The art of calligraphy, also known as "hüsn-i hat" in Islamic culture, involves writing Islamic script in accordance with aesthetic principles. Executed using Arabic letters, this art form emphasizes the aesthetics and meaning of writing. The calligraphers, known as "hattat," adhere to rules to create Imagely pleasing scripts. The essence of calligraphy lies in expressing the aesthetics and essence of writing. Influenced by Islam's emphasis on writing and avoidance of imagery, calligraphy has become one of the most valued forms of Islamic art. This study aims to examine the contributions of the prominent Calligrapher Shaikh Hamdullah, a pioneer of Turkish Calligraphy, to the art through the example of a " thuluth and naskh hadith and poetry panel." Conducted through a literature review, this research delves into the Ottoman calligraphy, aklâm-ı sitte(six scripts), and the Shaikh Hamdullah school, focusing on his muraqqa at the Metropolitan Museum of Art. During the Ottoman era, aklâm-ı sitte styles like thuluth and naskh; muhaqqaq and rihani; tawqi and riq'a, evolved under Hamdullah's influence. His style of naskh calligraphy became the preferred method for transcribing the Quran across the Islamic world, giving rise to the Shaikh Hamdullah School. His contributions encompass Qur'an manuscripts, calligraphic panels, and muraqqas, held in prestigious collections worldwide. The tradition of granting, or certification, has preserved Shaikh's style, allowing his teachings to endure. The discussed artwork, a part of Shaikh's muraqqa album, features thuluth headings and naskh text lines drawn with ink and reed pen on marbled paper. The calligraphy is characterized by its harmonious thuluth and naskh styles, with minimal gold-painted floral motifs and borders. This study provides insights into the Shykh Hamdullah School and its impact on Turkish Calligraphy.

The immigration which took place in the 1930s from Romania to Turkey has significant meaning in the Turkish-Romanian political relations. Following World War I, the socio-economic challenges that the Romanian Turks faced increased substantially. Thus, from the beginning of the 1930s, there was an intense immigration movement from Romania to Turkey. In this period, the Turkish ambassador in Bucharest, Hamdullah Suphi Tanriover made a great effort to ensure the smooth migration of Romanian Turks to Anatolia. After the diplomatic contacts of Hamdullah Suphi with the Romanian Government, the Turkish-Romanian immigration treaty was signed in 1936. The immigration of Romanian Turks was carried out safely under the government protection ensured by this treaty.

Hamdullah Suphi Tanriover successfully had been the head of “Turk Ocagi” for many years and he left a serious impact on Turkish youth with his strong rhetoric. He was a member of very famous family who raised important thinkers and artists. He was born 1886 and died 1966 in Istanbul. He had been a head of “Turk Ocagi” successfully between 1912-1932. He had been an eyes, ears and conscience of of Turkish people outside Turkey. In 1931 with the decision of the Council of Ministers he appointed as first class ambassador to Bucharest and he maintained this position till 1944. In meantime, he closely interested in Turkish people in Romania and Bulgaria. As a first job he brought majority of Gagauz girls and boys to Turkey. Then he led to place them into first, middle and high schools. He traveled Gagauz Turkish towns and villages in Bessarabia and in this region he contributed the opening of 26 schools giving education in Turkish language. He obtained teachers appointment to these schools and brought the textbooks from Turkey for these schools. He also provided an education for 30-40 Gagauz youth in various schools in Turkey. Tanriover’s one of the services in Romania is with special personal effort he led to open a large Turkish martyrdom in Bucharest 6th June in 1935. For over 13 years and after representing the Republic of Turkey in Romania he returned home 5th December 1944.

The National Turkish Party was founded on December 9th, 1919 in Istanbul. The National Turkish Party was founded prior to the 1919 election. In a sense; it aimed at maintaining policies of the National Constitutional Monarchy Party and the movement of Turkism in the period of the armistice and of an occupation and cosmopolitan climate. The party participated in the pre-election work and elections and made some name for itself. The party dissented in opinion from other parties at the National Congress. Abdulhak Adnan (Adıvar), Hamdullah Suphi (Tanrıöver), Mehmet Emin (Erişirgil) and Ahmet Ferit (Tek), party’s nominees, got into parliament in the elections in which the party participated with an independent list. In orderto better understand the cosmopolitan pluralistic capital in a political way, we can consider that a newly established party, which formally adopted “Turkish Nationalism”, was able to win a parliamentary seat in armistice Istanbul. The National Turkish Party was not able to open any branch office except in Istanbul. They tried to explain themselves to the masses through the newspaper İfham. The party sent Ahmet Hikmet and Hamdullah Suphi as delegates to the National Congress. They were in conflict with other political organizations because of not taking a harsh attitude towards the Anatolian movement. The Party was strongly criticized especially by the Freedom and Accord Party circles for supporting the movement of the Union for the Defense of Law as well as centralizing the resistance point in Anatolia under the leadership of Mustafa Kemal Pasha. After the invasion and abolition of the Ottoman Parliament, the party became unable to work in Istanbul. Ahmet Ferit, Dr. Adnan Adıvar, and Hamdullah Suphi, the founders and directors of the party, moved to Ankara and participatedin the Grand National Assembly of Turkey. Thus, the political life of the National Turkish Party ended.

PŪr-i BahĀ (probably Tāj al-dīn, son of Bahā al-dīn) was a contemporary of the Mongol il-khan Abaqa (663–80/1265–82), son of Hulagu, and was closely associated with the family of great statesmen, Juvaynī. He is now a forgotten poet and the information available hitherto has been scarce. Even the most accurate editor of the history of ‘Alā al-dīn Juvaynī forgot to mention Pūr-i Bahā, among the panegyrists of the Juvayni family. Yet Pūr-i Bahā enjoyed a considerable reputation in his day. According to Hamdullah Mustaufā (Tārīkh-i Guzīda, 816) his dīvān was well-known (mashhūr), and Waṣṣāf (see below) readily quoted his verses.

The architectural education process is fundamentally dominated by design studio courses. Their organization remains an open challenge for educators due to the complexity of related factors, such as teaching methods, design topics, assignments and assessments. In particular, the assessment of design studio courses is often a complex procedure, due to the involvement of several jury members with different expertise and their subjective interpretations. In this research, an analysis of the grading discrepancy in architectural juries is proposed. The study aims on quantifying the divergence between the final grades and the marks proposed by each juror. The percentage error was considered as a method for research. The procedure was introduced in the vertical architectural design studio at Alanya Hamdullah Emin Pasa University, Department of Architecture, during the summer semester of 2018.

23 Nisan 1920’de TBMM’nin kurulmasıyla birlikte devlet kurmanın gereği olarak bir İstiklâl Marşı’nın yazılması ve bestelenmesi gerekmektedir. Bu iş için de dönemin Maarif Vekâleti görevlendirilir. Cephede henüz savaş devam etmektedir. Büyük Taarruz daha başlamamıştır. Bütün bunlara rağmen İstiklâl Marşı yazımına gösterilen hassasiyet TBMM tutanaklarından anlaşılmaktadır. 
 TBMM’de İstiklâl Marşı tartışmalarının tümü daha iyi bir metin ortaya çıkmasına yönelik hassasiyet çevresindedir. Hamdullah Suphi Bey, bütün şiirleri okumuş ve ön değerlendirmesini yapmış olmak, peşinden Mehmet Akif Bey’e müracaat etmek suretiyle sürecin yönlendiricisi olmuştur. Muhalif gibi görünen ve itiraz eden milletvekillerinin isteği ehliyetli kişilerden oluşan edebî bir heyetin kurulması ve onların karar vermesi yönündedir. Buna karşılık şiirlerin marş olmadan önce yine heyet tarafından kısmen değiştirilmesini öneren milletvekilleri de vardır. 
 Yarışmaya, Mehmet Akif’in eseri dışında, 724 şiir katılır. Bu eserlerden ilk elemeyi geçen ve TBMM’ye gelen 7 şiir kayda geçer. Diğer metinlere ulaşılamamıştır.

The idea of this book originated in the 4th International Conference of Contemporary Affairs in Architecture and Urbanism ICCAUA2021, held online in Alanya Hamdullah Emin Pasa University in May 2021. It was conceived as an intellectual discourse and a concise compendium of recent research in two parts, first part comprises Architecture and Urban studies with fourteen chapters and the second part contains Heritage and Habitat studies with ten chapters. This provocative collection of essays and contributors is concerned with underlying issues such as ecosystem, architectural history, open and public space, aesthetics of urban planning, livability, urban equity, sustainable development, construction and risk management, urban identity, conservation and regeneration, ethnicity, engagement and gender studies, some with case studies. Each chapter is a free-standing text, but the twenty-four contributions have been grouped to enable cross-reference and comparison. This book is a useful collection of academic resource and discusses some unsolved issues that cities has to face. Dr. Rokhsaneh Rahbarianyazd Alanya HEP University Alanya, Turkey

Architectural education is widely dominated by design studio courses. Their organization and development constitute an open challenge for educators due to the complexity of the participating factors, i.e., teaching method, design topics, assignments, expected learning outcomes, and experimentation. In particular, the organization might be considered as the factor that characterizes the whole process of the design studio course in different forms. In this research, an experimental approach based on 3 project assignments has been proposed for the sophomore design studio courses, as an alternative to the common practice of single project assignment per semester. The procedure aims on proposing a method that allows the students to maintain the organizational schemes of the freshman courses and increase their competences constantly and progressively. The process has been implemented during the fall semester 2019 and applied in the Architectural Design Studio 1 at Alanya Hamdullah Emin Pasa University, Department of Architecture, program in the English language. At the conclusion of the experiment, a questionnaire for the students has been conducted. The paper presents the organizational model proposed, the results of the questionnaire, observations of the lecturer, and discusses the reliability of the proposed method.

XV. yüzyıl, Necâtî, Avnî, Adlî, Mihrî Hatun, Mesihî, Hamdullah Hamdî gibi önemli şairlerin yetiştiği bir devirdir. XVI. yüzyılın sanat anlayışına zemin hazırlayan bu yüzyılın şairleri arasında asıl adı İsmail olan Kemâl Ümmî de bulunmaktadır.Kemâl Ümmî, Anadolu sahasında tekke tasavvuf edebiyatı çizgisinde ilerlemiş mutasavvıf bir şairdir. Şairin, Türkiye’deki kütüphanelerde otuzdan fazla el yazması olan Dîvân’ının dışında müstakil olarak kaleme aldığı eserleri de bulunur. Bunlar arasında Risâle-i Vefât, Risâle-i Îmân ile büyük çoğunluğu şairin Dîvân’ı içinde yer alan Kırk Armağan adlı mesnevisi vardır. Didaktik mesneviler içerisinde kabul edilebilecek olan bu mesnevilerde şair, dinleyen ve okuyan kesimi doğru yola yönlendirecek tavsiyelerde bulunur.Bu mesnevilerden Kırk Armağan, eserin üslubu ve dili yönüyle diğerlerinden daha fazla dikkat çekmektedir. Eser bazı kaynaklarda Kırk Hadis türünün ilk örnekleri arasında gösterilirken bazı kaynaklarda bir hadisin şerhi olarak değerlendirilmiştir. Mesnevide şair, ölümünü isteyen bir adam ile Hz. Muhammed arasında geçen konuşmayı anlatır ve ikisi arasında geçen uhrevi seyahati gözler önüne serer. Bu yolculuk on menzil üzerine kurulmuştur. Her menzilde ölümünü isteyen adamın hazırlaması gereken dörder armağan bulunur. Eser bu sebepten Kırk Armağan adını taşır. Kırk Armağan, 210 beyitten oluşmasına rağmen olay, zaman, kişi ve mekân gibi tahkiye unsurlarının tamamını içinde barındırmaktadır.Çalışmada Kırk Armağan’ın Türkiye’deki kütüphanelerde tespit edilmiş üç nüshası tenkitli metin olarak hazırlanmış, beyitler nesre çevirileriyle sunulmuştur. Metin Eski Anadolu Türkçesinin dil özellikleri bakımından incelenmiştir. Metinde geçen atasözleri, deyimler tespit edilmiş, söz varlığına değinilerek dil araştırmacıları için katkı sunulmaya ve eserin türü konusunda yeni bir görüş geliştirilmeye çalışılmıştır.