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Bloom reveals that the Minaret, long understood to have been invented in the early years of Islam as the place from which the muezzin gives the call to prayer, was actually invented some two centuries later to be a visible symbol of Islam. Drawing on buildings, archaeological reports, medieval histories, geographies, and early Arabic poetry, he reinterprets the origin, development, and meanings of the minaret and provides a sweeping historical and geographical tour of the minaret's position as the symbol of Islam.
This is the definitive survey of Islamic architecture. Working from a social, rather than a technical perspective, Hillenbrand shows how the buildings fulfilled their intended functions within the community. Lavishly illustrated.
This volume deals with the formative period of Islamic art (to c. 950), and the different approaches to studying it. Individual essays deal with architecture, ceramics, coins, textiles, and manuscripts, as well as with such broad questions as the supposed prohibition of images, and the relationships between sacred and secular art. An introductory essay sets each work in context; it is complemented by a bibliography for further reading.
Architecture in Continuity celebrates recent projects throughout the Islamic world that most successfully preserve indigenous forms while providing for the future. It honors the insight, imagination, and skill that brought these projects into physical reality. The Aga Khan Awards Foundation's attention to the extraordinary effort required to develop an architecture both practical and spiritual is dramatically reflected in this volume ... The eleven projects-- found in nine countries from Mali to Pakistan, from Yugoslavia to Malaysia-- range from hotels to mosques, from housing to an impressive air terminal for pilgrims to Mecca ... The introduction and three essays, by distinguished architects and architectural historians, explore the projects in terms of the pressures confronting emerging Muslim countries, the influence of the Western postindustrial world and traditional Muslim forms and values.
Since human representation is forbidden in Islamic religious monuments, design & ornamentation reach unparalleled heights in Islamic tiles, mosaics, stucco, brickwork, & ceramics, enhanced by brilliant color. The author is a distinguished scholar of Islamic art & a professor at the University of Toulouse.
Study of Dutch mosque designs that shows that current designs do not oppose Dutch society but those versions of Islam they hold to be false.
Bringing together the perspectives of ethnomusicology, Islamic studies, art history, and architecture, this edited collection investigates how sound production in built environments is central to Muslim religious and cultural expression.
Focusing on the private and public use of space, this volume explores the religious life of the new Muslim communities in North America and Europe. Unlike most studies of immigrant groups, these essays concentrate on cultural practices and expressions of everyday life rather than on the political issues that dominate today's headlines. The authors emphasize the cultural strength and creativity of communities that draw upon Islamic symbols and practices to define "Muslim space" against the background of a non-Muslim environment. The range of perspectives is broad, encompassing middle-class professionals, mosque congregations, factory workers in France and the north of England, itinerant African traders, and prison inmates in New York. The truism that "Islam is a religion of the word" takes on concrete meaning as these disparate communities find ways to elaborate word-centered ritual and to have the visual and aural presence of sacred words in the spaces they inhabit. The volume includes 46 black-and-white photographs that illustrate Muslim populations in Edmonton, Philadelphia, the Green Haven Correction Facility, Manhattan, Marseilles, Berlin, and London, among other places. The focus on space directs attention to the new kinds of boundaries and consciousness that exist not only for these Muslim populations, but for people from all backgrounds in today's ever more integrated world.
Since precious few architectural drawings and no theoretical treatises on architecture remain from the premodern Islamic world, the Timurid pattern scroll in the collection of the Topkapi Palace Museum Library is an exceedingly rich and valuable source of information. In the course of her in-depth analysis of this scroll dating from the late fifteenth or early sixteenth century, Gülru Necipoğlu throws new light on the conceptualization, recording, and transmission of architectural design in the Islamic world between the tenth and sixteenth centuries. Her text has particularly far-reaching implications for recent discussions on vision, subjectivity, and the semiotics of abstract representation. She also compares the Islamic understanding of geometry with that found in medieval Western art, making this book particularly valuable for all historians and critics of architecture. The scroll, with its 114 individual geometric patterns for wall surfaces and vaulting, is reproduced entirely in color in this elegant, large-format volume. An extensive catalogue includes illustrations showing the underlying geometries (in the form of incised “dead” drawings) from which the individual patterns are generated. An essay by Mohammad al-Asad discusses the geometry of the muqarnas and demonstrates by means of CAD drawings how one of the scroll’s patterns could be used co design a three-dimensional vault.