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Gothic architecture style critical analysis
Gothic architecture style critical analysis
Gothic architecture style critical analysis
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In the world today, gothic architecture has become an influential design for numerous churches, universities, and various types of buildings. Originating in 12th-century France, Gothic structural materials tended to consist of various types of stone, typically limestone or red sandstone, and would often have an exterior consisting of a rib vault, flying buttresses, and large stain glass windows. In the late 1740’s, the Gothic Revival would emerge in England as an architectural movement, inspired by the Anglo-Catholicism religious style and the ideology that medievalism represented a golden age, during the time of industrialism. One architect inspired by the gothic appearance was William Butterfield who, from 1849-1859, constructed one of the …show more content…
Paul Thompson, author of the book William Butterfield Victorian Architect, writes that “indeed the decision to use brick at all in a town church, in so far as it is derivative, must have been inspired by these German churches rather than by English or Italian examples. This choice of brick, perhaps the most fundamental decision in the design of All Saints” (Thompson). Thompson not only mentions Butterfields likely inspiration for incorporating the brick, but also notes that the red brick is the church’s most significant material. Until the construction of All Saints, Margret Street church, Gothic Revival churches had typically been built of grey Kentish rag stone. However, Butterfield wished to depart from the image of traditional Gothic practice, and did so, by constructing the exterior of the church with red and black brick. This created a decorative symmetric pattern along the building’s exterior, which is now recognized as the buildings most innovative …show more content…
Inside of the church, the carefully chosen color schemes and the explosion of décor is almost overwhelming to the eye. Butterfield constructed the floors with richly patterned marble and tile, making sure that every inch of the churches walls consisted of some form of decoration. Regarding the building’s interior, author Paul Thompson notes that, “on the altar steps is a crescendo of brilliant jewel pat- terns, black and white and red and pale green, and on the final step patterned tiles in blue and yellow and white and red tracery. The whole is a superb abstract symphony of extraordinary quality” (Thompson). Here Thompson praises Butterfield’s diverse use of colors, patterns, and materials which make up the interior. After viewing the church’s exterior, the interior confirms that Butterfield clearly intended to break new barriers in the construction of neo-Gothic
Some attempts at gothic architecture were made in 17th century but many were a mix-match of ideas. Even though in the early1600’s there was an early flowering of mediaeval architecture with the Kings College in Cambridge.
This work is typical for this era because the architectural style Gothic is known for its height being tall and made from stone and tall flying buttress...
The short story “Cathedral” has many aspects to the story that help develop the theme. Some elements are more obvious than others, but others may be small and have a grand underlying meaning. The main theme of “Cathedral” is sight. Putting the theme in less vague of terms, “seeing” something, or the big picture, involves a lot more than just looking at it with your eyes. The author uses the literary elements of characters, setting, plot, and symbolism to develop the theme of Cathedral by giving each element a big part or meaning to what the author is trying to get across to the reader.
But first let me tell of the rooms in which it was held. These were seven—an imperial suite. In many palaces, however, such suites form a long and straight vista, while the folding doors slide back nearly to the walls on either hand, so that the view of the whole extent is scarcely impeded. Here the case was very different, as might have been expected from the duke’s love of the bizarre. The apartments were so irregularly disposed that the vision embraced but little more than one at a time. There was a sharp turn at every twenty or thirty yards, and at each turn a novel effect. To the right and left, in the middle of each wall, a tall and narrow Gothic window looked out upon a closed corridor which pursued the windings of the suite. These windows were of stained glass whose colour varied in accordance with the prevailing hue of the decorations of the chamber into which it opened. That at the eastern extremity was hung, for example in blue—and vividly blue were its windows. The second chamber was purple in its ornaments and tapestries, and here the panes were purple. The third was green throughout, and so were the casements. The fourth was furnished and lighted with orange—the fifth with white—the sixth with violet. The seventh apartment was closely shrouded in black velvet tapestries that hung all over the ceiling and down the walls, falling in heavy folds upon a carpet of the same material and hue. But in this chamber only, the
The sanctuary was bare, and the pews hard. I mentally tallied a comparison between my own church's sanctuary and this. The two, I found, were similarly austere, but with theirs tending toward items of religious kitsch and our own tending instead towards polished brass. Both lacked stained glass in the windows. I suspected, however, that where our sanctuary was plain in token tribute to the long-dead strict streak of our Calvinist tradition, theirs was bare because it could not economically be otherwise. And the lack of air conditioning ! Memphis' summer heat is unbearable and pervasive, and a roof overhead does nothing against the big blanket of humid air.
... beauty and light in the building, they realized that the church must really hold the key to salvation, for they were able to construct a place so similar to the afterlife that many people longed for. It seemed almost as if Abbot Suger had visited heaven and created a physical representation in the Basilica of St. Denis.
St. Peter and Paul Church: I took this picture at St. Peter and Paul Church and I was interested in the stained glass windows. I liked these in particular because they were clearly visible from the outside of the church and the color was also clearly visited. Other churches in the area that I visited didn’t have visible stained glass on the outside of the Church. I observed these simple patterns to help me draw stained
The Gothic Period in the twelfth century influenced the creation of Gothic Revival Architecture in the nineteenth century. Gothic architecture began in France in 1140. Some of the first buildings made using this style are the Basilica of Saint Denis and the Cathedral of Sens. (Gothic Architecture By Paul Frank) This style of architecture started losing popularity in the early sixteenth century, but did not die out completely during this time period. Gothic architecture was still predominantly in cathedrals and churches. The rise of Romanticism began in the eighteenth century–leading to an awareness and increased interest of the Middle Ages, specifically interest in church architecture. (http://en.wikipedia.org/wiki/Gothic_Revival_architecture) Thus, Gothic Revival Architecture was created. When admirers of neo-Gothic styles wanted to revive medieval Gothic architecture, Gothic Revival Architecture was created—along with many sub styles, such as Polychrome Brick Gothic and Carpenter Gothic in the nineteenth and twentieth centuries.
This style of architecture first emerged in northern France around 1140. It started with the construction of great churches in Paris and evolved to more greater height, light, and volume. Later on, they used gothic architecture for secular buildings like castles, palaces, bridges, city walls, and gates. In England, two highly important buildings: Canterbury Cathedral and Westminster Abbey were created using Gothic architecture.
After walking inside and trying to first experience, the church, and all its beauty and ornateness, I began examining the floor plan and elevations of the cathedral. Grace Cathedral was build in a gothic style, which it represents in its architecture inside and out. There were three huge rose windows. One at the very top of the main entrance and one on either end of the transept. There wer...
The Gothic style evolved from that of Romanesque, building on concepts and ideas that led to the creation of larger and grander structures. Today, mankind looks in awe at the structures that were built hundreds of years ago without the assistance of modern technology and equipment. These architectural styles are indisputably different, but equally profound. They made use of differing techniques to become tangible structures that can still be seen
Print. The. Frankl, Paul, and Paul Crossley. Gothic Architecture. New Haven: Yale UP, 2000.
Both St. John the Baptist Cathedral and Cathedral Basilica of Our Lady of Chartres are constructed in French Gothic style which means that architecturally they have many similarities. However, the 700 year gap between their construction
The European Gothic Architecture covers an extended period of time that begins in the 12th century up to the 16th century; this was the golden period for this style of Architecture. The term Gothic comes from the Goths or Gothic people, a group of East Germanic tribes, which were tribes of barbarians and vandals that sack Rome during the 5th century. This term was later applied ...
The essence of modern architecture lays in a remarkable strives to reconcile the core principles of architectural design with rapid technological advancement and the modernization of society. However, it took “the form of numerous movements, schools of design, and architectural styles, some in tension with one another, and often equally defying such classification, to establish modernism as a distinctive architectural movement” (Robinson and Foell). Although, the narrower concept of modernism in architecture is broadly characterized by simplification of form and subtraction of ornament from the structure and theme of the building, meaning that the result of design should derive directly from its purpose; the visual expression of the structure, particularly the visual importance of the horizontal and vertical lines typical for the International Style modernism, the use of industrially-produced materials and adaptation of the machine aesthetic, as well as the truth to materials concept, meaning that the true nat...