{"title":"Climate Change Adaptation in the Built Environment: Lessons from a Geographical Transect of Indus River Basin Settlements","authors":"J. Wescoat","doi":"10.1386/ijia_00127_7","DOIUrl":"https://doi.org/10.1386/ijia_00127_7","url":null,"abstract":"","PeriodicalId":41944,"journal":{"name":"International Journal of Islamic Architecture","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2024-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139393855","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Review of: Architecture of Co-Existence: Building Pluralism, Ed. Azra Akšamija (2020) Geneva: Aga Khan Award for Architecture, and Berlin: ArchiTangle, 292 pp., approx. 100 illus., ISBN: 978-3-96680-008-2, $45 (hardback)
{"title":"Architecture of Co-Existence: Building Pluralism, Ed. Azra Akšamija (2020)","authors":"Esra Akcan","doi":"10.1386/ijia_00139_5","DOIUrl":"https://doi.org/10.1386/ijia_00139_5","url":null,"abstract":"Review of: Architecture of Co-Existence: Building Pluralism, Ed. Azra Akšamija (2020)\u0000 Geneva: Aga Khan Award for Architecture, and Berlin: ArchiTangle, 292 pp., approx. 100 illus.,\u0000 ISBN: 978-3-96680-008-2, $45 (hardback)","PeriodicalId":41944,"journal":{"name":"International Journal of Islamic Architecture","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2024-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139456650","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article critically considers the aesthetics, process, and distribution of K. A. C. Creswell’s photographic collections of Islamic architecture. Creswell (1879–1974), a British university professor in Cairo from 1931 until his death, is considered one of the founders of the field of Islamic architectural history. As a young scholar in the 1910s, he took thousands of photographs of Islamic architectural sites, mainly in Egypt, which he then duplicated and deposited into major institutions of art historical study: Harvard University, the Victoria and Albert Museum, the Villa I Tatti, the Ashmolean Museum, and the American University in Cairo. While he strove to objectively document historical sites through photography, Creswell also inadvertently captured aspects of everyday life in the city of Cairo. These slips of modernity in his photographs highlight how he ‘personally re-created’ distinctive study images that are not solely documents of architecture. His choice of camera, lens, angle, shutter speed, lens filter, cropping, and printing generated an identifiable photographic style that marked these images within the field of art historical study. These five photographic collections, spread across three continents, thus exhibit how photography facilitated the incorporation of the field of Islamic art into the wider field of art history.
本文批判性地探讨了 K. A. C. Creswell 的伊斯兰建筑摄影集的美学、制作过程和发行情况。克雷斯韦尔（1879-1974 年）于 1931 年在开罗任英国大学教授，直至去世，被认为是伊斯兰建筑史领域的奠基人之一。20 世纪 10 年代，作为一名年轻学者，他拍摄了数千张伊斯兰建筑遗址的照片，主要是在埃及：哈佛大学、维多利亚与阿尔伯特博物馆、伊塔提别墅、阿什莫林博物馆和开罗美国大学。在努力通过摄影客观记录历史遗迹的同时，克雷斯韦尔也在不经意间捕捉到了开罗城市日常生活的方方面面。他照片中的这些现代性片段凸显了他如何 "亲自重新创造 "了与众不同的研究图像，而不仅仅是建筑文献。他对相机、镜头、角度、快门速度、镜头滤镜、裁剪和印刷的选择，形成了一种可识别的摄影风格，在艺术史研究领域为这些图像打上了烙印。这五部摄影集跨越三大洲，展示了摄影如何促进伊斯兰艺术领域融入更广泛的艺术史领域。
{"title":"Scholarly Rigour in Gelatin Silver: K. A. C. Creswell’s Photographs of Islamic Architecture","authors":"Alex Dika Seggerman","doi":"10.1386/ijia_00129_1","DOIUrl":"https://doi.org/10.1386/ijia_00129_1","url":null,"abstract":"\u0000 This article critically considers the aesthetics, process, and distribution of K. A. C. Creswell’s photographic collections of Islamic architecture. Creswell (1879–1974), a British university professor in Cairo from 1931 until his death, is considered one of the founders of the field of Islamic architectural history. As a young scholar in the 1910s, he took thousands of photographs of Islamic architectural sites, mainly in Egypt, which he then duplicated and deposited into major institutions of art historical study: Harvard University, the Victoria and Albert Museum, the Villa I Tatti, the Ashmolean Museum, and the American University in Cairo. While he strove to objectively document historical sites through photography, Creswell also inadvertently captured aspects of everyday life in the city of Cairo. These slips of modernity in his photographs highlight how he ‘personally re-created’ distinctive study images that are not solely documents of architecture. His choice of camera, lens, angle, shutter speed, lens filter, cropping, and printing generated an identifiable photographic style that marked these images within the field of art historical study. These five photographic collections, spread across three continents, thus exhibit how photography facilitated the incorporation of the field of Islamic art into the wider field of art history.\u0000","PeriodicalId":41944,"journal":{"name":"International Journal of Islamic Architecture","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2024-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139395364","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article examines how migrants from the island of Bawean in the Indonesian Archipelago architecturally responded to the urban environment upon migrating to Singapore in the late nineteenth and early twentieth centuries. Baweanese migrants translated architectural traditions and everyday life routines by adjusting the layouts of existing urban forms to facilitate their socio-religious needs. The continuity of the Bawean langkher (prayer hall) was formed by dynamic links between the community and their changing circumstances, motivations for Baweanese migration, and spontaneous acts of agency and resistance to colonial intervention in and away from the homeland. I explore how the Singapore ponthuk (migrant house) continued to perpetuate the socio-religious norms, mores, taboos, and laws of the Baweanese in the first half of the twentieth century. Within the hinterland, this led to a religious identity that was distinct from that of the larger Malay community. I argue that these continuities can be brought to light through a consideration of the memory of socio-spatial practices in everyday settings. I further suggest that the case of the Bawean langkher in the ponthuks of Singapore expands upon the notion of invisible geographies in the field of Islamic architecture.
{"title":"Everyday Migrant Architecture and Socio-Spatial Practices: Bawean Langkher in the Singapore Ponthuk","authors":"Hadi Osni","doi":"10.1386/ijia_00132_1","DOIUrl":"https://doi.org/10.1386/ijia_00132_1","url":null,"abstract":"\u0000 This article examines how migrants from the island of Bawean in the Indonesian Archipelago architecturally responded to the urban environment upon migrating to Singapore in the late nineteenth and early twentieth centuries. Baweanese migrants translated architectural traditions and everyday life routines by adjusting the layouts of existing urban forms to facilitate their socio-religious needs. The continuity of the Bawean langkher (prayer hall) was formed by dynamic links between the community and their changing circumstances, motivations for Baweanese migration, and spontaneous acts of agency and resistance to colonial intervention in and away from the homeland. I explore how the Singapore ponthuk (migrant house) continued to perpetuate the socio-religious norms, mores, taboos, and laws of the Baweanese in the first half of the twentieth century. Within the hinterland, this led to a religious identity that was distinct from that of the larger Malay community. I argue that these continuities can be brought to light through a consideration of the memory of socio-spatial practices in everyday settings. I further suggest that the case of the Bawean langkher in the ponthuks of Singapore expands upon the notion of invisible geographies in the field of Islamic architecture.\u0000","PeriodicalId":41944,"journal":{"name":"International Journal of Islamic Architecture","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2024-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139395801","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
IJIA’s Dialogues series brings together scholars and practitioners from across varied disciplines for a discussion of critical contemporary issues that interrogate the boundaries between architecture, art, anthropology, archaeology, and history. This session, the third instalment, was held as a webinar in February 2023 and hosted by IJIA Assistant Editor Eliana Abu-Hamdi, featuring Middle East scholars Jillian Schwedler, Deen Sharp, and Kyle Craig. Their conversation addressed the intersection of art, urban politics, and protest in the Middle East, broadly defined, in the form of public displays of sculpture and visual art (graffiti), especially as they are related to issues of displacement, dispossession, diaspora, and national identity. The conversation also extended to digital media and hashtag culture/activism, and to virtual identities. This is an edited excerpt from the original discussion.
{"title":"Forms of Protest: Political Art in the Digital and Urban Realm","authors":"Eliana Abu-Hamdi","doi":"10.1386/ijia_00128_7","DOIUrl":"https://doi.org/10.1386/ijia_00128_7","url":null,"abstract":"IJIA’s Dialogues series brings together scholars and practitioners from across varied disciplines for a discussion of critical contemporary issues that interrogate the boundaries between architecture, art, anthropology, archaeology, and history. This session, the third instalment, was held as a webinar in February 2023 and hosted by IJIA Assistant Editor Eliana Abu-Hamdi, featuring Middle East scholars Jillian Schwedler, Deen Sharp, and Kyle Craig. Their conversation addressed the intersection of art, urban politics, and protest in the Middle East, broadly defined, in the form of public displays of sculpture and visual art (graffiti), especially as they are related to issues of displacement, dispossession, diaspora, and national identity. The conversation also extended to digital media and hashtag culture/activism, and to virtual identities. This is an edited excerpt from the original discussion.\u0000","PeriodicalId":41944,"journal":{"name":"International Journal of Islamic Architecture","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2024-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139456778","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Beirut and The Golden Sixties: A Manifesto of Fragility, Gropius Bau","authors":"Çiğdem İvren","doi":"10.1386/ijia_00141_5","DOIUrl":"https://doi.org/10.1386/ijia_00141_5","url":null,"abstract":"Review of: Beirut and the Golden Sixties: A Manifesto of Fragility, Gropius Bau\u0000 Berlin, March 25–June 6, 2022","PeriodicalId":41944,"journal":{"name":"International Journal of Islamic Architecture","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2024-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139539750","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Social marginalization at the urban scale can stem from an ingrained fear within opposing societal blocs that their identity is inevitably destined to be undermined, or even lost, due to cultural conflicts. This article argues that the design of projects that juxtapose different cultural traditions and practices and encourage an openness to the exchange of knowledge and learning can both promote the reinforcement of identity, and set the stage for the willing and mutual acceptance of difference. With this perspective as a starting point, this article explores an unrealized project for an Islamic Culture House in Genoa, Italy, intended to be a place in which Islamic culture can be shared with the Christian and non-Christian residents of the city. This unrealized project, which received the European Muslim League’s support in 2012, proposes the transformation of an old building located in the Darsena area, the dockyards of Genoa, into a centre of Islamic culture.
{"title":"Cultural Exchange vs. Marginality: A Project for an Islamic Culture House in Genoa, Italy","authors":"Nicola Delledonne","doi":"10.1386/ijia_00135_1","DOIUrl":"https://doi.org/10.1386/ijia_00135_1","url":null,"abstract":"\u0000 Social marginalization at the urban scale can stem from an ingrained fear within opposing societal blocs that their identity is inevitably destined to be undermined, or even lost, due to cultural conflicts. This article argues that the design of projects that juxtapose different cultural traditions and practices and encourage an openness to the exchange of knowledge and learning can both promote the reinforcement of identity, and set the stage for the willing and mutual acceptance of difference. With this perspective as a starting point, this article explores an unrealized project for an Islamic Culture House in Genoa, Italy, intended to be a place in which Islamic culture can be shared with the Christian and non-Christian residents of the city. This unrealized project, which received the European Muslim League’s support in 2012, proposes the transformation of an old building located in the Darsena area, the dockyards of Genoa, into a centre of Islamic culture.\u0000","PeriodicalId":41944,"journal":{"name":"International Journal of Islamic Architecture","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2024-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139394953","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
From 1941 to 1967, modern architecture in Iran shifted from a phenomenon confined to the upper class with a focus on urban monuments and government buildings to a public commodity. Three of the period’s architectural journals, Arshitikt (Architect), Bank-i Sakhtimani (Construction Bank), and Mi‘mari-yi Nuvin (New Architecture), were among the most effective tools for spreading notions of modern architecture in Iran at this time. This article traces mid-twentieth-century Iranian architects’ conceptual constellation of modern architecture through a quantitative and qualitative analysis of these periodicals. We argue that the transformation of core architectural concepts in each journal were due to changes in the sociopolitical context and in Iranian architects’ professional status as models of modern architecture were increasingly disseminated. In particular, our article demonstrates how the idea of architecture as fan (technique) in the journal Arshitikt (1946–48) was defined as the exclusive expertise of modern Iranian architects. Fan was replaced by the notion of architecture as construction in Bank-i Sakhtimani (1955–62) to justify the ongoing engineered mass production of modernized houses. By the 1960s, journals like Mi‘mari-yi Nuvin (1961–65) situated architecture as an art and a science, reflecting newly emerging views on national modernist architecture in a stabilizing professional condition.
{"title":"The Stage of Dissemination: The Transformation of Architectural Concepts in Iranian Architectural Journals (1941–1967)","authors":"Zahra Mirzaei, Zahra Ahari","doi":"10.1386/ijia_00131_1","DOIUrl":"https://doi.org/10.1386/ijia_00131_1","url":null,"abstract":"\u0000 From 1941 to 1967, modern architecture in Iran shifted from a phenomenon confined to the upper class with a focus on urban monuments and government buildings to a public commodity. Three of the period’s architectural journals, Arshitikt (Architect), Bank-i Sakhtimani (Construction Bank), and Mi‘mari-yi Nuvin (New Architecture), were among the most effective tools for spreading notions of modern architecture in Iran at this time. This article traces mid-twentieth-century Iranian architects’ conceptual constellation of modern architecture through a quantitative and qualitative analysis of these periodicals. We argue that the transformation of core architectural concepts in each journal were due to changes in the sociopolitical context and in Iranian architects’ professional status as models of modern architecture were increasingly disseminated. In particular, our article demonstrates how the idea of architecture as fan (technique) in the journal Arshitikt (1946–48) was defined as the exclusive expertise of modern Iranian architects. Fan was replaced by the notion of architecture as construction in Bank-i Sakhtimani (1955–62) to justify the ongoing engineered mass production of modernized houses. By the 1960s, journals like Mi‘mari-yi Nuvin (1961–65) situated architecture as an art and a science, reflecting newly emerging views on national modernist architecture in a stabilizing professional condition.\u0000","PeriodicalId":41944,"journal":{"name":"International Journal of Islamic Architecture","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2024-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139394110","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The study of the Cold War built environment and its links with communist ideology have permeated the field of architectural history and theory since the fall of the Berlin Wall in 1989. However, the treatment of Ottoman Islamic heritage under state socialist rule remains a little examined subject. The earthquake that demolished large swaths of the Yugoslav city of Skopje in 1963 caused heavy damage to Ottoman architecture. In the years that followed, the reconstruction of Skopje became a symbol of a singular, international collaboration between countries from both sides of the Cold War divide. The city that arose became the 1970s brutalist capital of the Balkans. This article examines the treatment of Ottoman urban heritage in Skopje and its sociocultural and political implications during the post-disaster (re)construction of a modernizing and modernist city. I argue that disregard for the historical breadth and the continuing religious, cultural, and social significance of the region’s Ottoman-era urban spaces and structures for Skopje’s Muslim community in the creation of the brutalist city was not exclusively based on anti-Muslim rhetoric. Rather, it was part of the driving quest for modernity sought by the Yugoslav communist leaders in the second half of the twentieth century.
{"title":"The Concrete Rupture: An Examination of Yugoslav Islamic Heritage in the Aftermath of the 1963 Skopje Earthquake","authors":"Maja Babić","doi":"10.1386/ijia_00116_1","DOIUrl":"https://doi.org/10.1386/ijia_00116_1","url":null,"abstract":"The study of the Cold War built environment and its links with communist ideology have permeated the field of architectural history and theory since the fall of the Berlin Wall in 1989. However, the treatment of Ottoman Islamic heritage under state socialist rule remains a little examined subject. The earthquake that demolished large swaths of the Yugoslav city of Skopje in 1963 caused heavy damage to Ottoman architecture. In the years that followed, the reconstruction of Skopje became a symbol of a singular, international collaboration between countries from both sides of the Cold War divide. The city that arose became the 1970s brutalist capital of the Balkans. This article examines the treatment of Ottoman urban heritage in Skopje and its sociocultural and political implications during the post-disaster (re)construction of a modernizing and modernist city. I argue that disregard for the historical breadth and the continuing religious, cultural, and social significance of the region’s Ottoman-era urban spaces and structures for Skopje’s Muslim community in the creation of the brutalist city was not exclusively based on anti-Muslim rhetoric. Rather, it was part of the driving quest for modernity sought by the Yugoslav communist leaders in the second half of the twentieth century.","PeriodicalId":41944,"journal":{"name":"International Journal of Islamic Architecture","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48570194","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article examines the destruction of the sixteenth-century pedestrian bridge of the city of Mostar, the Old Bridge, during the war in Bosnia and Herzegovina (1992–95) as a substantial disruption to the city’s urban fabric. The bridge was the symbol of the city, its most recognizable landmark, and a monument that linked two sides of the Neretva River into an integral urban unit. Reflecting on the repercussions of such violence in the context of the image of the city, I address the identity of the bridge, and the social relations inscribed in the materiality of the surrounding urban space. Due to the violence of the war and continued interethnic conflict, the meaning of the bridge changed; the construction of a new bridge on the same site was unable to repair breaches in the social relationships between Mostar’s communities. Architectural responses to rupture in the divided and contested city are exemplified in Mostar, an urban setting that has been ravaged by war, trauma, and ethno-nationalism.
{"title":"The Destruction of the Old Bridge in Mostar: A Rupture in Collective Urban Space and Life","authors":"Asja Mandić","doi":"10.1386/ijia_00117_1","DOIUrl":"https://doi.org/10.1386/ijia_00117_1","url":null,"abstract":"This article examines the destruction of the sixteenth-century pedestrian bridge of the city of Mostar, the Old Bridge, during the war in Bosnia and Herzegovina (1992–95) as a substantial disruption to the city’s urban fabric. The bridge was the symbol of the city, its most recognizable landmark, and a monument that linked two sides of the Neretva River into an integral urban unit. Reflecting on the repercussions of such violence in the context of the image of the city, I address the identity of the bridge, and the social relations inscribed in the materiality of the surrounding urban space. Due to the violence of the war and continued interethnic conflict, the meaning of the bridge changed; the construction of a new bridge on the same site was unable to repair breaches in the social relationships between Mostar’s communities. Architectural responses to rupture in the divided and contested city are exemplified in Mostar, an urban setting that has been ravaged by war, trauma, and ethno-nationalism.","PeriodicalId":41944,"journal":{"name":"International Journal of Islamic Architecture","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45186879","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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