Even a casual observer can spy traces of Islamic architecture and design on buildings all over the world, a reminder that artistic traditions and visual culture have never been limited to their region or country of origin, but rather are highly diffusible. This book brings together scholars from architectural studies, design, art history and other fields to challenge and expand concepts of Islamic architecture. Ranging from eighteenth-century Ottoman tents to manifestations of Islamic motifs in 1960s Hawaii, this richly illustrated volume raises key questions about Islamic architecture, and, more broadly, about how we can rethink our understanding of material, artistic and cultural mobility in the modern world.

Concerned with the relationship between Friday mosque and city in the Islamic context. Focusing particularly on the Friday mosque, the book aims at exploring the concept of liminal(ity) in spatial terms and discuss it in terms of the relationship between the Friday mosque and its surrounding urban context. Transition spaces/zones between the mosque and the urban context are discussed through the case studies from various contexts. In doing so, the manuscript reveals different forms of liminality in spatial sense. Considers widely-studied topics such as the 'Friday mosque' or the 'Islamic city' through a fresh new lens, critically examining each case study in its own spatial urban and socio-cultural context. While these two well-known themes - concepts that once defined the field - have been widely studied by historians of Islamic architecture and urbanism, this collection specifically addresses the functional and spatial ambiguity or liminality between these spaces. Thus, instead of addressing the Friday mosque as the central signifier of the 'Islamic city', the articles in this volume provide evidence that there was (and continues to be) a tremendous variety in the way architectural borders became fluid in and around Friday mosques across the Islamic geography, from Cordoba to Jerusalem and from London to Lahore. By historicizing different cases and contributing to our knowledge of the way human agency through ritual and politics shaped the physical and social fabric of the city, the papers collectively challenge the generalizing and reductionist tendencies in earlier scholarship. The disciplinary approaches are varied, and include archaeology, art history, history, epigraphy and architecture. The original approach in the book, addressing of the topic of liminality from different points of view and in different periods, creates a fresh approach that invites students and scholars to think deeply about the imbrication of congregational mosques in the daily life of the cities that host them. Moreover, in considering mosque and city together, the mosque appears as a living space subject to change and history and made with political and social purpose, rather than as a holy space disconnected from the rest of the world. Traditional studies of mosques focus on architecture and aesthetic language and try to establish a lineal development of the building typology connected to the history of Islam across different territories. The present study offers an alternative (though not competing) perspective where locality and politics play a major role in the materialization of the congregational mosque as a religious and communal space. The wide historical frame enables comparison of congregational mosques in different historical periods: it is particularly a strong contrast to see how the liminality of the mosque changes between the early and classical periods of Islam on one side and the more contemporary times on the other. The consideration of diverging cultural, political and sectarian settings is another interesting element of comparison. Primary market will include scholars, academics and students working on or studying Islamic studies, particularly Islamic history, Islamic architecture and Islamic archaeology. Also of relevance to architectural historians, architects, art historians, city planners, city historians, urban designers, architectural critics, historians, sociologists, archeologists, and those interested in religious studies, and in archaeology of religion.

The images released by Islamic State of militants smashing statues at ancient sites were a horrifying aspect of their advance across Northern Iraq and Syria during 2015-16. Their leaders justified this iconoclasm (destruction of images) by arguing that such actions were divinely decreed in Islam, a notion that has remained fixed in the public consciousness. The Image Debate: Figural Representation in Islam and Across the World is a collection of thirteen essays which examine the controversy surrounding the use of images in Islamic and other religious cultures and seek to redress some of the misunderstandings that have arisen. Written by leading academics from the United States, Australia, Turkey, Israel and the United Kingdom, the book has a foreword by Stefano Carboni, Director of the Art Gallery of Western Australia, followed by an introduction by the editor Christiane Gruber, who sets the subject in context with a detailed examination of the debates over idols and the production of figural images in Islamic traditions. Twelve further articles are divided into three sections: the first deals with pre-modern Islam: Mika Natif looks at tensions between the Hadith prohibition on images and the praxis of image-making under the Umayyad dynasty and argues that the Umayyad rulers used imagery to establish their political and religious authority; Finbarr Barry Flood examines the practice of epigraphic erasure, i.e., the removal of names of rulers and patrons from historical inscriptions from the medieval Islamic world; and Oya Pancaroglu focuses on the figural conventions of an illustrated manuscript of Varqa and Gulshah, a medieval Persian romance composed in the masnavi (rhyming couplet) form by the 11th-century poet `Ayyuqi. The second section addresses the situation outside Islam: Alicia Walker surveys attitudes toward the production and veneration of religious images in Byzantium from the earliest years of the Christian Roman Empire (early 4th century) to the aftermath of the Iconoclast controversy (late 9th century); Steven Fine explores the history of Jewish engagement with `art' from Roman antiquity through the high middle ages through a detailed exploration of the 3rd-century Dura Europos synagogue and its wall paintings; Michael Shenkar examines evidence for the employment of figural images in the cultic practices of some of the major ancient Iranian cultural and political entities, offering a broad perspective on perceptions of images in ancient Iranian worship; and Robert DeCaroli delves into the question of why no image of the Buddha was made during the first five hundred years of Buddhism. The third section brings the reader back to Islamic lands with five articles examining aspects of the issue in the modern and contemporary periods: Yousuf Saaed investigates South Asian mass-produced images, especially posters that include illustrations of local Sufi shrines, portraits of saints and Shi`i iconography; James Bennett explores the visual depiction of Javanese shadow puppets (wayang kulit), including the sage Begawan Abiyasa, whose narratives convey key elements of Sufi mystical philosophy; Allen and Mary Roberts consider images of Cheikh Amadu Bamba, the founding Sufi saint of the Senegalese Mouride order; Rose Issa addresses how the term `Islamic' relates to contemporary art, how artists manage to create work in countries in constant turmoil and to what extent such works reflect their conceptual, aesthetic, and socio-political concerns; and finally Shiva Balaghi traces the use of the figure, along its symbolic shadows and silhouettes, in works by notable Iranian artists living in Iran and in diaspora.

Die Glaubwurdigkeit der Kommunikation ist das zentrale Thema dieses Buches. Es stellt Strategien vor, wie man authentisch kommuniziert - im Unternehmen; in einer Presselandschaft, die gepragt ist von Konkurrenzkampf, Vereinfachung und Zeitnot; und vor dem Hintergrund einer Gegenoffentlichkeit, die eine junge Generation von kritischen Konsumenten im Internet etabliert, um dort ethisches Wirtschaften einzufordern."

This volume considers the major trends and developments in Iranian architecture during the 1960s and 70s in order to further our understanding of the underpinnings and intentions of Persian architecture during this period. While narrative explorations of modernism have relied heavily upon classifications based on western experiences and influences, this book provides a more holistic view of the development of Persian architecture by studying both the internal and external forces that influenced it in the late twentieth century. The chapters compiled in Architectural Dynamics in Pre-Revolutionary Iran, accompanied by more than eighty images, shed light on the fascinating — and sometimes controversial — evolution of Iranian architecture and its constant quest for a new paradigm of cultural identity.

The book documents the history and morphology of the Ancient City of Aleppo, outlining first the urbanistic development of the city and then focusing on the architectural heritage with specific focus on the domestic architecture, addressing the initiatives to reconstruct and rehabilitate the urban fabric. The author argues in favour of the safeguarding and rehabilitation of the architectural heritage to protect the cultural memory of the inhabitants of Aleppo, despite of the destruction of architecture due to the recent war. Through a capillary documentation of the palimpsest of Aleppo - the peculiar characteristics of its courtyard houses and the neighbourhoods of Bayyada, Bab Quinnesrin and al-Farafra - this is a theoretical and practical handbook for architects, urban planners and restorers alike. Through this analytical discussion of the city's urban fabric, it introduces the concept of the cultural urban landscape acting as a 'cohesive territorial organism', nourished by different cultures, in which contrasting scales of land, city and neighbourhood are interconnected in a fractal state. With a focus on retaining the uniqueness and diversity of this residential typology, which bore witness to the rich cultural history of Syria and the Middle East as a whole, Neglia maps a future reconstruction that focuses on cultural continuity, tradition and the re-establishment of a crucial social memory. Of particular interest and relevance to cultural heritage experts, urban planners architects and designers. Also, to researchers, scholars and students interested in studies on urban morphology and building typology, UNESCO and ICOMOS. Scholars and students interested in the Middle East. Will also be of significant interest to professionals dealing with the implementation of rehabilitation measures in other cities inscribed on the Word Cultural Heritage List, or cities with a sound historic fabric which has been destroyed due to war or other events.

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.

The tales of the mi'raj describe the prophet Muhammad's journey through the heavens, his encounters with prophets and angels, and his visit to heaven and hell. The tales are among Islam's most popular, appearing in Arabic, Persian, and Turkish literature, and in later adaptations throughout the Muslim world. Often serving as narratives designed to promote the worldview of particular Muslim groups, the tales were also a means for communities to construct rules of normative behavior and ritual practices, and were used to assert the superiority of Islam over other religions. The essays in this collection discuss the formation of this narrative, the mi'raj as a missionary text, its various adaptations, its application to esoteric thought, and its use in performance and ritual.

In the wake of controversies over printing or displaying images of the Prophet Muhammad, Christiane Gruber's aim is to bring back into scholarly and public discussion the 'lost' history of imagining the Prophet in Islamic cultures. By studying the various verbal and visual constructions of the Prophet's character and persona over the course of more than one thousand years, Gruber seeks to correct public misconceptions and restore to Islam its rich artistic heritage, illuminating the critical role Muhammad has played in Muslim constructions of self and community at different times and in various cultural contexts. The Praiseworthy One is an exploration of the Prophet Muhammad's significance in Muslim life and thought from the beginning of Islam to today. It pays particular attention to procedures of narration, veneration, and sacralization. Gruber stresses that a fruitful approach to extant textual and visual materials is one that emphasizes the harnessing of Muhammad's persona as a larger metaphor to explain both past and present historical events, to build and delineate a sense of community, and to help individuals conceive of and communicate with the realm of the sacred. The Praiseworthy One shows that Muhammad has served as a polyvalent symbol rather than a historical figure with fixed significance.

Diplomarbeit aus dem Jahr 2003 im Fachbereich Informatik - Angewandte Informatik, Note: 1,0, Technische Universiat Wien (Technische Naturwissenschaften und Informatik), Sprache: Deutsch, Abstract: Inhaltsangabe: Einleitung: Meine Diplomarbeit stellt einen generischen Ansatz dar, mit dem fur auf Datenbanken basierende Software Eingabemasken, Suchmasken etc. generiert werden konnen, sodass etwaige Anderungen an der Datenbank keine Auswirkungen auf die Scripts haben. Da die Entwicklung dieses Ansatzes mit einem Auftrag aus der Wirtschaft verbunden war und somit als eigenstandiges IT-Projekt angesehen werden kann, wird in der Arbeit auch der allgemeine Ablauf eines solchen Projektes vorgestellt, Vorgehensmodelle diskutiert und die eigene Vorgehensweise ausfuhrlich begrundet. Daruber hinaus gibt ein Kapitel uber generische Modelle einen Uberblick, welche Losungen moderne Programmiersprachen wie Java oder C++ fur generische Programmierung bereitstellen. Inhaltsverzeichnis: Inhaltsverzeichnis: 1.PERSONLICHE MOTIVATION UND ZIELSETZUNG4 2.DER AUFTRAG5 2.ADIE FIRMA5 2.BSYSTEMSPEZIFIKATION6 2.b.iZiel des Projektes6 2.b.iiEntwicklungsumgebung6 2.b.iiiLeistungsumfang6 2.b.ivLixto6 2.b.vSystemarchitektur7 2.b.viBackoffice7 2.b.viiWebshop*10 3.VORGEHENSMODELLE BEI PROJEKTEN11 3.ABUILD-AND-FIX ZYKLUS11 3.BDER SOFTWARE-LIFE-CYCLE12 3.CDAS WASSERFALLMODELL13 3.DDAS V-MODELL14 3.EDAS SPIRALMODELL16 3.FDAS INKREMENTELLE MODELL17 3.GEXTREME PROGRAMMING20 3.HPROJEKT WEBSHOP22 4.ANALYSE23 4.AANFORDERUNGSANALYSE23 4.BANALYSEMODELL26 5.MODELLIERUNGSKONZEPTE KONZEPTIONELLER DATENMODELLE30 5.AKLASSIFIKATION31 5.BAGGREGATION32 5.CVERALLGEMEINERUNG (GENERALISIERUNG)33 6.ENTWURF34 6.ASYSTEM35 6.BUSER INTERFACE38 6.b.iWebshop39 6.b.iiBackoffice41 6.CEER44 7.GENERISCHE MODELLE53 7.AGENERISCHE DATENTYPEN54 7.BEIN VERGLEICH DER GENERISCHEN PROGRAMMIERUNG MIT JAVA UND C++55 7.CBEISPIEL: FORMULARE MIT PHP GENERISCH AUSWERTEN56 7.DAKTUELLE FORSCHUNGEN58 8.IMPLEMENTIERUNG61 8.ASUCHMASKE65 8.a.iSearch.p