gothic architecture case study for architecture

history

1. GOTHIC ARCHITECTURE ITALY, CENTRAL EUROPE, FRANCE, SPAIN, BRITAN GROUP 1 AND GROUP 2

2. Introduction • The period in which this style thrived is between 13th – 15th century . • At this period the modern nations were starting to take form. •The climate in the northern parts was more suitable for the style. • Christianity represented by the pope and the clergy were at the peak of their power. • The Holy Roman Empire was shaking, and Europe was filled with kings. • The crusades resulted in a strong interaction with the middle-east. • The whole idea of Medieval architecture stands on Nationalism and Romanticism • Gothic architecture was used for churches and cathedrals mainly, but in its late times it was used for educational buildings also, like colleges and universities. • This is a result of the idea of Gothic buildings as educational buildings, which were meant for popular education. • The buildings and their sculptures, paintings and decorati ons were used as source of knowledge, history and tell biblical stories

3. Architectural Character • The style is a strong alteration on its Romanesque precedent. • The Gothic architects changed many things which suggests a strong interruption with the Roman architecture. • Gothic churches’ plans were like Romanesque, mainly a Latin cross . • Gothic architecture was innovative on many levels, Mostly three levels: structural, visual and spiritual. • The first level is the structural level, where they used three new important elements and techniques

4. English Gothic • The English added new ribs to vaults like intermediate ribs and stellar ribs. • The English cathedrals were narrow and long . • They mostly didn’t have double aisles, or side chapels. • The length of the cathedrals was emphasized by a low roofing for the nave . • The western entrances were not as large as in the French cathedrals . • The central tower was quite high compared to the low nave. • The eastern apse was usually a square. • The flying buttresses were not as famous as in France. • Some of the English cathedrals had double transepts. • The rose window on the western entrance is mostly neglected

5. French Gothic • French Gothic emphasized on verticality . • The roofs were high pitched, steep, and had numerous spires. • The transepts’ projections were slight, sometimes neglected totally. • They had several side chapels. • Usually there were two towers on western elevation, the most important. • Openings were much larger than in England, and in deeper recesses. • Early columns were circular, which led to difficulties with ribs’ joints. • They gave a lot of attention to sculptures of gargoyles

6. German Gothic • The German Gothic was imported directly from France, and did not evolve naturally from the Romanesque. • The German Romanesque buildings were already quite monumental, delaying the appearance of Gothic architecture till the 13th century. • Most of the features were from the French Gothic, and sometimes an English feature would be used, like one central tower instead of two. • Special German features include the roofing of the nave and aisles with one single roof, because their heights were almost equal. • For decoration, there was an emphasis on plants and trees

7. Italian Gothic • The Italians never liked Gothic, and didn’t give it a chance to develop. • Geography’s influence is clear, colored Italian marble was used, and the daily sunshine led to small openings. • The Roman spirit is obvious, through creating one great central space. • Roman elements were used usually, like heads of windows and keystones. • The exterior elevations were mostly flat, since the buttresses were attached to the walls.

8. Spanish Gothic • The strongest influence on the Spanish Gothic is Islamic Spanish architecture, since the Muslims were present in the Iberian peninsula till the end of the 15th century. • Many Moorish elements were present, like the decoration, the horseshoe arches and the distinctive Islamic Minarets . • They basically copied the French cathedrals, with some alterations. • The exterior, like in Italy are flat. • Horizontal lines are obvious and clear. • Plans were wide and short, and had numerous chapels . • They created the flat arches for vaulting. • Some Spanish churches transformed the aisles to closed chapels

9. Points covered- Pointed arches Vaulting Flying buttresses Window tracery Ornamental features. Examples covered- Abbey church- st denis Notre dame de paris

10. Pointed arches The most fundamental element of the Gothic style of architecture is the pointed arch, which was likely borrowed from Islamic architecture that would have been seen in Spain at this time. The pointed arch relieved some of the thrust, and therefore, the stress on other structural elements. It then became possible to reduce the size of the columns or piers that supported the arch. So, rather than having massive, drum-like columns as in the Romanesque churches, the new columns could be more slender. This slimness was repeated in the upper levels of the nave, so that the gallery and clerestory would not seem to overpower the lower arcade. In fact, the column basically continued all the way to the roof, and became part of the vault. The nave is narrow, an idea emphasized by the high pointed arches in the ceiling. In the vault, the pointed arch could be seen in three dimensions where the ribbed vaulting met in the center of the ceiling of each bay Portals of Cathedrals in the Gothic period were usually in the form of a pointed arch, surrounded by sculpture, often symbolizing the entrance to heaven.

11. Vaulting- Structural Innovation: - Gothic vaulting introduced a system of ribs, narrow pointed arches, intersecting to support the weight of the ceiling and directing it downwards to the supporting columns or piers. - Pointed arches, in contrast to the rounded arches of Romanesque architecture, allowed for a more efficient distribution of weight, enabling the construction of taller and more spacious structures. Types of Ribbed Vaults: Quadripartite Vault: The simplest form of Gothic vaulting, where four diagonal ribs meet at the crown of each bay. Sexpartite Vault: A more complex variant where additional transverse ribs divide each bay into six parts. Tierceron and Lierne Vaults : These decorative ribs were introduced during the High Gothic period to enhance the aesthetic appeal of vaulted ceilings. Tierceron ribs are additional decorative ribs inserted between the main structural ones, while lierne ribs connect bosses or keystones, adding intricate detailing to the vaulting.

12. Fan Vaulting: Fan vaulting, primarily associated with English Perpendicular Gothic architecture, featured intricately carved stone ribs spreading out like the ribs of a fan from a central point. Functional and Aesthetic Purpose:- Gothic vaulting not only supported the weight of the roof but also contributed to the visual splendor of cathedral interiors. Ribbed vaults allowed for taller, more spacious interiors, facilitating the incorporation of large stained glass windows. The interplay of light and shadow, along with the intricate detailing of rib patterns, added to the spiritual experience of worshipers within these monumental spaces.

13. Italy- Italian Adaptation of Vaulting: In Italy, Gothic vaulting techniques were adapted to suit local architectural traditions and preferences, resulting in unique variations of ribbed vaults. Italian Gothic architecture integrated elements of Gothic vaulting with regional building techniques, blending French and German influences with Italian artistic traditions. Regional Stylistic Variations: Different regions of Italy developed their own styles of vaulting, reflecting regional variations in design and execution. Northern Italy favored intricate decorative detailing and symbolism in ribbed vaults, while central and southern Italy exhibited more restrained designs with simpler ribbed pattern. Integration with Italian Architecture: Italian Gothic cathedrals and churches integrated vaulting with other architectural features such as marble carvings, frescoes, and mosaics. Examples include Milan Cathedral and the Basilica of Saint Anthony in Padua, which showcase the harmonious blending of Gothic vaulting with Italian artistic traditions.

14. Europe: Dissemination of Vaulting Techniques: Gothic vaulting techniques spread rapidly throughout Europe, influencing architectural practices in countries such as England, Germany, Spain, and the Low Countries. Trade routes, cultural exchange, and religious patronage facilitated the dissemination of Gothic vaulting techniques across Europe. Regional Stylistic Variations: While Gothic vaulting shared common principles across Europe, regional variations emerged over time, resulting in diverse architectural styles. England developed the Perpendicular Gothic style with intricate fan vaulting, while German Gothic architecture featured elaborate ribbed vaults with decorative tracery. Continuity and Evolution: Gothic vaulting continued to evolve and adapt to changing architectural tastes and technological advancements throughout the Middle Ages and beyond. Elements of Gothic vaulting persisted in later architectural forms, demonstrating the enduring legacy and influence of Gothic architecture on the built environment in Europe.

15. Flying Buttress Flying buttresses are used in architecture as external methods of support. Historically speaking, buttresses were blocky and used for support by being built next to or within a structure, directly butting up to its walls, to ease the structure's lateral-force thrusts created by roofs or domes. However, flying buttresses were an innovation of the traditional, blocky buttress. Structures could have thinner walls, higher ceilings, more interior space, and more windows with their use. The use of flying buttresses dates to the 3rd century in Europe but truly flourished in cathedral architecture during the Gothic period (12th through 16th centuries). Some of the earliest examples of flying buttresses can be found in the architecture of the Basilica of San Vitale in Ravenna, Italy and the Rotunda of Galerius in Thessaloniki, Greece.

16. The design of Gothic cathedrals focused on verticality and light. One of the defining features of Gothic cathedrals, the stained-glass window, allowed for an immense amount of light to flood through the beautifully colored glass to create an ethereal effect. It dazzled the churchgoer and directly connects to why Gothic cathedrals include flying buttresses. Flying buttresses ultimately gave Gothic cathedrals the ability to achieve their astounding verticality and ethereal effect of light. Flying buttresses were able to support the weight of Gothic cathedrals' high roofs as well as the clerestory. In addition to stained-glass windows, the clerestory was critical to the ethereal effect of light within the cathedral's interior. Flying buttresses allowed for the structure's core concepts (verticality and light) to be the cathedral's dominating features; without flying buttresses, architects would have had to rely on the cumbersome buttresses of previous architecture.

17. Window tracery- Tracery is an architectural device by which windows (or screens, panels, and vaults) are divided into sections of various proportions by stone bars or ribs of moulding . Most commonly, it refers to the stonework elements that support the glass in a window. The purpose of the device is practical as well as decorative, because the increasingly large windows of Gothic buildings needed maximum support against the wind. The evolving style from Romanesque to Gothic architecture and changing features, such as the thinning of lateral walls and enlarging of windows, led to the innovation of tracery. There are two main types: plate tracery and the later bar tracery- The earliest form of tracery, called plate tracery, began as openings that were pierced from a stone slab. Bar tracery was then implemented, having derived from the plate tracery. European tracery probably originated in Byzantine work, in which pierced marble screens and groups of two or three narrow, arched windows were placed close together under a single, large arch. After the Romanesque period, during which the tympanum (section of wall between the tops of the smaller arches and the great arch over the whole group) was pierced for decorative effect, tracery flourished.

18. Ornamental features- Ornamental features of Italy Italy is renowned for its rich architectural heritage, boasting a plethora of ornamental features that showcase centuries of artistic and cultural influence. Renaissance Sculpture and Statuary: Italy's Renaissance period produced magnificent sculptures and statues, often depicting mythological figures, biblical scenes, or important historical figures. Baroque Detailing: The Baroque period in Italy saw a proliferation of ornate detailing, characterized by dramatic curves, intricate stucco work, and elaborate ornamentation. Baroque architecture often features ornamental facades, grand staircases, and opulent interiors. Venetian Gothic Tracery: In Venice, Gothic architecture took on a unique character with the incorporation of delicate tracery and lace-like ornamentation. Romanesque and Byzantine Mosaics: Italy's early architectural styles, particularly in churches and cathedrals, often feature vibrant mosaic decorations influenced by Romanesque and Byzantine traditions Classical Orders: Italy's classical heritage is evident in the use of classical architectural orders, such as Doric, Ionic, and Corinthian columns, capitals, and pediments.

19. Ornamental features of Europe Europe boasts a diverse array of ornamental features across its architectural landscape, reflecting the continent's rich history, cultural diversity, and architectural evolution. Gothic Tracery and Sculpture: Gothic architecture, prevalent in medieval Europe, is characterized by intricate stone tracery in windows, ornate spires, and finely detailed sculpture adorning cathedrals and churches. Rococo Detailing: The Rococo style, which flourished in the 18th century, is known for its playful and ornate ornamentation, featuring intricate stucco work, delicate moldings, and motifs inspired by nature and mythology. Art Nouveau Flourishes: Art Nouveau buildings feature decorative ironwork, stained glass windows, and ornamental facades, as seen in the works of architects like Antoni Gaudí in Spain and Victor Horta in Belgium. Neoclassical Symmetry and Proportion: Neoclassical architecture, inspired by the classical styles of ancient Greece and Rome, is marked by a return to symmetry, proportion, and classical orders. Neoclassical buildings often feature grand colonnades, pediments, and decorative friezes. Medieval Tapestry and Embroidery: Throughout Europe, medieval castles and manor houses are adorned with ornamental tapestries, textiles, and embroidery depicting scenes from history, mythology, and daily life.

20. The Basilica of Saint- Denis is a large former medieval abbey church and present cathedral located in a northern suburb of Paris. The site evolved from a 5th-century shrine to St. Denis when, in the 7th century, the Frankish King Dagobert founded the Abbey of Saint-Denis. The abbey church became a cathedral on the formation of the Diocese of Saint-Denis by Pope Paul VI in 1966. The church is of major importance in the history of architecture, being the first major edifice marking the transition from the Romanesque to the Gothic style and serving as a model for Gothic architecture. In the 12th century, the Abbot Suger rebuilt portions of the abbey church using innovative structural and decorative features, creating the first truly Gothic building.

21. Exterior of abbey church :- The west front of the church, dedicated on 9 June 1140, is divided into three sections, each with its own entrance, representing the Holy Trinity. A crenelated parapet runs across the west front and connects the towers This tripartite arrangement was clearly influenced by the late 11th century Norman-Romanesque façades of the abbey churches of St Etienne. It also shared with them a three- storey elevation and flanking towers Interior of abbey church:- The double disambulatory is divided not by walls but by two rows of columns, while the outside walls, thanks to buttresses on the exterior, are filled with windows. The new system allowed light to pass into the interior of the choir. The disambulatory connects with the five radiating chapels at the east end of the cathedral, which have their own large windows. To give them greater unity, the five chapels share the same system of vaulted roofs. To make the walls between the chapels even less visible, they are masked with networks of slender columns and tracery.

22. Notre dama de paris Considered to be one of the greatest examples of French Gothic architecture, Construction began in 1163 after Pope Alexander III laid the cornerstone for the new cathedral. The cathedral is roughly 128 m in length, and 12 m wide in the nave. Its cruciform plan, elevated nave, transept and tower were borrowed from 11th-century Romanesque architecture, but its pointed arches and rib vaulting were strictly Gothic. Indeed, it was one of the first Gothic cathedrals to have arched exterior supports known as "flying buttresses". These were not incorporated into the initial architecture of the building, but were included when stress fractures began to appear in the thin upper walls as they cracked under the weight of the vault. In addition to the flying buttresses, over a dozen supporting piers were constructed to support the exterior walls and counteract the lateral thrust of the nave vaulting. As Gothic building designers hoped, the additional reinforcement provided by the buttresses, piers and other stone supports enabled the main walls of the cathedral to become non-structural, and thus a greater wall area was available for stained glass, in order to inspire worshippers and illuminate the cathedral's interior. Notre-Dame Cathedral exemplifies the main contributions of Gothic art

23. GOTHIC ARCHITECTURE IN FRANCE Gothic architecture was a style that first appeared in France during the second half of the 12th century. The style was seen after the Romanesque period of the Middle Ages and it represented the desire of getting closer to God, expressed by high towers stretching to the heavens. It continued to evolve and spread throughout Europe until the 16th century. In France, a Gothic cathedral was built in almost every major city. It is easy to recognize gothic buildings because of there arches, ribbed vaultings, flying buttresses, elaborate sculpture, and glass windows.

24. FRENCH GOTHIC CATHEDRAL

25. CHARACTERISTICS OF GOTHIC ARCHITECTURE Focus on Verticality Airy and Bright Rib Vaults Flying Buttresses Large Stained Glass Windows Ornaments and pinnacle

26. FEATURES AND CHARACTERISTICS OF FRENCH GOTHIC ARCHITECTURE During the Gothic period, medieval architecture reached its highest point of evolution, with distinct features compared to classic architecture. The social and political context was dominated by the Church, so religion was the main theme of Gothic art and architecture. Gothic architecture brought many innovations in terms of construction systems and design. One of its defining characteristics was the sense of verticality, which was sought after in every building. The idea was that the more vertical the building would feel, the closer the faithful visitors would feel to God.

27. Gothic walls became lighter due to their composition of stone columns and large windows or stained glass. These elements allowed for open, illuminated spaces in the interior. The pointed arch was widely used in most of the French Gothic cathedrals. It was used as a structural and decorative element in doorways, windows, arcades, and galleries. Pointed arches were effective in channeling weight to the columns in a steep angle, thus allowing for ceilings to be much higher and to increase the perception of the verticality. Vault ceilings were used, in the form of cross-ribbed vaults. This type of vault consists of two or more intersecting vaults, reinforced with ribs on the joints. This opened up the interior space of the cathedrals to accommodate more visitors. Vaults became increasingly complex as the Gothic style evolved.

28. The flying buttress is another defining constructive element of Gothic architecture in France. The buttress transfers part of the weight from the tall walls and helps keep the structure stable.They were created as a constructive solution but also became an important decorative element of the facade. The designs for the buttresses became much elaborate, enhancing the sense of verticality and greatness of the building. Another functional element that evolved into a decorative item was the gargoyles. These little monsters were spouts for rainwater to drain from the roofs. However, they served a higher purpose; they were there to create fear of evil among the superstitious population of that time and encourage them to seek God's protection inside of the cathedral.

29. Length: 130 metres (430 ft) Width: 32 metres (105 ft) / 46 metres (151 ft) Nave: height 37 metres (121 ft); width 16.4 metres (54 ft) Ground area: 10,875 square metres (117,060  sq  ft) Height of south-west tower: 105 metres (344 ft) Height of north-west tower: 113 metres (371 ft) 176 stained-glass windows CHARTRES CATHEDRAL

30. HISTORY The Chartres Cathedral is located in Chartres, France, which is about 56 miles from Paris. It is said that the construction of it started in the year of 1194 and ended in 1220. Although the construction of the Chartres Cathedral began in 1194, there were many other churches that were built before it on the same ground, but were burnt down by fires. After the fire on 10 th 1194 the construction of famous cathedral started. It stands on the site of at least five cathedrals that have occupied the site. One essential feature of the Chartres Cathedral is the “rose window”. It is a huge stained-glass window that is inside the cathedral. I t represents a sun and a rose. The sun symbolized Jesus and the rose, free of thorns, symbolized Mary, born without sin.

31. AMEINS CATHEDRAL Amiens Cathedral has played an important role in the development of Gothic architecture, paving the way for the Flamboyant style. The early 13th-century Cathedral has well-preserved its original features. It’s a very large church but with a lightness of structure. Its interior is rich in sculpted decoration and stained glass.

32. With its two soaring towers and three large portals filled with sculpture, Amiens  Cathedral crowns the northern French city of Amiens. The cathedral is still one of the tallest structures in the city, its spire climbing nearly 400 feet into the air. You can see the skeletal stone structure on the exterior of the church, where support the upper walls like spider legs or a ribcage. The lace-like façade is made up of slender colonnettes and screen-like openings, heightening the contrast of light and shadow. Deeply set portals topped with tall pull the viewer in, an invitation to approach the building and cross the threshold.

33. CATHEDRAL OF NOTREDAME AT PARIS Originally named as Cathédrale Notre-Dame de Chartres in French, it is now commonly known as the Cathedral of Our Lady of Chartres. Located in Chartres, about 80 kilometres (50mi) southwest of Paris is considered as the finest examples in all France of the Gothic style in architecture. History Was the most important building in town of Chartres. Was the centre of economy. The most famous landmark. The focal point of almost every activity that is provided by civic buildings in town today. In the Middle Ages, functioned as sometimes as a marketplace, with the different portals of the basilica selling different items: textiles at the northern end; fuel, vegetables and meat at the southern one.

34. BRITIAN GOTHIC ARCHITECTURE English Gothic is an  architectural style  that flourished from the late 12th until the mid-17th century. The style was most prominently used in the construction of  cathedrals and churches .   Gothic  architecture's defining features are  pointed arches ,  rib vaults ,  buttresses , and extensive use of  stained glass . Combined, these features allowed the creation of buildings of unprecedented height and grandeur, filled with light from large stained glass windows. Through the employment of the pointed arch, walls could become less massive and window openings could be larger and grouped more closely together, so architects could achieve a more open, airy and graceful building. The high walls and vaulted stone roofs were often supported by flying buttresses: half arches which transmit the outward thrust of the superstructure to supports or buttresses, often visible on the exterior of the building. The barrel vaults and groin vaults characteristic of Romanesque building were replaced by rib vaults, which made possible a wider range of proportions between height, width and length.

35. ARCHITECTURAL ELEMENTS

36. They are comparatively short and wide, and are often completely surrounded by chapels. Spanish Cathedrals are stylistically diverse. Influences on both decoration and form are Islamic architecture, and towards the end of the period, Renaissance details combined with the Gothic in a distinctive manner. The West front resembles a French west front, There are spires of German style. There are often towers and domes of a great variety of shapes and structural invention rising above the roof . SPANISH GOTHIC ARCHITECTURE Spanish Gothic architecture is the style of architecture prevalent in Spain in the Late Medieval period. The  Gothic style started in Spain as a result of Central European influence in the twelfth century when late  Romanesque   alternated with few expressions of pure Gothic architecture.

37. Gothic architecture in Spain was most prevalent during the 12th and 13th centuries. Some notable examples of Gothic architecture in Spain include: BURGOS CATHEDRAL LEON CATHEDRAL SEVILLE CATHEDRAL CATHEDRAL OF GIRONA

38. Antoni Gaudí  was the most famous Spanish architect as well as one of the most unusual architects of the early 20th century. Through an eclectic approach, he created a unique style reminiscent of the Mudéjar , an architectural style blending Muslim and Christian design. BARCELONA,  SPAIN Architects:  Antoni Gaudí Area:  4500  m² La Sagrada Familia will feature eighteen towers composed to present a unique view of the temple from any single vantage point. Four bell towers representing the Apostles crown each facade, reaching approximately 100 meters in height.   The central tower will reach 72 meters in height and symbolize Christ, surrounded by four towers representing the Evangelists.