Bioclimatic Devices of Nasrid Domestic Buildings
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Islamic Gardens
Islamic Gardens Amy Rebecca Gansell This course explores gardens of the Islamic World, covering a breadth of historical, cultural, geographic, and environmental contexts. After being introduced to the Islamic world, the nature of specifically “Islamic” gardens is considered. While formal design and aesthetic experience is emphasized throughout, religious, social, and political implication of landscape design are studied through historic cases. Evidence for past gardens, archaeology, and garden conservation are addressed as well. Week 1 Introduction to Islamic culture, religion, and history Students are encouraged to browse entire books, outlining major themes. These books may be consulted for reference throughout the semester. -R. Hillenbrand, Islamic Art and Architecture (Thames and Hudson, 1999). -Ira Lapidus, A History of Islamic Societies (Cambridge, 2002). -Frederick Mathewson Denny, An Introduction to Islam, 3rd edition (Prentice Hall, 2005). Week 2 Introduction to Islamic gardens, Part 1: History and Symbolism -J. Lehrman, “An introduction to the problems and possibilities of restoring historic Islamic gardens,” in L. Tjon Sie Fat and E. de Jong (eds.), The Authentic Garden: A Symposium on Gardens (Leiden: Clusius Foundation, 1990). -Emma Clark, “Introduction” and Ch. 1 “History, symbolism, and the Quran,” in The Art of the Islamic Garden (Wiltshire, UK: Crowood Press, 2004), pp. 11-22, 23-36. Week 3 Introduction to Islamic gardens, Part 2: Design and Layout -David Stronach, “Parterres and stone watercourses at Pasargadae: Notes on the Achaemenid contribution to garden design,” Journal of Garden History 14 (1994): 3-12. -Emma Clark, Ch. 2 “Design and Layout” and Ch. 3 “Geometry, hard landscaping and architectural ornament,” in The Art of the Islamic Garden (Wiltshire, UK: Crowood Press, 2004), pp. -
MJMES Volume VIII
Volume VIII 2005-2006 McGill Journal of Middle East Studies Revue d’études du Moyen-Orient de McGill MCGILL JOURNAL OF MIDDLE EAST STUDIES LA REVUE D’ÉTUDES DU MOYEN- ORIENT DE MCGILL A publication of the McGill Middle East Studies Students’ Association Volume VIII, 2005-2006 ISSN 1206-0712 Cover photo by Torie Partridge Copyright © 2006 by the McGill Journal of Middle East Studies A note from the editors: The Mandate of the McGill Journal of Middle East Studies is to demonstrate the dynamic variety and depth of scholarship present within the McGill student community. Staff and contributors come from both the Graduate and Undergraduate Faculties and have backgrounds ranging from Middle East and Islamic Studies to Economics and Political Science. As in previous issues, we have attempted to bring this multifaceted approach to bear on matters pertinent to the region. *** The McGill Journal of Middle East Studies is registered with the National Library of Canada (ISSN 1206-0712). We have regularized the subscription rates as follows: $15.00 Canadian per issue (subject to availability), plus $3.00 Canadian for international shipping. *** Please address all inquiries, comments, and subscription requests to: The McGill Journal of Middle East Studies c/o MESSA Stephen Leacock Building, Room 414 855 Sherbrooke Street West Montreal, Quebec H3A 2T7 Editors-in-chief Aliza Landes Ariana Markowitz Layout Editor Ariana Markowitz Financial Managers Morrissa Golden Avigail Shai Editorial Board Kristian Chartier Laura Etheredge Tamar Gefen Morrissa Golden -
The Mosque of the Turkish Grand National Assembly in Ankara: Breaking with Tradition
MOHAMMAD AL-ASAD THE MOSQUE OF THE TURKISH GRAND NATIONAL ASSEMBLY IN ANKARA: BREAKING WITH TRADITION The mosque of the Turkish Grand National Assem- hall is represented only by a set of steps that rises to bly in Ankara, designed by the Turkish father-and- about one meter.' These digressions from, or rejec- son team of Behruz and Can Cinici, represents a sig- tions of, past prototypes are most unusual even in a nificant departure from the usual conception of contemporary mosque design. Far from being the mosque architecture, both past and present, in its result of ignoring the past, however, a study of the clear rejection of elements that have traditionally been mosque reveals a serious analysis of the numerous associated with the mosque (fig. 1): the traditional traditions of mosque architecture. The design also dome and minaret are absent; the traditionally solid raises questions about the role of a mosque in the qibla wall is in their design replaced by a glazed sur- legislative complex of a country which, since the face that opens onto a garden; and the separation 1920's, has had a majority Muslim population, but a between the men's and women's areas in its prayer secular system of government.2 . · .... i-..-,... -. Fig. 1. Ankara. Mosque of the Turkish Grand National Assembly. General view. (Photo: from C. C. Davidson and . Serageldin, eds., Architecture Beyond Architecture, p. 126) 156 MOHAMMAD AL-ASAD Fig. 2. Ankara. Turkish Grand National Assembly complex. General view: The mosque is located to the south of the complex, and the Public Relations Buildings are located to the north of the mosque. -
Guide of Granada
Official guide City of Granada 3 Open doors To the past. To the future. To fusion. To mix. To the north. To the south. To the stars. To history. To the cutting edge. To the night. To the horizon. To adventure. To contemplation. To the body. To the mind. To fun. To culture. Open all year. Open to the world. Welcome The story of a name or a name for history 5TH CENTURY B.C.: the Turduli founded Elybirge. 2ND CENTURY B.C.: the Romans settled in Florentia Iliberitana. 1ST CENTURY: according to tradition, San Cecilio, the patron saint of the city, Christianised Iliberis. 7TH CENTURY: the Visigoths fortified Iliberia. 8TH CENTURY: the Arabs arrived in Ilvira. 11TH CENTURY: the Zirids moved their capital to Medina Garnata. 15TH CENTURY: Boabdil surrendered the keys of Granada to the Catholic Monarchs. Today, we still call this city GRANADA which, over its 25 century–history, has been the pride of all those who lived in it, defended it, those who lost it and those who won it. 25 centuries of inhabitants have given the city, apart from its different names, its multicultural nature, its diversity of monuments, religious and secular works of art, its roots and its sights and sounds only to be found in Granada. Iberians, Romans, Arabs, Jews and Christians have all considered this Granada to be their own, this Granada that is today the embodiment of diversity and harmonious coexistence. Since the 19th century, Granada has also been the perfect setting for those romantic travellers that had years on end free: the American Washington Irving, with his Tales of the Alhambra (1832), captivated writers, artists and musicians of his generation, telling them about that “fiercely magnificent” place that also fascinated Victor Hugo and Chateaubriand. -
Manifiesto De La Alhambra English
Fernando Chueca Goitia and others The Alhambra Manifesto (1953) Translated by Jacob Moore Word Count: 2,171 Source: Manifiesto de la Alhambra (Madrid, Dirección General de Arquitectura, 1953). Republished as El Manifiesto de la Alhambra: 50 años después: el monumento y la arquitectura contemporánea, ed. Ángel Isac, (Granada: Patronato de la Alhambra y Generalife, Consejería de Cultura, Junta de Andalucía : Tf Editores, 2006) 356-375. We, the signers of this Manifesto, do not want to be pure iconoclasts, for we are already too weary of such abrupt and arbitrary turns. So people will say: “Why the need for a Manifesto, a term which, almost by definition, implies a text that is dogmatic and revolutionary, one that breaks from the past, a public declaration of a new credo?” Simply put, because reality, whose unequivocal signs leave no room for doubt, is showing us that the ultimate traditionalist posture, which architecture adopted after the war of Liberation, can already no longer be sustained and its tenets are beginning to fall apart. […] Today the moment of historical resurrections has passed. There is no use denying it; just as one cannot deny the existence of the Renaissance in its time or that of the nineteenth century archaeological revivals. The arts have tired of hackneyed academic models and of cold, lifeless copies, and seek new avenues of expression that, though lacking the perfection of those that are known, are more radical and authentic. But one must also not forget that the peculiar conditions implicit in all that is Spanish require that, within the global historical movement, we move forward, we would not say with a certain prudence, but yes, adjusting realities in our own way. -
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 -
The Meaning of Landscape in Classical Arabo-Muslim Culture
Cybergeo : European Journal of Geography, No.196, 16 October 2001 The Meaning of Landscape in Classical Arabo-Muslim Culture Lamia LATIRI Summary: This article explores the concept of landscape in Arabo-Muslim culture from a linguistic and literary standpoint1. Based on extracts from historical collections produced by Arab geographers of the classical period, it shows the existence of spatial landscape models and stereotypes that served to situate a place in a landscape. The landscapes are found to be defined on visual, aesthetic and sensory criteria. Key words: lexicology, landscape, Muslim culture A constant feature of human culture is a capacity to absorb extremely varied influences. At different times in history, the Christian West and Muslim East have established relations and influenced each other. The common core to both Muslim and Western science is the scientific legacy of Ancient Greece2. The series of studies and translations of Greek scientific works, begun in the Omayyad and Abbasid era at the end of the eighth century, and continued in Spain (Cordoba) in the twelfth century, proved valuable for Christian Europe between the thirteenth and fifteenth centuries3. It is therefore not surprising to see a formulation of landscape emerge at the start of the fifteenth century in the West. It was a logical process consequent on the transmission, assimilation and renewal of the philosophy and science of the Ancient world. At the end of a long and complex process, Western culture formulated its theories and interpretations of landscape, and directed them in a way that gave a central place to the visual and scene-setting aspects. -
Morocco Hides Its Secrets Well; Who Can Riad in Marrakesh, Morocco
INTERIORS TexT KALPANA SUNDER A patio with a pool at the centre of a Morocco hides its secrets well; who can riad in Marrakesh, Morocco. A riad imagine the splendour of a riad? Slip away is known for the lush greenery that from the hustle and bustle of aggressive is intrinsic to its open-air courtyard, street vendors and step into a cocoon of making it an oasis of peace. tranquillity. Frank Waldecker/Look/Dinodia Frank 74•JetWings•December 2014 JetWings•December 2014•75 Interiors AM IN THE lovely rose-pink Moroccan Above: View from the of terracotta roofs and legions of satellite dishes. town of Marrakesh, on the fringes of the rooftop of a riad that The minaret of the Koutoubia Mosque, the tallest lets you see all the Sahara, and in true Moroccan spirit, I’m way to the medina building in the city, is silhouetted against a crimson staying at a riad. Riads are traditional (the old walled part) sky; in the distance, the evocative sound of the Moroccan homes with a central courtyard of Marrakesh. muezzin called the faithful to prayer. With arched garden; in fact, the word riad is derived Below: A traditional cloisters, pots of lush tangerine bougainvillea and fountain in the inner from the Arabic word for garden. They offer courtyard of a riad in tiled courtyards, this is indeed a visual feast. refuge from the clamour and sensory overload of Fez, Morocco’s third the streets, as well as protection from the intense largest city, brings WHAT LIES WITHIN a sense of coolness cold of the winter and fiery warmth of the summer. -
The Berber Identity: a Double Helix of Islam and War by Alvin Okoreeh
The Berber Identity: A Double Helix of Islam and War By Alvin Okoreeh Mezquita de Córdoba, Interior. Muslim Spain is characterized by a myriad of sophisticated and complex dynamics that invariably draw from a foundation rooted in an ethnically diverse populace made up of Arabs, Berbers, muwalladun, Mozarebs, Jews, and Christians. According to most scholars, the overriding theme for this period in the Iberian Peninsula is an unprecedented level of tolerance. The actual level of tolerance experienced by its inhabitants is debatable and relative to time, however, commensurate with the idea of tolerance is the premise that each of the aforementioned groups was able to leave a distinct mark on the era of Muslim dominance in Spain. The Arabs, with longstanding ties to supremacy in Damascus and Baghdad exercised authority as the conqueror and imbued al-Andalus with culture and learning until the fall of the caliphate in 1031. The Berbers were at times allies with the Arabs and Christians, were often enemies with everyone on the Iberian Peninsula, and in the times of the taifas, Almoravid and Almohad dynasties, were the rulers of al-Andalus. The muwalladun, subjugated by Arab perceptions of a dubious conversion to Islam, were mired in compulsory ineptitude under the pretense that their conversion to Islam would yield a more prosperous life. The Mozarebs and Jews, referred to as “people of the book,” experienced a wide spectrum of societal conditions ranging from prosperity to withering persecution. This paper will argue that the Berbers, by virtue of cultural assimilation and an identity forged by militant aggressiveness and religious zealotry, were the most influential ethno-religious group in Muslim Spain from the time of the initial Muslim conquest of Spain by Berber-led Umayyad forces to the last vestige of Muslim dominance in Spain during the time of the Almohads. -
Cultural Morocco FAM
Cultural Morocco FAM CULTURAL MOROCCO Phone: +1-800-315-0755 | E-mail: [email protected] Website: www.cultureholidays.com CULTURE HOLIDAYS Cultural Morocco FAM Tour Description Morocco is a gateway to Africa and a country of dizzying diversity. Here you'll find epic mountain ranges, ancient cities, sweeping deserts – and warm hospitality. Morocco is quickly becoming one of the world’s most sought-after tourist destinations. From Casablanca through Rabat and Tangier at the tip of the continent; from the infinite blue labyrinth streets of Chefchaouen, and down to Fez, and still further south to the ever-spreading dunes of Erg Chebbi in the Sahara Desert; over to Marrakech, and the laid-back coastal town of Essaouira, Morocco has an abundance of important natural and historical assets. Marrakech Known as the capital of Morocco under the reign of Youssef Ben Tachfine, this “Pearl of the South” known as Marrakesh, remains one of the top attractions of tourists . Fez in the north of Morocco is a crucial center of commerce and industry (textile mills, refineries, tanneries and soap), thus making crafts and textiles an important part of the city’s past and present economy. The city, whose old quarters are classified world heritage by UNESCO, is a religious and intellectual center as well as an architectural gem. Rabat is the capital of Morocco and is a symbol of continuity in Morocco. At the heart of the city, stands the Hassan Tower, the last vestige of an unfinished mosque. Casablanca Known as the international metropolis whose development is inseparable from the port activity, Casablanca is a major international business hub. -
Title: Location: Date: Artist: Period/Style: Patron
TITLE:Buddha LOCATION:Bamiyan, Afghanistan DATE: C. 400-800 C.E. ARTIST: PERIOD/STYLE: Gandharan PATRON: MATERIAL/TECHNIQUE:Cut sandstone with plaster and polychrome paint. FORM: Details such as facial features and hands were modeled using mud mixed with straw and then coated with stucco and painted bright colors. Stucco is a kind of plaster that is sometimes put on the exterior of houses as a protective coating against the elements. The stucco wore off long ago, but we do know that the larger Buddha figure was painted a deep red and the smaller Buddha was multi-colored with both jewels and copper. The legs were carved in the round which allowed for circumambulation. FUNCTION: The Silk Road comprosed an overland network of trade routes linking China and Central Asia with India and ultimately the Medi- terranean Sea. The Bamiyan Valley’s fertile fields attracted merchants and Buddhist missionaries. Thus between 500 and 750, the region served as both a commercial hub and an important Buddhist spiritual center. CONTENT: The Bamiyan Buddhas served as centerpieces of a flourishing Buddhist community. Both statues manifested the power and piety of their royal benefactors. Visible for miles, they provided pilgrims and merchants with a dramatic reminder to follow Buddhist practices, The two timeless images also marked a momentous development in Buddhist art. The gigantic Bamiyan statues represented Buddha as more than a gifted teacher; he was now presented as a guiding, enduring, and universal spiritual presence. CONTEXT: Bamiyan was situated right on the Silk Route as it went through the Hindu Kush mountain region in the Bamiyan valley of Afghanistan. -
Table of Contents: Lesson Set for “Cities of Light”
TABLE OF CONTENTS: LESSON SET FOR “CITIES OF LIGHT” BASIC LESSONS ENRICHMENT LESSONS INTRODUCTORY ACTIVITIES 1: Vocabulary Lesson 7: Map Activities ● Words and definitions by segment ● Al-Andalus in world/regional history ● Introduction to quotes by experts & ● Al-Andalus the Jewel: geographic characteristics context clues of the Iberian Peninsula 2: Viewers Guide 8: Introduction to the Abrahamic Faiths ● Overview of each film chapter ● Background reading and activity MAKING THE POINT OF THE FILM 3: Reading a Historical Map Sequence 9: Material Culture: Achievements of al-Andalus ● Outline maps showing periods in al- ● Material culture in al-Andalus in text and image Andalus history (sciences, arts, technologies, crafts) 4: Timeline Activity 10: Andalusian Literature [Primary Source ● Tracing the chronology of events and Activity]: periods in Andalusian history ● Poetry highlighting aspects of life in al-Andalus, with analysis (technology, reflections on politics, social life) 5: Discussing the Film 11: Story of the Transfer of Knowledge from the ● Questions for each film segment Ancients to Islamic Spain to Europe 12: Legend vs. History: Will the Real El Cid Please Stand Up? CONCLUDING ACTIVITIES 6: Tolerance and Intolerance: 13: Analyzing Secondary Sources: How Do Conditions and Outcomes Modern Historians Assess the Significance of a. Questions, Flow Charts & Keys Muslim Spain? b. Applying the film’s message to our times ● How do historians view the legacy of Spain ● What lessons can we draw from this legacy? SPECIAL FEATURE: Historical Fiction: The Sword CITIES OF LIGHT Film, website, and curriculum lesson plans made possible with support from Unity Productions Foundation, the U.S. Department of Education Title VI grant awarded to Georgetown University, and the United States Institute of Peace.