What Is Islamic Architecture Anyway?
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The Sasanian Tradition in ʽabbāsid Art: Squinch Fragmentation As The
The Sasanian Tradition in ʽAbbāsid Art: squinch fragmentation as The structural origin of the muqarnas La tradición sasánida en el arte ʿabbāssí: la fragmentación de la trompa de esquina como origen estructural de la decoración de muqarnas A tradição sassânida na arte abássida: a fragmentação do arco de canto como origem estrutural da decoração das Muqarnas Alicia CARRILLO1 Abstract: Islamic architecture presents a three-dimensional decoration system known as muqarnas. An original system created in the Near East between the second/eighth and the fourth/tenth centuries due to the fragmentation of the squinche, but it was in the fourth/eleventh century when it turned into a basic element, not only all along the Islamic territory but also in the Islamic vocabulary. However, the origin and shape of muqarnas has not been thoroughly considered by Historiography. This research tries to prove the importance of Sasanian Art in the aesthetics creation of muqarnas. Keywords: Islamic architecture – Tripartite squinches – Muqarnas –Sasanian – Middle Ages – ʽAbbāsid Caliphate. Resumen: La arquitectura islámica presenta un mecanismo de decoración tridimensional conocido como decoración de muqarnas. Un sistema novedoso creado en el Próximo Oriente entre los siglos II/VIII y IV/X a partir de la fragmentación de la trompa de esquina, y que en el siglo XI se extendió por toda la geografía del Islam para formar parte del vocabulario del arte islámico. A pesar de su importancia y amplio desarrollo, la historiografía no se ha detenido especialmente en el origen formal de la decoración de muqarnas y por ello, este estudio pone de manifiesto la influencia del arte sasánida en su concepción estética durante el Califato ʿabbāssí. -
12. Selma Harrington Et Al 11-3-178-192
Selma Harrington, Branka Dimitrijević, Ashraf M. Salama Archnet-IJAR, Volume 11 - Issue 3 - November 2017 - (178-192) – Regular Section Archnet-IJAR: International Journal of Architectural Research www.archnet-ijar.net/ -- https://archnet.org/collections/34 MODERNIST ARCHITECTURE, CONFLICT, HERITAGE AND RESILIENCE: THE CASE OF THE HISTORICAL MUSEUM OF BOSNIA AND HERZEGOVINA DOI: http://dx.doi.org/10.26687/archnet-ijar.v11i3.1330 Selma Harrington, Branka Dimitrijević, Ashraf M. Salama Keywords Abstract Bosnia and Herzegovina; Bosnia and Herzegovina is one of the successor states of conflict and identity former Yugoslavia, with a history of dramatic conflicts and narratives; Modernist ruptures. These have left a unique heritage of interchanging architecture; public function; prosperity and destruction, in which the built environment and resilience; reuse of architecture provide a rich evidence of the many complex architectural heritage identity narratives. The public function and architecture of the Historical Museum of Bosnia and Herzegovina, once purposely built to commemorate the national liberation in World War 2, encapsulates the current situation in the country, which is navigating through a complicated period of reconstruction and transformation after the war in 1990s. Once considered as the embodiment of a purist Modernist architecture, now a damaged structure with negligible institutional patronage, the Museum shelters the fractured artefacts of life during the three and a half year siege of ArchNet -IJAR is indexed and Sarajevo. This paper introduces research into symbiotic listed in several databases, elements of architecture and public function of the Museum. including: The impact of conflict on its survival, resilience and continuity of use is explored through its potentially mediatory role, and • Avery Index to Architectural modelling for similar cases of reuse of 20th century Periodicals architectural heritage. -
Investigating the Patterns of Islamic Architecture in Architecture Design of Third Millennium Mosques
European Online Journal of Natural and Social Sciences 2014; www.european-science.com Vol.3, No.4 Special Issue on Architecture, Urbanism, and Civil Engineering ISSN 1805-3602 Investigating the Patterns of Islamic Architecture in Architecture Design of Third Millennium Mosques Parvin Farazmand1*, Hassan Satari Sarbangholi2 1Young Researchers and Elite Club, Tabriz Branch, Islamic Azad University, Tabriz, Iran; 2Architecture Group of Azad-e-Eslami University, Tabriz Branch *Email: [email protected] Abstract Islamic architecture, which is based on the Islamic school, has been shaped by the total awareness of architects’ of techniques of architecture and adherence to the principles of geometry and inspired by religious beliefs. Principles of geometry and religious beliefs caused certain patterns to take shape in Islamic architecture that were used in designing buildings including mosques. With the advancements in technology, architecture entered a new stage considering the form of construction and the buildings. Islamic architecture and mosque, which is the primary symbol of Islamic architecture, are not different and consequently went through changes in forms and patterns. In this paper, the purpose is to express the place of patterns of Islamic Architecture in the mosques of the third millennium. The method used is descriptive-analytic and the mosques of the third millennium are the statistical population and ten of them are the statistical sample. The tools used are the library studies and the data has been analyzed using chars obtained from Excel. The result indicated that in the architecture of the mosques of the third millennium, the patterns of Islamic architecture have been fixed and proposed, and yet do create different designs that would be novel. -
Protecting Postmodern Historicism: Identification, Ve Aluation, and Prescriptions for Preeminent Sites
University of Pennsylvania ScholarlyCommons Theses (Historic Preservation) Graduate Program in Historic Preservation 2013 Protecting Postmodern Historicism: Identification, vE aluation, and Prescriptions for Preeminent Sites Jonathan Vimr University of Pennsylvania Follow this and additional works at: https://repository.upenn.edu/hp_theses Part of the Historic Preservation and Conservation Commons Vimr, Jonathan, "Protecting Postmodern Historicism: Identification, vE aluation, and Prescriptions for Preeminent Sites" (2013). Theses (Historic Preservation). 211. https://repository.upenn.edu/hp_theses/211 Suggested Citation: Vimr, Jonathan (2013). Protecting Postmodern Historicism: Identification, vE aluation, and Prescriptions for Preeminent Sites. (Masters Thesis). University of Pennsylvania, Philadelphia, PA. This paper is posted at ScholarlyCommons. https://repository.upenn.edu/hp_theses/211 For more information, please contact [email protected]. Protecting Postmodern Historicism: Identification, vE aluation, and Prescriptions for Preeminent Sites Abstract Just as architectural history traditionally takes the form of a march of styles, so too do preservationists repeatedly campaign to save seminal works of an architectural manner several decades after its period of prominence. This is currently happening with New Brutalism and given its age and current unpopularity will likely soon befall postmodern historicism. In hopes of preventing the loss of any of the manner’s preeminent works, this study provides professionals with a framework for evaluating the significance of postmodern historicist designs in relation to one another. Through this, the limited resources required for large-scale preservation campaigns can be correctly dedicated to the most emblematic sites. Three case studies demonstrate the application of these criteria and an extended look at recent preservation campaigns provides lessons in how to best proactively preserve unpopular sites. -
Celebrating Thirty Years of Muqarnas
Muqarnas An Annual on the Visual Cultures of the Islamic World Celebrating Thirty Years of Muqarnas Editor Gülru Necipoğlu Managing Editor Karen A. Leal volume 30 Sponsored by The Aga Khan Program for Islamic Architecture at Harvard University and the Massachusetts Institute of Technology, Cambridge, Massachusetts LEIDEN • BOSTON 2013 © 2013 Koninklijke Brill NV ISBN 978 90 04 25576 0 CONTENTS Gülru Necİpoğlu, Reflections on Thirty Years of Muqarnas . 1 Benedict Cuddon, A Field Pioneered by Amateurs: The Collecting and Display of Islamic Art in Early Twentieth-Century Boston . 13 Silvia Armando, Ugo Monneret de Villard (1881–1954) and the Establishment of Islamic Art Studies in Italy . 35 Ayşİn Yoltar-Yildirim, Raqqa: The Forgotten Excavation of an Islamic Site in Syria by the Ottoman Imperial Museum in t he Early Twentieth Century . 73 D. Fairchild Ruggles, At the Margins of Architectural and Landscape History: The Rajputs of South Asia . 95 Jennifer Pruitt, Method in Madness: Recontextualizing the Destruction of Churches in the Fatimid Era . 119 Peter Christensen, “As if she were Jerusalem”: Placemaking in Sephardic Salonica . 141 David J. Roxburgh, In Pursuit of Shadows: Al-Hariri’s Maqāmāt . 171 Abolala Soudavar, The Patronage of the Vizier Mirza Salman . 213 Lâle Uluç, An Iskandarnāma of Nizami Produced for Ibrahim Sultan . 235 NOTES AND SOURCES Serpİl Bağci, Presenting Vaṣṣāl Kalender’s Works: The Prefaces of Three Ottoman Albums . 255 Gülru Necİpoğlu, “Virtual Archaeology” in Light of a New Document on the Topkapı Palace’s Waterworks and Earliest Buildings, circa 1509 . 315 Ebba Koch, The Wooden Audience Halls of Shah Jahan: Sources and Reconstruction . -
Six Canonical Projects by Rem Koolhaas
5 Six Canonical Projects by Rem Koolhaas has been part of the international avant-garde since the nineteen-seventies and has been named the Pritzker Rem Koolhaas Architecture Prize for the year 2000. This book, which builds on six canonical projects, traces the discursive practice analyse behind the design methods used by Koolhaas and his office + OMA. It uncovers recurring key themes—such as wall, void, tur montage, trajectory, infrastructure, and shape—that have tek structured this design discourse over the span of Koolhaas’s Essays on the History of Ideas oeuvre. The book moves beyond the six core pieces, as well: It explores how these identified thematic design principles archi manifest in other works by Koolhaas as both practical re- Ingrid Böck applications and further elaborations. In addition to Koolhaas’s individual genius, these textual and material layers are accounted for shaping the very context of his work’s relevance. By comparing the design principles with relevant concepts from the architectural Zeitgeist in which OMA has operated, the study moves beyond its specific subject—Rem Koolhaas—and provides novel insight into the broader history of architectural ideas. Ingrid Böck is a researcher at the Institute of Architectural Theory, Art History and Cultural Studies at the Graz Ingrid Böck University of Technology, Austria. “Despite the prominence and notoriety of Rem Koolhaas … there is not a single piece of scholarly writing coming close to the … length, to the intensity, or to the methodological rigor found in the manuscript -
Identifying Atlanta: John Portman, Postmodernism, and Pop-Culture" (2017)
Bard College Bard Digital Commons Senior Projects Spring 2017 Bard Undergraduate Senior Projects Spring 2017 Identifying Atlanta: John Portman, Postmodernism, and Pop- Culture August McIntyre Dine Bard College, [email protected] Follow this and additional works at: https://digitalcommons.bard.edu/senproj_s2017 Part of the Architectural History and Criticism Commons, and the Urban, Community and Regional Planning Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Dine, August McIntyre, "Identifying Atlanta: John Portman, Postmodernism, and Pop-Culture" (2017). Senior Projects Spring 2017. 128. https://digitalcommons.bard.edu/senproj_s2017/128 This Open Access work is protected by copyright and/or related rights. It has been provided to you by Bard College's Stevenson Library with permission from the rights-holder(s). You are free to use this work in any way that is permitted by the copyright and related rights. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected]. Identifying Atlanta: John Portman, Postmodernism, and Pop Culture Senior Project Submitted to The Division of Social Studies of Bard College by August Dine Annandale-on-Hudson, New York May 2016 Acknowledgements Thanks to my advisor, Pete L’Official; my friends; and my family. Table of Contents Introduction…………………………………………………………………….…………………1 Chapter 1: Two Atlantas………………………………………………………….………………4 Chapter 2: The Peachtree Center…..…………………………...………………………………..23 Chapter 3: Pop Culture…………………………..……………………………………………....33 1 Introduction In his 1995 text “Atlanta,” architect, theorist, and notorious provocateur1 Rem Koolhaas claims, “Atlanta has culture, or at least it has a Richard Meier Museum.”2 Koolhaas is implying that the collection at Atlanta’s High Museum of Art is a cultural veneer. -
Decagonal and Quasi-Crystalline Tilings in Medieval Islamic Architecture
REPORTS 21. Materials and methods are available as supporting 27. N. Panagia et al., Astrophys. J. 459, L17 (1996). Supporting Online Material material on Science Online. 28. The authors would like to thank L. Nelson for providing www.sciencemag.org/cgi/content/full/315/5815/1103/DC1 22. A. Heger, N. Langer, Astron. Astrophys. 334, 210 (1998). access to the Bishop/Sherbrooke Beowulf cluster (Elix3) Materials and Methods 23. A. P. Crotts, S. R. Heathcote, Nature 350, 683 (1991). which was used to perform the interacting winds SOM Text 24. J. Xu, A. Crotts, W. Kunkel, Astrophys. J. 451, 806 (1995). calculations. The binary merger calculations were Tables S1 and S2 25. B. Sugerman, A. Crotts, W. Kunkel, S. Heathcote, performed on the UK Astrophysical Fluids Facility. References S. Lawrence, Astrophys. J. 627, 888 (2005). T.M. acknowledges support from the Research Training Movies S1 and S2 26. N. Soker, Astrophys. J., in press; preprint available online Network “Gamma-Ray Bursts: An Enigma and a Tool” 16 October 2006; accepted 15 January 2007 (http://xxx.lanl.gov/abs/astro-ph/0610655) during part of this work. 10.1126/science.1136351 be drawn using the direct strapwork method Decagonal and Quasi-Crystalline (Fig. 1, A to D). However, an alternative geometric construction can generate the same pattern (Fig. 1E, right). At the intersections Tilings in Medieval Islamic Architecture between all pairs of line segments not within a 10/3 star, bisecting the larger 108° angle yields 1 2 Peter J. Lu * and Paul J. Steinhardt line segments (dotted red in the figure) that, when extended until they intersect, form three distinct The conventional view holds that girih (geometric star-and-polygon, or strapwork) patterns in polygons: the decagon decorated with a 10/3 star medieval Islamic architecture were conceived by their designers as a network of zigzagging lines, line pattern, an elongated hexagon decorated where the lines were drafted directly with a straightedge and a compass. -
Evolution of Islamic Geometric Patterns
Frontiers of Architectural Research (2013) 2, 243–251 Available online at www.sciencedirect.com www.elsevier.com/locate/foar RESEARCH ARTICLE Evolution of Islamic geometric patterns Yahya Abdullahin, Mohamed Rashid Bin Embi1 Faculty of Built Environment, Universiti Teknologi Malaysia, Johor 81310, Malaysia Received 18 December 2012; received in revised form 27 March 2013; accepted 28 March 2013 KEYWORDS Abstract Islamic geometrical This research demonstrates the suitability of applying Islamic geometrical patterns (IGPs) to patterns; architectural elements in terms of time scale accuracy and style matching. To this end, a Islamic art; detailed survey is conducted on the decorative patterns of 100 surviving buildings in the Muslim Islamic architecture; architectural world. The patterns are analyzed and chronologically organized to determine the History of Islamic earliest surviving examples of these adorable ornaments. The origins and radical artistic architecture; movements throughout the history of IGPs are identified. With consideration for regional History of architecture impact, this study depicts the evolution of IGPs, from the early stages to the late 18th century. & 2013. Higher Education Press Limited Company. Production and hosting by Elsevier B.V. All rights reserved. 1. Introduction three questions that guide this work are as follows. (1) When were IGPs introduced to Islamic architecture? (2) When was For centuries, Islamic geometrical patterns (IGPs) have been each type of IGP introduced to Muslim architects and artisans? used as decorative elements on walls, ceilings, doors, (3) Where were the patterns developed and by whom? A domes, and minarets. However, the absence of guidelines sketch that demonstrates the evolution of IGPs throughout and codes on the application of these ornaments often leads the history of Islamic architecture is also presented. -
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Advances in Social Science, Education and Humanities Research, volume 232 4th International Conference on Arts, Design and Contemporary Education (ICADCE 2018) “Geometric Power” The Aesthetic Logic of Zellige Guanghui Chen Shanghai Academy of Fine Arts Shanghai University Shanghai, China Abstract—Zellige is a specific Moroccan ceramic mosaic, usage, it appears in Moroccan structure with traces of Spanish normally in geometric design. It is not only the decorative Muslims, etc. The Moroccan ceramic mosaic is a diverse feature of Islamic Moroccan buildings, but also the peak of the information combination of ceramics in material, mosaic building decoration worldwide. Since almost all the literatures patchwork in European style and Islamized geometrical on the world history of arts and craft and of building have decorative functions. overlooked the art in North Africa consciously or unconsciously, the author intends to find out the origin and the aesthetic Compared with the quadrel drawing and tiling in typical appreciation of Zellige through the field trip and research. The Islamic architectures, it seems that Zellige belongs to Islamic author realizes that the research on Zellige requires the culture. However, seen from the size and arrangement style, it background and difficulty analysis on the mixed culture of Islam is obviously closer to the mosaic in Mediterranean cultural and Morocco. For this, the author accepted professional Zellige circle. But, seen from the mosaic itself, Zellige is the product geometric training in the institute of Zellige in Tetuan of of Islamic culture, because its strict geometrical pattern and Morocco. As the research goes further, we can take the history of continuous structure have nothing to do with the Romanesque European, Asian and African culture and civilization and mosaic images composed by the curves. -
Courtyards and Ottoman Mosques in the 15Th and 16Th Centuries: Symbolism, Mimesis and Demise
ITU A|Z • Vol 12 No 2 • July 2015 • 35-48 Courtyards and Ottoman mosques in the 15th and 16th centuries: Symbolism, mimesis and demise Satoshi KAWAMOTO [email protected] • JSPS research fellow at Tokyo University of Foreign Studies, Tokyo, Japan Received: January 2015 Final Acceptance: April 2015 Abstract Te frst aim of this paper is to describe the emergence of courtyards in Otto- man sultanic mosques in the ffeenth century and discuss the background of this pivotal transition. Te reception of courtyards in Ottoman mosques dates back to A.H. 841(1437), Üç Şerefeli Cami in Edirne. Te fact that Eyüp Sultan Camii in Istanbul was the second sultanic mosque with a courtyard indicates the royal sym- bolism of courtyard at a mosque, since the one in Eyüp functioned as the stage of sword girding (kılıç kuşanma) ceremonial of newly enthroned sultans. Secondly, in order to afrm that only sultans could construct mosques with courtyards, a few exceptional non-sultanic mosques with courtyards are exam- ined. Tese pseudo-courtyards, were merely extensions which was a clever solu- tion for non-sultanic benefactors. Finally, it is analysed how Sinan prepared a formula for courtyards in mosques for his non-sultanic patrons in the sixteenth century. He adopted an existing “mosque and madrasa” style for these patrons, but carefully alluded to the dif- ference between the mosque section and the madrasa. However, it was also Si- nan who abandoned this meticulous design and started building mosques with courtyards for non-sultanic patrons in a sultanic manner in 1580s. Te demise of courtyards as a symbol of the omnipotent sultan coincided with the political upheaval of the dynasty. -
Curriculum Vitae: Oleg Grabar
CURRICULUM VITAE: OLEG GRABAR Date of Birth: November 3, 1929, Strasbourg, France Secondary Education: Lycées Claude Bernard and Louis-le-Grand, Paris Higher Education: Certificat de licence, Ancient History, University of Paris (1948) B.A. (magna cum laude), Harvard University, Medieval History (1950) Certificats de licence, Medieval History and Modern History, University of Paris (1950) M.A. (1953) and Ph.D. (1955), Princeton University, Oriental Languages and Literatures and History of Art Fellow, 1953-54, American School of Oriental Research, Jerusalem, Jordan PROFESSIONAL HISTORY: Academic 1954-69 University of Michigan: 1954-55 Instructor; 1955-59 Assistant Professor of Near Eastern Art and Near Eastern Studies; 1959-64 Associate Professor; 1964-69 Professor; 1966-67 Acting Chairman, Department of the History of Art. 1969-90 Harvard University: 1969-1980 Professor of Fine Arts; 1973-76 Head Tutor, Department of Fine Arts; 1975-76 Acting Co-Master of North House; 1977-82 Chairman, Department of Fine Arts; 1980-90 Aga Khan Professor of Islamic Art and Architecture; Professor Emeritus since 1990. 1990- Institute for Advanced Study, Princeton: Professor, School of Historical Studies. (1990-1998); Professor Emeritus (1998-). Other 1957-70 Near Eastern Editor, Ars Orientalis 1958-69 Honorary Curator of Near Eastern Art, Freer Gallery of Art, Smithsonian Institute 1960-61 Director, American School of Oriental Research, Jerusalem, Jordan 1964-69 Secretary, American Research Institute in Turkey 2 1964-72 Director, Excavations at Qasr al-Hayr