scholarly journals ANALISIS BENTUK KUBAH DAN AKULTURASI BUDAYA PADA BANGUNAN MASJID AL OSMANI MEDAN

2021 ◽  
Vol 3 (2) ◽  
pp. 121
Author(s):  
Rendy Prayogi ◽  
Ganal Rudiyanto ◽  
Achmad Syarief
Keyword(s):  
Middle Eastern ◽  
Modern Architecture ◽  
Traditional Architecture ◽  
Historical Approach ◽  
Cultural Arts ◽  
Functional Development ◽  
Eastern Cultures ◽  
The Aesthetic ◽  
Building Form ◽  
Dome Shape

<div class="WordSection1"><p><strong><em>Abstract</em></strong></p><p><em>Medan City is a combination of several ethnicities and cultures, because in Medan there are several Acehnese, Batak and Malay ethnic groups. Medan has a Malay Deli building with exotic religious and artistic nuances to visit, especially if we like typical Malay buildings such as the Al Osmani Mosque building which still elevates and preserves cultural arts even though there has been a renewal of traditional architecture into modern architecture, but the Malay building still has value. aesthetics with various types of ornament forms, colors, placement of Malay ornaments and also the acculturation of various cultures. Al Osmani Mosque was first built in 1854 with selected wood materials imported from Penang. During the VII Deli Malay Sultanate, namely Sultan Osman Perkasa Alam. Then in 1870 - 1872 the wooden mosque was built permanently by his son, Sultan Mahmud Perkasa Alam (VIII Sultan of Deli). The Al Osmani mosque building was designed by a German architect named GD Langereis with materials sent from Spain and Persia. This study uses a historical approach and aesthetic approach. The historical approach will involve a discussion of the origins of the building form of the Al Osmani Mosque and its functional development since it was founded until now. The aesthetic approach will involve a discussion of the dome shape of the Al Osmani Mosque, what cultural acculturations are there in the Medan Al Osmani Mosque building so that it can attract attention and have unique characteristics? The results showed that the Al Osmani Mosque and its interior as well as the space filling elements in it were not fully influenced by the aesthetics of the forms that came from the Deli Malay culture but were also influenced by the aesthetic forms of Chinese, European, Indian and Middle Eastern cultures.</em><em></em></p><p><strong><em>Keywords : </em></strong><em>Acculturation, Ornaments, Aesthetics, History, Al Osmani Mosque.</em></p><p><strong><em> </em></strong></p><p><strong> </strong></p><p><strong>Abstrak</strong></p><p>Kota Medan merupakan perpaduan dari beberapa etnis dan budaya, karena di Kota Medan di dapati beberapa etnis Aceh, etnis Batak dan etnis Melayu. Medan memiliki bangunan Melayu Deli bernuansa seni dan religi yang eksotis untuk dikunjungi khususnya jika kita menyukai bangunan-bangunan khas Melayu seperti Bangunan Masjid Al Osmani masih mengangkat dan melestarikan seni budaya meskipun terjadi pembaharuan arsitektur tradisional menjadi arsitektur modern, tetapi pada bangunan Melayu tersebut masih memiliki nilai estetis dengan berbagai jenis bentuk ornamen, warna, penempatan ornamen Melayu dan juga akulturasi dari berbagai budaya. Masjid Al Osmani pertama kali dibangun pada tahun 1854 dengan bahan kayu pilihan yang didatangkan dari Penang. Pada masa Kesultanan Melayu Deli ke-VII yaitu Sultan Osman Perkasa Alam. Kemudian pada tahun 1870 - 1872 masjid yang terbuat dari bahan kayu itu dibangun permanen oleh putranya yakni Sultan Mahmud Perkasa Alam (Sultan Deli ke-VIII). Bangunan masjid Al Osmani di desain oleh arsitek asal Jerman yang bernama GD Langereis dengan material yang dikirim dari Spanyol dan Persia. Penelitian ini menggunakan pendekatan sejarah dan pendekatan estetika. Pendekatan sejarah akan menyangkut pembahasan tentang asal-usul bentuk bangunan Masjid Al Osmani dan perkembangan fungsionalnya sejak didirikan hingga sekarang. Pendekatan estetika akan menyangkut pembahasan tentang bentuk kubah Masjid Al Osmani, akulturasi budaya apa saja yang terdapat pada bangunan Masjid Al Osmani Medan sehingga bisa menarik perhatian dan memiliki ciri khas yang unik?. Hasil penelitian memperlihatkan bahwa Masjid Al Osmani dan interiornya serta elemen pengisi ruang di dalamnya tidak sepenuhnya dipengaruhi oleh estetika bentuk yang berasal dari budaya Melayu Deli tetapi juga dipengaruhi oleh estetika bentuk dari kebudayaan China, Eropa, India dan Timur Tengah.</p></div><p><strong>Kata Kunci :</strong> Akulturasi, Ornamen, Estetika, Sejarah, Masjid Al Osmani.</p>

Toward a Semiotics of Middle Eastern Cultures

1980 ◽  
Vol 12 (3) ◽  
pp. 319-329 ◽  
Author(s):  
Roger Joseph
Keyword(s):  
Middle East ◽  
Middle Eastern ◽  
Complementary Method ◽  
Sign Systems ◽  
The People ◽  
Symbolic Life ◽  
Growing Body ◽  
Fresh Perspective ◽  
Eastern Cultures ◽  
Semiotic Theory

There exists a growing body of literature which either explicitly or implicitly utilizes semiotic theory to discuss various sign systems in the Middle East. I believe that by exploring these works and linking them to similar studies, we can acquire a fresh perspective on the symbolic life of the people of the Middle East. I do not argue that semiotics can or should replace other paradigmatic approaches to out analysis of culture, but rather that semiotics can serve as a complementary method for interpreting sign systems.

The Evolution of Architectonic Aesthetics in the Context of Globalization

2011 ◽  
Vol 250-253 ◽  
pp. 4026-4029
Author(s):  
Bai Ling Zhou
Keyword(s):  
Modern Architecture ◽  
Chinese Architecture ◽  
Pure Experience ◽  
The Aesthetic ◽  
The Individual

Research the evolution of architectonic aesthetics by concentrating on politics and economics in the background of Globalization. The accelerative modernization forces the individual aesthetic needs into the opposite, from which point out the evolution of the post-modern architecture can also be traced into the process from the deviation from astriction to sensibility then to the reflection on basic rationalism and at last to the aesthetic individualism. In conclusion, the trend of individualism, personalization and pure “experience” in architectonic aesthetics will continue its evolution and exert its influence on the development of Chinese architecture.

The Influence of Architectural Culture on Architectural Design

2013 ◽  
Vol 357-360 ◽  
pp. 278-281 ◽  
Author(s):  
Jia Sheng Liu
Keyword(s):  
Architectural Design ◽  
Modern Architecture ◽  
Traditional Architecture ◽  
The Relationship

The paper focuses on the relationship between the architectural culture and architectural design, puts forward the concept of architectural culture, expounds architectural cultures influence on Chinese traditional architecture and the western traditional architectures, and summarizes the importance and influence of architectural culture in the modern architectural design. This paper provides reference and experience for architects to design the modern architecture that can embody the design and spirit more vividly.

Authentic Emergence of Flexibility in Contemporary Architecture

2015 ◽  
Vol 40 (4) ◽  
pp. 44-49
Author(s):  
Ghazal Farjami
Keyword(s):  
Spatial Configuration ◽  
Environmental Issues ◽  
Modern Architecture ◽  
Structural Systems ◽  
Traditional Architecture ◽  
Modern Period ◽  
Contemporary Architecture ◽  
Modern Era ◽  
Residential Projects

Flexibility is known as an important term in the field of open buildings especially during modern era. Idea of flexibility has been one of the prominent implications in traditional Iranian architecture emerged in spatial organizations. Although, during modern period this quality of spaces has been mostly ignored some of the contemporary architects attempted to reconsider this characteristic in their projects. However, providing an interview with 7 pioneering contemporary Iranian architects and visiting their 25 residential projects it seems that flexibility has been reinterpreted in some of their projects. This research is an attempt for examining the idea of flexibility in 6 projects of 3 of these architects who were obsessed with this spatial term in their architectural works. Based on the architect’s words and analysis of their projects, and also looking for the roots of flexibility in traditional architecture, it can be asserted that there is an authentic emergence of flexibility in these projects. Examining these projects according to three main indicators of flexibility in modern architecture as structural systems, service organization and architectural layout, it is also tried to find their relation with traditional architecture. Being adapted with new lifestyles while ingrained in cultural and environmental issues of its context, idea of flexibility employed as an authentic characteristic of spatial configuration in some of the contemporary buildings in Iran.

Learner Autonomy

2019 ◽  
pp. 71-89
Author(s):  
Abdallah Elmahjoub ◽  
Terry Lamb
Keyword(s):  
Cultural Context ◽  
Middle Eastern ◽  
Learner Autonomy ◽  
Ethnographic Study ◽  
Teachers Perceptions ◽  
Analytical Thinking ◽  
Eastern Cultures ◽  
Readiness To Adopt

This chapter explores teachers' perceptions of learners' readiness to adopt autonomous roles and to develop their critical and analytical thinking. The chapter reports on an ethnographic study investigating teachers' views on whether the notions of learner autonomy and critical and analytical thinking can be developed in the Libyan cultural context. The reason behind this exploration is that Libyan culture is one of the Middle Eastern cultures in which some educationalists believe learner autonomy to be inappropriate. The study's findings suggest that notions of autonomy, critical and analytical thinking, and creativity can well be fostered in the context of this study.

scholarly journals Optimal Thermal Characteristics of the Courtyard in the Hot and Arid Climate of Isfahan

Buildings ◽  
2018 ◽  
Vol 8 (12) ◽  
pp. 166 ◽  
Author(s):  
Roya Hasehzadeh Haseh ◽  
Mehdi Khakzand ◽  
Morteza Ojaghlou
Keyword(s):  
Thermal Comfort ◽  
Middle Eastern ◽  
Thermal Characteristics ◽  
Arid Climate ◽  
Second Step ◽  
Traditional Architecture ◽  
Optimal Form ◽  
The Third ◽  
Simulation Process

The courtyard is a common and traditional architectural concept in Middle Eastern countries, especially Iran. This study presents practical solutions to arrive at the optimal form and features of a courtyard based on this traditional architecture to cope with the hot and arid climate of Isfahan, Iran. A model using the ENVI-met 3.1 software was used to simulate the courtyard orientation, the height of the wall enclosure, the albedo of the materials and the vegetation level in Isfahan. As the first step of the simulation, different orientations were simulated. Based on the results, the northern courtyard is recommended as the optimum orientation for the remainder of the simulation process. A high wall enclosure is recommended in the second step of simulation to ensure cool temperatures at noon and warmth at night. In the third step, it is advised to use low-albedo material in the courtyards to avoid the extra reflected radiation of used materials on the inhabitants. The final step suggests that more than 50% of the courtyard plan should be covered by greenery to ensure thermal comfort in the courtyards. Based on these suggestions, designers can create more sustainable courtyards that are better suited to the hot and arid climate of Isfahan.

scholarly journals Tata letak tanaman pada rumah berkonsep arsitektur tradisional Bali di Kota Bangli, Kabupaten Bangli Provinsi Bali

2018 ◽  
pp. 144
Author(s):  
I Dewa Gede Agung Surya Pranditha ◽  
Anak Agung Gede Sugiantara ◽  
Ni Luh Made Pradnyawathi
Keyword(s):  
Physical Characteristics ◽  
Land Area ◽  
Traditional Architecture ◽  
Know How ◽  
Cultural Philosophy ◽  
Ancient Times ◽  
The Aesthetic ◽  
The City

The plants layout on Balinese traditional architecture concept houses in Bangli City, Bangli Regency, Bali Province. Bangli Regency is one of the regency that located in the central part of Bali island and only one of regency do not have sea. Balinese Traditional Architecture can be interpreted as the spatial from the life place of Balinese community that has developed through generations with all the rules are inherited from ancient times, until the development of a form with the physical characteristics are revealed on the Lontar Asta Kosala-Kosali. The traditional Balinese park is not only involved the architectural, functional, aesthetic, but also used Balinese cultural philosophy in every placement of it landscape components. The purpose of this research were to understand the effect of land to the application Balinese Traditional Architecture, to understand the concept are using on development house in the city of Bangli regency and then to know how the sense of Balinese traditional architecture on the houses in Bangli city, Bangli regency. The result of the study was that the land area is very influential on the implementation of Traditional Balinese Architecture because there are rules that should be applied that is Asta Kosala-Kosali, the concept applied is Tri Hita Karana, Tri Mandala dan Tri Angga. Plants layout on Balinese people’s knowing is very less, so in plant layouting people only accentuate the aesthetic without a Balinese cultural philosophy.

scholarly journals “TABULA RASA” PLANNING: CREATIVE DESTRUCTION AND BUILDING A NEW URBAN IDENTITY IN TEHRAN

2017 ◽  
Vol 41 (3) ◽  
pp. 210-220
Author(s):  
Asma MEHAN
Keyword(s):  
Spatial Structure ◽  
Middle Eastern ◽  
Architectural History ◽  
Dominant Strategy ◽  
Modern Architecture ◽  
Urban Identity ◽  
The Social ◽  
Blank Slate ◽  
The 19Th Century ◽  
The City

The concept of Tabula Rasa, as a desire for sweeping renewal and creating a potential site for the construction of utopian dreams is presupposition of Modern Architecture. Starting from the middle of the 19th century to the first half of the 20th century, Iranian urban and architectural history has been integrated with modernization, and western-influenced modernity. The case of Tehran as the Middle Eastern political capital is the main scene for the manifestation of modernity within it’s urban projects that was associated with several changes to the social, political and spatial structure of the city. In this regard, the strategy of Tabula Rasa as a utopian blank slate upon which a new Iran could be conceived “over again” – was the dominant strategy of modernization during First Pahlavi era (1925–1941). This article explores the very concept of constructing a new image of Tehran through the processes of autocratic modernism and orientalist historicism that also influenced the discourse of national identity during First Pahlavi era.

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