Timeline

Art deco
The art deco period originated in parts of Europe and the America, following movements of architecture and modernised design
elements. In the roaring 1920’s art deco was a style through which people expressed their luxuries or wealth and urbanity. Common
designs included geometric forms with repetitive patterns and appeared to look ornamental. They were often constructed with
symmetry and repetitive figures. It was a period of change where fashion had been redesigned to follow modern ideas and
unconfined clothes especially for women.

Ottoman
The ottoman period occurred in the early 13th century upto the 16th century where circular polygonal shapes were first introduced. It
was era greatly stimulated by Turkish patterns in many of its architectures and styles. There were intricate patterns involved in
designs of jewellery following a range of common circles and swirls whilst the era’s art consisted mainly of mosaic designs. Mosaic
arts often represented religious diction in several churches; these mosaics were also used across windows in patterns to reflect
lights into the temples and churches.

Gothic
The gothic era following the mid 12th century followed to the mid 16th century, embracing extensive constructions of architecture
and designs. Comparing to the byzantine era, arches and domes were developed to presented pointed tips with high ceilings.
Britain, Germany and Spain used alike styles of gothic designs in their churches, showcasing glass arts. Designs in this era too
consisted of intricate patterns involving swirls and flowing designs. Exteriors of these buildings were also ornamented with
sculptures and modelling to match its cavernous interiors.

Baroque
The baroque era began in the late 16th century and continued to the 18th century. The era involved theatrical designs of sinous
tapestries, bronze sculptures crystal monuments and meticulous ceilings, to embellish the rich. The era was known around the wrld
and influenced many industries of jewellery, architecture, furniture, art and other objects to display luxury. Although baroque had
gone out of fashion after mid 18th century, it was revived later onwards with incentive takes towards modern baroque. These styles
incorporated brighter colours also using shinnier elements.

Rococo
Rococo era also known as the late baroque era, developed in the late 18th century. It was highly influenced by architecture and
designs of the baroque era, however, included cohesive interiors of gold sculpturing across walls against pastel coloured
backgrounds. All rooms shared high ceilings with candle chandelier lighting and decorative window arches. Many decorations and
paintings in these rooms involved several mythological creatures such as angels, dragons and pacodas.The rococo era was known
for its asymmetrical curves anad arches similar to the letters of ‘s’ and ‘c’.

Classicisim
The classicism era began in the 18th century and was greatly stimulated by the Greek and Roman who introduced columns,
concept of symmetry, domes and arches drawn with brick. Most designs in the period utilised columns greatly as forms of structure,
support and as an interior designing element. Many ceilings were greatly ornamented with clay patterns across edges and other
patterns following the flow of the ceilings. The calssicism era also assimilated hollow arches within walls which could be used as
forms of display for roman sculptures. The styles of classicism can also be seen in our modernised architecture through the
renowned White House.

Moodboard images

Design characteristics
Shape
Architectural shapes and designs in the ottoman era reflected circular domes and arches on both interiors and exteriors. Circular
forms enabled architects to create high ceilings allowing in maximum natural light as well as forming cavernous spaces to
accommodate several people. The era explored many different concepts of circles within its structures including windows, columns
and ceilings. Ottoman shapes were symmetrical and followed concepts of various renaissance elements. These flowing shapes
were involved in many buildings being expressed through decorative constructions. After evolving styles of historic designs,
modernism now follows asymmetrical shapes that are more structured with edges instead of curves.

Rythm
Many of ottomans’ patterns and design elements consisted of varying circles, swirls following dome architectures. Arches and
ceilings were often ornamented with consistent and repetitive designs that followed structures of the buildings. These movements
created differentiation between all interior ceilings and columns. The design principle of rhythm was also incorporated within tiles
laid in Turkish patterns. They consisted of more geometric and edged progressions, following arts of mosaic. Tiles also portrayed
regular movement along the floors of ottoman churches consisting of different design elements. They began in the middle and then
continued to follow along with increasing geometric designs to the walls.

Texture
Visual textures were commonly used against columns and exteriors of ottoman designs where sculptures were attached to provide
depth upon surfaces. These arts also served as aesthetics of the buildings built within the era as they showcased intricate elements.
Most of these sculptures built upon buildings presented cultural references. The aesthetics of these textures along the interiors and
exteriors of architectures presented sensory surfaces while also being functional in their cultural portrayals. Though some textures
across buildings were carved within, they did not affect the durability or strength of structures. In the ottoman era these detailed
textures were influenced by society and religion of the known Turks that resided.

Hierarchy
Hierarchy is also known as the arrangment or organisation of elements in their orders of significance. They can be used to order
elements by numbers, colours, shapes, sizes and many more. Mosaic tile designs laid out on the floors of ottoman architectures
used hierarchy within the their art as they started in the centre of the room beginning with small patterns then building to the edges
of the walls in largers patterns. The order of these tiles were organised according to their sizes as mandalas, following the design
principle of hierarchy. Many of the ornamented walls and interiors decorated with paint also used hierarchy terminology by designing
domes with smaller patterns in the middle and then expanding towards the edges of these domes.

Key inventions
● Abu al Qasim al Zahrawi- invented currently used surgical instruments such as forceps, scalpels, and catheters
● Taqi al-Dine- invented the worlds first steam engine
● Hezârfen Ahmed Çelebi - an ottoman aviator who landed his ‘eagles wings’ successfully

Influential factors
Cultural influences
When Turks had began to make their stay in Anatolia, it was the beginning of Constantipole fall into Islamic. Islamic people had
started to implement their culture and religious works into newly built mosques for themselves. They ornamneted these mosques
with their traditional patterns and cultural paintings. Their culture involved innovative practices of weaving, ceramics, music, textiles,
painting and poetry which was introduced into their architectural lavishes. The art of mosaic was also adapted in the Ottoman era
where tiles were broken to pieces and then rearranged to form artistic patterns across paintings as well as architecture. Later
onwards in the ottoman empire, after being established as Istanbul, there was an introduction of european cultures which influenced
ornates of buildings and socially provided living Turks with literature and newspapers. Culturally, Ottomans greatly honoured their
traditional silks. They were and still remain renowned for their silk textured clothes and the distinctive patterns that decorated them.
These patterns could also be seen as a part of many homes in the era.

Historical influences
Constanine, a roman emperor constructed the Byzantine empire amongst modern Turkey. Constantine had originally named his
new Roman Empire after his own name, calling it Constantiople; in which Byzantion was a known as a city. The name of byzantion
was initially adapted from the ancient greek and latin people that resided there, but later when romans began to enter the empire,
the name was later changed to byzantine. Initially Anatolia was beginning to be dominated by Turks than the cultural byzantine
christians. Through periods of time, Anatolia had gradually earnt small islamic states in the byzantine empire. When Osman (a
turkish ruler) stood up, he gathered all his people to conquer Constanine’s city to rename it to Ottoman Empire. Constantiople
remained till late of the 13th century, but then later was conquered by Ottoman Turks through the 14th until the 16th century. At this
time, the empire was renamed to the ottoman empire and was heavily influenced by Turkish innovations and culture. Eventually, as
we know look the Ottoman empire, it is also known as Istanbul.

Societal influences
Due to the ottoman empire being built amongst modern Turkey, many designs and patterns too were adapted from its surroundings
into its own architectures. The society in the Ottoman era was distinctive between muslims and non-muslims. Muslims in the era
were looked at as the higher standard of living at the time as the empire was more over dominated by Turks. Non-muslims residing
in the empire were christians and jews that lived in lower standards. Both reglious communities were known to be treated fairly
however due to the empires population of 81% being muslims, they were greatly dominated in society. Architecture was a big part of
the era and held great importance as they were beginning to transform the initial byzantium christian culture to islamic which is why
many muslims in society were the architects. Their works were thereafter seen in the designing styles and lifestyle. Woman in the
era were treated differently in ottoman than the rest of Europe as they were allowed to engage ini financial and business leading
activities. They commonly spent their spare times engaging in traditional practices of textiles which many also had turned to their
small businesses to showcase their designs.

Technological influences
In the rising of the ottoman era, technological influences of the Turks included mathematics, astronomy and medicine. Turks were
believers of science and the men invested great amounts of time in scientific discoveries. They had also discovered ideas of
reflection and refraction which was later implemented into their architectural ideas. The ottomans used theories of refraction to
present in their expansive glass windows. The commonly utlised brick, stone and timber where brick helped construct arches and
domes. After the discovery and invention of tiles in the 13th century, the Turks amongst ottoman also implemented their geometric
designs into their floors. These tiles replaced the use of marble in ottoman architecture. After the build of domes and semi-domes,
other architects in Ottoman adapted these styles to produce constructions with several domes across the landscape. The
technological influences on the ottoman era influenced the eras architecture, society and culture with several innovations adapted
from the byzantine era and christian cultures.

Lighting designs
Many of the lighting of the Gothic era at the time had only
just been introduced in simple colours of yellow, which is
why not many lights were presented in different shades. The
overall colour of the light is in untouched brass which
affiliated the theme of their era. The texture of this light was
used with brass modelling after a pattern was cut out in the
centre of the plate. Textures and patterns reflected upon the
plates were significant to the time period of this light as it
followed their lifestyle. The function of this product was to
provide light in smaller rooms such as study or libraries
where minimal light would be needed. This is due to the
watts of the bulb. I really like the patterns and designs
involved in both the bulb and other attachments. I think I can
use patterns and shapes to be included in some of my own
designs. The rigid textures of the bulb can be used as
inspiration being exploded or constructed in more abstract
ways.
This style of lighting is from Morrocan culture as a
chandelier. Textures implemented into this design include
stained glass which can be arranged in turkish patterns. As a
unique selling point of this design, it not only functions to
perform its service of providing light, but also incorporates a
variety of light colours in the reflection of its stained glass.
Different colour combinations are used in every light to show
contrast and present variance in its work. I like that the light
uses irregular movements across every sphere to provide
imbalance and differentiation; however, all lamps are evenly
spaced so no element is presented more prominently than
another. I could use this as inspiration for my own design to
form variation and differentiation between my works. This
would also allow me to include many different patterns and
textures of the era. The alignment of these spheres against
each other follow an arrangement creating a visual similar to
a spiral staircase.
The light brings focus point to the large shapes present in
the middle. The parts of this light also use hierarchy where
designs and patterns have been placed largest in the centre,
slowly decreasing towards the tops and bottoms. I really love
its representation of hierarchy as it provides a central focus
point rather than being too busy to look at. As I'm going to
use Turkish patterns in my designs, I will be able to use this
light as inspiration to tone done patterns and look at different
ways of incorporating them. The intricate textures present on
the exterior of this light function to reflect designs once it is
turned on. They provide depth to the product where various
patterns can be viewed across walls. Customers will be able
to use this product in outdoor areas as the light serves
purposes of reflecting designs; these may not be sufficient in
rooms that are required to be full of light such as reading
rooms.
Similar to design style two, this light follows symmetrical
balance of a dome top and bottom. he size of this light is
relatively large as it is purposed to be presented as a
chandelier and therefore reflects its function. The central
focus point that is used by this light is middle section which
revolves around the whole of the light similarly. They are
equally proportioned with every section presenting the same
pattern. The emphasis of the centre is more prominently
upon the intricate patterns that are involved. This middle
section serves as the focal point of this light as it is portrayed
in a different colour scheme to the original mahogany
coloured wood. I really love the combination of tones in this
design that incorporate dark tones around the edges and
warmer tones around the centre. The inspiration I would take
from this design is its structure and build. I like that the
design has balance but is also able to provide a focus point.
This focus point is enhanced by its change in colour.
Turkish lighting often incorporate a variety of cultural designs
and patterns when being constructed; also seen in each of
these three lights. The three lights share unity in being
presented in the same way where there is repetition of
patterns. The sequence of this design helps to portray
regular progression. The wall lamp uses the design principle
of balance where the middle lamp is hanging lower than the
the other two on either side. The balance of the outside
lamps are placed in ways that they can still be seen and are
not overpowered by the central lamp. In my own design I
could include similar harmony of this individual light, where
there is unity and synchronisation of elements that all
collectively work together to present a minimalistic design. I
love how the aesthetics of this light work in effectively
together whilst still not disturbing the central function of the
light. The inspiration I would take from this light is the variety
of design features incorporated, functioning efficiently in
portraying larger amounts of light thorough three lamps.
I love the representation of different colours in this design as
although they may be too contrasting, they balance
eachother and instead form an aesthetic focal point. Similar
to design styles of two and three, this lighting also reflects
designs and patterns in its stained glass. This is something I
could try include in my own designs of stained glass in
varieties of colours. Although these designs may not be
efficient as a reading lamp of any sort, they would serve a
purpose in interior design. There are a variety of colours
used in the focal centre of this light in contrasting
combinations to create impact and entice views. They work
collectively around the lamp to form variance and distinction
of patterns. There is a central pattern on the lamp which is
effectively repeated arround. They utilise harmony in being
the same elements presented across the lamp. I also really
like that the stand is also inclusive of the patterns and style
at the focus as it is staged to build up moroccan designs.
The inspiration of this lamp can be included in design
elements of my own designs.