A01=Robert Bork
Ad Triangulum
architectural proportion systems
Author_Robert Bork
building
Building Centerline
Buttress Faces
Category=AGA
Category=AMX
cathedral structural evolution
centerline
compass construction methods
computational analysis of gothic architecture
design
drawings
eq_art-fashion-photography
eq_bestseller
eq_isMigrated=1
eq_isMigrated=2
eq_nobargain
eq_non-fiction
geometrical
Geometrical Armature
Geometrical Overlay
gothic
Gothic Design
Gothic Drawings
Great Octagon
honnecourt
Laon Tower
linear drafting techniques
medieval architecture analysis
medieval design process
Octagonal Symmetry
Openwork Spire
Outer Buttress
overlays
Reims Palimpsest
Rose Window
South Tower
Spire Zone
Strasbourg Cathedral
Strasbourg Plan
Tower Base
Tower Buttress
Tower Core
Tower Plan
Tower Story
triangulum
villard
Villard De Honnecourt
Villard's Drawing
Villard’s Drawing
Product details
- ISBN 9781138247673
- Weight: 1980g
- Dimensions: 219 x 276mm
- Publication Date: 23 Sep 2016
- Publisher: Taylor & Francis Ltd
- Publication City/Country: GB
- Product Form: Paperback
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The flowering of Gothic architecture depended to a striking extent on the use of drawing as a tool of design. By drawing precise "blueprints" with simple tools such as the compass and straightedge, Gothic draftsmen were able to develop a linearized architecture of unprecedented complexity and sophistication. Examination of their surviving drawings can provide valuable and remarkably intimate information about the Gothic design process. Gothic drawings include compass pricks, uninked construction lines, and other telltale traces of the draftsman's geometrically based working method. The proportions of the drawings, moreover, are those actually intended by the designer, uncompromised by errors introduced in the construction process. All of these features make these drawings ideal subjects for the study of Gothic design practice, but their geometry has to date received little systematic attention. This book offers a new perspective on Gothic architectural creativity. It shows, in a series of rigorous geometrical case studies, how Gothic design evolved over time, in two senses: in the hours of the draftsman's labor, and across the centuries of the late Middle Ages. In each case study, a series of computer graphics show in unprecedented detail how a medieval designer could have developed his architectural concept step by step, using only basic geometrical operations. Taken together, these analyses demonstrate both remarkable methodological continuity across the Gothic era, and the progressive development of new and sophisticated permutations on venerable design themes. This rich tradition ultimately gave way in the Renaissance not because of any inherent problem with Gothic architecture, but because the visual language of Classicism appealed more directly to the pretensions of Humanist princes than the more abstract geometrical order of Gothic design, as the book's final chapter demonstrates.
Robert Bork is Associate Professor of Art History, University of Iowa, USA.
