre-established similitude or identity to repeat the Same, while repetition in the ‘Nietzschean’ theory, via the criterion of authenticity, is aligned with the virtual rather than real, producing simulacra or phantasms as a repetition of heterogeneity. It is argued in this dissertation that the distinction that Deleuze forms between modes of repetition has a vital role in his innovative approaches to the Nietzschean’s notion of ‘eternal return’ as a differential ontology, offering numerous insights into work on issues of homogeneity and heterogeneity in a design process. Deleuze challenges the assumed capture within a conventional perspective by using German philosopher Friedrich Nietzsche’s conception of the ‘eternal return.’ This dissertation aims to question the conventional praxis of architecture and urban design formalisms through the impulse of ‘becoming’ and ‘non- representational’ thinking of Deleuze. -
13. Yussupova Et Al 11-3-193-213
Akmaral Yussupova*, Liu Songfu, Ardasher Namazbay, Farzad Pour Rahimian, Ahad Nejad Ebrahim Archnet-IJAR, Volume 12 - Issue 3 – November 2017 - (193-213) – Original Research Papers Archnet-IJAR: International Journal of Architectural Research www.archnet-ijar.net/ -- https://archnet.org/collections/34 ORNAMENTAL ART AND SYMBOLISM: ACTIVATORS OF HISTORICAL REGENERATION FOR KAZAKHSTAN’S LANDSCAPE ARCHITECTURE DOI: http://dx.doi.org/10.26687/archnet-ijar.v11i3.1358 Akmaral Yussupova*, Liu Songfu, Ardasher Namazbay, Farzad Pour Rahimian, Ahad Nejad Ebrahimi Keywords Abstract landscape architecture; The use of symbolism in contemporary architecture is symbolism; floral; increasingly gaining momentum, especially so in the Eastern zoomorphic; geometric; countries currently undergoing rapid economic development. cosmogonic Sociologically, this phenomenon can be related to a desire to manifest a vast wealth of national art and respond to the globalisation and unification of world culture. Taking this tendency as a prompt, this study explores different ways of implementing symbolic ornaments in landscape architecture. Traditionally architecture has been defined through and judged against culturally acceptable criteria that set the norm for appropriate form and expression. Yet, technical advances have altered this process and contributed to a certain level of oblivion of traditional architectural form. Thus, the meaning of many Kazakh ornaments has been lost through time. On one ArchNet-IJAR is indexed and hand, this paper collects historical information on the listed in several databases, semiotics of Kazakh ornaments and on the other hand, it including: conducts field studies focusing on the cultural tradition of the native people in Eurasia. The study introduces the use of • Avery Index to Architectural symbolism in landscape architecture as an aspiration for luck Periodicals and prosperity which then dictates the quality of the EBSCO-Current Abstracts-Art • landscape compositions. -
Exploration of Arabesque As an Element of Decoration in Islamic Heritage Buildings: the Case of Indian and Persian Architecture
Journal of Xi'an University of Architecture & Technology ISSN No : 1006-7930 Exploration of Arabesque as an Element of Decoration in Islamic Heritage Buildings: The Case of Indian and Persian Architecture Mohammad Arif Kamal Architecture Section Aligarh Muslim University, Aligarh, India Saima Gulzar School of Architecture and Planning University of Management and Technology, Lahore, Pakistan Sadia Farooq Dept. of Family and Consumer Sciences University of Home Economics, Lahore, Pakistan Abstract - The decoration is a vital element in Islamic art and architecture. The Muslim designers finished various art, artifacts, religious objects, and buildings with many types of ornamentation such as geometry, epigraphy, calligraphy, arabesque, and sometimes animal figures. Among them, the most universal motif in ornamentation which was extensively used is the arabesque. The arabesque is an abstract and rhythmic vegetal ornamentation pattern in Islamic decoration. It is found in a wide variety of media such as book art, stucco, stonework, ceramics, tiles, metalwork, textiles, carpets, etc.. The paper discusses the fact that arabesque is a unique, universal, and vital element of ornamentation within the framework of Islamic Architecture. In this paper, the etymological roots of the term ‘Arabesque’, its evolution and development have been explored. The general characteristics as well as different modes of arabesque are discussed. This paper also analyses the presentation of arabesque with specific reference to Indian and Persian Islamic heritage buildings. Keywords – Arabesque, Islamic Architecture, Decoration, Heritage, India, Iran I. INTRODUCTION The term ‘Arabesque’ is an obsolete European form of rebesk (or rebesco), not an Arabic word dating perhaps from the 15th or 16th century when Renaissance artists used Islamic Designs for book ornament and decorative bookbinding [1]. -
The Aesthetics of Islamic Architecture & the Exuberance of Mamluk Design
The Aesthetics of Islamic Architecture & The Exuberance of Mamluk Design Tarek A. El-Akkad Dipòsit Legal: B. 17657-2013 ADVERTIMENT. La consulta d’aquesta tesi queda condicionada a l’acceptació de les següents condicions d'ús: La difusió d’aquesta tesi per mitjà del servei TDX (www.tesisenxarxa.net) ha estat autoritzada pels titulars dels drets de propietat intel·lectual únicament per a usos privats emmarcats en activitats d’investigació i docència. No s’autoritza la seva reproducció amb finalitats de lucre ni la seva difusió i posada a disposició des d’un lloc aliè al servei TDX. No s’autoritza la presentació del s eu contingut en una finestra o marc aliè a TDX (framing). Aquesta reserva de drets afecta tant al resum de presentació de la tesi com als seus continguts. En la utilització o cita de parts de la tesi és obligat indicar el nom de la persona autora. ADVERTENCIA. La consulta de esta tesis queda condicionada a la aceptación de las siguientes condiciones de uso: La difusión de esta tesis por medio del servicio TDR (www.tesisenred.net) ha sido autorizada por los titulares de los derechos de propiedad intelectual únicamente para usos privados enmarcados en actividades de investigación y docencia. No se autoriza su reproducción con finalidades de lucro ni su difusión y puesta a disposición desde un sitio ajeno al servicio TDR. No se autoriza la presentación de su contenido en una ventana o marco ajeno a TDR (framing). Esta reserva de derechos afecta tanto al resumen de presentación de la tesis como a sus contenidos. -
Resources for the Study of Islamic Architecture Historical Section
RESOURCES FOR THE STUDY OF ISLAMIC ARCHITECTURE HISTORICAL SECTION Prepared by: Sabri Jarrar András Riedlmayer Jeffrey B. Spurr © 1994 AGA KHAN PROGRAM FOR ISLAMIC ARCHITECTURE RESOURCES FOR THE STUDY OF ISLAMIC ARCHITECTURE HISTORICAL SECTION BIBLIOGRAPHIC COMPONENT Historical Section, Bibliographic Component Reference Books BASIC REFERENCE TOOLS FOR THE HISTORY OF ISLAMIC ART AND ARCHITECTURE This list covers bibliographies, periodical indexes and other basic research tools; also included is a selection of monographs and surveys of architecture, with an emphasis on recent and well-illustrated works published after 1980. For an annotated guide to the most important such works published prior to that date, see Terry Allen, Islamic Architecture: An Introductory Bibliography. Cambridge, Mass., 1979 (available in photocopy from the Aga Khan Program at Harvard). For more comprehensive listings, see Creswell's Bibliography and its supplements, as well as the following subject bibliographies. GENERAL BIBLIOGRAPHIES AND PERIODICAL INDEXES Creswell, K. A. C. A Bibliography of the Architecture, Arts, and Crafts of Islam to 1st Jan. 1960 Cairo, 1961; reprt. 1978. /the largest and most comprehensive compilation of books and articles on all aspects of Islamic art and architecture (except numismatics- for titles on Islamic coins and medals see: L.A. Mayer, Bibliography of Moslem Numismatics and the periodical Numismatic Literature). Intelligently organized; incl. detailed annotations, e.g. listing buildings and objects illustrated in each of the works cited. Supplements: [1st]: 1961-1972 (Cairo, 1973); [2nd]: 1972-1980, with omissions from previous years (Cairo, 1984)./ Islamic Architecture: An Introductory Bibliography, ed. Terry Allen. Cambridge, Mass., 1979. /a selective and intelligently organized general overview of the literature to that date, with detailed and often critical annotations./ Index Islamicus 1665-1905, ed. -
Reflection of Technology on the Inherited Conceptual Design of Mosques
Ain Shams University Faculty of Engineering Department of Architecture REFLECTION OF TECHNOLOGY ON THE INHERITED CONCEPTUAL DESIGN OF MOSQUES A thesis submitted to the Faculty of Engineering - Ain Shams University in partial fulfillment of the requirements for Master of Science Degree in Architecture By Radwa Ahmed Omar Abuel Seoud B.Sc. Architecture-Ain Shams University, 2006 Under the supervision of Prof. Dr. Khaled Dewidar Professor - Department of Architecture Faculty of Engineering - Ain Shams University Prof. Dr. Shaimaa Kamel Professor - Department of Architecture Faculty of Engineering - Ain Shams University Dr. Somaya Bahy Eldin Lecturer - Department of Architecture Faculty of Engineering - Ain Shams University 2013 Statement I hereby declare that all information in this document has been obtained and presented in accordance with academic rules and ethical conduct. I also declare that, as required by these rules and conduct, I have fully cited and referenced all material and results that are not original to this work. Name: Radwa Ahmed Omar Abuel Seoud Signature: Date: Ain Shams University Faculty of Engineering Department of Architecture Submitted by: Radwa Ahmed Omar Abuel Seoud Thesis Title: Reflection of Technology on the Inherited Conceptual Design of Mosques Supervising Committee: Signature Prof. Dr. Khaled Dewidar Professor - Department of Architecture Faculty of Engineering - Ain Shams University Prof. Dr. Shaimaa Kamel Professor - Department of Architecture Faculty of Engineering - Ain Shams University Dr. Somaya Bahy -
The Concepts That Shape Anatolian Seljuq Caravanserais
AYSIL TfJKEL YAVUZ THE CONCEPTS THAT SHAPE ANATOLIAN SELJUQ CARAVANSERAIS Caravan roads crossed Anatolia from east to west, from intact or have been restored; enough remains of the south to north, and from southwest to northeast, con- majority to establish both plan and superstructure; a few necting trading centers both inside and outside the allow only a plan. The remaining hundred range from boundaries of the Anatolian Seljuq state (fig. 1).' In the ruins to source references only. A large number have yet thirteenth century, the major centers were, in the south- to be surveyed. A multitude of settlements have the east, Tabriz in Persia, Baghdad in Iraq, and Aleppo in word han attached to their names implying the exist- Syria; in the south, Ayas, Alaiye, and Antalya on the Med- ence of a caravanserai there at some point in their his- iterranean Sea; in the west, Ayaslug, Izmir, and FoCa on tory. the Aegean Sea; in the northwest, Istanbul on the Bos- Research over the last thirty-five years suggests that porus; and in the north, Sinop, Samsun, and Trabzon further research is likely to increase the number of on the Black Sea. It was an established policy of the Ana- known caravanserais in a good state of preservation. tolian Seljuq state to stage the roads that connected Unfortunately the majority of the caravanserais either them with caravanserais.2 had no founding inscription or it has since disappeared, At present, information in varying amount and detail and of the ones that do exist not all mention the type of is available for about two hundred of these caravanse- building. -
Re-Exploring Late Ottoman Buildings in Today's Istanbul
International Journal of Architectural Research Irem Maro Kırış RE-EXPLORING LATE OTTOMAN BUILDINGS IN TODAY’S ISTANBUL Irem Maro Kırış Bahcesehir University, Istanbul, Turkey [email protected] Abstract The late-Ottoman early-Republican period had delineated a unique, heterogeneous stage in the course of Istanbul’s transformation into a modern city. Istanbul at the turn of the 19th century, exhibited a setting under influence of political, ideological, historical, cultural and social factors. The active, long settlement history, imperial heritage, urban texture, cosmopolitan social structure, metropolitan growth, westernization, nationalism, demands of contemporary city life, the modern integrating with the existent local were among them. In this study, architecture of the late-Ottoman Istanbul will be explored through selected buildings that reflected the architectural/urban development of their time, held significance in terms of function, form/style, technology and urban features, represented leading architects’ work, specific trends, and marked strategic locations. Consecutive part of the study will cover a re-exploration of these buildings in their current condition, after a century has passed since they were constructed. Such a comparison, besides providing a record of urban transformation in Istanbul, discloses different faces of the encounter with globalization, and points to contemporary local and global architectural problems of the metropolis in general. Keywords: Late-Ottoman architecture; Istanbul; modernity; urban transformation; historical significance. INTRODUCTION The late-Ottoman early Republican period had delineated a unique, heterogeneous stage in the course of Istanbul’s transformation into a modern city. The city at the turn of the 19th century exhibited a setting shaped under influence of various factors related to political, ideological, historical, cultural and social issues. -
Origins of Imperial Ottoman Architecture in Istanbul : a Cross- Cultural Interpretation on the Development of a New Classical Tradition
University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 12-2005 Origins of imperial Ottoman architecture in Istanbul : a cross- cultural interpretation on the development of a new Classical tradition. Shannon P. Carneal University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Recommended Citation Carneal, Shannon P., "Origins of imperial Ottoman architecture in Istanbul : a cross-cultural interpretation on the development of a new Classical tradition." (2005). Electronic Theses and Dissertations. Paper 211. https://doi.org/10.18297/etd/211 This Master's Thesis is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. ORIGINS OF IMPERIAL OTTOMAN ARCHITECTURE IN ISTANBUL: A CROSS-CULTURAL INTERPRETATION ON THE DEVELOPMENT OF A NEW CLASSICAL TRADITION UNIVERSITY OF LOUISVILLE A THESIS SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL IN CANDIDACY FOR THE DEGREE OF MASTER OF ARTS DEPARTMENT OF FINE ARTS BY SHANNON P. CARNEAL LOUISVILLE, KENTUCKY DECEMBER 2005 Copyright 2005 by Shannon P. Carneal All rights reserved ORIGINS OF IMPERIAL OTTOMAN ARCHITECTURE IN ISTANBUL: A CROSS-CULTURAL INTERPRETATION ON THE DEVELOPMENT OF A NEW CLASSICAL TRADITION By Shannon P. Carneal B.A., Bellarmine University, 1999 A Thesis Approved on December 05, 2005 by the following Thesis Committee: Thesis Advisor ii DEDICATION This thesis is dedicated to my parents Mr.