Nazende Yilmaz
Nazende Yilmaz graduated from Marmara University Faculty of Fine Arts, Department of Interior Architecture in 1999. She got her master’s degree from Marmara University Turkish Studies Institute in 2001 and her Ph.D. degree at Mimar Sinan University of Fine Arts, History of Art Department, in 2007. Her dissertation title was “Music and Space at Cultural Environment of Istanbul in 19th century”. Mrs. Yilmaz has been lecturing many courses on Art History and Cultural History at Marmara University and Mimar Sinan University. She served as Assistant Professor at the Interior Architecture Department at Fatih Sultan Mehmet Vakıf University (2012-2015), at Istanbul Medipol University (2015-2018), and at İstanbul Şehir University (2018-2021). Dr. Yilmaz is currently Assistant Professor at the Interior Architecture Department at Fatih Sultan Mehmet Vakif University. She has various national and international publications on Art History, co-relation of Architecture and Music, Ottoman Art and Culture.
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Papers by Nazende Yilmaz
Abstract
This article aims to evaluate design approaches and publications related to well-being in architecture, interior architecture, and design. What is well-being for this purpose? What methodologies have been used in studies investigating the relationship between architecture, design, and wellbeing? Where have studies on the relationships between architecture, design, and well-being been conducted globally? Research data on well-being, including architecture and interior design, was searched in databases using keywords; architecture categories well-being and architecture, interior architecture, architectural design, design. The research utilized scientific mapping methods for analysis. This data analysis on architecture and well-being serves as an essential foundation for future research. According to the results of this research the most effective publications and keywords on well-being are revealed. In addition, this research provides an up-to-date perspective on the subject.
The development of dome structure in Islamic architecture can be traced starting from the Great Seljuk constructions. The notion of a central dome gained prevalence in the early Ottoman period before the conquest of Istanbul. The dome of the Hagia Sophia was a goal to be accomplished for Mimar Sinan (Architect Sinan), who carried dome architecture to its zenith. While this goal is often perceived as the ideal of building the largest dome covering a large rectangular space, it has the idea of making a higher version of a symbolic volume behind it. In order to address this subject, it is necessary to evaluate the architectural texts describing the symbolism of the dome and its hierarchy within the structure. Starting from the symbolic expressions and analogies in these texts, examining the religious ontological texts which will explain the subject in more detail will allow for a better hermeneutic understanding of the dome in Ottoman culture.
Keywords: Ottoman Architecture, Dome Space, Hermeneutics, Architectural Symbolism, Ontology
Keywords: Music, space, architecture, relationship, mathematics.
Music and Architecture:
Cruising Through Architecture of Sinan and Compositions of Itrî
Assistant Prof.Dr. Nazende YILMAZ
Prof. Dr. İbrahim NUMAN
In order to understand of the art of Mimar Sinan and Itrî, the qualitative evaluation of the material will not give an adequate idea. Evaluating a cornerstone of Classical Turkish music who could be recognized as “Sinan (the architect) of music, one needs to approach through the best works of architecture, literature, and music in order to break the codes of a civilization. Understanding the design process in the Ottoman civilization, requires examining the comprehension of the divine creation, and human; which is the intention of the creation. In the East, and in Islam in particular, although it is accepted that anything can be known only with its opposite, from the “Vahdet” (Unity) point of view, there exists no disparity in the affiliation of the opposites. When the understanding of the Ottoman art; in a work of music or architecture is mentioned, , a structure designed from the viewpoint of "tevhid" (vahdet, unity) appears. There is the opportunity of matching the basic features of Classical Turkish music in architecture. The dome of the Suleymaniye Mosque of Mimar Sinan, and Buhurizâde Itrî’s composition “Tekbir” might be regarded as reflections of the concept of "tevhid".
Books by Nazende Yilmaz
Abstract
This article aims to evaluate design approaches and publications related to well-being in architecture, interior architecture, and design. What is well-being for this purpose? What methodologies have been used in studies investigating the relationship between architecture, design, and wellbeing? Where have studies on the relationships between architecture, design, and well-being been conducted globally? Research data on well-being, including architecture and interior design, was searched in databases using keywords; architecture categories well-being and architecture, interior architecture, architectural design, design. The research utilized scientific mapping methods for analysis. This data analysis on architecture and well-being serves as an essential foundation for future research. According to the results of this research the most effective publications and keywords on well-being are revealed. In addition, this research provides an up-to-date perspective on the subject.
The development of dome structure in Islamic architecture can be traced starting from the Great Seljuk constructions. The notion of a central dome gained prevalence in the early Ottoman period before the conquest of Istanbul. The dome of the Hagia Sophia was a goal to be accomplished for Mimar Sinan (Architect Sinan), who carried dome architecture to its zenith. While this goal is often perceived as the ideal of building the largest dome covering a large rectangular space, it has the idea of making a higher version of a symbolic volume behind it. In order to address this subject, it is necessary to evaluate the architectural texts describing the symbolism of the dome and its hierarchy within the structure. Starting from the symbolic expressions and analogies in these texts, examining the religious ontological texts which will explain the subject in more detail will allow for a better hermeneutic understanding of the dome in Ottoman culture.
Keywords: Ottoman Architecture, Dome Space, Hermeneutics, Architectural Symbolism, Ontology
Keywords: Music, space, architecture, relationship, mathematics.
Music and Architecture:
Cruising Through Architecture of Sinan and Compositions of Itrî
Assistant Prof.Dr. Nazende YILMAZ
Prof. Dr. İbrahim NUMAN
In order to understand of the art of Mimar Sinan and Itrî, the qualitative evaluation of the material will not give an adequate idea. Evaluating a cornerstone of Classical Turkish music who could be recognized as “Sinan (the architect) of music, one needs to approach through the best works of architecture, literature, and music in order to break the codes of a civilization. Understanding the design process in the Ottoman civilization, requires examining the comprehension of the divine creation, and human; which is the intention of the creation. In the East, and in Islam in particular, although it is accepted that anything can be known only with its opposite, from the “Vahdet” (Unity) point of view, there exists no disparity in the affiliation of the opposites. When the understanding of the Ottoman art; in a work of music or architecture is mentioned, , a structure designed from the viewpoint of "tevhid" (vahdet, unity) appears. There is the opportunity of matching the basic features of Classical Turkish music in architecture. The dome of the Suleymaniye Mosque of Mimar Sinan, and Buhurizâde Itrî’s composition “Tekbir” might be regarded as reflections of the concept of "tevhid".