ISLAMIC HOME DESIGN

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2009-01-31T16:23:00.000-08:00

The traditional japanese house

2008-10-13T17:56:00.000-07:00

The traditional japanese house is endangered. Most Japanese live in "modern" houses styled on Western models. But in a few places, as private dwellings, heritage buildings or museums, the traditional house survives.

It's an amazing building that illustrates the Japanese attitude toward aesthetics and the natural environment. The traditional house is in some ways a religious expression as well as a dwelling. The Japanese "religious aesthetic" is evident in the traditional house and also in other art forms such as brush painting, flower arrangement and tea ceremony.

The religious aesthetic expressed in Japanese art and architecture depends on the ideas of balance, harmony, economy and beauty. Nothing is wasted and beauty comes through simplicity and its relationship to function.

Traditional Nayar country house

2008-10-13T17:50:00.000-07:00

Traditional Nayar country house, Main House

Traditional Nayar country house

2008-10-13T17:48:00.000-07:00

Traditional Nayar country house, House of the men

2008-10-13T17:35:00.000-07:00

The known history of Safranbolu, located near the north western Black Sea coast of Anatolia, in Karabük nearby Zonguldak, dates back as far as 3000 BC.

Once a city of Roman Province of "Paphlagonia", Safranbolu has hosted many civilizations including the Roman, Byzantine, Seljuk and Ottoman Empires throughout its history. During the Ottoman era the town served as an important junction on the Kastamonu - Gerede (Bolu)- Istanbul route of the famous silk road. Safranbolu was at the same time a popular residence for Ottoman Royalty close to the Sultan and Grand Viziers.

The city received its name from the saffron which is native in Safranbolu. The powder obtained from its flower is a very strong dye. Used in very small quantities, saffron adds a delicate flavor, distinct aroma and a very unique color to deserts and other food in the Turkish Cuisine. It is also used for some Turkish carpets as a unique dye. Also unique in Safranbolu is the famous Çavus grapes with its extremely thin skin and sweet flavor.

Safranbolu displays its extremely rich historical and cultural heritage through 1008 architectural structures displaying a good example of Turkish architecture, all preserved in their original environment. These structures include the public buildings such as Cinci Hodja Kervansaray and Cinci Hodja Hamam, Mosques of Koprulu Mehmet and Izzet Mehmet Pashas, The Tennaries Clock tower, Old hospital premises, The guild of shoe makers, The Incekaya aqueduct, The old city hall and fountains as well as hundreds of private residences. Rock tombs and tumulus just outside the city are also of interest.

Safranbolu was placed in the world Cultural Heritage list by UNESCO in appreciation of the successful efforts in the preservation of its heritage as a whole. Safranbolu has deserved its real name for its houses.

These houses are perfect examples of old civilian architecture, reflecting the Turkish social life of the 18th and 19th centuries. The size and the planning of the houses are deeply affected by the large size of the families, in other words a total members of a big family living together in one house. The impressive architecture of their roofs have led them to be called as "Houses with five façades". The houses are two or three storied consisting of 6 to 9 rooms, each room is entirely detailed and have ample window space allowing plenty of light. The delicate woodwork and carved wall and ceiling decorations, the banisters indoor knobs etc. all come together to form an unmatched harmony of architectural aesthetics and Turkish art.

Traditional Turkish Houses

2008-10-13T17:31:00.000-07:00

Being strong and durable, functional, economical and aesthetic are the basic characteristics of the traditional Turkish house. The houses are built along the roads and on the edges of the squares in an order which reflects a strong respect for the neighbors. In most cases, the houses on both sides of the roads, which follow the configurations of the land, are separated with high walls and have overhanging sections on these walls, reaching towards the street.

Entrance to the house is generally through an inner door which opens onto the garden. When household chores permitted, the lady of the house, whose privacy is ensured with the high walls, would go upstairs and look around and chat with neighbors from the overhanging windows of the hall which face either the street or the garden. The large windows of the upper floors protected with bars or grills allowed this outlet.

Inside, the rooms were placed around a common space called sofa (hall), either on one or two sides or all around it. Sofas were in a sense interior court yards. It is an area which provides work space during the daily life as well as facilitating circulation among the rooms. They are opened to the outside sometimes completely on one side and sometimes on both sides.

The rooms were arranged to meet all the needs of their occupants. There, one could sit and rest, sleep, eat, worship, work and even take a bath. The recessed cupboards, open shelves, storage cupboards and places for washing lining the walls functioned as built in furniture. The divans placed in front of the windows were both seats and beds and left centers of the rooms free. The main living area of the house was the upper floor while the ground floor was allocated to service spaces.

The materials used in the houses varied according to the regions and climatic conditions. Wood and stone were used in the Black Sea Region, while it was stone and wood according to the locale in the West and the South and combinations of mud brick and wood in the Center and the Eastern parts of the country.

Seaside Triplex Long Beach Turkey

2008-09-28T02:57:00.000-07:00

There are 19 villas in this complex there is a shared swimming pool for adults and children. 1 living room and 3 bedrooms. The site is 260m to the Long Beach.1 km to Supermarket and 75km Izmir International Airport.10km to Kusadasi. Resort : Kusadasi Location : Long Beach Type : Villa Condition : New Size (m2) : 125m2 Bed-Rooms : 3+1 Dbl Glazed Window Terraces Balconies Shutters Swimming Pool Water Pump Solar-Panels Coving Lam. Parke Floor BBq Car Parking

Villas: Semi Detached

2008-09-28T02:56:00.001-07:00

he villa is 700m from the sea and 3km away from the Kusadasi.There are 3 bedroom, 1 livingroom, 1 laundryroom, 2 bathroom, 2 wc and sea view. Resort : Kusadasi Location : Ephesus Houses Type : Dublex Villa Condition : New Size (m2) : 120 Bed-Rooms : 3 Terraces Balconies Sea View Water Pump Water Tank Water Heater Solar-Panels Coving Furnished Tiled-Floor BBq Car Parking

Spacious, traditional house

2008-09-28T02:31:00.000-07:00

Property summary

Spacious traditional style, Caux house with full basement completed in December 2004, situated on the Rouen-Le Havre road, 30 km from the seaside. Entrance hall, sitting/dining room, open plan fitted and equipped kitchen, bedroom, wc.
First floor: landing (study), 3 bedrooms, one with dressing room and balcony, bathroom (large shower and bath tub), wc. 850 m2 of land.
Laundry room. 3 car garage.

Layout

Basement: full basement (76 m²) - laundry room (25 m²)
Ground floor: bedroom (11 m²) - equipped kitchen (14 m²) - sitting / dining room (37 m²) - toilet (2 m²) - entry (65 m²)
First floor: bathroom with tub (6 m²) - toilet (2 m²) - big bedroom (185 m²) - bedroom (11 m²) - caretaker's room (85 m²)

Traditional house - Karimabad

2008-09-28T02:29:00.000-07:00

Traditional house - Karimabad

A traditional house in Swat valley(Pakistan)

2008-09-28T02:22:00.000-07:00

A traditional house in Swat valley(Pakistan)

Iran Exterior House

2008-09-14T08:14:00.000-07:00

Exterior of Irani Houses

iran interior house

2008-09-14T08:12:00.001-07:00

INTERIOR OF IRANI HOUSES

Mehdi husaini design

2008-09-12T05:39:00.001-07:00

Private House

3D mehdi husaini design

2008-09-11T19:53:00.000-07:00

Private House First Story

History of minangkabau house

2008-09-09T18:35:00.001-07:00

The written history of Minangkabau started in the 14th century, with the introduction of Islam to West Sumatra, at the time of the gold trade with India and Aceh. By the 16th century Pariaman had become the main port, until Aceh people captured the harbour and took over the trade so that all trade from West Sumatra went through Badeh Aceh. Pepper cultivation then started to become important and West Sumatra became a leading pepper production area, involving, firstly, traders from India, China and Portugal and later the English and the Dutch. In 1763 the Dutch captured Padang and built a fortified trading post. The Portuguese Ambassador of that time became the first European to visit the Bukittingi royal palace.

The Minang lived in three valleys, each valley being ruled by a different leader. Their power reached as far as Batak regions and Rajang. The central Minang government lasted until the end of 18th century when the wealth of the gold mines was exhausted and the miners had to find other work. This work was found in the direction of coffee, salt, textiles and gambir (a superior vegetable tannin which proved to be an improvement on the original Chinese product). Islamic traders from the beginning of the Islamic reformation controlled the trade. Kings, Queens and other secular leaders who refused to follow the Paderi (religious leaders) were conquered during this troubled period in what became known as the Paderi wars. The Islamic university is still called Paderi.
In 1821, the Dutch secured their trade by making agreements with King Alam of Pagaruyung. The King gave them the Tanahdatar Valley in which they built Fort de Cock at Bukittingi. From there, they extended their power over the highlands.

The Paderi wars continued until 1837 at Bonjol, named after the most powerful Paderi leader, Imam Bonjol, where their power was broken.
From the beginning of the 20th century West Sumatra played an important role in modernizing Islam, especially in improving education for women. In the twenties many a well-educated student was frustrated by the lack of work. In 1926 the students, with the aid of the Communists, started a rebellion; many rebels were put into Dutch jails in New Guinea, Irian Jajah.

After the Second World War, during the independence struggle, Bukittingi briefly became the capital city of Indonesia; after the Dutch captured Sukarno it was the temporary refuge of the Government. On 1st. January 1950 Sumatra became a province of the newly independent Republic of Indonesia.

Traditional House
Minangkabau Traditional house is called 'Rumah Gadang' that means big house or Rumah Adat that means customary house. It is called Rumah Gadang, because of its big size, but it refers to the big function of the house it self. Rumah Gadang in Minangkabau belongs to all members of relatives along the mother's line called 'kaum'. The function is as the place for all traditional ceremonies like wedding party or inauguration of a head of clan. The original traditional house is made of wood and bamboo for the back wall. The roof is made of palm vibe. It is about 12 to 20 meters long and 6 to 8 meters wide the position of floor is two to two and half meter above the ground.

The location of a traditional house stretch from west to east, while the numbers of the rooms are 3,5,7,9 & even though 17. The construction is expended up with a horn shape roof. The roof looks like the horn of buffalo with 4 to 6 points stretch along the house and a point in addition forward for the front door and ladder. For the expanding form of the construction, there is no any right angle connection to the pillars with the horizontal bars of the house. Both, the upper and lower horizontal bars of the building.

The inside of the house is divided into 4 parts. They are living quarters along one side of that house, which consist of five or more rooms; another side in front of the rooms is a hall for meeting. In some houses, the meeting hall made with a raised floor as the place for the household in a meeting. At both ends of the house are rooms with a higher floor called 'Anjuang'. The rooms at Anjuang are used only for a special occasion, and usually used by a newly married daughter of the family.
The Traditional House is difference based on their clan:

Bodi Chaniago traditional houses.
The house has smooth floor and doesn't have anjuang.
Koto Piliang traditional houses
The house has anjuang.

The traditional house based on their shape:

Rumah gadang Rajo Babanding.
Consists of 5 rooms, 30 poles, 4 slightly horn shapes
Rumah Gadang Rajo Maharam.
Consists of 40 poles. It is called Gajah Maharam because the whole shapes look like elephant that sitting on the floor with the legs together and bent back beside the body.
Rumah Gadang Sarambi Papek
It is smaller than Rumah Gadang Rajo Babanding and consists of 3,4,5 rooms coinciding with the numbers of pole and there is no "paserek" and bedroom here.

In front of the traditional house stands rice barns used to keep food supply namely:

Sitinjau Lauik
Located on the left side with 6 poles and functioned as paddy storage to provide the common traditional need of expense.
Sibayau-bayau
Located on the right side with 6 poles and functioned as paddy storage for daily need.
Sitangka Lapa
Located on the left side with 4 poles and has function as paddy storage for disaster.

The traditional house wall and the rice barns are adorned with colorful carving, that very interesting and has a special meaning reflecting to Minang Philosophy "Alam Takambang jadi Guru" means the whole nature becomes the teachers.

Under-floor heating system (Ondol)

2008-09-09T18:29:00.000-07:00

Made by putting mud over under-floor heating stones, "ondol" is a main feature of traditional Korean houses. If lighted on the morning and evening, it witheld a pleasant l5 degree Celcius. This shows that the "ondol" system is quite based on scientific terms. These days steam heating is used more than 'ondol'.

wooden floor (maru)

2008-09-09T18:26:00.001-07:00

A Korean house is built with a rooms and a big wooden floor in the center. Houses from other lands are usually simple frame houses but they have either rooms only, or just a wooden floor. In Northern regions houses are closed private homes called "umjib" and in Southern regions houses are open and are in a hut-like form. You can easily spot traditional houses in Kahwaedong. It used to be a wealthy district where aristocrats used to live. explore and be amazed how this traditional site can be situated along with modernized buildings.

korean traditional house

2008-09-09T18:11:00.000-07:00

melay home traditional

2008-09-05T00:03:00.000-07:00

Riau Malay Traditional House

The Patio

2008-09-04T03:21:00.001-07:00

The Patio of the Old Cortijo/El Patio del Antiguo Cortijo

bedrroms

2008-09-04T03:20:00.000-07:00

One of the bedrroms/Una de las habitaciones

Main entrance

2008-09-04T03:19:00.001-07:00

Main entrance/La entrada principal

The columns

2008-09-04T03:17:00.000-07:00

The columns/Las columnas

The kitchen

2008-09-04T03:16:00.000-07:00

La cocina/The kitchen

The living room

2008-09-04T03:15:00.001-07:00

The living room/El salon comedor

arabic house

2008-09-04T03:12:00.000-07:00

A place to eat and talk/Para comer y charlar

Inside AdSense: Tell us your feedback on referrals

2008-09-03T06:51:00.000-07:00

Inside AdSense: Tell us your feedback on referrals

Jakarta Home Design

2008-09-02T22:29:00.001-07:00

Minimalis Jakarta Home Design

jakarta home

2008-09-02T22:25:00.000-07:00

One of Jakarta home View

Gallery

2008-08-26T20:17:00.000-07:00

The artworks in this gallery are a selection of my geometrical compositions of the past years. All are drawn by hand and painted in watercolour on high-quality paper. Most of the the works here are named after historically or artistically significant cities in the history of Islamic art & architecture. Although not all the designs in the geometric compositions can be directly attributed to the cities after which they are named, they did provide a source of inspiration when I was working on the compositions. In all my creative work, it is the desire to relate designs to their historical and cultural environment that makes Islamic geometry so interesting to me. That is what I hope the work in this gallery demonstrates.

All artworks are for sale, please do not hesitate to get in touch with me if you have a question or are interested in one or more of these pieces.

sample of islamic house arsitech of indonesia home

2008-08-24T17:38:00.000-07:00

Education of geomatry

2008-08-24T17:08:00.001-07:00

Geometry enlightens the intellect and sets one’s mind right. All its proofs are very clear and orderly. It is hardly possible for errors to enter into geometric reasoning, because it is well arranged and orderly. Thus the mind that constantly applies itself to geometry is unlikely to fall into error….”

Ibn Khaldūn

Geometry is a universal language and can be learned by anyone. The traditional craftsmen who made the designs that we can still see today in all parts of the Islamic world, were not mathematicians. They were practical men and made their designs with just a compass and a ruler. All geometrical designs can be understood and analyzed by retracing the design steps that these craftsmen would have made. It is not necessary to measure angles or to make calculations to get closer to understanding these designs. In fact, it contributes to the sense of amazement at the skill of these craftsmen when we realize that they made these imaginative designs with only a compass and a ruler.

the variety of Islamic geometrical designs

2008-08-24T17:03:00.000-07:00

The history of Islamic geometry is interwoven with the history and traditions of the regions in which it flourished. There is a rich variety of distinctive and different styles of geometrical design, depending on what period and what part of the world is being observed.

This variety of Islamic geometrical designs can be best categorized according to, what we can call, the counting petals technique. A traditional geometrical star design features a star or some other central shape, surrounded by petals. Counting the number of petals surrounding a central shape will give information on how the design was made. It will tell us how a traditional Islamic craftsman started out with his design. When looking at a geometrical design it is good to remember that the craftsman who made it centuries ago did not calculate angles or make measurements, His tools were a compass and a ruler.

Every design starts with a circle. The first design-choice would be how many circles of the same size the craftsman would place around this circle. Choosing six circles around a central circle means that a design can result in e.g. a 6-, 12-, or 18- petaled design. Choosing four circles around a central circle means that a design can result in a e.g. a 4-, 8-, 12- or 16-petaled design.

2008-08-22T20:44:00.000-07:00

This is a model of a muqarnas semi-vault using the Iranian/Central Asian design technique. The design of this model is quite basic but it does clearly show the tiers and how they are connected by vertical angled sections. In constructing this model it was remarkable to see how flexible it was during construction but when finally all sections and tiers were connected, the semivault acquired a surprising strength and rigidity.

2008-08-22T19:56:00.000-07:00

This shows a muqarnas composition using a construction style that is typical for Iran and Central Asia. It does not use triangular sections but rather tiers that are connected by curved sections.

This particular composition has three tiers. The first step is to cut the tiers, then to fix them to a vertical backboard and lastly to connect the tiers by sections that are all of the same length and have the same curve.

There are different traditions when it comes to what the curve of the muqarnas composition appears like. Some muqarnas semidomes will have a greater angle than others, this is achieved by changing the vertical distance between the tiers. If the tiers are close together, the angle of the overall muqarnas composition will be smaller and the muqarnas composition will be less high. The greater the distance between the tiers, the longer the vertical connecting sections will have to be and the greater the angle can be to connect the tiers.
Small changes in design can have a larger than expected impact on the overall appearance.

2008-08-22T19:51:00.001-07:00

The image on the right is a model that was made using the style that is typical for North Africa and Andalucia. It uses triangular elements of wood or plaster into which the downward curve of the element is carved out. The elements have different angles (for example 30° or 60°). There are two versions of each element: they will either have a flat surface of the section facing forward or facing backward.
If it faces forward, the curve will move down and recede and taper until it reaches the bottom of the element. If it faces backward, the curve will recede but will get wider as it goes down. These different elements can be seen in the cardboard model to the right and the two photos of a wooden model from Damascus, below.

By combining differently angled elements (e.g 30° or 60°) and having two versions of each, a great variety of designs can be made. The model shown on the right is a convex design but is equally possible to make a combination between convex and concave or to do a straight line, such as can be seen in wooden muqarnas covings along ceilings of buildings in North Africa and Andalucia.

All the models on this page are made from card or cardboard. They do not appear exactly the same as the traditional muqarnas that can be seen in Islamic architecture, because the curved sections of the muqarnas elements have not been filled in. Construction-wise, they are true to the traditional design methods.

2008-08-22T19:46:00.000-07:00

Muqarnas is the term given to an architectural device unique to Islamic architecture. Its purpose is to provide a transition between, for example, a square base and a dome. Muqarnas is also frequently used to create a concave semi-vault above an entrance to a building or to provide a decorative cornice along the perimeters of a ceiling or beneath a balcony. Different regions in the Islamic world have used different styles of construction techniques in their history.

Muqarnas compositions are very suitable for contemporary interpretations. They can be designed as ornaments for modern interiors and can be given new functions, such lamps or display cabinets. It is possible to make a plaster muqarnas coving for an interior. They have a unique beauty quite distinct from traditional two-dimensional geometry.

aspects of Islamic art and architecture

2008-08-22T19:32:00.000-07:00

Geometrical design is one of the most distinctive aspects of Islamic art and architecture.Geometry can be seen everywhere in the Islamic world: on buildings, in books, on tiles, on wood, on metal. The variety of modes of application of geometric design is endless. It has been practiced for centuries in all parts of the Islamic world, craftsmen have transferred their knowledge from one generation to the next. Little is known about their design techniques and how they made their geometric compositions but their designs give us a lot of information and insight.

Geometric design has traditionally been done by hand and the process of creating a composition with the same tools as traditional craftsmen have done for centuries is a good way to learn how they constructed their designs. This website shows the results of my work in the field of Islamic geometric design. The watercolour compositions in the online gallery are the result of many years of trying to make traditional designs and learning how the use of colour and vegetal forms can enhance any geometrical composition. The image on the left is a page from a 15th century Mamluk Qur'an. It demonstrates that the most accomplished designs achieve a balance between rectilinear and curvilinear forms. As in life, art is also all about balance and nowhere omre os than in traditional islamic geometrical design.

Geometrical design is essentially ageless and of all periods. This does not mean that it has to be unchanging. In the history of Islamic art and architecture different dynasties were responsible for major innnovations in the fields of arts and sciences. In geometric design the Anatolian Seljuks, the Mamluks from Egypt and the Iranian Safavids were especially innovative.

This innovative attitude has created some of the greatest accomplishments in Islamic art and architecture. This website honours that traditional yet innovative attitude to design.

Anyone can learn how to create Islamic geometric designs. It does not require and aptitude or enthusiasm for mathematics or geometry. This website offers an extensive (and expanding) section on the educational aspects of traditional design. On-line lessons provide a useful introduction to the subject. Learn how a compass and a ruler allow you to create shapes and patterns.

The most familiar geometrical designs in Islamic art and architecture is two-dimensional. However, there is however also a field of Islamic geometrical design that is less well-known, this is the tradition of three-dimensional geometrical design, muqarnas. Muqarnas constructions were originally created to provide a smooth transition inside a building between wall and a dome. Muqarnas are unique to Islamic architecture and have been used in different ways, using different construction techniques all over the Islamic world.
They can be seen as a three-dimensonal version of two-dimensional geometric design. Their construction methods are intriguing but less complex that they would seem. As with two-dimensional design, a compass and a ruler are all that is needed for muqarnas design.