Mimarlık Bölümü Koleksiyonu

Permanent URI for this collectionhttps://hdl.handle.net/20.500.11779/1947

Browse

Filters

2015 - 2019122020 - 20249

Settings

COAR Resource Type: search.filters.itemCoarResourceType.text::book::book part

Search Results

Now showing 1 - 10 of 21
  • Book Part
    Citation - Scopus: 1
    From Ceremony To Spectacle: Changing Perception of Hagia Sophia Through the Night of Decree (layla’t-Ul Kadr) Prayer Ceremonies [Book Part]
    (Edinburgh University Press, 2024) Uğurlu, A.H.; Uğurlu, A.Hilal
    After the Hagia Sophia was converted into an imperial mosque by Ottoman Sultan Mehmed II (r. 1451–81), it became a key venue for imperial religious ceremonies. From the sixteenth century until the 1830s, Ottoman sultans customarily performed the Night of Decree prayers at the Hagia Sophia. Although sultans eventually left this tradition and began attending the Night of Decree prayers at other mosques, such as Nusretiye and later Yıldız Hamidiye Mosques, the Hagia Sophia remained significant for Istanbulites. From the 1880s, the court altered the ceremonial decorum at the Hagia Sophia, issuing passes for foreign embassy staff and guests to observe from the upper galleries, with officials explaining the rituals. This period saw an increase in non-Muslim spectators, from tens to thousands. This paper examines the transformation of a religious ceremony into a spectacle by conceptualizing the Hagia Sophia as a showpiece monument, distinct in function from other imperial mosques. It argues that the Hagia Sophia, historically used as a political tool, continued to serve this purpose in a different way between the 1880s and 1932.
  • Book Part
  • Book Part
    Filling in the Blanks
    (Domeine national de Chambord, 2019) Özdemir, Kürşad; Avcı, Ozan; Uzal, Derya; Serdar Köknar, Burcu; Sarısakal, Beril
  • Book Part
    Perform Your Prayers in Mosques!: Changing Spatial and Political Relations in Nineteenth-Century Ottoman Istanbul
    (Intellect Books, 2020) Uğurlu, A. Hilal
    An article published on May 29, 1852, in the Journal de Constantinople reported a new environmental planning project for Istanbul’s Tophane district. A range of shops would be demolished so that the main street could be widened and transformed into a square that ended at the flamboyant main door of the Nusretiye Mosque (1823–26).Tophane Fountain and certain other neighboring fountains would be renovated, and trees would be planted between the boundaries of the Artillery Barracks and the widened mainstreet, to make the Tophane district ‘the most beautiful, pleasant and healthiest promenade of the city. This reported endeavor was only a small aspect of a larger project that began in the 1840s, after the proclamation of the Gülhane Rescript (November 3, 1839), and it was considered a physical extension of Ottoman modernization. Throughout the long nineteenth century, while the urban fabric of the capital was regularized and adjusted to the expectations and needs of the ongoing modernization efforts, novel building types, such as barracks,schools, and railway stations, and new social spaces, such as parks, theaters, and promenades, emerged. Many existing building types and thus the daily routines shaped by them were also affected.
  • Book Part
    “Introduction” in Sacred Spaces + Urban Networks
    (Koç University Research Center For Anatolian Civilizations (ANAMED), 2019) Uğurlu, A. Hilal; Yalman, Suzan
    What is a sacred space? How do we begin to understand the dynamics between religious belief and architectural development? Pilgrimage accounts for Harran, a renowned ancient city of Upper Mesopotamia, help illustrate important points. These travelers from different religious backgrounds reported on the significance of a site in the city. This location was believed to be the temporary dwelling place of Abraham before he moved to the land of Canaan, as stated in the Old Testament (Gen. 12:4–5). Yet, the site’s sacred associations were not limited to the Abrahamic religions. The city was referred to as “the heathen city” by the Fathers of the Church because of the dominant pagan population. An early Christian pilgrim’s account (ca. 381–84 CE) by Egeria, underlines that the location chosen for the church of the city was the “very spot where the house of Abraham stood.” Moreover, she recorded that the pagan people of the city also venerated the same site, which indicates the multilayered meanings attributed to the same location. Centuries later, when a Muslim pilgrim, al-Harawi (d. 1215), visited Harran, he also recorded a site associated with Abraham. This time, however, instead of a residence, it was a rock that Abraham was believed to have sat on while waiting for his flock. What remains unclear is i f this was another “spot” or if the association with the previous sacred site changed over time.
  • Book Part
    “Introduction", in The Friday Mosque in the City: Liminality, Ritual, and Politics
    (Intellect Books, 2020) Uğurlu, A. Hilal; Yalman, Suzan
    The Friday Mosque in the City: Liminality, Ritual, and Politics Explores the relationship between two important entities in the Islamic context: the Friday mosque and the city. Earlier scholarship has examined these concepts separately and, to some degree, in relation to each other. This volume seeks to understand the relationship between them. Inorder to begin this discussion, defining the terminology is necessary. The English term mosque’ derives from the Arabic Masjid, a term designating a place of prostration, whereas the term jami‘,which is translated variously as Friday mosque, great mosque or congregational mosque, originates from the Arabic term jama‘, meaning to gather. The religious obligation for Muslims to congregate on Fridays eventually created an Islamic social code. Similarly, the migration from Mecca to Medina was instrumental in transforming a society based on tribal kinship into a community (umma). The Prophet himself played a vital role in establishing the first congregational space in Medina. Whatever the original terminology that defined it,this space is usually accepted as the prototype of the ‘mosque’ by architectural historians. The distinctions in terminology are important because, according to Islamic legal tradition,the presence of a Friday mosque was an important parameter in defining a city (madina).
  • Book Part
    The Propaganda Power of Urban Views in Selim III's Ottoman Empire
    (Pera Museum Publication 115, 2023) Uğurlu, A. Hilal
    Istanbul, the capital of the Ottoman Empire since the mid-fifteenth century, boasts a rich history of panoramic representations that have captivated artists and patrons alike. From the early years, artists affiliated with the retinue of ambassadors to the Ottoman Empire played a significant role in creating these expansive city views. Melchior Lorck’s 11.27-meters long panoramic view of Istanbul, drawn between 1559 and ca. 1563, is one of the earliest attempts to portray the city accurately and in panoramic format. Lorck was an artist assigned to the entourage of the German ambassador to Istanbul, Ogier Ghiselin du Busbecq. In the eighteenth century, the changing nature of diplomatic relations between the Ottoman Empire and European polities led to an increase in the number of embassies and, consequently, the number of artists appointed to these posts. This increase in artistic activity was reflected in the growing number of city views and topographical landscapes of Istanbul produced during this period. Concurrently, the emergence of philhellenism in Europe, coupled with the proliferation of picturesque travel literature, augmented the attention to the Ottoman lands and its capital.
  • Book Part
    Citation - WoS: 3
    Artifcial Intelligence in Architectural Heritage Research Simulating Networks of Caravanserais Through Machine Learning
    (Routledge, 2021) Varinlioglu, Guzden; Balaban, Ozgun
    [No Abstract Available]
  • Book Part
    Architectural Representation as a Body Without Organs
    (Taylor and Francis, 2024) Avcı, Ozan
    Architectural representation plays a critical role as a creative tool, facilitating dialogue and mediation between designer and design. While traditionally viewed as an objective entity, it holds potential for creative expression. Architectural representation is traditionally associated with objectivity and aesthetic beauty. However, as a design tool, it should also embrace subjectivity. Subjectivity in architectural representation goes beyond the architect’s style or drawings, encompassing the presence of the subject within the representation. At this stage, architectural representation becomes related to bodily experience and every experience has its own deformations. The presence of bodily deformations in architectural representations transforms its rigid body into a body without organs. This “new” body may be defined as “beast” rather than “beauty.” In this chapter, I would like to discuss architectural representation as a body without organs to highlight its emancipatory and participatory characteristics that may trigger creativity within the context of analogue and digital worlds. I would also like to emphasize the relationship between beauty and monstrosity that a bodily deformed architectural representation may create and start a new discussion on the aesthetics of architectural representation. © 2024 selection and editorial matter, Chara Kokkiou and Angeliki Malakasioti; individual chapters, the contributors.
  • Book Part
    Cumhuriyet'in Kadın Mimarları
    (İBB Yayınları, 2023) Aydemir, Ayşe Zeynep; Dadyan, Saro
    Cumhuriyet dönemi İstanbul’unun inşasında kadın mimarların rolünü anlamak için kadınların mimarlık eğitimi almaya başladıkları 1930’lardan itibaren Türkiye’nin mimarlık ortamını etkileyen ekonomik, politik ve kültürel gelişmelere değinmek gerekir. Eğitimli nüfusun ağırlıklı olarak İstanbul’da yaşadığı, yükseköğretime erişimin ayrıcalık olduğu, mimarlık eğitiminin henüz yalnızca İstanbul’da verildiği 1930’larda, toplumsal kimliklerden bağımsız olarak, mimarlık hizmetine yönelik talep genç Cumhuriyet’in kamu yapılarıyla sınırlı kalır. Sivil mimarlık üretimlerine yönelik talep ise mimarların mesleki meşruiyet mücadeleleri ile birlikte 1950’lerde atılan kurumlaşma adımları ile başlar. 1930’lardan bugüne, özellikle erken Cumhuriyet döneminin kamu yapıları; 1950’lerde çok partili dönemle beraber gelişen büyük ölçekli konut ve altyapı projeleri; 1980 sonrası ekonomi politikaları ile artan ticari yapılar ve turizm yapıları sürecin önemli eşikleri ve yapılı çevredeki yansımaları olarak tarif edilebilir.