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Flying Buttresses • Openings and Spans • Bar Tracery and Linear Elements • Large Scale Construction and Transmission of Knowledge

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Flying Buttresses • Openings and Spans • Bar Tracery and Linear Elements • Large Scale Construction and Transmission of Knowledge HA2 Autumn 2005 Gothic Architecture: design and history Outline • Main design issues and innovations • Structural outline • Chronological development • Classical styles (France) • Outside the canon • Gothic in the UK • Case study: Burgos Cathedral Gothic Architecture: design and history 2 Gothic Architecture: design and history Dimitris Theodossopoulos 1 HA2 Autumn 2005 Main design issues • Definition – a sharp change from Romanesque? (St Denis 1130) • Major elements pre-existing (ribs and shafts, pointed arches, cross vaults) • Composition and scale • Light and height • Role of patrons (royal vs. secular foundations) and cathedral buildings • Strong technological input • European regional characteristics • Decline: decorative character and historical reasons Gothic Architecture: design and history 3 Main design issues Gothic Architecture: design and history 4 Gothic Architecture: design and history Dimitris Theodossopoulos 2 HA2 Autumn 2005 Technological innovations • Dynamic composition • Dynamic equilibrium • Linearity – origin in Norman timber technology? • Role of the ribs (and shafts) • Spatial flexibility of cross vaults – use of pointed arch • Flying buttresses • Openings and spans • Bar tracery and linear elements • Large scale construction and transmission of knowledge Gothic Architecture: design and history 5 The role of geometry Gothic Architecture: design and history 6 Gothic Architecture: design and history Dimitris Theodossopoulos 3 HA2 Autumn 2005 Light Contrast Durham Cathedral (1093-1133) and Sainte Chapelle in Paris (1240) Gothic Architecture: design and history 7 Layout and behaviour Nave (high) vaults: symmetrically supported by lateral walls and buttresses Aisle (lateral) vaults: span between nave arcade and external wall Ribs reinforce the intersection between the vaults (groins) Gothic Architecture: design and history 8 Gothic Architecture: design and history Dimitris Theodossopoulos 4 HA2 Autumn 2005 Structural behaviour Nave enclosed between the façade and the apse Divided into regular bays, abutting each other longitudinally Transverse thrusts counteracted by a system of flying buttresses Rampant arches: lower tier (gravity), higher (wind) Gothic Architecture: design and history 9 Failure pattern Clerestory - natural light Triforium and lateral wall passage Cross-section fits haunches - not resting on vaults (porte-á-faux) Nave’s weight carried with offset? Possible hinge Balanced upper thrusts - weight carried vertically Low stresses on base of piers Gothic Architecture: design and history 10 Gothic Architecture: design and history Dimitris Theodossopoulos 5 HA2 Autumn 2005 Failure pattern • Intrados: hinge line close to longitudinal vertex • Extrados: cracks parallel to edges Serviceability limit: abutments’ displacement at 1/50 of transverse span Failure observed at 1/20 of the span Gothic Architecture: design and history 11 Development • Vezelay • First experiments in 1130’s Domain Royal (France) St Denis, Paris (Abbot Suger) Sens (Arras, Noyon) • Durham (rib vaults) • Notre-Dame, Paris (in. 1163) • High Gothic Chartres (1194-1217) Bourges ( Reims Amiens (1220-28) Gothic Architecture: design and history 12 Gothic Architecture: design and history Dimitris Theodossopoulos 6 HA2 Autumn 2005 Consolidation • Rayonnant Gothic (1232-1270): Sainte-Chapelle, Beauvais • English Decorated (1250-1370): Lincoln, Exeter, Wells Gothic Architecture: design and history 13 Consolidation • German High Gothic Hallenkirche (Frauenkirche, Nuremberg) Cologne cathedral (in. 1248, fin. 19th c.) Gothic Architecture: design and history 14 Gothic Architecture: design and history Dimitris Theodossopoulos 7 HA2 Autumn 2005 Outside France East Europe: Germanic influences, decorative potential of structural elements (St. Vitus, Prague) Norway: “timber” Norman architecture (Nidaros Cathedral, Trondheim) Gothic Architecture: design and history 15 Italy Santa Croce, Florence (Arnolfo di Basilica di San Francesco, Assisi 13th c. Cambio, 1294 -1442 ) Gothic Architecture: design and history 16 Gothic Architecture: design and history Dimitris Theodossopoulos 8 HA2 Autumn 2005 Spain & Portugal • Direct influences from (south) France in Castille • Earlier cistersian influences (romanesque appearance, ribbed vaults, chapels on transepts) • “Hallenkirche” type in Catalonia • Fusion with islamic tradition • Main cases: Toledo cathedral (in. 1224) Burgos 1221-1267 (major influence) Barcelona (in. 1298) • Manuelin style in Portugal (XV c.): ornamental richness with Flamboyant elements (Jeronimos, Lisbon) Gothic Architecture: design and history 17 Spain & Portugal Gothic Architecture: design and history 18 Gothic Architecture: design and history Dimitris Theodossopoulos 9 HA2 Autumn 2005 Decline and revival • French Flamboyant (1350-1520) • English Perpendicular (1330-1540) • German Sondergotik • Collapse of Beauvais 1284 • Vasari: term Gothic • Gothic Revival and national styles (Viollet-le-Duc, Pugin) Gothic Architecture: design and history 19 High Gothic Gothic Architecture: design and history 20 Gothic Architecture: design and history Dimitris Theodossopoulos 10 HA2 Autumn 2005 Durham and the ribs • 1093-1133 • Earliest high-level ribbed vaults in Europe, 25m height • Ribs Smooth finish of groins Interpretation of Norman timber architecture Timber-frame vocabulary Together with shafts, convey unitary approach to construction design • Careful balance of massive construction with voids • Flying buttresses! Gothic Architecture: design and history 21 St Denis (1140) • Abbot Suger (1122-1151) • Major renovations at apse • First conscious composition of load-bearing elements into a new style • Ribbed cross vaults enabled geometry of ambulatory and plan flexibility • Stonework as light skeleton: large stained glazing, integrating role of light Gothic Architecture: design and history 22 Gothic Architecture: design and history Dimitris Theodossopoulos 11 HA2 Autumn 2005 Notre Dame, Paris • Started 1163 • Large scale applications: total height 32 m • Round piers balanced with emphasis on vertical elements • Major application of flying buttresses • Lack of confidence of masons – unsuccessful illumination Gothic Architecture: design and history 23 Chartres and its School • The first “classic” gothic church (1194-1217) • Engaged shaft piers • Classic gothic sculpture at portal • Quadripartite vaults (subs. sexpartite): uniform character • Balanced cross-section Gothic Architecture: design and history 24 Gothic Architecture: design and history Dimitris Theodossopoulos 12 HA2 Autumn 2005 The School of Bourges • Started 1195 • 5-naves: follows Paris model • Arcade occupies most elevation • Smaller clerestory - lighting • Less hierarchy between parts • Normal transfer of thrusts • Less popular than Chartres (Normandy) • Influenced Beauvais? Gothic Architecture: design and history 25 Amiens • 1220-1288 • Perception of space through movement: Horizontal, towards Altar Vertical, proportions of elevation • Uninterrupted vertical shafts • Height: 42.30 m ; span: 12.15 m • Triforium lets light in • Gradual dissolution of elevation – turning point Gothic Architecture: design and history 26 Gothic Architecture: design and history Dimitris Theodossopoulos 13 HA2 Autumn 2005 Beauvais • Collapse 1284 • Nave height 68m • Maximum expression of Gothic verticality and experimentation • Reconstruction halted after subsequent tower collapse Gothic Architecture: design and history 27 Beauvais Gothic Architecture: design and history 28 Gothic Architecture: design and history Dimitris Theodossopoulos 14 HA2 Autumn 2005 Gothic in Britain • Length: delicate balance between verticality and horizontality • Moderate scale: measured excitement, less spatial explorations • Clear structural logic • Monastic foundations: transepts and choirs • Flat east end • Periods Norman (1066-1190) Early English (1175-1265) Decorated (1250-1370) Perpendicular (1330-1540) Reformation Gothic Architecture: design and history 29 Canterbury • Reconstruction after fire 5/9/1174 till 1184 • Pioneering construction following Durham • Master-mason: William of Sens • Shrine of St. Thomas a Becket (+1170) • Choir: abrupt junction of piers to upper structure • Sexpartite vaults • Linearity emphasised by leaner ribs and Purbeck shafts Gothic Architecture: design and history 30 Gothic Architecture: design and history Dimitris Theodossopoulos 15 HA2 Autumn 2005 Wells • Construction 1186-1215 • The first English Gothic church • Modest scale (height 20.5 m) • Design based on pointed arches • Elegant use of shafts in piers (stone colour, proportions, light) • Stiff-leaf capitals • Horizontal emphasis – weak vertical articulation • Unique 3D treatment of screen-type façade Gothic Architecture: design and history 31 Lincoln Cathedral • Reconstruction (1192-1280) by St. Hugh after earthquake 15/4/1185 • Uniformly carried out scheme • Transepts and projections: effect of diffusion and lack of concentrated spatial effects • Linear pattern Carved and linear elaboration (Purbeck shafts) Improved verticality Extensive tierceron ribs, unified by ridge-rib Gothic Architecture: design and history 32 Gothic Architecture: design and history Dimitris Theodossopoulos 16 HA2 Autumn 2005 Lincoln Gothic Architecture: design and history 33 Lincoln • English vocabulary • Inspirations from Canterbury • Height 25 m., tot. span 24 m • Proportions: vault too low, piers are slender and sparse • Unsatisfactory façade • Later innovations in vaulting and scale improvements at Angels Choir Clerestory and triforium
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