Suchergebnisse

The article presents a general picture of the development of architecture of the Ancient World in the 3nd - 1st millennium BC. identified three main style-making cultures of the Mediterranean (Egypt, Mesopotamia with the Levant, the Aegean world with Antalya) which were formed in 3 thousand BC. and changing trends in the development of their architecture, the birth of the facade composition and its change from plane to spatial, which, according to the author, reveals historical development through architectural form – socio-cultural, worldview changes. At the level of 3 thousand BC. it is possible to state formation of a theme of a monumental portal: in Egypt and in the Mesopotamia. But meaningful construction of the facade, the creation of a presentable facade composition has not yet taken place. from the middle of 2 thousand BC in Egypt and Assyria, symmetrical planar façade compositions were formulated (paired pylons in the temple in Egypt and paired towers at the entrance arch portal in palaces and citadels in Assyria and the Hittites). This architecture stops the visitor not only in its form: small entrance opening against the dominant deaf array presents secrecy, remoteness and elitism of the content of the building. Instead, the traditions of secular open facade with a two-column loggia on the facade denote the megarons of the acropolises of the Aegean world and a bit-hilani house. An echo of such traditions can be considered two-column facades of Georgian traditional folk housing darbazi, which can be considered as characteristic of the region not only of the Caucasus. It should be noted as a change in the ratio of the area of the opening to the plane of the facade indicated the degree of elitism, esoteric or vice versa - democracy of a society and a certain type of building. It is established, as after long stagnation of development and conservation of achieved ideals in schemes of facade compositions noticeable changes occurred around 6-5 centuries. BC, when both in the Aegean region and in Antalya and Persia the formation of the composition of the open facade took place in monumental elite and sacred architecture. Mediterranean architecture opens up, becomes public, social, humane - it is time to form the space of a secular public city square surrounded by columned symmetrical portico facades - time of antique classical architecture. ; В статті представлена узагальнена картина розвитку архітектури стародавнього світу 3 - 1 тис. до. н. е., виявлено три основні стилетворчі культури Середземномор'я (Єгипет, Міжріччя, Егейський світ) та відзначено зміни тенденцій розвитку їх архітектури, становлення фасадної композиції та її зміни від площинної до просторової, що на думку автора виявляє через архітектурну форму історичний розвиток – зміни соціально-культурні, світоглядні.

Mosques are not only a place for worship, but also a spiritual space in which Muslims can seek their creator in solitude and reach an internal peace. From the early days of Islam until the present time, mosques have undergone many changes in terms of appearance, spatial characteristics and organization of space. Since investigation and analysis of all the mosques in world is not possible, the researcher had to limit the research to the Iran capital city (Tehran) for a more precise study. Nine mosques in Tehran were selected as the case study in the present research. Their spatial characteristics were investigated based on the charateristics of Iranian mosques in the modern and contemporary periods (1796- 2015 AD). In the first chapter, the history of different religions in the world is studied. Abrahamic religion has the most followers in the world. Islam is the last Abrahamic religion that exists in the world. The research was conducted using literature survey, field observations and comparison of case studies. Thus, it has employed a qualitative methodology for its purposes. A limitation of this study was to evaluate the spatial characteristics of Iranian mosques and factors affecting their design within the limited time duration of 150 years. Tehran was selected as a case study in this research and nine mosques were randomly surveyed. General theoretical explanations about mosques around the world are presented in the second chapter. Accordingly, different types of religions are firstly studied. Finally, the spatial characteristics of mosques including, elements, spaces and ornaments are explained. In the third chapter, the effective factors on the spatial properties of Iranian mosques including architectural styles, Iran's different historical periods, government, politics and Iranian culture are studied in the first part. In the second part, the spatial changes occurred in the modern and contemporary Iranian mosques including elements, spaces and ornaments are studied. The fourth chapter of this study is related to the analysis of and discussion on existing mosques in each category. In the category of early modern mosques (1879-1963), the architecture of Qajar (1879) and first Pahlavi (1925) periods are analyzed. Also in the category of High modern period (1963- 1998), the architecture of second Pahlavi (1963) and early period of the Islamic Republic (1979) are studied. Finally, in the category of contemporary mosques (1998- 2015), the architecture of mosques in the Islamic Republic are discussed. In each category three mosques are randomly selected and discussed. In the fifth chapter, which is the conclusion section, the analyses conducted in each main category are compared, and at the end, their impacts on the mosque's architecture are expressed. This study showed that there is a great dynamism in the mosque architecture during last 150 years and Iran is divided into three categories: Early Modern era that is from the mid Qajar, by changing the design of traditional mosque plan, construction of mosques at the beginning of first Pahlavi inclined more toward modernization. High Modern era, that in second Pahlavi reign, Islamic architecture in a novel form has emerged in modernism. With the beginning of the Islamic Republic mosques had a tendency toward traditionalism. In Contemporary era, which in Islamic Republic mosques are more updated and tailored to social needs and new functions. This study shows that there is a great dynamism in mosque architecture in last 150 years. Although the main requirments of a mosque is still the same changes in aesthetic understanding, building techniques and materials and same other factors have resulted with brand new mosque appearances in Tehran, Iran. Keywords: Mosque architecture, spatial characteristics, Modern and Contemporary Mosque, Ornamentation and Iranian Mosques. ; ÖZ : Camiler sadece ibadet için bir yer değil aynı zamanda manevi bir boşluk ki orada müslümanların yalnız olarak tanrı ile kalarak iç huzura ulaşırlar.islamın bilinen ilk dönemlerden itibaren bu güne dek camilerin mekansal özellikleri mekan organizasyonları görünümü açısından pek çok değişiklik gerçekleştirmiştir.Dünyadaki bütün camilerin araştırma analizi mümkün değildir. Araştırmacıların iran başkenti Tahran ile sınırlı kalmak koşuluyla yaptığı araştırma daha kesin bir çalışmadır. Tahranda bu arastırmada 9 cami seçilerek durum çalışması yapılan modern cağdaş dönemlerde iran camilerinin manevi özellikleri esas alınarak incelenmiştir.(1796-2015 AD) İlk bölümde dünyadaki dinlerin tarihi incelenmiştir.Dünyadaki her dinin kendi ibadet yerleri vardır.Dünyada en çok ibrahim dininin takipçileri vardır. İslam dini dünyada var olan en son ibrahim dinidir. Cami islam takipçileri tarafından belirli bir binada islam takipçileri tarafından ibadet ve dua için kullanılır. Bu çalışmanın amacı İranda 1796-2015 tarihleri arasında işaa edilen camilerin iç tasarımı ve manevi özellikleri karşılaştırarak analiz etmektir. Bu çalışma iran camilerinin manevi özelliklerine odaklanarak modern ve çağdaş dönemlerdeki dizayn edilen tahrandaki camileri etkileyen diğer faktörler araştırılmıştır.Bu araştırma literatür Çalışması kullanılarak gerçekleşti, aln gözlemi ve olay çalışması karşılaştırıldı. Böylece onun amaçları için niteliksel bir metodoloji üzerinde çalışıldı.Bu çalışmada sınırlı olarak İran camilerinin mekânsal özelliklerinin değerlendirilmesi ve 150 yıllık sınırlı zaman dilimi içerisinde dizaynını etkileyen faktörler ele alındı . Tahran vaka çalışması olarak bu araştırmada seçildi ve 9 cami rastgele seçilerek araştırıldı. Dünyadaki camilerin teorik açıklamaları ise ikinci bölümde mevcuttur. Buna bağlı olarak değişik dinler ilk olarak çalışıldı. 3. Bölümde ise iran camilerindeki mekânsal eşyaları mimari stilleri açısından etkileyen faktörler ele alınarak, iranın değişik tarihsel dönemleri ,yönetimi ,politika ve iran kültürü ise birinci bölümde çalışıldı. Camiler ile bireysel incelendi ve daha sonra he rsınıflandırma sonunda analiz edilip karşılaştırıldılar.Erken modern cami kategorisi(1879-1963) QAJAR Mimarisi(1879) ve Birinci pahlavi(1925) dönemleri analiz edildi.Bununla birlikte yüksek modern dönem kategorisi(1963-1998), 2. Pahlavi mimarisi(1963)ve islam cumhuriyetinin erken dönemi(1979) çalışıldı.Son olarak çağdaş camiler kategorisi(1998-2015) , islam cumhuriyeti cami mimarisi atrtışıldı.Her kategoride 3 tane rastgele cami seçilerek tartışılmıştır.5. bölüm; sonuç bölümü olarak analiz edilen her esas kategori karşılaştırıldı ve son olarak da cami sanatının etkileri ifade edildi.Bu çalışma gösteriyor ki cami sanatına karşı son 150 yılda büyük dinamizim gösterildi ve iran 3 kategoriye ayrıldı.Erken modern çağın ortalarından itibaren Qajar, camilerin dizaynını geleneksel plana göre değiştirilerek, birinci pahlavinin başlamasıyla camilerin inşaasında modernleşmeye doğru eğilim göstermiştir.Yüksek moden çağı ise ikinci pahlavi saltananı yeni bir formda islam mimari modernizmini ortaya çıkardı.İslam cumhuriyet camilerinin başlamasıyla ,gelenekselciliğe doğru bir eğilim başladı. Çağdaş dönemde islam devleti camileri güncellenerek daha da modernize edildi ve sosyal ihtiyaçlar için uygun hale getirilerek yeni fonksiyonlar kazandı.Bu çalışma gösteriyor ki cami sanatına karşı son 150 yılda çok büyük dinamizimler ortaya çıktı.Bununla birlikte camilerde esas gereklilikler hala daha ayni ve estetik anlayış , inşaat teknikleri ve materyalleri, diğer ayni faktörler sonucunda İran-Tahranda yeni cami görünümü oluştu. Anahtar Kelimeler: Cami mimarisi , mekânsal karakteristikler , Modern ve çağdaş cami , süsleme ve iran camiler. ; Master of Science in Interior Architecture. Thesis (M.S.)--Eastern Mediterranean University, Faculty of Architecture, Dept. of Interior Architecture, 2015. Supervisor: Assoc. Prof. Dr. Asu Tozan.

The Neo-colonial style in the Mexican architecture of the 20th century is a subject that has not been explored in depth, even though it has had a very singular development built through 3 phases: the post-revolutionary educational work, the houses of the post-revolutionary wealthy bourgeoisie in Mexico City and the architecture in California. This thesis focuses on the first examples of Neo-colonial architecture identified in buildings in the education sector built by the Constructions Department of the Secretariat of Public Education (SEP, its acronym in Spanish) between 1921 and 1924. The architecture that the SEP supported had a solid reasoning but complicated reading. It is understandable since it was communicating channel of that historic moment (Mexican Revolution), the non-conformist ideologies generated during the Porfiriato, the modern education and architecture theory, as well as the educational project which justified its existence. In addition to this, the Neo-colonial style became the ideological container for nationalism and the identity that it intended to conform to. Although, the need to look for an architecture that stands alone without following foreign models was a request given at the end of the 19th century, the perfect justification for this change came with the revolutionary movement, by the relevance of creating architecture that was more closely identified with the majority of the population; by this reason it can be considered a post-revolutionary architecture. José Vasconcelos is a key character for understanding the work that took place, as Public Education Secretary defended and dictated the requirement to build in a Neo-colonial style, understandable due to his involvement in the "Ateneo de la Juventud" (Youth Athenaeum). The SEP was organized into three new Directorates: Schools, Libraries and Fine Arts; and they had a Constructions Department that innovated the structure and the government granted permissions to the public servants in charge of the national education system, so they could provide appropriate spaces for schools. The Constructions Department faced to the difficult task of interfacing with the Neo-colonial style and the new theories around its architectural work with an architecture that was more social and inclusive, as well as to planning spaces that were consistent with the building's purposes, One of the challenges, was design scientifically for labs and workshops with machines and the activities carried out in those spaces required lighting and hygiene. At the same time, building in Neo-colonial style not only meant rethinking the models of space distribution and formal elements of the building constructed in the past three centuries when Mexico was a Spanish colony, but also to praise the more evident and identifiable architectonic aspects with the surroundings of the majority of the habitants of Mexican cities and in that way build an architectonic imaginary, a more "mexican" architecture and as ostensible revolutionary message the architecture was used as pedagogical element complemented with visual arts like muralism and sculpture. In sum, the national and the modern aspects are strategic goals and the other aspects become subordinated to them. Vasconcelos' contribution in the architecture field was to accept as a revolutionary ideal the arrival of architecture for the Mexican people that stands alone, carried out by local professionals, from wich later emerged a new generation of young architects that would change the course of the modern Mexican architecture ; El estilo Neocolonial en la arquitectura mexicana del siglo XX es un tema poco explorado, aunque ha tenido un singular devenir y transitó por tres momentos: la obra educativa posrevolucionaria, las casas habitación de la burguesía posrevolucionaria con alto poder adquisitivo en la Ciudad de México y la arquitectura realizada en California (de ahí que se le llamara estilo californiano). La presente tesis se aboca a los primeros ensayos de este estilo, identificados en edificios del sector educativo y materializados por el Departamento de Construcciones de la Secretaría de Educación Pública (SEP) entre 1921 y 1924. La arquitectura que auspició la SEP tuvo un discurso sólido pero de complicada lectura, al ser vaso comunicante del momento histórico (la Revolución Mexicana), las ideologías contestatarias generadas en el Porfirismo, las teorías modernas en materia de educación y arquitectura, así como el proyecto educativo el cual justificaba su existencia. Aunado a esto, el estilo Neocolonial se convirtió en el recipiente ideológico del nacionalismo y la identidad que se pretendía conformar. Aunque la necesidad de buscar una arquitectura propia sin seguir modelos extranjeros fue una demanda que a finales del siglo XIX se dio, el cambio se logró en el propio movimiento armado por la pertinencia de hacer arquitectura más identificada con la mayoría poblacional; por lo tanto se puede considerar una arquitectura posrevolucionaria. José Vasconcelos es un personaje clave para entender la obra realizada, ya que como Secretario de Educación Pública defendió y dictó el requisito de construir en estilo Neocolonial, comprensible por su participación juvenil en las filas del Ateneo de la Juventud. La SEP se fundamentó en tres nuevas Direcciones: Escolar, Bibliotecas y Bellas Artes a las que se les creó un Departamento de Construcciones, innovando los esquemas y atribuciones que el gobierno confería a los encargados de la educación nacional, con la función de proveer de espacios escolares adecuados. El Departamento de Construcciones se enfrentó a la difícil tarea de congeniar el estilo Neocolonial y las nuevas teorías alrededor de su quehacer arquitectónico con una arquitectura más social e incluyente, así como proyectar espacios coherentes con la actividad propia del edificio. Uno de los retos fue diseñar científicamente para laboratorios y talleres con máquinas en inmuebles ya erigidos, por lo que utilizaron nuevas técnicas constructivas para lograr espacios con buena iluminación e higiene. A su vez, construir en estilo Neocolonial no sólo significaba repensar los modelos de distribución espacial y elementos formales de los antiguos edificios construidos en los tres siglos de colonización española, sino exaltar los aspectos arquitectónicos más evidentes e identificables con el entorno de la mayoría de los habitantes de las ciudades de México y así construir un imaginario arquitectónico, una arquitectura más "mexicana". Así también, al ostentar un mensaje revolucionario, la arquitectura se orientó como un elemento pedagógico, complementado con artes plásticas como el muralismo y la escultura. En síntesis, lo nacional y lo moderno fungieron como metas estratégicas a cuyo tenor las demás adquirieron un sitio subordinado. La aportación de Vasconcelos en el ámbito de la arquitectura fue asumir como ideal revolucionario arribar a una arquitectura propia, realizada por profesionistas autóctonos, de los que emergieron jóvenes arquitectos que posteriormente cambiarían el rumbo de la arquitectura moderna mexicana. ; Postprint (published version)

The Neo-colonial style in the Mexican architecture of the 20th century is a subject that has not been explored in depth, even though it has had a very singular development built through 3 phases: the post-revolutionary educational work, the houses of the post-revolutionary wealthy bourgeoisie in Mexico City and the architecture in California. This thesis focuses on the first examples of Neo-colonial architecture identified in buildings in the education sector built by the Constructions Department of the Secretariat of Public Education (SEP, its acronym in Spanish) between 1921 and 1924. The architecture that the SEP supported had a solid reasoning but complicated reading. It is understandable since it was communicating channel of that historic moment (Mexican Revolution), the non-conformist ideologies generated during the Porfiriato, the modern education and architecture theory, as well as the educational project which justified its existence. In addition to this, the Neo-colonial style became the ideological container for nationalism and the identity that it intended to conform to. Although, the need to look for an architecture that stands alone without following foreign models was a request given at the end of the 19th century, the perfect justification for this change came with the revolutionary movement, by the relevance of creating architecture that was more closely identified with the majority of the population; by this reason it can be considered a post-revolutionary architecture. José Vasconcelos is a key character for understanding the work that took place, as Public Education Secretary defended and dictated the requirement to build in a Neo-colonial style, understandable due to his involvement in the "Ateneo de la Juventud" (Youth Athenaeum). The SEP was organized into three new Directorates: Schools, Libraries and Fine Arts; and they had a Constructions Department that innovated the structure and the government granted permissions to the public servants in charge of the national education system, so they could provide appropriate spaces for schools. The Constructions Department faced to the difficult task of interfacing with the Neo-colonial style and the new theories around its architectural work with an architecture that was more social and inclusive, as well as to planning spaces that were consistent with the building's purposes, One of the challenges, was design scientifically for labs and workshops with machines and the activities carried out in those spaces required lighting and hygiene. At the same time, building in Neo-colonial style not only meant rethinking the models of space distribution and formal elements of the building constructed in the past three centuries when Mexico was a Spanish colony, but also to praise the more evident and identifiable architectonic aspects with the surroundings of the majority of the habitants of Mexican cities and in that way build an architectonic imaginary, a more "mexican" architecture and as ostensible revolutionary message the architecture was used as pedagogical element complemented with visual arts like muralism and sculpture. In sum, the national and the modern aspects are strategic goals and the other aspects become subordinated to them. Vasconcelos' contribution in the architecture field was to accept as a revolutionary ideal the arrival of architecture for the Mexican people that stands alone, carried out by local professionals, from wich later emerged a new generation of young architects that would change the course of the modern Mexican architecture ; El estilo Neocolonial en la arquitectura mexicana del siglo XX es un tema poco explorado, aunque ha tenido un singular devenir y transitó por tres momentos: la obra educativa posrevolucionaria, las casas habitación de la burguesía posrevolucionaria con alto poder adquisitivo en la Ciudad de México y la arquitectura realizada en California (de ahí que se le llamara estilo californiano). La presente tesis se aboca a los primeros ensayos de este estilo, identificados en edificios del sector educativo y materializados por el Departamento de Construcciones de la Secretaría de Educación Pública (SEP) entre 1921 y 1924. La arquitectura que auspició la SEP tuvo un discurso sólido pero de complicada lectura, al ser vaso comunicante del momento histórico (la Revolución Mexicana), las ideologías contestatarias generadas en el Porfirismo, las teorías modernas en materia de educación y arquitectura, así como el proyecto educativo el cual justificaba su existencia. Aunado a esto, el estilo Neocolonial se convirtió en el recipiente ideológico del nacionalismo y la identidad que se pretendía conformar. Aunque la necesidad de buscar una arquitectura propia sin seguir modelos extranjeros fue una demanda que a finales del siglo XIX se dio, el cambio se logró en el propio movimiento armado por la pertinencia de hacer arquitectura más identificada con la mayoría poblacional; por lo tanto se puede considerar una arquitectura posrevolucionaria. José Vasconcelos es un personaje clave para entender la obra realizada, ya que como Secretario de Educación Pública defendió y dictó el requisito de construir en estilo Neocolonial, comprensible por su participación juvenil en las filas del Ateneo de la Juventud. La SEP se fundamentó en tres nuevas Direcciones: Escolar, Bibliotecas y Bellas Artes a las que se les creó un Departamento de Construcciones, innovando los esquemas y atribuciones que el gobierno confería a los encargados de la educación nacional, con la función de proveer de espacios escolares adecuados. El Departamento de Construcciones se enfrentó a la difícil tarea de congeniar el estilo Neocolonial y las nuevas teorías alrededor de su quehacer arquitectónico con una arquitectura más social e incluyente, así como proyectar espacios coherentes con la actividad propia del edificio. Uno de los retos fue diseñar científicamente para laboratorios y talleres con máquinas en inmuebles ya erigidos, por lo que utilizaron nuevas técnicas constructivas para lograr espacios con buena iluminación e higiene. A su vez, construir en estilo Neocolonial no sólo significaba repensar los modelos de distribución espacial y elementos formales de los antiguos edificios construidos en los tres siglos de colonización española, sino exaltar los aspectos arquitectónicos más evidentes e identificables con el entorno de la mayoría de los habitantes de las ciudades de México y así construir un imaginario arquitectónico, una arquitectura más "mexicana". Así también, al ostentar un mensaje revolucionario, la arquitectura se orientó como un elemento pedagógico, complementado con artes plásticas como el muralismo y la escultura. En síntesis, lo nacional y lo moderno fungieron como metas estratégicas a cuyo tenor las demás adquirieron un sitio subordinado. La aportación de Vasconcelos en el ámbito de la arquitectura fue asumir como ideal revolucionario arribar a una arquitectura propia, realizada por profesionistas autóctonos, de los que emergieron jóvenes arquitectos que posteriormente cambiarían el rumbo de la arquitectura moderna mexicana. ; Postprint (published version)

Dieses Buch beschäftigt sich mit der Baupolitik des autoritären Ständestaates in Wien von 1934 bis 1938. Die autogerechte Verkehrsstadt stand dabei im Zentrum einer urbanen Baustrategie, die aus nationalen und internationalen Beispielen schöpfte. Wohnungs-, Siedlungs- und Verwaltungsgebäude werden genauso dargestellt, wie geplante Monumentalbauten der Einheitspartei Vaterländische Front. ; This book deals with the housing- and settlement-policy of the authoritarian Austrian Corporate State (Staendestaat) in Vienna between 1934 and 1938. National and international dialogues led to building strategies for a car-friendly city. Different types of flats, settlements and administration buildings will be shown, as well as planned monumental buildings of the unity party Fatherland Front (Vaterlaendische Front).

Araştırma, Kadınhanı İlçesi, kasaba ve köylerinin tarihi gelişimlerini ve bu zaman zarfında oluşturulmuş anıtsal mimari ve halk mimarisi eserlerini konu almaktadır. İlçe merkezi ile merkeze bağlı kasaba ve köylerde yer alan dini, sivil ve sosyal yapılar incelenmiş bu yapıların mimari sanat değerleri ortaya konmaya çalışılmıştır. Tarihi geçmişi ilk çağlara kadar inen, pek çok milletin yaşadığı Kadınhanı, asıl kimliğini Türk döneminde kazanmıştır. Selçuklu, Karamanoğulları ve Karamanoğullarına bağlı Turgutoğulları döneminde Türk İslam kenti özelliği kazanmaya başlayan bu merkezler, Osmanlı devrinde gelişmelerini sürdürmüştür. Bu gelişme ile birlikte dini, sivil ve sosyal içerikli yapılar dönem dönem inşa edilmiştir. İlçede günümüze gelen ilk eserler Anadolu Selçuklu döneminde Raziye Hatun'un adına yaptırılan handır. Sonrasındaki yapılar ağırlıklı olarak ise Karamanoğulları, Turgutoğulları ve Osmanlı'nın son dönemlerinde yapılmıştır. Ancak günümüze kadar bazı yapılar değişikliğe uğramış, korunamamış ya da yok olmuştur. Özellikle medreseler, tekkeler yıkılıp yerine farklı yapılar inşa edilmiş, bir kısmı değişikliklerle günümüze kadar gelmiş, çeşmelerden suyu akmayanlar kaderine terk edilmiş ve aslına uygun olmayan eklemeler ve tamiratlar görmüştür. Çalışmamız farklı türdeki tarihi ve sanat değeri olan eserleri kapsamaktadır. "Konya-Kadınhanı Merkez ve Köylerde Yer Alan Kültür Varlıkları" adlı tezimiz dört ana bölümden oluşmaktadır. Birinci bölümde, "Giriş" başlığı altında; Konunun Tanımı, Önemi ve Sınırları", "Yöntem", " Konuyla İlgili Yapılan Araştırmalar", "Kadınhanı'nın Coğrafi Durumu ve Tarihçesi" üzerinde durulmuştur. İkinci Bölümde yer alan "Katalog" başlığında Kadınhanı İlçe merkezi ile merkeze bağlı kasaba ve köylerde yer alan eserler "Mevcut Yapılar" ve "Kaynaklarda Adı Geçen Ancak Mevcut Olmayan Eserler" olmak üzere iki alt başlık altında ele alınmıştır. Mevcut yapılar içerisinde 23 Cami, 1 Han, 1 Eğitim binası, 1 Gar Binası, 1 Anıt, 4 Konut, 8 Köy Odası, 8 Çeşme, 5 Su Kuyusu, 3 Değirmen, 1 Kale, 1 Kaya Oyma Mekân, Toprağa Oyulmuş Oda Mezarları, 48 Mezar Taşı kaynaklarda adı geçen ancak mevcut olmayan eserlerde ise bir zaviye, bir cami ve tekke, iki çeşme, bir hükümet konağı, bir köy odası tanıtılmıştır. Her yapı "Tarihçesi", "Kitabesi", "Yapının İncelenmesi" başlıkları altında değerlendirilmiştir. Üçüncü bölüm "Değerlendirme" başlığını taşır. Burada Kadınhanı Merkez ve Mahallelerinde Yer Alan Kültür Varlıklarının genel özellikleri belirlenmeye çalışılmıştır. Değerlendirme" Plan ve Mekân Anlayışı", "Malzeme ve Teknik", "Mimari Elemanlar", "Yapı Elemanları", "Örtü Sistemleri", "Süsleme", ve "Kitabeler" başlıkları altında yapılmıştır. Dördüncü Bölüm "Sonuç" başlığında ise Kadınhanı Merkez ve Köylerinde (Mahallelerinde) Yer Alan Kültür Varlıklarının Türk Sanat Tarihi ve Mimarlık Tarihi bakımından taşıdıkları önem vurgulanarak belirli bir senteze ulaşılmıştır. Eserlerin genelde XIX. ve XX. yüzyıl Osmanlı taşra üslubu olduğu belirlenmiştir. Bu çalışma ile Kadınhanı tarihi, kültürel ve sosyal yapısını ortaya koyan farklı türde eserler bilimsel açıdan değerlendirilmeye çalışılmıştır. ; This research undergoes the historical development process of towns and v illage, and the monumental architecture which is formed during this process. The religious and social constrictions which take place in these two district centers'in towns and village bounded to the center are examined; the architectural and artistic values of these constrictions are tried to be demonstrated. Kadınhanı that has hosted to a great many civilization whose history stretch to the ancient times, has gained its real recognition during the Turkish period. These centers which began to gain a Turkish-Islamic town feature in Selçuklu and Karamanoğulları bounded Tolunoğulları periods, had a great advancement in Ottoman period. In paralel with this advancement; architectures, which are consisting religious, civil and social features were construced in Kadınhanı. First structere is the "Han" which was constructed in behalf of "Raziye Hatun" in Anatolian Selçuklu Period. After this period, structures were constructed in Karamanoğulları, Turgutoğulları and the last period of Ottoman Empire. However, some structures have been destroyed, undergone a change and unprotected. Especially, medresahs and islamic monasteries have been torn down and rebuilt, some of them have came until today with changes, fountains which do not work have been all left to their own destiny, and some of them have undergone a change and supplementation because of their unoriginality. Our study includes a number of work which have historical and art value. Our thesis named "Cultural Assets in Konya-Kadınhanı center and villages" constitudes four main parts: In the first part, the Definition, Importance and the Extent of the subject, "Method", "Publications on the subject", "The History and the Geography of Kadınhanı" is studied under the heading of "Instruction". In the second section; in the heading of "Catalog", there are two sub headings named "Current Structures" and "Mentioned in sources but non-current Structures". Art Works which are in Kadınhanı center, towns and village have been examined in these two sub headings. 23 mosques, 1 Han, 1 Education structure, 1 Terminal structure, 1 Monument, 4 housings, 8 village rooms, 8 fountains, 5 draw wells, 3 Mills, 1 Castle, 1 Cave, room graves carved in earth and 49 grave Stones are introduced in " Current Structures". On the other hand, a zawiyah, a mosque and islamic monastery, two fountains, a government Office and a village room are introduced in the subtitle named " Mentioned in sources but non current structures". Every structure has been evaluated under the headings of "Place", "Architectural Feature", "Inscription" and "History and Restoration". The third part has the title of "Evaluation". In this section, general features of Cultural Asssets of Konya Kadınhanı center and villages are tried to be determined. The evaluation is done under the titles of "Plan and Locaiton Discernment", "Material and the Technique", "Architectural Elements", "Construction Elements", "Decoration" and "Inscriptions". In "Conclusion", the fourth section, the importance of Cultural Assets in Konya Kadınhanı center and villages is emphasized from the aspects of Turkish Art History and the History of Architecure and a conclision is made. It is found out that the monumental architecture in the region are the Works built in the Ottoman provincial style generally in the 19th and 20th century. With the help of this research, the architectual Works that represent the history, cultural and social structure of Kadınkanı are tried to be studied scientifically.

At the beginning of the XXI century, a noticeable segment of the digital environment of the Russian Federation became a mass representation of visual images advertising its armed expansion with the aim of establishing itself within the borders of the USSR and seizing the territories of other states. Among such digital images, illustrations in the genre of alternative history attract attention. Their purpose is to exert propaganda influence in the youth environment. The authors of these works identify Russia and the Soviet Union and suggest the public users to dream about the topic: "How would the course of world history change if the USSR existed in the 21st century?". Source criticism of these visual sources indicates that they belong to the means of informationpsychological influence, which are an integral part of the Russian-Ukrainian hybrid war. The viewer's subconscious feels the aggressive influence of a visual series of Soviet political symbols in the plot, which uses motifs from wellknown works of mass culture, as well as scenes of violence. As a result, in a viewer is formed a psychological setting for a positive assessment of the historical experience of the USSR and a tolerant attitude towards the heroization of the Soviet totalitarian past. One of the most popular plots of propaganda content is the revival of the Soviet Union as a neo-imperial communist project using advanced military-space technologies and the war of the Russian Federation with NATO. The communities "USSR-2061" and "Russian Space Society" are points of crystallization of supporters of such ideas on the Internet. These communities spread their visual messages on Telegram, Facebook, Twitter, VKontakte, LiveJournal and YouTube. As a carrier of ideological allusions are used digital paintings, made by techniques of concept and promo art. Both types of visual art are widely applied in the process of gamification of the digital space. Therefore, they correspond to the aesthetic tastes of modern youth, turning them into the main object of a visual information attack. The conceptual charge of these arts attaches to the use of historical pictorial symbols: the coat of arms and flag of the USSR, details of the landscape, interior, clothing, weapons, and transport. In the paintings depicting the metropolises of the second half of the 21st century, the viewer sees architectural monuments in the style of the Stalinist Empire. Colorful scenes of battle painting «promise» the viewer the complete destruction by Soviet soldiers of the future world of the «collective West». So, according to the authors of the article, the futuristic visual political message for the Russian regime in the course of the hybrid war turned into one of the means of informationpsychological influence, capable of performing manipulative and campaigning functions both in the Russian Federation and in other countries, that belong to the orbit of its desired political influence. The potential possibilities of using futuristic political messages as an informational weapon necessitate further scientific study of this phenomenon.

"Architektur und Ideologie" schildert die Entwicklung der Architektur in den slowenischen Städten zwischen 1880-1945, wo das Land noch nicht eigenständig war. Verschiedene politische Meinungen spalteten die Bevölkerung. Auseinandersetzungen zwischen Slowenen und Deutschen waren üblich, da beide Gruppen Anspruch auf das Land erhebten. Die gesetzte Zeitspanne bietet eine Vielfalt an Möglichkeiten wie sich die Ideologie mittels dem Medium der Architektur manifestieren konnte.Auf dem Gebiet Sloweniens kann man eine architektonische Vielfalt finden, die nicht notwendig im Stil anderer prägender europäischer Städte ist. Die deutschen Minderheiten die sich in der Untersteiermark, Kärnten, Krain und der Hauptstadt Ljubljana ansiedelten, trugen nicht nur zur Modernisierung der Städte bei, sondern gerieten öfters in Konflikte mit der slowenischen Bevölkerung. Dies Gipfelte in dem Bedürfnis sich durch die Architektur präsent zu machen. Die deutsche Minderheit baute Vereinshäuser, genannt "deutsche Häuser", durch welche sie ihren Einfluss ausübten. In der gesetzten Zeitspanne gibt es nur zwei mögliche Gründe wieso ein spezifisches Gebäude ideologisch geladen wurde: entweder um eine deutsche Präsenz in einer bestimmten Stadt zu festigen oder um die Ideologie eines spezifischen Landes zu manifestieren. Im Fall von Slowenien kam es zu beiden Situationen, ersteres trug sich am Ende des 19. Jahrhunderts zu, letzteres seit dem Ersten Weltkrieg.Dadurch, dass die Architektur in der Lage ist ideologisch geformt zu werden, ist sie ein entscheidendes Element für die Auslegung der Bajuwarentheorie. Diese Theorie gibt Einsicht in Adolf Hitlers Ideologie, dargelegt durch die Intention und Art zu bauen in Slowenien.Die Methodik der Arbeit basiert auf eigenständigen Beobachtungen und Analysen der Bauten. Da es sich um das Aufarbeiten der Architektur Sloweniens handelt, ist dementsprechend die hinzugezogene Literatur großteils verfasst in slowenischer Sprache. ; "Architecture and ideology" investigates the evolution of Architecture in Slovenian cities between 1880-1945, before the formation of the sovereign Slovenian state. Different political opinions split the population. Disputes between Slovenes and Germans were common since both parties felt entitled to the land. The chosen time frame discusses a wide range of possibilities on how ideology could manifest itself through the medium Architecture.On the territory of Slovenia one can find an architectural variety that does not necessarily go by the Style set by the influential capitals of Europe. German minorities that settled in lower Styria, Carinthia, Carniola or the capital Ljubljana contributed not only to the modernization of the cities, but were often in conflict with the Slovene population. This culminated in the basic need to manifest oneself trough Architecture. The German minority built Clubhouses called "German Houses", through which they exerted their influence. In the set time frame, there are two possible reasons as to why a specific building could have been ideologically enhanced: either by the need to fixate a "German" presence in a specific city, or to manifest the ideology of a specific country. In the case of Slovenia both situations came to be, the first at the end of the 19th century, the later after World War I.Because architecture is able to be shaped ideologically, it is a crucial element for the interpretation of the "Bajuwarentheorie". Said theory gives insight into the workings of Adolf Hitler's ideology told through the intent and art of building in Slovenia.The methodic of the thesis is based on independent observations and analysis of the Buildings. However, the reviewing of the Slovenian architecture caused the effect that most of the used literature is Slovenian based. ; vorgelegt von Ajda Goznik ; Zusammenfassungen in Deutsch und Englisch ; Abweichender Titel laut Übersetzung des Verfassers/der Verfasserin ; Karl-Franzens-Universität Graz, Masterarbeit, 2020 ; (VLID)4868573

This thesis examines the architectural transformation of Turkish Cypriot public school buildings in Cyprus from the beginning of British colonial rule of 1878 till 2000s in relation with the political, social and cultural influences, and educational policies of the time. During the conflicted history of Cyprus, schools played a critical role in the identity formation of the Turkish Cypriot community, a role beyond their educational mission. In the early decades of the British rule, schools constructed by the administration largely followed the vernacular traditions of the past, with only a minimal colonial architectural language. The Turkish Cypriot ethnic nationalism found a long waited voice in the birth and the rise of Atatürk's modern Turkey; schools becoming places of dissemination of Kemalist ideas. The arrival of modern architecture in Turkish schools, however, was delayed by two decades after the first examples appeared in Turkey, due to the British suppressive policies of 1930s and 1940s and the advent of World War II. Following the 1931 revolt and the climbing Greek Cypriot struggle for enosis, the colonial regime tried to suppress and control both Greek and Turkish Cypriot ethnic nationalism; education being most adversely affected by the closure of many schools and centralisation of the system. The manifestation of this policy of the colonial regime in the built form of the period was the avoidance of all elements that would promote ethnic identity, paying all the attention to functionality. After the World War II, modernism became the core value of Turkish Cypriot nationalism, and all Turkish Cypriot schools were built in modern style, continuing also after the independence of Cyprus in 1960. The division of the island in 1974 brought significant changes in social and economic structure of northern Cyprus. Within the framework of socio-political and educational transitions took place in Cyprus, the research presented in this thesis is divided into four time periods. For each period, representative examples of school buildings are analysed after giving an account of the political history and changes of educational policies (Chapters 3-6). This is followed by a comparative study of physical and functional properties of schoolyards and school buildings, together with the spatial analyses of all selected schools (Chapter 7). The findings of the research undertaken show that the early school buildings built by the British administration have diverse identities of spatial configurations and built forms. On the other hand, there is a mutual spatial pattern of the school buildings of late 1950s until present. Based on the results of the analysis, starting with the late 1950s, a less hierarchical spatial relationship between student and administrative spaces is found in Turkish Cypriot schools, as compared to the rest of periods studied. ; ÖZ: Bu tezde, Kıbrıs'ta İngiliz sömürge yönetiminin başladığı 1878'den 2000'li yıllara kadar uzanan dönemde, Türk devlet okullarının politik, sosyal ve kültürel etkenler ile eğitim politikalarına bağlı olarak mimari dönüşümleri araştırılmıştır. Kıbrıs Türkünün varoluş mücadelesinde okullar, eğitim misyonlarının ötesinde, önemli bir rol üstlenmişlerdir. İngiliz yönetimin ilk onyıllarında inşa edilen okullarda genellikle yerel geleneklerinin ön plana çıkmış olduğu ve sömürge mimari diline az yer verildiği görülmüştür. Atatürk'ün modern Türkiye'yi inşası ile Kıbrıs Türk etnik milliyetçiliği uzun zamandan beklediği sesi bulmuş; özellikle okullar Kemalist düşüncenin yayıldığı yerler olmuştur. Buna rağmen, gerek 1930'lar ve 1940'larda hüküm süren baskıcı İngiliz politikaları, gerekse İkinci Dünya Savaşı'nın başlaması, Türkiye'de 1930'larda görülmeye başlanan modern okul mimarisinin Kıbrıs'a gelişini yirmi yıl kadar geçiktirmiştir. Kıbrıslı Rumların yükselen enosis mücadelesi ve 1931 isyanı sonunda, Türk ve Rum etnik milliyetçiliğini kontrol altında tutmak amacı güden İngiliz sömürge yönetimi baskıcı bir tutum içine girmiştir. Birçok okul kapatılmış, eğitimde merkeziyetçi bir yönetime geçilmiştir. Sömürge yönetimin bu yeni tutumu mimariye de yansımış, bu dönemde inşa edilen resmi binalarda işlevselliğin ön plana çıkarıldığı ve etnik kimliği çağrıştıran her türlü detaydan kaçınıldığı görülmüştür. İkinci Dünya Savaşı'ndan sonra Kıbrıs Türk milliyetçiliğinin ana değer olarak modernizme sıkıca bağlandıklarını ve tüm okullarının bu tarzda inşa edildiği görülmektedir. Okul binalarında modern tarzın benimsenmesi, Kıbrıs Cumhuriyeti'nin kurulduğu 1960 yılından sonra da devam etmiştir. Bahsedilen sosyo-politik ve eğitim alanında değişimler doğrultusunda, bu çalışma dört ana zaman dilimini içermektedir. Bu bağlamda, her dönem için sırası ile politik tarih, eğitim politikaları ve ilgili dönemi temsil eden okul binaları incelenmiştir (3-6. Bölümler). Bunu izleyen bölümde okullar ve alanlarının fiziki, fonksiyonel ve mekânsal özelliklerin karşılaştırmalı analizleri verilmiştir (Bölüm 7). Bu araştırma erken İngiliz döneminde yapılan okul binalarının çeşitli mekansal ve formel kimlikler taşıdığını, göstermiştir. Diğer taraftan, 1950ler den günümüze kadar uzanan süreçte yapılan okul binalarında müşterek mekansal özelliklere rastlanmıştır. Yapılan analizler sonucu, diğer dönemlere kıyasla, 1950lerin sonlarından başlayan dönemde öğrenci – yönetim mekanlarındaki hiyerarşinin azaldığı görülmüştür. ; Doctor of Philosophy in Architecture. Thesis (Ph.D.)--Eastern Mediterranean University, Faculty of Architecture, Dept. of Architecture, 2017. Supervisor: Prof. Dr. Özgür Dinçyürek.

Este trabajo consiste en la compilación, documentación y descripción de los cascarones de concreto armado en forma de paraboloide hiperbólico que, como concepción estética y estructural, son una parte importante de la expresión arquitectónica del siglo XX ecuatoriano.De los años 30 a los 50, con las obras y contribuciones de Karl Kohn, Otto Glass, Francesco Maccaferri, Giovanni Rota, Guillermo Cubillo, Oscar Etwanick, Guillermo Jones Odriozola, Gilberto Gatto Sobral, Sixto Durán Ballén y Jaime Dávalos, arriba la práctica de la arquitectura moderna al Ecuador con inspiración de la Bauhaus, del racionalismo y del Estilo Internacional.La llegada de la modernidad encontró un óptimo escaparate en la undécima Conferencia Latinoamericana de Cancilleres de 1959, aunque esta no llegó a celebrarse. Para esta se iniciaron y adelantaron importantes obras, algunas de las cuales se componían formalmente por cascarones delgados de hormigón armado.Como antecedente, la obra del arquitecto español Félix Candela realizada durante su exilio mexicano, fácilmente identificable por sus cascarones de doble curvatura, se hizo ampliamente conocida en todo el mundo. Los hypars de Candela fueron emulados en toda Latinoamérica, incluso en Ecuador, y se convirtieron en insignias de la identidad moderna.El Hotel Quito fue una de las obras encargadas para la conferencia de cancilleres. Su diseñador fue el arquitecto estadounidense Charles Forster McKirahan, quien trajo consigo el estilo denominado MiMo o Miami Modern, un estilo caracterizado en parte por el uso del paraboloide hiperbólico, tal como aquel que se encuentra al ingreso del hotel.Los arquitectos Milton Barragán, Agustín Patiño, Mario Arias y Oswaldo Muñoz Mariño en Quito; René Denis, Alamiro González, Xavier Quevedo y René Bravo en Guayaquil; y los ingenieros Luis Monsalve en Cuenca y Juan González en Coca y Esmeraldas, diseñaron hypars para casas, gasolineras, espacios deportivos, culturales, institucionales, educativos, industriales, para el culto e incluso complejos militares. En los años 80, en dos recintos militares ecuatorianos hubo dos réplicas del cascarón que cubre el célebre Restaurante Los Manantiales en Xochimilco—México, del maestro Félix Candela. La primera de ellas se halla en El Coca, en la Amazonía ecuatoriana; la segunda solía estar en Esmeraldas, pero desapareció.Palabras clave: Paraboloide hiperbólico, hypar, cascarón de hormigón armado, arquitectura moderna latinoamericana. AbstractThis article consists of a compilation, documentation and description of the reinforced concrete thin shells shaped as hyperbolic paraboloids that, as an aesthetic and structural conceptions, are an important part of the architectural expression of the Ecuadorian 20th century.From the 1930s to the 1950s, with the works and contributions of Karl Kohn, Otto Glass, Francesco Maccaferri, Giovanni Rota, Guillermo Cubillo, Oscar Etwanick, Guillermo Jones Odriozola, Gilberto Gatto Sobral, Sixto Durán Ballén and Jaime Dávalos, the practice of modern architecture arrived to Ecuador with Bauhaus, rationalism and International Style inspiration. The arrival of Modernity found an optimal showcase at the XI Latin American Conference of Foreign Ministers scheduled for 1959. Although the conference did not take place, important construction works were started and were brought forward. Some of these works were formally composed by reinforced concrete thin shells.As a precedent, the Spanish architect Félix Candela's work during his Mexican exile –easily identifiable by his double-curved thin shells— became widely known throughout the world. Candelas´ hypars were emulated throughout Latin America, including Ecuador, and became an insignia of its modern identity.Hotel Quito was one of the works commissioned for the conference of foreign ministers. Its designer was American architect Charles Forster McKirahan who brought with him a style known as MiMo or Miami Modern, characterized in part by the use of the hyperbolic paraboloid, such as the one that stands before the hotel. Architects Milton Barragán, Agustín Patiño, Mario Arias and Oswaldo Muñoz Mariño in Quito; René Denis, Alamiro González, Xavier Quevedo and René Bravo in Guayaquil; and engineers Luis Monsalve in Cuenca; and Juan González in Coca and Esmeraldas, designed hypars for houses, gas stations, sports, cultural, institutional, educational, industrial spaces, for worship and even for military facilites. In the 1980s, there were two replicas of the famous Los Manantiales Restaurant in Xochimilco — México, by Master Félix Candela, in two Ecuadorian military premises. The first replica is in El Coca at the Ecuadorian Amazon, the second one used to be in Esmeraldas, but it disappeared.Keywords: Hyperbolic paraboloid, hypar, concrete thin shell, modern architecture in Latin America.

Prince Eugene of Savoy, contemporary and companion in arms of the first Duke of Marlborough, was the architectural patron of two of the most important buildings of the Viennese baroque, viz. the Stadtpalais (city mansion) and the Belvedere, a suburban garden palace. In spite of the common patron, so far the two buildings were considered quite separately by the research on the Viennese baroque, presumably because of the emphasis on the two different, very prominent architects, Johann Bernhard Fischer von Erlach and Johann Lucas von Hildebrandt.
In the unified view presented in the present work, attention is focussed not only on the architecture but also on the sequences of rooms, on their interior decoration, and - in the case of the Belvedere - on the conceptual relationship between garden and buildings. Starting point is the question: "What was the self-representation intended by the Prince, who had not been raised in the Habsburg monarchy but at the French court?" The investigation of the origins of the various elements of the interior decoration and of the messages going with their provenance was helped by the fortunate circumstance that not only are the buildings well preserved but that, through the contemporary engravings and drawings of Salomon Kleiner, we are well informed on the original interiors of the buildings. Together with newly discovered written sources, this has allowed the complicated plannings, construction and decoration history of the two palaces to be clarified.
The main results may be summarized as follows. Prince Eugene of Savoy wished to conform, on a high level, to the traditions and the style of the Viennese nobility but without foregoing the French achievements in living comfort and elegance he was acquainted with from his time at the French court. As his carrier progressed, this 'French component' was enhanced and made increasingly visible. Little prominence was given to the relationship of the Prince to the ruling house of Savoy, presumably because he wanted to leave no doubt that he owed his position as one of the leading military and political leaders of the time not to family connections but to his own achievements. - Die beiden Wiener Bauten des Prinzen Eugen von Savoyen, das Stadtpalais in der Himmelpfortgasse und die Vorstadtanlage Belvedere, wurden bislang, ungeachtet des gemeinsamen Auftraggebers, nicht als Einheit behandelt. Dies dürfte an der künstlermonographisch dominierten Wahrnehmung dieser für den Wiener Barock sehr bedeutsamen Bauten als Werke der beiden prominenten Architekten, Johann Bernhard Fischer von Erlach und Johann Lukas von Hildebrandt, gelegen haben.
Ausgangspunkt der gemeinsamen Betrachtung im vorliegenden Werk ist die Frage nach der vom Prinzen Eugen, der ja nicht in der Habsburger Monarchie aufgewachsen war, intendierten Selbstdarstellung. Zu ihrer Beantwortung werden die Raumfolgen, die Ausstattung der Räume und - für das Belvedere - der konzeptionelle Zusammenhang von Wohngebäuden und Garten gleichberechtigt mit der Architektur herangezogen. Dabei erwies es sich als Glücksfall, daß beide Anlagen sehr gut erhalten und insbesondere die zeitgenössisch überaus wichtige Innenausstattungen durch die Stiche und Stichvorzeichnungen des Augsburger Vedutenzeichners Salomon Kleiner gut dokumentiert sind. Die architekturikonologische Vorgehensweise, bei der die Herkunft der einzelnen Ausstattungselemente erforscht und die mit der Herkunft seinerzeit möglicherweise einhergehende Bedeutung untersucht wird, hat zu einer Fülle von neuen Erkenntnissen vor allem zur zeitgenössischen Wahrnehmung der Räume geführt und, zum Teil mit Hilfe bisher unbekannter Schriftquellen, die komplizierte und bislang nur unvollständig verstandene Bau- und Ausstattungsgeschichte der beiden Anlagen erhellt.
Als übergeordnete Erkenntnis ergibt sich, daß sich Prinz Eugen auf hohem Niveau in die Wiener Gegebenheiten und Traditionen einordnete, dabei aber nicht auf die ihm aus seiner Pariser Jugendzeit vertrauten französischen Wohn- und Ausstattungserrungenschaften verzichtete. Die "französische Komponente" wurde im Laufe des Werdegangs des Prinzen zunehmend verstärkt und zunehmend nach außen getragen. Die Eigenständigkeit seiner politischen und militärischen Leistungen unterstrich der Prinz unter anderem dadurch, daß in seiner Repräsentation seine Zugehörigkeit zum regierenden Haus Savoyen nur eine untergeordnete Rolle spielte.

Architecture as Identity, I: The Essence of Architecture -- Theory and Practice at the Crossroads--A Peircean Perspective on Political Signs -- System and Observer in Semiotic Modeling: An Essay on Semiotic Realism -- Architectural Criticism as a Means to Identify Socially Shared Values: The Case of the East Building of the National Gallery -- Buildings as Symbols of Political Ideology -- Peirce's Anticipation of Game Theoretic Logic and Semantics -- Mind, Object, Object, Artifact II -- The Reference Relation in Music -- SI MUOVE, MA NON TROPO: An Inquiry into the Non-metaphorical Status of Idioms and Phrases -- Symbolic Use of Weaving Designs: A Case Study -- Antecedents to Peirce's Notion of Iconic Signs -- On Discovering the Semiotic Organization of the Lexicon: State of Health as a Multifaceted Domain -- Notes on Text and Performance in the Theatre of Dario Fo -- The Structure of Metaphor -- Forgotten Pioneers of Soviet Semiotics -- On Discovering the Semiotic Organization of Experience: The Public Meanings and Private Meanings of Objects -- One Artist's Neurosis on Signing -- Explaining Style Growth and Change: A Richer Semiotic Model -- The Rock and Roll Concert: A Semiotic Analysis -- Disemia -- Naturalness Vs. Arbitrariness in the Domain of Color -- Modes of Medical Instruction: A Semiotic Comparison of Textbooks of Medicine and Popular Home Medical Books -- Peirce's Existential Graphs as the Basis for An Introduction to Logic: Semiosis in the Logic Classroom -- Peirce as Catalyst in Modern Legal Science: Consequences -- A Semiotic Account of Polysemy and Homonymy -- The Semiosis of the Sequence of Signs in a Narrative -- The Impact of Speech-Act Theory and Phenomenology on Proust and Claude Simon -- Semiotic Perspectives on Chinese: A Picturesque Language -- Peirce and Jakobson: Towards a Structuralist Reconstruction of Peirce -- Architecture as Representation of Nature -- The Measurement of Comentropy Transfer Rates -- Towards a Transcultural Semiotic -- The Self-Disclosure Technique for Ethno-Graphic Elicitation -- Conventions of Poetry as Iconic Signs -- Comparative Adjestives in Terms of Peirce's Phenomenological Categories -- Interpretant and Interpretation -- Tipping Behavior as a Semiotic Process -- The Mark VI: A New Eidometer Design Concept -- The Role of Scientific Paradigms in Empirical semiotics -- Interactive Nonverbal Categories: A Reappraisal and Elaboration -- Reckoning with the World -- On the Paradigm of Experience Appropriate for Semiotics -- Semiotic and Creativity -- The Appearance of Appearance: Architecture, Communication and Value Systems -- What is Evidence Evidence of? -- The Ironic Sign -- Art and Objectivity -- More Than Words Can Say -- A Reconstruction Paradigm for the Experimental Analysis of Semiotic Factors in Cognitive Processing -- Peirce and Greimas from the Viewpoint of Musical Semiotics: An Outline for Comparative Semiotics -- The Application of the Peircean Semiotic to Logic -- Symbolic Configurations and Two-Dimensional Mathematical Notation -- The Perception of Nonverbal Behavior in Function of Visible Access to One or Both Interactants -- Charles Morris and Christian Norberg-Schulz: The Social Basis of Meaning in Architecture -- Toward a Semiotic Beyond Feminism -- The Structure of Categories and the Consequences for Metaphor -- The Poetic Function of the Stage Audience and Embedded Performance in Drama -- Designing Signs that Build the Required Semantics into the Needed Syntax -- A Semiotic Approach to Information Value.

In this document, we are going to dig into the work of one of the most outstanding architects of the history of Latin America: Rogelio Salmona. The house of Gabriel Garcia Marquez, designed for the Colombian writer in 1991, is a great architectural reference that is worth analyzing more closely. Starting from the idea that architecture encompasses much more than what we can see and touch, our main objective is to capture and interpret the essence of this work. All of this through the analysis of its theorist, contextual, cultural, politic and social landscapes. Furthermore, we want to recognize the influences and intentions of the architect to understand how he manages to poetize Architecture. Through our documental investigation, we fully comprehended the most important aspects of the house and Salmona's work. The residence develops the concept of a courtyard that articulates its functional areas. Its insertion into the landscape of the walled city of Cartagena is the proof of Salmona's capacity to understand and adapt to all the scenarios. Emphasize the multicultural influences of the architect, a result of his journeys around the world and his mentors. We interpretate that his interest in history, geography, culture, life and people, molded his own style. His architecture continues a tradition based on recreating, instead of inventing. Through the use of brick, courtyards, details and each one of his intentions, his works are a reality that at the same time become pure poetry. ; En este documento, indagaremos en la obra de uno de los arquitectos más sobresalientes de la historia de Latinoamérica: Rogelio Salmona. La casa de Gabriel García Márquez, diseñada para el escritor colombiano en 1991, es un gran referente arquitectónico que vale la pena analizar más de cerca. Partiendo de la idea de que la arquitectura abarca mucho más de lo que podemos ver y tocar, nuestro objetivo principal ha sido captar e interpretar la esencia de la obra a través del análisis de su panorama teórico, contextual, cultural, político y social. Además, buscamos reconocer las influencias e intenciones del arquitecto y entender cómo logró poetizar su arquitectura. Por medio de la investigación documental, logramos comprender a cabalidad los aspectos más importantes en torno a la casa y el trabajo de Salmona. Esta residencia desarrolla el concepto de un patio interior que articula las áreas funcionales. Su inserción en el paisaje de la ciudad fortificada de Cartagena es la prueba de la capacidad de Salmona para entender y adaptarse a todos los panoramas. Destacamos las influencias multiculturales del arquitecto, resultado de sus viajes por el mundo y sus mentores. Logramos interpretar que su interés por la historia, la geografía, la cultura, la vida y las personas, moldearon su estilo propio. Su arquitectura continúa una tradición basada en recrear y no en inventar. Mediante el uso del ladrillo, los patios interiores, detalles y cada una de sus intenciones, sus obras son una realidad que se convierten a su vez en poesía pura.

Dynatoi in the Soğanlı Valley in particular and in the Cappadocia region in general is examined through the analysis of several historical primary texts, primary strategical writings, archeological data in the field and three dimensional laser scanning of the monuments. The churches of three separate complexes in the valley, one of which is completely lost, bear three patron inscriptions that directly display the titles of the local dynatoi. By taking these inscriptions as the starting point of the dissertation that aims to deal with the phenomenon of "changing hands", we handled the legal meanings of the inscriptions, what they mean within the concept of a border region, and what kind of complexes these churches were attached to. In this respect, the complexes of St. Barbara, Geyikli and Karabaş were primarily examined through their architectural details, the style and iconography of their wall paintings, their location in the topography of the valley, and their functions/types and possible relations between eachother. Such an assessment on the chronology of the Soğanlı Valley allowed us to understand the role of the valley as a Byzantine village in the 10th century and the role of it in the 11th century that changed with the land and military policy of the empire. We tried to understand the impact of the dynatoi on their very settlement (and the impact of the geographical location of the settlement on the insertion of the dynatoi into it); in addition to this, the connection of the dynatoi to the religion and art is also examined. The other churches in the region which bear the titles of the powerful are briefly handled. The aim was to see in what type of settlements these churches are located, whether these settlements have the same legal meaning with the Soğanlı Valley, and whether the territorial boundaries of the powerful could be specified. ; Tez kapsamında, Soğanlı Vadisi özelinde ve Kappadokia bölgesi genelinde dynatoi, dönemin tarihi metinleri, dönemin askeri metinleri, arazi üzerindeki arkeolojik veriler ve üç boyutlu lazer tarama yöntemi kullanılarak irdelenmiştir. Tezin çıkış noktası olan, bölgenin yerel aristokrasisine ait ve dynatosların unvanlarını veren üç bani yazıtı, Soğanlı Vadisindeki üç ayrı kompleksin kiliselerinde yer alır. Vadideki "el değiştirmişlik" olgusunu tartışabilmek amacıyla, bu unvanların legal anlamları ve bölgede ne ifade ettikleri, bulundukları kiliselerin ne tür komplekslere ait oldukları incelenmiştir. Azize Barbara, Geyikli ve Karabaş kompleksleri, mimari ayrıntıları, duvar resimlerinin üslup-ikonografisi, vadi içindeki konumları, kendi içlerindeki işlevleri ve birbirleriyle olan olası bağları da değerlendirilerek ele alınmıştır. Soğanlı Vadisinin kronolojisine ilişkin bu yolla yapılan bir değerlendirme, hem vadinin bir Bizans köyü olarak sahip olduğu rolün, hem de imparatorluk toprak politikasına bağlı olarak 11. yüzyılda değişen rolünün görülmesini sağlamıştır. Bunun yanı sıra dynatosların, içinde bulundukları yerleşime (ve yerleşimin coğrafi konumunun dynatosun o noktaya yerleştirilmesine) nasıl etki ettiği görülmeye çalışılmış, dynatosların din ve sanatla olan ilişkisi de incelenmiştir. Güçlü unvanlarının bölgede görüldüğü diğer kiliseler de kısaca ele alınmış, bu tür kiliselerin ne tür yerleşimler içinde yer aldıkları, bu yerleşimlerin Soğanlı Vadisiyle aynı legal anlama sahip olup olmadıkları, bölgede dynatosların territoryalarının çizilip çizilemeyeceği gibi sorular irdelenmiştir.

The Silesian-born urban-planning architect Lotte Stam-Beese became famous not only in the Netherlands, but also in CIAM (Congrès Internationaux d'Architecture Moderne) circles, for her designs for modern post-war housing districts in the Dutch city of Rotterdam. The path she travelled to get there was a fascinating one, and shows how the course of her life was determined by her training, work, love affairs and relationships during the 1920s and 1930s. This article takes a closer look at her career, with special emphasis on her work at Bohuslav Fuchs's architectural firm in Brno from 1930 to 1932 and her other activities in Czechoslovakia. It will attempt to show how this period and these circumstances helped shape her personal development and the choices she made in her life. This paper is based on various sources consulted in archives in the Czech Republic, Germany, Ukraine, the United States and the Netherlands, as well as literature research. Lotte Beese – her maiden name – grew up in the countryside near what was then the German city of Breslau (now Wrocław in Poland) in a lower-middle-class Protestant family. In those days few girls from such a background received a secondary education. After doing several minor jobs, she persuaded her parents that a course at the Bauhaus in Dessau was the right choice for her. When she began studying there in the 1926-1927 academic year she was already 23, making her one of the older students. In 1928 the Swiss architect Hannes Meyer had been asked to set up an architecture course at the Bauhaus, entitled die neue baulehre ('the new way of building'). Inspired by Functionalist design and Marxist thinking, Meyer saw architecture and building as an elementary process, in which people's biological, mental and physical needs were crucial to the design of housing, and hence of living. Lotte Beese was keen to take the new architecture course. Meyer, who not only set up the course but a year later also succeeded Gropius as director of the Bauhaus, was less prejudiced than his predecessor about the idea of women studying subjects previously reserved for men. Lotte Beese was allowed to take the die neue baulehre course, thus becoming its first female student. Meyer considered her a good student; but he was less encouraging about her future prospects. She could become an architect – provided she married a male architect and worked for his firm. His advice was soon followed almost to the letter – for the two fell in love. Although the Bauhaus was known for its free-thinking attitudes, a conspicuous affair between a female student and the director, who was not only fourteen years older but also married with two children, was simply not acceptable. When their relationship became public knowledge, Meyer told her to quit the course. He found architectural jobs for her, first at his firm in Berlin, later on at architect Hugo Häring's firm in Berlin and finally in Czechoslovakia, where she began work in 1930 as an Entwurfsarchitektin ('design architect') at Bohuslav Fuchs's firm in Brno – the very bastion of Czechoslovakian Modernism with Bohuslav Fuchs as a leading architect. Here she would continue to work for almost two years. A surviving certificate that Lotte Beese received from Bohuslav Fuchs shows that she had worked on six projects during 1930: completion of the Vesna industrial school for girls in Brno, the savings banks in Třebíč and Tišnov, the Moravian Bank in Brno, the Morava sanatorium in Tatranská Lomnica, and drawings for steel structures in low-rise dwellings in Italy. In summer 1930 Hannes Meyer was suddenly dismissed from the Bauhaus, for he was considered awkward and too 'political'. He moved to Moscow where he was appointed professor at the State College of Building and Architecture and chief architect at the Institute for the Construction of Higher and Technical Schools, both based in Moscow. He asked Lotte Beese to live and work with him there. She gladly agreed, and left for the USSR. But their life together was not a success, and after a few months she returned to Brno where she was able to resume work at Fuchs's firm. By now Lotte Beese was pregnant, and she gave birth to a son whose father was Hannes Meyer. Although Fuchs had granted her three months' maternity leave, correspondence with a lawyer reveals that he refused to pay the necessary allowance. Beese took him to court, and appears to have won the case. This did not improve relations between them, and she could no longer return to her job at his firm. Indeed, as an unmarried mother, she was no longer able to find any kind of work in Brno, especially at a time of deepening economic crisis. Now unemployed, she had more time to take part in Brno's left-wing political and cultural life. She was a member of the Czechoslovakian communist party KSČ (Komunistická Strana Československa) and the cultural organisation Levá Fronta. She attended Levá Fronta meetings and she went to discussion evenings on modern literature and lectures by left-wing writers and thinkers. As a member of the KSČ, Lotte Beese helped to organise 'proletarian evenings' and campaigns. By now the city council had banned KSČ assemblies, demonstrations and public meetings. On 30 October 1931, to mark the fourteenth anniversary of the USSR, the party organised a pro-Russian demonstration followed by a public meeting at the Workers' House in a district of Brno called Tuřany. Beese gave a speech at the meeting, and was reported to the police. No longer feeling safe in Brno, she told Meyer she wanted to join him with their child; but he was no longer interested. Now Lotte Beese needed an alternative. With the rise of national socialism in Germany, returning there was hardly an option. Working and living in Russia seemed a better idea. In April 1932, probably with help from her friends in Prague, the left-wing architecture critic, publicist and graphic designer Karel Teige and the Modernist architect Jaromír Krejcar, she set off for the Ukrainian city of Kharkov to work as an architect. She left her son Peter with Krejcar and his then wife, the journalist Milena Jesenská. Lotte Beese worked in Kharkov for Giprograd, the Ukrainian section of the State Institute of Town Planning, and made ground-plan drawings for the sotsgorod ('socialist town') KhTZ – a large, linear housing district on a railway line ten kilometres from the city centre of Kharkov. Built from the late 1920s onwards, the district was intended for employees of the nearby, newly-built Kharkov Tractor Factory. In September 1932 she went to collect her son from Prague and take him to Kharkov. The relationship with Hannes Meyer gradually came to an end. In spring 1933 Lotte Beese ran into her former Bauhaus teacher, the Dutch Functionalist architect Mart Stam. Stam had a responsible position in the 'May Brigade' (led by Frankfurt's former city architect Ernst May), as project manager for the construction of the industrial city of Magnitogorsk in the Urals. Their encounter turned into a love affair. Lotte Beese joined Mart Stam and worked on various urban planning projects, including the renovation of the town of Orsk. Following Mart Stam's refusal on principle to build a new city in an inhospitable area near Lake Balkash that was polluted with copper ore, they had to quit the USSR. After marrying in Moscow, they left for the Netherlands, where they lived and worked in Amsterdam. But their marriage eventually broke down. By then, aged 37, Lotte Stam-Beese – she kept the name 'Stam' after her divorce – was taking a course in advanced and higher architectural teaching in Amsterdam, and she graduated in 1945. She realised that as a qualified architect she had more chance of finding a job in her favourite profession – and she succeeded. In 1946 she was appointed as an urban-planning architect in Rotterdam, which had been devastated in a German bombing raid on 14 May 1940. In 1955 she was promoted to chief architect, and was given the assignment of designing new, modern housing for the whole city. Her designs included three large housing districts developed in a Functionalist style. While working at Bohuslav Fuchs's architectural firm in Brno, Lotte Beese became well acquainted with Modernist architecture. There she also met like-minded people, made friends and was politically active. All this encouraged her to go and work in the new Soviet state and it sharpened her political consciousness. It was not the architecture of individual buildings – the main focus of her work in Czechoslovakia – but social housing in an urban environment that truly appealed to her and would become her specialist field. She designed large estates in green surroundings, where she hoped people would assist and cooperate with their neighbours. In her lectures she regularly used the following quote about Antoine de Saint-Exupéry's posthumous book Citadelle: 'car je suis d'abord celui qui habite', which she interpreted as 'you can only be a human being if you truly have a home.'