Ottoman Architecture Research Articles

A Landscape for the Sultan, an architecture for the eye: Edirne and its fifteenth-century royal tower

ABSTRACTThis present essay is about the visibility properties of Early Modern Ottoman architecture and its contribution to the formation of a politically and culturally significant landscape. By using the royal tower of Edirne (Cihannüma Kasri), a structure of the mid-fifteenth century, as a case study, the impact of architecture in the visualisation of the cultural and political meanings of Ottoman urban and rural landscape is explored in an effort to reveal the interconnections between architectural design and landscape during the Early and Classical Ottoman Period (fifteenth– sixteenth centuries). This task is assisted by a variety of imagery that narrates the history of the royal tower as well as its interconnection with other aspects of its built and natural environment, thus visualising a unique assembly of meanings and spatial properties. Furthermore, this view is related to comparable developments in Renaissance Italy, thus seeing the relevant Ottoman developments within the context of wider socio-economic changes in the fourteenth– fifteenth-century Mediterranean.

İmaret Kavramı Üzerinden Erken Osmanlı Ters T Planlı Zaviyeleri İle Aşhanelerin İlişkisi: Osmanlı Aşhanelerinin Kökenine Dair Düşünceler

THE RELATIONSHIP BETWEEN EARLY OTTOMAN MULTIFUNCTIONAL BUILDINGS AND SOUP KITCHEN OVER IMARET CONCEPT: THE THOUGHTS ON THE ORIGINS OF OTTOMAN SOUP KITCHEN This article examines two building types which were known as “imaret” in early Ottoman period. The first type “Reverse T Type Building” is a multifunctional building. According to first Ottoman’s chronicle Asikpasazade these multifunctional buildings are one of the earliest examples of the Ottoman Architecture. The second type which is called as soup kitchen was used to provide food for guests, poor people, travelers and people who worked in these building complexes. In Turk and Islamic societies some buildings were used for the food distribution. However is it not clear the similarity between Turk-Islamic and Ottoman soup kitchen. Due to the difference between Turk-Islamic and Ottoman distribution process, Ottoman soup kitchens are might be seen as unique buildings. Evliya Celebi who traveled in 18 countries for 51 years mentioned about the inexistence of the Ottoman type of imaret in the other countries. According to writer of this article it is not a coincidence the apearance of these two building at the same time and the using of same term for both. In order to proof that the food distribution in old Turk traditions have been investigated. Moreover it is also focused how this traditions was trasnfered to Ottoman culture. Also it is studied that who might stay in these multifonctional buildings and explained which plan type was used for the first Ottoman soup kitchen. Keywords: Reverse T Type Building, Soup Kitchen, Hospice, Architecture, Ottoman

Uç Şerefeli Mosque in Edirne and its place in the Ottoman architecture

Scholars identify “the Edirne epoch” in the historiography of the Ottoman Empire as the period when this Thracian city served as the state’s European capital. Despite the brevity of the period and the small size of the city it hosts architectural monuments which became standards for the whole of Turkish architecture. The Uc Serefeli mosque (1447) was at once the culmination of many currents pursued by early Ottoman architects and craftsmen using developments from surrounding Anatolian principalities and establishing the foundations of the future composition of the “great Ottoman mosque”. In addition, the design features of the building demonstrate the fundamentally new possibilities of Muslim architecture. However, this grand structure is clearly designed to suit more than the ritual needs of Edirne and the typology does not correspond to the traditional Ottoman “conciliar” mosque (ulu cami). What is the actual location of the monument in the history of Ottoman architecture? Does it complete an early stage in the evolution of architecture or open a new one?

The Unknown Craftsman Made Real: Sopon Bezirdjian, Armenian-ness and Crafting the Late Ottoman Palaces

Sopon Bezirdjian (1839-1915) was an Armenian subject of the Ottoman Empire, born in Constantinople. He spent his earlier professional life designing the decorative programs for the palaces of Sultan Abdülaziz (r.1861–76), such as Beylerbeyi (1865) and Çırağan (1871), which were built under the management of the architect Serkis Balyan. This essay draws attention to legacy of Sopon, which has been virtually written out of the historiography. In contrast to recent interpretations that foreground cosmopolitanism, this essay stresses the Armenian nature of the teams that were responsible for these works of the 1860s to 70s and starts to place the role of Sopon within these teams. It also, through looking at Sopon’s archive of drawings, investigates Sopon’s engagement with his Ottoman, Armenian and the European (he moved to England around 1880) sides to his identity and shows how Armenian aspects were increasingly coming to the foreground as political strains increased. This essay puts forward the case for the highlighting the Armenian-ness behind the crafting of late Ottoman architecture and for the centrality of this working milieu to later communal transformations.

English

English

How Global Is Ottoman Art and Architecture?

Halil Bey, an Ottoman diplomat working at the Ottoman Embassy in Paris from 1865 to 1868, frequented the famous salons of Paris organized by beautiful ladies who were also courtesans of the Second ...

Planning of Functional Spaces in Ottoman-Period Hospitals (Darüşşifa) of Anatolia

The rediscovery and thorough understanding of historic design strategies and characteristics of functional space developments that reflect the society and region in which people live are important in appreciating building preservation and the reuse of traditional buildings. This has contributed to their survival down the centuries. Although written sources frequently refer to the plans, sections, elevations, and decorative features of fifteenth- and sixteenth-century Ottoman hospitals, they hardly discuss the original functions of the spaces and their relation to the functional systems and to the staff working in those hospitals, as specified in their waqf deeds. Therefore, throughout this article, functional space development in Ottoman-period hospitals of Anatolia and the possible factors affecting them have been examined and carefully evaluated. The evaluations have shown that, in fifteenth- and sixteenth-century Anatolian hospitals, the functional programme, spatial composition, and location selection has been wisely planned as an ideal model of Ottoman architecture.

A British Touch on Tanzimat: Architect William James Smith

This article examines the life and works of British architect William James Smith and outlines his contributions to nineteenth century Ottoman architecture and presents his prominence as an architectural historian of nineteenth century British architectural work.

Assessment and rehabilitation of the damaged historic Cenabı Ahmet Pasha Mosque

Historic structures form a very important part of our cultural heritage and are supposed to be preserved properly. Therefore, full comprehension of the structural behavior of historic structures is of prior importance. In this study, a damaged single domed mosque of 16th century classical Ottoman Architecture has been investigated. Serious damage was recorded at various locations and structural elements including the dome and the structural masonry walls, as a result of which the structure was recently closed to worshippers and visitors. The mosque was constructed in the 16th century on silty–clay soil. Due to local drought conditions in the last couple of decades, the water table has changed excessively, causing soil displacements that have especially affected the masonry structure. The main objective of the present study is to explore the reasons for the structural damage and to propose a rehabilitation method suitable for the amelioration of the observed damage. The results of the structural analyses conducted have been compared with the observed damage and some rehabilitation methods have been proposed accordingly. These methods include mini-pile application proceeding as far as the firm soil (rock) in order to prevent the soil displacement. Furthermore, as the cracks on the masonry walls would be repaired using materials that would be in conformity with the structure's historical texture, it has been proposed that a steel ring be fitted suitably around the damaged dome's base in order to contain further propagation of cracks.

A BRITISH TOUCH ON TANZIMAT: ARCHITECT WILLIAM JAMES SMITH

This article examines the life and works of British architect William James Smith and outlines his contributions to nineteenth century Ottoman architecture and presents his prominence as an architectural historian of nineteenth century British architectural work.

Gate of the Treasury of Istanbul Dolmabahçe Palace in the Context of Palace Architecture in Westernization Period

Gate of the Treasury of Istanbul Dolmabahçe Palace in the Context of Palace Architecture in Westernization Period

Forma i značenje u arhitektonskoj teoriji

Often architectural theory has been articulated on prescriptive views about what architecture should be, rather than on views formulated from historical experiences and examples of architecture. In this paper I will try to offer readings of architectural form by looking at a historical example from classical Ottoman architecture and at contemporary examples, to show how different architectures treat form. In examples taken from Sinan's architecture, symbols are investigated in relation to movement, to urban settlement, to religion and power. It is hoped that this analysis will offer an understanding of how the significance of architecture in human experience and in the urban context goes beyond structure and function

THE FLORAL AND GEOMETRICAL ELEMENTS ON THE OTTOMAN ARCHITECTURE IN RHODES ISLAND

The Ottomans had inherited the decorative elements preceding them, and did not contendwith such extent, but had developed and created at each of the Floral, geometric and writingadornments. The key features distinguishing Ottoman architecture in Rhodes (1523-1912AD)are the ornamental richness and the attention paid to the decorative side had beenincreasingly growing. Through what had reached us of the Ottoman period constructions, itwould be apparent to us the tendency to decoration and that such decorative material hadlargely varied. Such ornaments had been represented in a number of types:* Floral ornaments* Geometrical ornaments.

Incredible Ottoman Projects

When the term Ottoman architecture is used, the immediate image that comesto mind is that of the multitudes of mosque and religious buildings in Turkeyand the Ottoman Empire. One with a more in-depth knowledge of this fieldmay think of the prolific architect Sinan (d. 1588) and his hundreds of purpose-built works. However, this is not another book on Ottoman mosquesand pious foundations, but rather a focused collection of the empire’s oftenoverlookedcivic works, some of which demonstrate engineering innovationsin design. The empire’s geographical proximity to Europe gradually causedit to look westward for aspiration and engendered a palpable reflection ofEuropean influence in those of its architectural and infrastructure designsthat were the result of commissioning European experts to keep Istanbul andthe empire abreast of the latest innovations.This book is divided into thirty-five short sections, ranging from two tofourteen pages each, that consider particular urban, architecture, or infrastructuralinitiatives. Each section bears the name of the project in question, whichis amply illustrated with historical drawings (i.e., maps, urban plans, perspectivesrendered in watercolor, sections, and structural details), historical photographs,and relevant textual documents. However, almost no attempt hasbeen made to connect them to each other or to a larger thesis. And despite theintroduction’s portrayal of a wealthy, powerful, and vast empire with imperialinvestment in built innovations to improve the city, no indication is given asto the variety and breadth of the projects to be covered.An in-depth history of each one’s initiation is outlined, often revolvingaround an enlightened Ottoman sultan or an equally enlightened and forwardthinkingEuropean architect, urban planner, or engineer with occasional internationalbacking. The majority of these projects were never completed due tosuch international crises as war, natural disasters (e.g., earthquakes), the lack ...

Sinan’s Ambivalence

Sinan’s Ambivalence: The Triangular Design of the Süleymanıye Schools Complex in Istanbul interrogates the anomalous configuration of the Süleymanıye schools, including the unorthodox angular Dar-ul-Hadith, the largest and most important Ottoman educational institution, designed by the great Ottoman master-builder Sinan in 1548–59. The Süleymanıye, as Yasir Mohammad Sakr demonstrates, is not a mere adaptation of preexisting symmetrical school models to contextual contingencies, as historians have contended. Rather, the Süleymanıye and its seeming anomalies are a function of the architect’s own relentless retrospection, repeatedly reinterpreting and opposing the very types that he initially created during the same design process. Sinan synthesized the idealized Ottoman planning patterns with a vigorous fragmentation and dispersal of its functional and symbolic elements to create an innovative hybrid typology for the Süleymanıye schools, especially the Dar-ul-Hadith. The study concludes that the triangular Dar-ul-Hadith is not a residual, ad hoc space as commonly perceived. It is the key to formulating the Süleymanıye master plan, which the author defines as a powerful symbolic scheme monumentalizing the new social arrangement by Sinan’s patron, Süleyman the Magnificent. Thus, far from the negative association usually attached to the notion of “ambivalence,” Sinan’s design practice presents it as a viable alternative approach for the history of Ottoman architecture.

نصوص جديدة حول القلاية البطريركية بحارة الروم

The aim of this paper is to introduce and edit texts about the residence of the Coptic Orthodox patriarchs at Ḥārat al-Rūm in Cairo. These texts might contribute to reconstruct the troubled and, sometimes, contradictory narratives of the residence(s) of the Coptic patriarchs in Cairo. On the other hand, they shed light on the archeological details of an important building in Ottoman Cairo, which is the residence of the Coptic patriarch at Ḥārat al-Rūm; how this residence was prepared and equipped. These details might be useful for those who study the Ottoman architecture. Since it was the residence of the leader of a religious community, one of the questions that could be posed is: was there, what so called, a Coptic architecture in the Ottoman period? If yes, what were its elements and characteristics? If no, it could be an affirmation of certain social and historical studies assumptions, which suggested that a new cultural norm was drawn, a process in which religion did not play an important role.

An Analysis of xix th Century Ottoman Garden Culture: Garden Kiosks

Abstract Ottoman Architecture, especially after Tulip Era, started to develop in a different direction. Architectural works formed during this period reflected this change in a very remarkable way. The purpose of this study is to shed light on the architecture of this period by creating a comprehensive assessment of garden kiosks built during the XIX th century as important elements of Ottoman garden architecture. It is accepted that garden kiosks were built in order to carry on the tradition of gardening in Ottoman society. The architectural attitude of the period is reflected in all details of garden kiosks and increasing the number of the examples plays an important role on shedding light on Ottoman garden architecture and history of architecture.

HASSA MİMARLAR OCAĞI ve MİMAR SİNAN

This study broadly handles Ottoman Guild of Architects and specifically famous chief architect Sinan who maturated in this organisation and left his mark on Ottoman Architecture. Architecture in Ottoman State is seen as a tool of making products which are identity manifestation just like other branchs of art. The organisation that undertakes whole formal building and restorage works of the state is Ottoman Guild of Architects. This organisation is one of the most important and indispensable schools of the palace. The brilliant youngsters who commonly selected from Janissaries, among palace artists or from out of the palace were maturated in relation of expert-apprentice, taking the theoretycal and practical courses in the organisation. One of the greatest architects who maturated in is Ottoman Guild of Architects is Sinan. Sinan’s adventure of being chief architect was a way from carpentry to be chief architect. Seeing lots of countries like Iran, Iraq, Dalmatia and Central Europe might raise him capability. In this study we mentioned the manuscripts which deal with informations about Sinan's products that range over different regions of the State.

Learning Architectural History by Movie Making: Ottoman Architecture

This paper describes collaboration among Architecture, Modern Arts as Movie Making and History. Creating a movie of one problematic of Ottoman Architecture by using the Knob's experimental learning theory, was given to students on the upper- graduate lecture titled Civilization and Cultural History of Ottoman Empire of the History of Theory of Architecture Upper- graduate Program on the Department of Architecture, Yildiz Technical University.Thus, the paper will have not only the process of a movie making, but also make searches on Ottoman history and architecture and put their ideas through and discuss their ideas in a group by using the experimental learning theory.

PHOTO REALISTIC 3D MODELING WITH UAV: GEDİK AHMET PASHA MOSQUE IN AFYONKARAHİSAR

Abstract. Many of the cultural heritages in the world have been totally or partly destroyed by natural events and human activities such as earthquake, flood and fire until the present day. Cultural heritages are legacy for us as well; it is also a fiduciary for next generation. To deliver this fiduciary to the future generations, cultural heritages have to be protected and registered. There are different methods for applying this registry but Photogrammetry is the most accurate and rapid method. Photogrammetry enables us to registry cultural heritages and generating 3D photo-realistic models. Nowadays, 3D models are being used in various fields such as education and tourism. In registration of complex and high construction by Photogrammetry, there are some problems in data acquisition and processing. Especially for high construction's photographs, some additional equipment is required such as balloon and lifter. In recent years The Unmanned Aerial Vehicles (UAV) are commonly started to be used in different fields for different goals. In Photogrammetry, The UAVs are being used for particularly data acquisition. It is not always easy to capture data due to the situation of historical places and their neighbourhood. The use of UAVs for documentation of cultural heritage will make an important contribution. The main goals of this study are to survey cultural heritages by Photogrammetry and to investigate the potential of UAVs in 3D modelling. In this purpose we surveyed Gedik Ahmet Pasha Mosque photogrammetricly by UAV and will produce photorealistic 3D model. Gedik Ahmet Pasha, The Grand Vizier of Fatih Sultan Mehmet, has been in Afyonkarahisar during the campaign to Karaman between the years of 1472–1473. He wanted Architect Ayaz Agha to build a complex of Bathhouse, Mosque and a Madrasah here, Afyon, due to admiration of this city. Gedik Ahmet Pasha Mosque is in the centre of this complex. Gedik Ahmet Pasha Mosque is popularly known as Imaret Mosque among the people of Afyon. Gedik Ahmet Pasha Complex is a foundation. For this reason all its expenses are recorded. Furthermore renovations of all buildings in this complex are placed on them with a inscription. According to records and inscriptions The Imaret Mosque has been restored several times. The two significant of these restorations were made after the earthquakes in 1668 and 1792. Lastly, after the renewing lead plating of domes in 1969, the Mosque has gotten its current final situation. The dimensions of Mosque are 29.20 x 35.40 in meter and it has built by a plan of inverse capital (T). There are two domes covering the main worship and it is one of the most important examples of Ottoman architecture with three of dome both side in direction of east to west. At the north side of the Mosque, there is a place for last congregations with five domes. Minaret is at the north-east side of the mosque. It has got one balcony (surrounding the minaret) and has been structured by cut stone with a shape of fluting. It has been covered by dark blue tile between these flutings. The main gate of mosque is made of pen inlaid marble. It is aimed to survey Gedik Ahmet Pasha Mosque photogrammetricly and to model it in 3D photo-realistic. In this study, South NTS-352 Total Station is used to constitute a closed polygon with 8 point. We used 350 ground control point in the field study. It is made levelling to measure elevation of polygon points. For photographs, we used Canon A 180 camera and UAV. Photomodeler software is used to process both camera's and UAV's photographs independently. The facades of mosque are derived and all 3D models of Mosque were merged. This merged model is covered with high resolution photographs for obtaining 3D photo-realistic models of Gedik Ahmet Pasha Mosque.