Georgios Karanikoloudis Canterbury Cathedral – Structural Analysis Of
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
The Dual Language of Geometry in Gothic Architecture: the Symbolic Message of Euclidian Geometry Versus the Visual Dialogue of Fractal Geometry
Peregrinations: Journal of Medieval Art and Architecture Volume 5 Issue 2 135-172 2015 The Dual Language of Geometry in Gothic Architecture: The Symbolic Message of Euclidian Geometry versus the Visual Dialogue of Fractal Geometry Nelly Shafik Ramzy Sinai University Follow this and additional works at: https://digital.kenyon.edu/perejournal Part of the Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons Recommended Citation Ramzy, Nelly Shafik. "The Dual Language of Geometry in Gothic Architecture: The Symbolic Message of Euclidian Geometry versus the Visual Dialogue of Fractal Geometry." Peregrinations: Journal of Medieval Art and Architecture 5, 2 (2015): 135-172. https://digital.kenyon.edu/perejournal/vol5/iss2/7 This Feature Article is brought to you for free and open access by the Art History at Digital Kenyon: Research, Scholarship, and Creative Exchange. It has been accepted for inclusion in Peregrinations: Journal of Medieval Art and Architecture by an authorized editor of Digital Kenyon: Research, Scholarship, and Creative Exchange. For more information, please contact [email protected]. Ramzy The Dual Language of Geometry in Gothic Architecture: The Symbolic Message of Euclidian Geometry versus the Visual Dialogue of Fractal Geometry By Nelly Shafik Ramzy, Department of Architectural Engineering, Faculty of Engineering Sciences, Sinai University, El Masaeed, El Arish City, Egypt 1. Introduction When performing geometrical analysis of historical buildings, it is important to keep in mind what were the intentions -
Download References File
TECNOLOGÍA NAVARRA DE NANOPRODUCTOS S.L. (TECNAN) THINK BIG, ACT NANO! REFERENCES RESTORATION AND CONSERVATION OF HERITAGE BUILDINGS TECNADIS PRODUCTS - REMARKABLE WORKS Metropolitan Cathedral Seville Cathedral Oviedo Cathedral (Panama City) (Sevilla - Spain) (Asturias - Spain) Mosque-Cathedral of Cordoba La Almudena Cathedral Tui Cathedral Santander Cathedral (Córdoba - Spain) (Madrid - Spain) (Pontevedra - Spain) (Cantabria - Spain) Tarazona Cathedral Burgo de Osma Cathedral Pamplona Cathedral Segovia Cathedral (Zaragoza - Spain) (Soria - Spain) (Navarra - Spain) (Segovia - Spain) TECNADIS PRODUCTS - REMARKABLE WORKS Cologne Cathedral Pisa Cathedral Saint Bavon Cathedral Saint Esteban Cathedral (Italy) (Germany) (Ghent - Belgium) (Wien - Austria) (Bélgica) São João National Theatre Santo Domingo de la Calzada Cathedral Casa Milá – La Pedrera Viana Do Castelo Cathedral (Porto-Portugal) (La Rioja - Spain) (Barcelona - Spain) (Portugal) Buen Pastor Cathedral The Real Alcazar Casa Batlló Valencia Cathedral Museum (San Sebastián - Spain) (Sevilla - Spain) (Barcelona - Spain) (Valencia - Spain) TECNADIS PRODUCTS - REMARKABLE WORKS Bank of Spain Headquarters Santander Bank Headquarters National Library Parador of Leon (Madrid-Spain) (Santander - Spain) (Madrid - Spain) (León - Spain) ) Bank of Spain Building Spain Square Canalejas Complex Prado Museum (Málaga - Spain) (Sevilla - Spain) (Madrid - Spain) (Madrid - Spain) Royal Pavilion - Mª Luisa Park The old Seville Artillery Factory Astorga Episcopal Palace Catalunya Caixa Bank Headquarters -
John Hendrix Keywords Architecture As Cosmology
John Hendrix Keywords Architecture as Cosmology: Lincoln Cathedral and English Gothic Architecture architecture, cosmology, Lincoln Cathedral, Lincoln Academy, English Gothic Architecture, Robert Grosseteste (Commentary on the Physics, Commentary on the Posterior Analytics, Computus Correctorius, Computus Minor, De Artibus Liberalibus, De Calore Solis, De Colore, De Generatione Sonorum, De Generatione Stellarum, De Impressionibus Elementorum, De Iride, De Libero Arbitrio, De Lineis, De Luce, De Motu Corporali at Luce, De Motu Supercaelestium, De Natura Locorum, De Sphaera, Ecclesia Sancta, Epistolae, Hexaemeron), medieval, University of Lincoln, Early English, Decorated, Curvilinear, Perpendicular, Catholic, Durham Cathedral, Canterbury Cathedral, Anselm of Canterbury, Gervase of Canterbury, Thomas Becket, Becket’s Crown, Trinity Chapel, Scholasticism, William of Sens, William the Englishman, Geoffrey de Noyers, Saint Hugh of Avalon, Saint Hugh’s Choir, Bishop’s Eye, Dean’s Eye, Nikolaus Pevsner (Buildings of England, Cathedrals of England, Leaves of Southwell, An Outline of European Architecture), Paul Frankl (Gothic Architecture), Oxford University, Franciscan School, Plato (Republic, Timaeus), Aristotle (De anima, De Caelo, Metaphysics, Physics, Posterior Analytics), Plotinus (Enneads), Wells Cathedral, Ely Cathedral, Hereford Cathedral, Lichfield Cathedral, Winchester Cathedral, Beverley Minster, Chester Cathedral, York Minster, Worcester Cathedral, Salisbury Cathedral, Southwell Minster, Gloucester Cathedral, Westminster Abbey, Elias -
On the Characteristic Interpenetrations of the Flamboyant Style
ON THE CHARACTERISTIC INTERPENETRATIONS OF THE FLAMBOYANT STYLE. BY R. WILLIS, M. A. F. R. S. &c. JACKSONIAN PROFESSOR IN THE UNIVERSITY OF CAMBRIDGE, AND HONORARY MEMBER OF THE INSTITUTE OF BRITISH ARCHITECTS. AMONGS~ other characters that distinguish the later s.tyles of Gothic on the contment from our own contemporary Perpendicular style, there may be observed a much greater and more fanciful intricacy of parts, contrived apparently more with a view to display difficulties overcome than beauties of art. Hence an excessive employment of interpenetrating surfaces, especially in the Flamboyant Style. In English examples a moulding may sometimes be found which penetrates some projecting member, and appears on the other side, as for example in jig. I, which represents a portion of the base of one of the turrets of King's College Chapel. The string moulding at 4. A appears on the face of the plinths of the angle buttresses as if it had penetrated their substance, or rather the whole arrangement of the bases of the' turrets and of the buttresses respectively, appears to suggest a mutual pene tration or interpenetration of the two. Examples of this kind are not common in English work, and are confined merely to the interferences of adjacent necessary members of the architectural arrangement. In the Flamboyant style, on the contrary, interpenetration occurs so frequently as to con .. EgJ. stitute a characteristic, and is produced not merely between two neighbouring architectural members, but new members are also introduced for the mere purpose of showing interpenetrations. Thus, as we shall see, two different bases may be given to the same shaft, or even two or more different turrets with pinnacles may be placed in an identical M 82 WILLIS ON THE INTERPENETRATIONS OF position on the plan, and made to interfere and interpenetrate throughout their entire height from the base upwards in a manner that defies description, and can only be illustrated by drawings. -
Heritage of Religion, Beliefs and Spirituality Patrimoine De La Religion, Des Croyances Et De La Spiritualité
Heritage of religion, beliefs and spirituality Patrimoine de la religion, des croyances et de la spiritualité A bibliography Une bibliographie By ICOMOS Documenta on Centre - October 2014 Par le Centre de Documenta on ICOMOS - Octobre 2014 Updated and edited by Valéria De Almeida Gomes, intern at ICOMOS Documentation Centre, and Lucile Smirnov. This bibliography refers to documents and materials available at ICOMOS Documentation Centre. It does not intend to be a comprehensive list of scientific literature on religions cultural heritage. Any reference can be consulted or scanned, subject to the limits of copyright legislation. Actualisé et mis en page par Valéria De Almeida Gomes et Lucile Smirnov. Cette bibliographie fait référence à des documents et ouvrages disponibles au Centre de documentation de l’ICOMOS. Elle ne prétend pas constituer une bibliographie exhaustive de la littérature scientifique sur e patrimoine culturel des religions. Toutes ces références peuvent être consultées ou scannées dans la limite de la loi sur le copyright. Contact ICOMOS Documentation Centre / Centre de Documentation ICOMOS http://www.icomos.org/en/documentation-center [email protected] © ICOMOS Documentation Centre, October 2014. ICOMOS - International Council on Monuments and sites Conseil International des Monuments et des Sites 11 rue du Séminaire de Conflans 94 220 Charenton-le-Pont France Tel. + 33 (0) 1 41 94 17 59 http://www.icomos.org Cover photographs: Photos de couverture : Hagia Sophia, Istanbul © David Spencer / Flickr; Borobudur near Yogyakarta. ©: Paul Arps/Flickr; Old Jewish Cemetery (Starý židovský hrbitov), Prague (Prag/Praha) © Ulf Liljankoski / Flickr Index Polytheism and early cults ......................................................... 2 African syncretism and traditional religions ................................. -
The Analysis on the Collapse of the Tallest Gothic Cathedral
ctbuh.org/papers Title: The Analysis on the Collapse of the Tallest Gothic Cathedral Author: Seong-Woo Hong, Professor, Kyungwoon University Subject: Structural Engineering Keyword: Structure Publication Date: 2004 Original Publication: CTBUH 2004 Seoul Conference Paper Type: 1. Book chapter/Part chapter 2. Journal paper 3. Conference proceeding 4. Unpublished conference paper 5. Magazine article 6. Unpublished © Council on Tall Buildings and Urban Habitat / Seong-Woo Hong The Analysis on the Collapse of the Tallest Gothic Cathedral Seong-Woo Hong1 1 Professor, School of Architecture, Kyungwoon University Abstract At the end of the twelfth century, a new architectural movement began to develop rapidly in the Ile-de-France area of France. This new movement differed from its antecedents in its structural innovations as well as in its stylistic and spatial characteristics. The new movement, which came to be called Gothic, is characterized by the rib vault, the pointed arch, a complex plan, a multi-storied elevation, and the flying buttress. Pursuing the monumental lightweight structure with these structural elements, the Gothic architecture showed such technical advances as lightness of structure and structural rationalism. However, even though Gothic architects or masons solved the technical problems of building and constructed many Gothic cathedrals, the tallest of the Gothic cathedral, Beauvais cathedral, collapsed in 1284 without any evidence or document. There have been two different approaches to interpret the collapse of Beauvais cathedral: one is stylistic or archeological analysis, and the other is structural analysis. Even though these analyses do not provide the firm evidence concerning the collapse of Beauvais cathedral, this study extracts some confidential evidences as follows: The bay of the choir collapsed and especially the flying buttress system of the second bay at the south side of the choir was seriously damaged. -
Studies on the Structure of Gothic Cathedrals
Historical Constructions, P.B. Lourenço, P. Roca (Eds.), Guimarães, 2001 71 Studies on the structure of Gothic Cathedrals Pere Roca Universitat Politècnica de Catalunya, Department of Construction Engineering, Barcelona, Spain ABSTRACT: The study of three Gothic Cathedrals is presented with a discussion on the results obtained with regard to their structural features and present condition. The paper focuses on the significant difficulties that the analysts may encounter in the attempt of evaluating historical structures. These difficulties stem from the importance of historical facts (historical genesis, construction process, and possible natural or anthropic actions affecting the construction throughout its life time) and the need to integrate them in the analysis. The case studies of Tarazona, Barcelona and Mallorca Cathedrals are presented. Particular attention is given to Mallorca Cathedral because of the uniqueness and audacity of its structural design and because of the challenges that the analyst must face to conclude about its actual condition and long-tem stability. 1 CONSIDERATIONS ON THE ANALYSIS OF ANCIENT CONSTRUCTIONS One of the main elements of the European architectural heritage is found in the significant number of Gothic churches and cathedrals built during the last period of the Middle Age. Preserving these constructions requires a certain understanding of their structural features and stability condition; this, in turn, requires a certain knowledge of their material, construction and resisting nature. However, the attempt to understand a complex ancient construction, such as a Gothic cathedral, based on modern techniques and concepts, encounters important difficulties stemming from both practical and theoretical causes. Among the difficulties of practical character is the virtual impossibility of obtaining a detailed knowledge of the properties of the materials, construction details and internal composition. -
Gothic Architecture
1 Gothic Architecture. The pointed Gothic arch is the secret of the dizzy heights the cathedral builders were able to achieve, from around the 13th Century. Columns became more slender, and vaults higher. Great open spaces and huge windows became the or- der of the day, as the pointed arch began to replace the rounded Roman-style arches of the Romanesque period. We will compare the two styles. On the left are the later arches of Salisbury Cathedral, c. 1230, in the Gothic style with elegant and slender piers. On the right are the Romanesque arches of Gloucester Cathedral with their huge cylindrical supports of faced stone filled with rubble, from around 1130. This is a drawing of praying hands by In this diagram Albrecht Dürer, you can see the 1508, in the effect of these Albertina Gallery in forces on a Gothic Vienna. If you hold pointed arch, your hands like this where some of the and imagine some- thrust is upwards, one pressing down alleviating part of on your knuckles, the weight of the you’ll feel your vault. finger ends move upwards. 2 There are different types of Gothic windows. Early English lancet windows, built 13th Century, plate tracery St. Dunstan’s Church, 1234, east end of Southwell Minster, in the south aisle west Canterbury. Early English Nottinghamshire, England window, All Saints Church, Decorated Style, 13th Hopton, Suffolk, England Century. The first structural windows with pointed arches were built in England and France, and be- gan with plain tall and thin shapes called lancets. By the 13th Century they were decorating the tops of the arches and piercing the stonework above with shapes such as this 4 leaf clover quatrefoil. -
AP Art History Chapter 13: Gothic Art Mrs. Cook
AP Art History Chapter 13: Gothic Art Mrs. Cook Define these terms: Key Cultural & Religious Terms: Scholasticism, disputatio, indulgences, lux nova, Annunciation, Visitation, opere francigeno, opus modernum Key Art Terms: stained glass, glazier, flashing, cames, leading, plate tracery, bar tracery, fleur‐de‐lis, Rayonnant, Flamboyant, mullions, moralized Bible, breviary, Perpendicular style, ambo, altarpiece, triptych, pieta Key Architectural Terms: altar frontal, rib vault, armature, webs, pointed arch, jamb figures, trumeau, triforium, oculus, flying buttress, pinnacle, vaulting web, diagonal rib, transverse rib, springing, clerestory, lancet, nave arcade, compound pier (cluster pier), shafts (responds), ramparts, battlements, crenellations, merlons, crenels, fan vaults, pendants, Gothic Revival, Hallenkirche (hall church) Exercises for Study: 1. Describe the key architectural features introduced in the French cathedral design in the Gothic era. 2. Describe features that make English Gothic cathedrals distinct from their French or German counterparts. 3. Describe the late Gothic Rayonnant and Flamboyant styles, and give examples of each. 4. Compare and contrast the following pairs of artworks, using the points of comparison as a guide. A. Old Testament kings and queen, jamb statues, Chartres Cathedral (Fig. 13‐7); Virgin and Child (Virgin of Paris), Notre‐Dame, Paris (Fig. 13‐26) • Dates: • Composition/posture of figures: • Relation to architecture: B. Saint Theodore, jamb statue, left portal, Porch of the Martyrs, Chartres Cathedral (Fig. 13‐18); Naumburg Master, Ekkehard and Uta, Naumburg Cathedral (Fig. 13‐48): • Dates: • Subjects: • Composition/posture of figures: • Relation to architecture: C. Interior of Saint Elizabeth, Marburg, Germany (Fig. 13‐53); Interior of Laon Cathedral, Laon, France (Fig. 13‐9) • Dates & locations: • Nave elevation: • Aisles: • Ceiling vaults: • Other architectural features: Chapter Questions: 1. -
Aragón Is Culture
ENGLISH ARAGON / IS CULTURE ARAGON IS AN ANCIENT LAND THAT HAS BEEN WITNESS TO THE PASSAGE OF CIVILISATIONS AND CULTURES, CLEARLY RECOGNISABLE IN ITS RICH CULTURAL HERITAGE. Architectural /2 ARAGON IS AN ANCIENT LAND THAT HAS BEEN WITNESS TO THE PASSAGE OF CIVILISATIONS AND CULTURES, CLEARLY RECOGNISABLE IN ITS RICH CULTURAL HERITAGE. Architectural/ ARAGON IS CULTURE From prehistoric times, various civilisations have left their mark on this territory: the Iberians; the Romans, founders of cities; the Muslims, who inhabited the peninsula for seven centuries; the Europeans Heritage arriving along the Way of St James; and the Jews and Christians living side-by-side in many villages. Aragon is culture. And the result of all this, besides a spectacular architectural heritage encompassing all periods and styles, is a cultural background that has shaped an open character, proud of its cultural riches. < Alabaster altarpiece, Cathedral of Huesca. Detail of typical Mudejar decoration. Sádaba Castle (Zaragoza). International Railway Station, Canfranc (Huesca). Romanesque capital of the Church of Santiago, Agüero (Huesca). /3 Aínsa. Medieval town. /4 01/ 02/ ARAGON IN THE PYRENEES IS CULTURE Discovering ancient Thanks to its spectacular artistic monuments architectural heritage amidst unspoilt mountain encompassing all periods and landscapes is an styles, Aragon has developed incomparable experience. an open character, proud of its cultural riches. 03/ THE PYRENEAN 1 FOOTHILLS Enjoying a milder climate than the mountains, the uplands and valleys of the Pyrenean foothills are a living museum offering a huge variety of art. 04/ 05/ TERUEL AND ITS ZARAGOZA AND SURROUNDINGS THE EBRO VALLEY This is the land of the Mudejar, The Ebro River has been of legends of love, of dinosaurs, a channel for successive jamón and many more cultures, enriching the cultural surprises. -
Infunde Amorem Cordibus: an Early 16Th-Century Polyphonic Hymn Cycle from Seville
Juan Ruiz Jime´nez Infunde amorem cordibus: an early 16th-century polyphonic hymn cycle from Seville he manuscript Tarazona Cathedral 2–3 has from 1482 and chapelmaster from 1491, a position Treceived a good deal of attention from eminent he held until 1497. His name reappears in docu- scholars over the last half century. While they have ments from 1503 until his death in September 1504. differed in their findings as to its dating and proven- The identification of Pedro de Porto and Pedro de ance, they have been unanimous in concluding that Escobar remains to be clarified, but only the name it is the most important surviving source for sacred Escobar appears in Seville during the time he music from the time of the Catholic Monarchs, was chapelmaster there (1507–14), and this was 1 7 Ferdinand and Isabella. I have studied the dating how he signed his name ( illus.1). The third and of the manuscript elsewhere, and proposed a Sevil- most prominent composer in Tarazona Cathedral 2 lian origin for it, but here I shall concentrate on 2–3, as well as in the hymn cycle, is Francisco de one important aspect: the cycle of polyphonic Pen˜alosa. hymn settings included in it (see table 1). Indeed, My recent research in the cathedral archives has it was this cycle that first drew attention to the shown that Pen˜alosa was present in Seville more manuscript through the study and edition by often than has been thought, since he was obliged 3 Rudolf Gerber. The Tarazona cycle has since been to reside there in order to obtain the income from studied in the broader context of the hymn cycle the benefices he held at the cathedral. -
402 Great Spires: Skyscrapers of the New Jerusalem Missing the Point? the Death and Afterlife of Great Spires 401
402 Great Spires: Skyscrapers of the New Jerusalem Missing the Point? The Death and Afterlife of Great Spires 401 PART V: SPIRES IN THE POSTMEDIEVAL WORLD Chapter 11: Missing the Point? The Death and Afterlife of Great Spires The post-medieval history of great spires and their reception falls, roughly speaking, into four distinct phases, which might be termed demise, sublimation, revival, and contemplation. By the end of the sixteenth century, virtually all the great spire projects in Europe had ground to a halt, as the artistic, cultural, and religious practices of the Middle Ages gave way to those of the early modern era. Crucial factors in this transformation include the spread of Italianate Renaissance classicism, the related rise of royal and courtly patronage, and the shock of the Reformation and its aftermath. In the period from roughly 1530 to 1800, therefore, the Gothic style was almost entirely forsaken. Significantly, however, church spires retained a certain degree of popularity, especially in countries such as Holland, England, and Germany where churches remained important as monuments of local and communal identity. Spire designers working in this period faced the difficult task of marshaling the classical architectural vocabulary to create striving vertical forms appropriate to this originally Gothic monument type. The Gothic Revival movement of the nineteenth century naturally fostered closer engagement with Gothic traditions of spire design, as the completion of major medieval spire projects like those of Cologne and Ulm attests. The archaeological rigor of these initiatives, however, was not matched by consistent scholarly objectivity, since Romanticism and nationalism played important roles in shaping the nineteenth-century view of the Middle Ages.