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GOTHIC ART (1) CHAPTER 3 ARCHITECTURE GOTHIC ART GOTHIC

ART GOTHIC
CHAPTER 3: ARCHITECTURE GOTHIC
Jacques rouveyrol

The novel was the wall. The Gothic is the negation of the wall. Its replacement by glass partitions: the windows .

1. The warhead

The invention the warhead is to ensure that at the point of greatest pressure of the vault is a way to divert forces to "outside". The intersecting ribs defines a point where two arcs meet. The roof hangs over this point, but instead of weighing down a direct force, perpendicular to the ground, weighs sideways, the arcs crossing at this point receiving this "weighing" and dispersing to the four directions.

2. The vault warhead

The Gothic cathedral is an architectural treatise. The watch is to understand the interplay of forces in the vault and the pillars.

It empunte two forms: the vault domicale which a succession of domes, the intersecting ribs is doing more than the top of the wall arches or beams.

............................................ ........................... Vault domicale

The segmental arch obtained by enhancement of the arcs and arches Doubleau to align the height of the intersecting ribs to get a regular vault



............................................... ................ segmental arch
3. The elevation of the wall.

Several solutions have been alternately or together implemented to allow elevation of the church. First the arch.

a. The arch

Drowned in the wall, parallel to the large arcade that runs along the aisle to each bay and opens onto the aisle, it reinforces the structure according to the principle outlined above: to reject the forces of the left and right other and thereby divide by two, instead of receiving them perpendicularly.

b. The thinning of the media

Strengthening the wall also relies on another method of construction. A construction paired taking the stone out of the quarry as it was integrated (parallel horizontal strata accumulated over time and make it "elastic"), it overrides the construction offense that reverses the stone, so strata that are vertically. Stiffness result (as opposed to the aforementioned elasticity) of medium which allows its thinning and, hence, a lower weight.
c. The first Gothic (XII s) : Saint-Denis, Noyon, Laon, ND Paris.

c.1 .- Marienval: a Romanesque church with the first warheads.

c.2 .- Laon: Prime typical Gothic: the 4 stages: large arches, gallery, clerestory, high window. The first Gothic
often given out, the appearance of the perfect novel (Noyon, for example). It is essentially characterized by the development of the nose, of course, the arch and rostrum. This is to keep a floor on the aisle which abuts the wall of the nave, which can thus gain height.

4. The flying buttresses and Gothic Classic (1st half of XIII ° S)

The appearance of the flying buttress will obviate the need fora. The vault "weighs" on the walls to each side. The forum reinforced sides. The flying buttress is going to take strengths and lead to the outside wall of the abutment and from there to the ground.
Rid forums, the wall will be more and be hollowed replaced by walls of glass: stained glass .

- Chartres, Reims, Amiens, Bourges, Le Mans.

5. The Biodome and the Gothic: (2 nd half of the XIII ° S)

The wall had disappeared, the "ribs" and remain alone, between them, the windows. The Sainte-Chapelle on the Isle de la Cite in Paris, is a glass building (such as one built today).
We are here at odds with the Roman architecture centered on the stone wall. Escutcheon (a sun that shines, hence the name given to the style of that era) is probably one of the most beautiful and convincing demonstrations of this architecture so elegant (in the sense that we say that a mathematical demontration is elegant).

6. The window

a. General characteristics: its symbolic

Cathedral is without doubt an arch refuge where those who want to be saved. But it is also the forerunner of the City of God. As such, it should look like a case rife with precious stones. The colors of the stained glass give the incident light, the reflection of such stones.
In addition, because there are often saints, the windows are like the Court of Lords who sit with God on both sides of the tabernacle where he himself resides.

b. Its evolution:

The evolution of the window tells us something further capital on its meaning. Small brightly colored little during the Romanesque period, it allows some light to enter the church. Still, by its colors, he transforms this light.
As the wall was down and given way to glass, it intensifies the colors (often "dark" blue and red), so it is not more light than before. We edify not the glass partitions for additional lighting.
is that the purpose of stained glass is not so much light that the transmutation of light land in celestial light. In House of God, the sunlight has no place. There is a divine light. Stained glass is the philosopher's stone that succeeds this transmutation.

7. The flamboyant gothic (late XIV - XV ° S)

If the Gothic could be a classic look along the ridges of the columns and arches understand the architecture of the cathedral in the Gothic the eye is lost in the maze of nerves, most of which have no function other than decorative or dramatic.
Flamboyant Gothic is said that because the columns and arches, using the curve-cons, imitate grace (we say in the sixteenth century Mannerist) of the flame rises. Exotic style and a lightness in which some wanted to see a "decadence" of the Gothic style.