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Yerebatan Camii, seramik duvar kaplamalarının güzel örneklerini barındırıyor. Biz yinede plastik askılar yapıştırmışız tesbih asmak için ...
The museum occupies the building of an Ottoman mosque, the Büyük Mosque, where it has been housed for over a 100 years.
Please,No Group Invitations !!
Adana's Stone Bridge
Acrossing the Seyhan river, Stone bridge is the most important antiquity trace of Adana and its neighbors. It is assumed that it is built by Roman Emperor Hadrianus (117-138) and renewed by Byzantium Emperor Iustinianos (6th centry). It has been repaired several time. Its length is 317 m and it has 21 arches. 14 arches are still undamaged.
According to the researchers, Çukurova has been settlement since stone age. Tepebağ tumulus, one of the oldest settlement of Çukurova, is considered to be exist since the first age. Stone bridge has served Tepebağ for many ages and it is still in use.
Adana's most prominent monument is the Sabancı Merkez Camii, an enormous beatiful new six-minareted mosque whose white marble reflection sparkles in the Seyhan river. The mosque was built by the industrial magnate Sakip Sabancı and was opened in 1999. It is second in size only to the Sülemaniye Camii in Istanbul. It is crowned by a 51 metre high dome and provides space for 30,000 worshippers. The inside decoration tries to copy Istanbul's Blue Mosque (Sultan Ahmed Camii).
Die Sultan-Ahmed-Moschee (türkisch Sultanahmet Camii) in Istanbul wurde 1609 von Sultan Ahmed I. in Auftrag gegeben und bis 1616, ein Jahr vor dem Tod des Sultans, vom Sinan-Schüler Mehmet Ağa erbaut. Nach der Säkularisation der kaum 500 Meter entfernten Hagia Sophia ist sie heute Istanbuls Hauptmoschee und ein Hauptwerk der osmanischen Architektur. In Europa kennt man sie als Blaue Moschee wegen ihres Reichtums an blau-weißen Fliesen, die die Kuppel und den oberen Teil der Mauern zieren, aber jünger als der Bau selbst sind. Kunsthistorisch bedeutsamer sind die Fliesen auf dem unteren Teil der Mauern und den Tribünen: Sie stammen aus der Blütezeit der Iznik-Fayencen und zeigen traditionelle Pflanzenmotive, bei denen Grün und Blautöne dominieren. Die Ausmalung des Innenraumes wurde auf Rosa geändert. (Wikipedia)
The Sultan Ahmed Mosque ( Turkish Sultanahmet Camii) in Istanbul was in 1609 by Sultan Ahmed I commissioned and until 1616, a year before the death of the Sultan, by Sinan student Mehmet Aga built. After the secularization of barely 500 meters from Hagia Sophia in Istanbul, it is today the main mosque and a masterpiece of Ottoman architecture . In Europe it is known as the Blue Mosque because of its wealth of blue and white tiles that decorate the dome and the upper part of the walls, but are younger than the building itself. Art historically significant are the tiles on the lower part of the walls and the stands: They come from the heyday of Iznik pottery-show and traditional floral motifs, where green and blue tones dominate. The decoration of the interior was changed to pink. (Wikipedia)
Turkish American Community center consists of five main buildings, with an underground parking garage, and a geothermal well field on a 15-acre site. The five buildings are a mosque constructed using 16th century classical Ottoman architecture, a cultural center building, a recreational building with a restaurant, a traditional Turkish bath, indoor pool, sports center, and a guest house.
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Her gün yeni bir hayat ...
Yılın her mevsiminde, mevsimin her haftasında başka bir ışık, renk ve gölge buluyor bizi. Aynı noktadan çektiğim hiç bir fotoğraf bir birine benzemiyor. Bazan "bu açıyı çektim" diyorum bir güzel köşeye bakarken. Ama ışık öyle değişik ve oynak ki, hiç olmadığı kadar güzel sunabiliyor "ânı". Zaman, canlı ve bizimle birlikte büyüyor, ilerliyor. Öyleki, durağan cisimlere bile dokunuyor bu nefes ve onlarda değişiyor, farklılaşıyorlar adeta.
Bir duvar, her seferinde farklı bir dille anlatıyor hikayesini üzerine vuran ışığın ahengi ile. Bir sokak, meydan, yapı sunduğu gölge oyunları ile şaşırtıyor her karede değişerek. Gezdiğimiz, geçtiğimiz hiç bir sokak aynı kalmıyor
Hele bir de orada yaşanmış hayatların izlerini düşünerek geziyorsanız.
Kız Kulesi bahar yağmurları ile birlikte duvağını takınmıştı dün akşam. O kadar görkemli bir tül sarkıtmışdı ki güneş altın simlerle bezeli, bulutların arasından, uzaktan kıskanarak bakıyordu Galata.
This certainly isn't the prettiest photo I or anyone else has ever taken of this building's stunning interior. But it does at least remind me that my visit half a century ago took place at a time when some sort of restoration effort was underway. Hence the scaffolding in the foreground.
Though it was constructed well over a millennnium after the nearby Hagia Sophia, the Sultan Ahmed Mosque owes some of its main design features to it—or at least to Byzantine-church architecture in general. Of course, over the centuries this sort of artistic and engineering cross-fertilization between cultures and religions has proved to be a very heavily traveled two-way street.
One can easily rattle off the correspondences between those two great imperial-city structures. Here, for example, architect Sedefkâr Mehmed Ağa, a pupil of the great Sinan, utilized pendentives and half-domes supported by massive piers that transmit the weight of the main dome and all else down to the foundation and bedrock below.
Pendentives are curved, triangular sections of a sphere. One is is visible in this shot between two half-domes, at top. Lurking behind the scenes, in the walls and piers, are the main structural materials, brick and locally quarried, Miocene-epoch Bakırköy Limestone.
And speaking of stone: the one stout, upper-level column visible behind the scaffoling looks very much like Proconnesian Marble, quarried on Marmara Island in the sea of the same name since Roman times. The Mosque's mihrab is carved from that stone, and I assume it is also the ornamental rock type used in some of the columns. It may even be the marble of the ribbed sections of the famous elephant-foot piers. But so far I lack documentation for that.
The other geologically derived material on display is the ceramic İznik Tile. More on that in the images that follow!
To see the other photos and descriptions in this series, visit my Architectural Geology of Ottoman Istanbul album.
Eyüp Sultan Kemerburgaz ormanlığının kuzeyinde bulunan köprü, Göktürk girişinde yer almaktadır. Kağıthane deresi üstünde bulunan Mimar Sinan eseri olan Uzun Köprünün Roma devrinden kalan temelleri üzerine inşa edilmiştir. Kemer Türkiyenin günümüzde ayakta kalmış en uzun kemeridir. 1554-1564 yılları arasında inşa edilen kemere 1567 yılında yaşanan sel ve fırtına sebebiyle büyük hasar görmüştür.
İki katlı olarak inşa edilen kemerin boyutu 710 metre yüksekliği ise 26 metredir. Alt katında 47 kemer üst katında 50 kemer olmak üzere toplamda 97 kemerden oluşmaktadır. Üst gözleri alt gözlere göre daha kısa olarak tasarlanmıştır. Köprü ayaklarından birinin üzerine “Allah” yazısı bulunmaktadır. Bir diğer ayağında ise defineciler tarafından tahrib edilmiş olan bir madalyon yer almaktadır. (Wikimapia - wikimapia.org/3389176/tr/Uzun-Kemer)
29/04/2008, Mustaj-bey Bridge or Mustafa bey Bridge, also called the Klepci most (Bridge), Tasovčići, Bosnia & Herzegovina.
While driving to Mostar, I caught sight of this bridge from the main road, so decided to investigate, and it was fortunate I did. Now situated on a quiet road, and the bridge itself is no longer in use, it has some history and is a relic of the old Ottoman empire.
Mustafa, sandžak- beg (Administrator) of Herzegovina, ordered that a bridge be built here in 1517.
In the second half of the 17th century, Šišman Ibrahim Pasha, who built a medresa (religious school) in the nearby town of Počitelj and renovated the mosque, also renovated the bridge in Klepci.
Traces of older roads here suggest that there had been a Roman bridge on the site of the present-day bridge.
The bridge, with its finely proportioned arch structure recalling that of the Old Bridge in Mostar, stands out as one of the most important works of Ottoman infrastructure architecture.
A specific feature of the bridge is that it has the widest span of this type of bridge over a lowland river. Since the Bregava riverbed is relatively wide at this pont and the banks are low, the builder opted for supstantial stone abutments and long approach ramps, thus reducing the span of the arch.
The condition of the bridge has deteriorated badly during and since the 1992-1995 war