2026-09-27T17:07:04Zhttps://dspace.mit.edu/server/oai/requestoai:dspace.mit.edu:1721.1/96882022-01-13T07:54:43Zcom_1721.1_7582com_1721.1_7581col_1721.1_131022
Stanford Anderson and Cemal Kafadar.
Hamadeh, Shirine
Massachusetts Institute of Technology. Department of Architecture
Massachusetts Institute of Technology. Department of Urban Studies and Planning
2005-08-19T19:28:38Z
2005-08-19T19:28:38Z
1999
1999
http://hdl.handle.net/1721.1/9688
42593093
Thesis (Ph.D.)--Massachusetts Institute of Technology, Dept. of Architecture and Planning, 1999.
Includes bibliographical references (p. 309-336).
The definitive return of the Ottoman court to the capital city Istanbul in 1703 ushered in nearly a century of extraordinary building activity and urban change, in the process of which a new architectural idiom was defined. This dissertation examines the parameters of Ottoman architectural sensibility in the eighteenth century, starting at this pivotal moment and ending with the first European commissions in the 1790s. It draws principally on contemporary court poetry, and a wide array of Ottoman and European literary and visual sources, and architectural evidence. It departs from current interpretations, which view European influence as the chief impetus of architectural change in this period. Instead, I contend that this was a time when social transformations in the making since the late sixteenth century were enacted in the city's fabric through the tastes, aspirations, and recreational practices of the urban society. The continuous dynamic between these manifestations and the state s efforts to reassert its visible presence in the capital was central to the formation of a new urban and architectural landscape. This is highlighted in the first part, which explores the development of the suburban waterfront, the spatial and structural transformations of residences, the formal evolution of private gardens, the proliferation and unprecedented magnificence of public fountains, and the phenomenal expansion of public spaces. The second part focuses on the role of urban sensibilities in shaping a broader cultural horizon of expectations. Through an investigation of the age-old relation between garden and poetry in this period, I show that garden and poetic canon followed a parallel trajectory of "urbanization," symptomatic of a changing environment that accommodated a diverse range of social milieus and sensibilities. Drawing on the flourishing genre of rhymed architectural chronograms, I argue that this hybrid constellation of sensibilities informed the architectural vocabulary of eighteenth-century Istanbul. In Ottoman perception, beauty was measured against the sensuous pleasures derived from the visual and sensory experience of architecture. Brilliance, ornamental virtuosity, mimesis, and novelty, constituted the main parameters of appreciation. They mirrored a flamboyant and immensely hybrid visual idiom, tuned to the sensibilities of a broad and diverse public.
by Shirine Hamadeh.
Ph.D.
514 p., [2] leaves of folded plates
62345466 bytes
62345223 bytes
application/pdf
application/pdf
eng
Massachusetts Institute of Technology
M.I.T. theses are protected by copyright. They may be viewed from this source for any purpose, but reproduction or distribution in any format is prohibited without written permission. See provided URL for inquiries about permission.
http://dspace.mit.edu/handle/1721.1/7582
Architecture
Urban Studies and Planning
The city's pleasures : architectural sensibility in eighteenth-century Istanbul
Architectural sensibility in eighteenth-century Istanbul
Thesis
application/pdf
false
Publication
unknown
unknown
<Publication xmlns="https://www.openaire.eu/cerif-profile/1.1/" id="9ad01a5c-7cc0-4a0c-a98c-022cbb36bdfc">
<Type xmlns="https://www.openaire.eu/cerif-profile/vocab/COAR_Publication_Types">http://purl.org/coar/resource_type/c_1843</Type>
<Language>eng</Language>
<Title>The city's pleasures : architectural sensibility in eighteenth-century Istanbul</Title>
<Subtitle>Architectural sensibility in eighteenth-century Istanbul</Subtitle>
<PublishedIn>
<Publication>
</Publication>
</PublishedIn>
<PublicationDate>1999</PublicationDate>
<Authors>
<Author>
<DisplayName>Hamadeh, Shirine</DisplayName>
<Affiliation>
<OrgUnit>
</OrgUnit>
</Affiliation>
</Author>
</Authors>
<Editors>
</Editors>
<Publishers>
<Publisher>
<DisplayName>Massachusetts Institute of Technology</DisplayName>
<OrgUnit />
</Publisher>
</Publishers>
<License>http://dspace.mit.edu/handle/1721.1/7582</License>
<Keyword>Architecture</Keyword>
<Keyword>Urban Studies and Planning</Keyword>
<Abstract>The definitive return of the Ottoman court to the capital city Istanbul in 1703 ushered in nearly a century of extraordinary building activity and urban change, in the process of which a new architectural idiom was defined. This dissertation examines the parameters of Ottoman architectural sensibility in the eighteenth century, starting at this pivotal moment and ending with the first European commissions in the 1790s. It draws principally on contemporary court poetry, and a wide array of Ottoman and European literary and visual sources, and architectural evidence. It departs from current interpretations, which view European influence as the chief impetus of architectural change in this period. Instead, I contend that this was a time when social transformations in the making since the late sixteenth century were enacted in the city's fabric through the tastes, aspirations, and recreational practices of the urban society. The continuous dynamic between these manifestations and the state s efforts to reassert its visible presence in the capital was central to the formation of a new urban and architectural landscape. This is highlighted in the first part, which explores the development of the suburban waterfront, the spatial and structural transformations of residences, the formal evolution of private gardens, the proliferation and unprecedented magnificence of public fountains, and the phenomenal expansion of public spaces. The second part focuses on the role of urban sensibilities in shaping a broader cultural horizon of expectations. Through an investigation of the age-old relation between garden and poetry in this period, I show that garden and poetic canon followed a parallel trajectory of "urbanization," symptomatic of a changing environment that accommodated a diverse range of social milieus and sensibilities. Drawing on the flourishing genre of rhymed architectural chronograms, I argue that this hybrid constellation of sensibilities informed the architectural vocabulary of eighteenth-century Istanbul. In Ottoman perception, beauty was measured against the sensuous pleasures derived from the visual and sensory experience of architecture. Brilliance, ornamental virtuosity, mimesis, and novelty, constituted the main parameters of appreciation. They mirrored a flamboyant and immensely hybrid visual idiom, tuned to the sensibilities of a broad and diverse public.</Abstract>
<Access xmlns="http://purl.org/coar/access_right"
>
</Access>
</Publication>