Relevant bibliographies by topics / Architecture, Gothic Architecture, Gothic Architecture

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Architecture, Gothic Architecture, Gothic Architecture'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Architecture, Gothic Architecture, Gothic Architecture"

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Hermawati ; C. Sudianto Aly ; Jonathan Hans Y. S, Sisilia. "THE APPLICATION OF GOTHIC ARCHITECTURE ON SANTO LAURENSIUS CHIRCH ALAM SUTRA, SERPONG." Riset Arsitektur (RISA) 2, no. 04 (October 16, 2018): 360–75. http://dx.doi.org/10.26593/risa.v2i04.3047.360-375.

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Abstract- At a glance, the Church of Saint which Laurensius located in Serpong is like a church built in the past. However, when traced, it turns out this church is a new church that was built in 2007 by applying the Style of Gothic Architecture on the building. The application of elements of gothic architecture is not only visible from the outside of the church, but also on the inside of the church. For that, it will be further investigated about the application of any gothic elements contained in the study object.Gothic architectural elements are divided into several periods based on its development, ranging from Early Gothic, High Gothic, Late Gothic to Gothic Revival or Neo-Gothic. Gothic architectural elements have different characteristics and characters in each period of development. In this research, discussed theories about elements in gothic architecture based on its development. There are 17 elements analyzed in this research. These seventeen elements are summarized into three major sections covering the structural elements, non-structural elements, and spatial arrangements. Analysis of the application of gothic architectural elements to the Church of St. Laurensius begins by describing the elements present in the study object and then compared with the gothic architectural elements of the gothic period described in the second chapter. Based on the results of the analysis, it can be seen that from 17 elements observed, 12 elements of which are adapted from the building elements contained in the period of neo-gothic architecture. Key Words: Gothic, Period, Element, Architecture, Neo-Gothic
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Hermawati ; C. Sudianto Aly ; Jonathan Hans Y. S, Sisilia. "THE APPLICATION OF GOTHIC ARCHITECTURE ON SANTO LAURENSIUS CHIRCH ALAM SUTRA, SERPONG." Riset Arsitektur (RISA) 2, no. 04 (October 16, 2018): 358–71. http://dx.doi.org/10.26593/risa.v2i04.3047.358-371.

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Abstract- At a glance, the Church of Saint which Laurensius located in Serpong is like a church built in thepast. However, when traced, it turns out this church is a new church that was built in 2007 by applying the Styleof Gothic Architecture on the building. The application of elements of gothic architecture is not only visiblefrom the outside of the church, but also on the inside of the church. For that, it will be further investigated aboutthe application of any gothic elements contained in the study object.Gothic architectural elements are dividedinto several periods based on its development, ranging from Early Gothic, High Gothic, Late Gothic to GothicRevival or Neo-Gothic. Gothic architectural elements have different characteristics and characters in eachperiod of development. In this research, discussed theories about elements in gothic architecture based on itsdevelopment. There are 17 elements analyzed in this research. These seventeen elements are summarized intothree major sections covering the structural elements, non-structural elements, and spatial arrangements.Analysis of the application of gothic architectural elements to the Church of St. Laurensius begins by describingthe elements present in the study object and then compared with the gothic architectural elements of the gothicperiod described in the second chapter. Based on the results of the analysis, it can be seen that from 17 elementsobserved, 12 elements of which are adapted from the building elements contained in the period of neo-gothicarchitecture.Key Words: Gothic, Period, Element, Architecture, Neo-Gothic
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Lindfield, Peter. "Serious Gothic and ‘doing the Ancient Buildings’: Batty Langley's Ancient Architecture and ‘Principal Geometric Elevations’." Architectural History 57 (2014): 141–73. http://dx.doi.org/10.1017/s0066622x00001404.

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Batty Langley (1696-1751) is one of the most familiar and generally infamous figures of Britain's eighteenth-century Gothic Revival (Fig. 1). Following his father, he trained as a gardener and was one of the early promoters of the irregular style that prefigured William Hogarth's ‘line of beauty’. Langley's interest, however, turned to architecture and he produced numerous architectural treatises and pattern books, the majority of which were concerned with Classical architecture. This was a sensible decision since, as Eileen Harris and Nicholas Savage observe, ‘Langley had much to gain by concentrating his publishing activities on architecture, for which there was a considerably larger, more diversified, and less discriminating market.’ His most well-known publication, however, is concerned with the Gothic: Ancient Architecture: Restored, and Improved by a Great Variety of Grand and Useful Designs, Entirely New in the Gothick Mode (1741-42).
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Degtyarev, Vladislav V. "Gothic Revival and the Possibility of “Gothic Survival”." Observatory of Culture 15, no. 5 (December 14, 2018): 576–83. http://dx.doi.org/10.25281/2072-3156-2018-15-5-576-583.

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The notion of “Gothic survival” is still prevalent in literature on Gothic revival architecture in England. This concept implies the possibility of the unreflexive survival of Gothic architectural tradition in some distant provincial regions, where architects, searching connections with the past or folk traditions, could find it. This notion, dating back to the literature of the beginning of the 20th century, can be convincingly refuted by analyzing the meanings and purposes of different stages of Gothic revival. The article aims to demonstrate that the use of Gothic architectural forms in the second half of the 17th — beginning of the 18th century was initiated by intellectuals and had no connection to the preservation of artisan traditions.The courtiers of Elizabeth I, re-enacting mediaeval romances and Arthurian legends, conducted the earliest known Gothic revival. The relation between Eli­zabethan architecture and Gothic tradition has been discussed many times. And in later decades — du­ring the Stuart era, the Commonwealth and after the Restoration — Gothic colleges and churches were extensively built.Basing on the sources available, it can be assumed that, though there was not any chronological break in Gothic architectural tradition, Gothic revival had been ideologically biased from its very beginning. We can also say that the spread of classical architecture in England not only was unable to destroy the Gothic tradition, but also gave it new meanings and almost immediately made any appeal to Gothic forms an ideological statement.
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Frew, John. "Bulfinch on Gothic." Journal of the Society of Architectural Historians 45, no. 2 (June 1, 1986): 161–63. http://dx.doi.org/10.2307/990094.

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Charles Bulfinch, now chiefly remembered as a classicist, is shown to have also possessed a developed interest in Gothic architecture. This can be identified with the architect's midcareer and was sustained through book purchases made from I. & J. Taylor's "Architectural Library," London. In particular, Bulfinch read Joseph Taylor's Essays on Gothic Architecture (1800) closely, sources summarized in this publication providing the framework for his own observations on the origins of the Gothic style, as well as his interest, through Le Brun's Voyages... dans... l'Asie Mineure (1732), in the church of St. John at Acre in the Palestine.
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Fehér, Krisztina. "Tas-de-charge – An Essential Part of Gothic Vault." Periodica Polytechnica Architecture 52, no. 1 (April 21, 2021): 21–31. http://dx.doi.org/10.3311/ppar.16889.

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Gothic architecture can be viewed from several perspectives, including stylistic aspects, architectural theory, and structural analysis.As Gothic architecture is a skeletal construction, it is essential to achieve an equilibrium with the multiple loads and forces. Medieval master masons' architectural knowledge was firmly based on empirical learning, which stimulated the dynamic development of structural innovations.This paper emphasises and describes a particular type of vault springer, one of the most complicated and sensitive parts of Gothic construction. Known as tas-de-charge, it became especially characteristic of high Gothic architecture. According to its principle, the springer's lower courses contain the merged vault nerves and are carved from one single stone block in each course. The beds of these courses are not radial as those of the average voussoirs, but horizontal. Without the concept of tas-de-charge, the development of late Gothic vaults could not be imaginable. This particular solution made possible the creation of elegantly narrow imposts supporting the vault ribs, the double arch and the formerets. So far, tas-de-charge has not been a focus of interest in the historiography of Hungarian medieval architecture; however, it appears that it was commonly applied in our late Romanesque and early Gothic monuments.
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Dymchenko, M., N. Brykova, and I. Lokonova. "Architectural form as a subject of cultural communication." E3S Web of Conferences 281 (2021): 02003. http://dx.doi.org/10.1051/e3sconf/202128102003.

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The aim of the article is to investigate the architectural form self-representation processes in the spatial experience of culture. Theoretical and methodological prism of the research is the semiotic concept of architecture of W. Eco and the concept of E. Panofsky correlating with it and explaining the nature of the Gothic architectural form evolution. The architectural reality self-definition problem in the context of the historical development of cultural and anthropological experience spatial codes is considered. On the basis of W. Eco’s semiotic concept of architecture we propose the vision of architectural object as a form in which the signifier - the “grammar” of architectural text - is treated as a signifier in the unity of meanings, functions and structures of the work. Architectural form in this capacity is described as a subject of socio-cultural communication, an individual link in the spatial code mediation chain of this or that tradition. On the basis of the comparative analysis, we have demonstrated the similarity of semiotic approach to the essence of architecture and Gothic architectural thinking of E. Panofsky. It shows the relevance of this methodology for modern architecture theory allowing to reveal the processes of architectural reality affirmation. The significance of the results for the theory of architecture consists in the fact that the heuristic significance of Eco’s semiotic conception of architecture was substantiated by E. Panofsky’s conclusions concerning the essence of Gothic form-building. The notion of architectural form as a subject of cultural communication greatly extends the architectural reality affirmative nature notion.
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Silver, Larry, and Norbert Nussbaum. "German Gothic Church Architecture." Sixteenth Century Journal 32, no. 2 (2001): 623. http://dx.doi.org/10.2307/2671851.

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Seo, Jeong-Hyok. "Hegel’s Theory of Architecture and Gothic Architecture." Korean Journal of Philosophy 137 (November 30, 2018): 79–103. http://dx.doi.org/10.18694/kjp.2018.11.137.79.

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Васильєва, О. С., М. С. Винничук, І. В. Васильєва, and І. В. Олійник. "АРХІТЕКТУРА ЯК ДЖЕРЕЛО НАТХНЕННЯ ДЛЯ РОЗРОБКИ АВТОРСЬКИХ КОЛЕКЦІЙ ОДЯГУ." Art and Design, no. 1 (June 3, 2020): 70–81. http://dx.doi.org/10.30857/2617-0272.2020.1.5.

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Identify the features of the artistic and plastic properties of gothic and neo-gothic architecture. Find their characteristic forms and artistic and compositional features, explore and highlight the characteristic stylistic interpretations of gothic architecture in modern clothing collections. The study used the basic principles of a systematic approach to the art design of modern author's clothing collections: literary and analytical studies and figuratively associative stylization of the source of creativity. The analysis carried out and the most characteristic artistic and compositional solutions of the gothic architectural style solutions. The basic techniques and stylization of the elements of the gothic architectural style in modern collections of fashionable clothes are determined. The principles of design modern collections of fashion designers are defined, where a gothic architectural style was used as a creative source. The research results used in the development of the author's collection of women's clothing. The paper sets out the basic artistic and compositional features of the gothic and neo-gothic architectural styles (forms, decorative elements and color combinations) and their application in the design of collections of modern fashionable clothes. The analysis of the artistic and compositional features of the collections of the world's leading designers in the gothic and neo-gothic styles carried out and information about the features of their interpretation systematized. Practical recommendations on the choice artistic and compositional solutions, design and decorative elements, selection of materials, color, accessories, hats, for the design of modern women's clothing with stylization elements of gothic and neo-gothic architectural styles are presented. The research results used to develop a collection of women's clothing.
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Dissertations / Theses on the topic "Architecture, Gothic Architecture, Gothic Architecture"

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Chase, Davis William. "Architectural design principles as evidenced in Gothic architecture." Thesis, Virginia Polytechnic Institute and State University, 1985. http://hdl.handle.net/10919/53714.

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Three specific architectural design principles are identified and documented through a study of gothic architecture. The comparative method is used to show progressive change in gothic architecture and to illustrate how these design principles are evident in this change.
Master of Science
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Grzesiak, Filip. "Capturing the Gothic Line : Parametric Exploration of the Gothic Ornament." Thesis, KTH, Arkitektur, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-229425.

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The project explores the ‘Gothic Line’ as observed in ornament. Escaping strictly geometrical means of defining, the study focuses on capturing the Line’s elusive properties in connection to chosen architectural elements. With selected properties, the two-dimensional principles are extracted into the 3D environment. Using parametric design tools each feature is transformed into multiple prototypes of three-dimensional interpretation. The project aims to capture subtlety of the Gothic Line while providing a system enabling creation of architecturally relevant ornamental structures.
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Grant, Lindy M. "Gothic architecture in Normandy, c.1150-1250." Thesis, Courtauld Institute of Art (University of London), 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.281784.

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This thesis covers Gothic architecture in Normandy from c.1150-c.1250. It establishes a chronology for the large number of ecclesiastical buildings erected in Normandy in this period, and traces stylistic developments. Chapter I discusses the emergence of an Early Gothic style with distinctly Norman Characteristics, epitomised at Fecamp, out of a stolid vaulted Romanesque, current in the early years of the 12th century in the Lower Oise and the Vexin, as well as Normandy. Chapter II considers the obverse of the 12th century Norman coin, that is, those buildings, notably Lisieux and Nortemer choir, which reflect French sources to the extent of prejudicing their Norman character. Chapter III discusses the new ideas and approaches, not all of Ile de France origin, that flooded Norman architecture between c.1180 and c.1200, notably at St.Etienne at Caen in Lower Normandy, and Bonport and Petit Andeli in Upper Normandy, bringing a new elegance and spatial fluidity to Norman Gothic, and preparing the way for 13th century developments. Chapter IV discusses these developments in Upper Normandy, focussing on the central problem of Rouen cathedral. Chapters VI and VII do the same for Lower Normandy: the sixth dealing with the incestuous `Bessin' group related to Bayeux cathedral, and the seventh with the far south-west, notably Coutances cathedral choir, and the Merveille at Le Mont-Saint-Michel. The fifth chapter differs in that it is devoted to the architectural development of the Cistercians in Normandy, from c.1150-c.1240. The relationship between Norman Gothic architecture and the architecture of the Capetian Ile de France and Picardy is an everpresent consideration. The influence of Paris emerges as paramount, with quite strikingly little influence from the Aisne Valley, Northern Picardy or Chartres. The conclusion considers the development of Norman Gothic architecture within the historical context of the Loss of Normandy in 1204.
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Weston, Lindy. "Gothic architecture and the liturgy in construction." Thesis, University of Kent, 2018. https://kar.kent.ac.uk/67341/.

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Medieval Christian action, which is sometimes venerational, provides the embodiment of Christian narrative within relics. Abbot Suger saw masonry stones as if they were relics, and there must therefore be a corresponding Christian veneration and collective Christian working, i.e. liturgy, specifically to do with construction. Though the articulation of this collective Christian action in construction has not been attempted because masons left no written record of their work, it is certain manual construction was seen as a spiritual process of edification. This "liturgy in construction" is here explored through the idea of sacred geometry as an aspect of "uncreated being", applied geometry, and stone masonry craftsmanship. The cosmological presuppositions accepted by the medieval mind allowed for religious answers to questions of building and construction in the medieval cathedral, but contemporary literature often provides an insufficient narrative of the role of religion for the daily tasks required in stone masonry. While past scholarship has asserted the cathedral was built by theologians, such notions are now seen as suspect. To what extent did religion influence these lay builders? Although it is certainly reasonable for thinkers of the 21st century to assume a secular and technological workforce, it remains somewhat of an oversight, given the weight of the religious and written tradition in medieval culture, to assume religion played no role in design and construction. The removal of key philosophical and theological notions, such as virtue, charity, the idea of uncreated being, and miracles from debates dealing with medieval architecture result in an insufficient and inauthentic account of the Gothic cathedral. To explore the question of religious building methods in the medieval cathedral, an interpretation of the cosmology of the period is here articulated, and the work of the mason is discussed within this "cosmological" approach. Despite the absence of written documents which might reveal the presuppositions and motivations of the masons, the task of stone masonry is undertaken experimentally within this thesis in order to demonstrate how cutting stone with hand tools fits within the medieval cosmology. Thus, the processes of medieval stone masonry and of organizing a workforce without construction documents, lent themselves to easy assimilation by the medieval mind.
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Bayless, James D. "Digital Gothic: Integration and Material Experimentation in Contemporary Architecture." University of Cincinnati / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1397476805.

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Etemad, Yousefi Arash. "Medieval Islamic and Gothic architectural drawings : masons, craftsmen and architects." Thesis, Massachusetts Institute of Technology, 2005. http://hdl.handle.net/1721.1/33024.

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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Architecture, 2005.
Includes bibliographical references (leaves 54-57).
As medieval designers and craftsmen have left us with no textual evidence of their thinking processes, their drawings offer valuable sources through which their approach to design and construction can be investigated. Focusing on the early architectural drawings of the medieval period, this thesis will explore the intersections between Late Gothic and Timurid architectural practices. Both Timurid and Gothic designers were also skilled builders. Their education provided them with a good understanding of the pragmatics of architecture, while affecting the ways in which these individuals combined theory and practice to produce novelties in architectural form and style. Two 15th/16th century scrolls from Timurid Central Asia and the considerable number of Late Gothic drawings provide materials for a comparative analysis of Gothic and medieval Islamic design practices and the use of drawings. Beginning with a discussion of vaults, this thesis will examine the precise methods by which designers applied geometry in drawings to explore complex forms. The emphasis on intricate vaults in both Late Gothic and Timurid architecture attest to the similarities between these traditions, while presenting the opportunity to explore their differences. A consideration of the function of drawings in medieval design practices will lead in the second part of this thesis to a broad assessment of the profession of architecture in medieval Central Asia. The hierarchies within the building trades, the roles and responsibilities of designers and their education will be among the topics that will be discussed.
Arash Etemad Yousefi.
S.M.
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Quinn, Caroline. "Dueling Dualities: The Power of Architecture in American Gothic Literature." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/897.

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This article seeks to establish the importance of gothic convention and architecture’s role in Poe’s “The Fall of the House of Usher” and Southworth’s The Hidden Hand. By examining these stories’ dualities this article analyzes Poe and Southworth’s projects behind setting up dual spaces. Specific to Poe, this article follows architecture’s effect on mental health. Specific to Southworth, this article investigates her criticism of binaries and convention and how she uses architecture to shape her analysis.
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Aspin, Philip. "Architecture and identity in the English Gothic revival 1800-1850." Thesis, University of Oxford, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.669903.

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Briggs, Alana Samantha. "Architecture and Thomas Hardy." Thesis, University of Exeter, 2015. http://hdl.handle.net/10871/20775.

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Thomas Hardy is the only major English novelist to have been a professional architect. In his essay, “Memories of Church Restoration,” written for the Society for the Protection of Ancient Buildings (1906), it was clear that, for Hardy, architectural structures preserved the spirit of all those who had created and originally worked and lived within them. By their very presence, then, ancient and medieval buildings were historical artifacts housing the memories of past lives. This intertwining of humans and the built environment became the stuff of Hardy’s novels, short stories, poetry, and essays. Drawing on autobiographical material, including correspondence and notebooks, as well as novels and poetry, this thesis examines the various ways in which Hardy engages with ideas and debates about architecture taking place in the nineteenth and early twentieth centuries. While previous studies have examined the treatment of architecture in Hardy’s fiction, this thesis focuses on key figures in the architectural world and the complex role their ideas play in his work. Hardy explores a combination of ideas from leading architectural thinkers, at times offering an important synthesis to coexisting architectural ideas. I argue that Hardy saw architecture as recording centuries of memory, rooted in an instinctual life that connects humans with the natural world in an intimate way, evoking evolutionary time. In so doing he expanded the meaning of the “architectural” well beyond the confines of medievalist or classical ideas, or debates sparked by architects and critics such as A.W.N. Pugin and John Ruskin and architecture, in its broadest definition, acts as a metaphor for the way the past lives on in the present, undergoing continual processes of change; for destruction and decay; and for the way buildings undergo natural processes. The nexus of architectural ideas also allows Hardy to respond to questions of the role of art in relation to society and social communities.
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Kennedy, Alexandra Katharina Maria. "Gothic architecture in northern Burgandy in the 12th and early 13th centuries." Thesis, Courtauld Institute of Art (University of London), 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.362726.

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Books on the topic "Architecture, Gothic Architecture, Gothic Architecture"

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1945-, Crossley Paul, ed. Gothic architecture. New Haven: Yale University Press, 2000.

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Grodecki, Louis. Gothic architecture. New York: Electa/Rizzoli, 1985.

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Grodecki, Louis. Gothic architecture. London: Faber, 1986.

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Reading Gothic Architecture Conference (2005 East Sussex, England). Reading Gothic architecture. Turnhout, Belgium: Brepols, 2008.

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Reading Gothic Architecture Conference (2005 East Sussex, England). Reading Gothic architecture. Turnhout, Belgium: Brepols, 2008.

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Reeve, Matthew M., ed. Reading Gothic Architecture. Turnhout: Brepols Publishers, 2008. http://dx.doi.org/10.1484/m.svcma-eb.6.09070802050003050205030605.

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Henri, Stierlin, ed. Gothic. [Köln]: Benedikt Taschen, 1996.

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German Gothic Church architecture. New Haven: Yale University Press, 2000.

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Gothic architecture and scholasticism. New York: New American Library, 1985.

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Bombay gothic. Mumbai: India Book House, 2002.

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Book chapters on the topic "Architecture, Gothic Architecture, Gothic Architecture"

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Reeve, Matthew M. "Introduction: Reading Gothic Architecture." In Studies in the Visual Cultures of the Middle Ages, 1–10. Turnhout: Brepols Publishers, 2008. http://dx.doi.org/10.1484/m.svcma-eb.3.1311.

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Hollengreen, Laura H. "Gothic skins." In Architecture and the Body, Science and Culture, 67–85. New York : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315642055-5.

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Elsner, Jaś. "A Golden Age of Gothic." In Architecture, Liturgy and Identity, 7–15. Turnhout: Brepols Publishers, 2011. http://dx.doi.org/10.1484/m.sga-eb.1.100126.

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Fugelso, Karl. "Multiculturalism in Italian Gothic Architecture." In Arizona Studies in the Middle Ages and Renaissance, 91–112. Turnhout: Brepols Publishers, 2005. http://dx.doi.org/10.1484/m.asmar-eb.3.3035.

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Murray, Stephen. "The Study of Gothic Architecture." In A Companion to Medieval Art, 489–512. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2019. http://dx.doi.org/10.1002/9781119077756.ch21.

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Lepine, Ayla. "Modern, Gothic, Anglican." In Modern Architecture and Religious Communities, 1850–1970, 107–22. New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781351043724-7.

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Freigang, Christian. "Imitatio in Gothic Architecture: Forms versus Procedures." In Architecture, Liturgy and Identity, 297–313. Turnhout: Brepols Publishers, 2011. http://dx.doi.org/10.1484/m.sga-eb.1.100149.

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McEvoy, Emma. "Strawberry Hill: Performed Architecture, Houses of Fiction and the Gothic Aesthetic." In Gothic Tourism, 12–52. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/9781137391292_2.

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Twyning, John. "Gothic Adaptations and Reprisals." In Forms of English History in Literature, Landscape, and Architecture, 37–66. London: Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9781137284709_3.

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Twyning, John. "Dracula and Gothic Tourism." In Forms of English History in Literature, Landscape, and Architecture, 185–220. London: Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9781137284709_7.

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Conference papers on the topic "Architecture, Gothic Architecture, Gothic Architecture"

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Willis, Andrew, Yunfeng Sui, Katharina Galor, and Donald Sanders. "Estimating Gothic facade architecture from imagery." In 2010 IEEE Computer Society Conference on Computer Vision and Pattern Recognition Workshops (CVPR Workshops). IEEE, 2010. http://dx.doi.org/10.1109/cvprw.2010.5543519.

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Serro, Luis. "THE MONASTERY OF SAINT-MARY OF VICTORY: ROMANTICISM BEYOND THE GOTHIC." In SGEM 2014 Scientific SubConference on ARTS, PERFORMING ARTS, ARCHITECTURE AND DESIGN. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgemsocial2014/b41/s15.130.

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Korndorf, Anna. "Between Ordine and Capriccio. Gothic Architecture in the Theatre of the Enlightenment." In 3rd International Conference on Arts, Design and Contemporary Education (ICADCE 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icadce-17.2017.2.

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Bin, Qin. "The Space Construction of Gothic Architecture in Narration in the Notre Dame of Paris." In 2017 International Conference on Sports, Arts, Education and Management Engineering (SAEME 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/saeme-17.2017.116.

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Chanturia, Yury, and Alesya Yanusz. "The System of the Plan Compositional Principles of the Gothic Town Building in the Grand Duchy of Lithuania." In Proceedings of the 2019 International Conference on Architecture: Heritage, Traditions and Innovations (AHTI 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/ahti-19.2019.93.

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6

Dashti, Hussain. "Robotic Fabrication as Catalysts for Emergent Topologies and Traditions: Nomadic Small Pavilions and Permanent Mega Structures in Kuwait." In International Conference on the 4th Game Set and Match (GSM4Q-2019). Qatar University Press, 2019. http://dx.doi.org/10.29117/gsm4q.2019.0015.

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This paper reviews tendencies and drives for future parametric computational design and robotic fabrication/construction automation. It sheds light on the local current impact of the computational paradigm and mass-customized robotic fabrication in Kuwait. This paper is intended to answer the following two questions: Is parametric design and robotic fabrication allowing for emergent architectural topologies? Is robotic fabrication a catalyst for legitimizing change in architectural traditions at a local level? This has been experimented on two building scales. One with more ephemeral or transient nomadic pavilions, designed by the author, intended to demand our momentary attention, offering essential opportunities for research, experimentation, heuristic testing and prototyping - public delight and exposure. Though impermanent, these can even go so far as to be catalysts for positive change displaying affirmative qualities of temporal architecture. On the other hand, the author shares parametric design and robotic fabrication practices/consultation on local permanent mega structures currently under construction. Such mega buildings act as proof that geometrically complex buildings do not stay in the realm of small experimental and heuristic research only, but incorporated in large-scale complex building, branding and placing countries on the global map. Robotic fabrication and construction gives rise to new paradigms such as "zero-tolerance" building with "file-to-factory" production allowing for Ruskinian tectonics blending structures with ornamental aesthetics, similar to gothic architecture. With the profusion of robotic fabrication and construction, the author claims that change in the physical built environment is eminent. A final inquiry will be raised as a future research topic pertaining to robotic in-situ "mobility-on-demand", Artificial Intelligence, "Machine Learning", "Big Data" and "evolutionary robotics" which raises the question of what will our future mass-customized cities look like and what type of physical infrastructure is needed to facilitate mobile robotic fabrication and construction.
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Yan, Liang, and Zhenzhen Sun. "The Religious Fanaticism and lOdd Coincidencesr of Gothic Architectural Art." In 2018 International Conference on Sports, Arts, Education and Management Engineering (SAEME 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/saeme-18.2018.59.

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8

Goycoolea, Roberto. "DISRUPTION AND CONTINUITY IN THE PHILOSOPHICAL/MATHEMATICAL CONSTRUCTION OF THE ARCHITECTURAL GOTHIC AND RENAISSANCE SPACE." In 2nd International Multidisciplinary Scientific Conference on Social Sciences and Arts SGEM2015. Stef92 Technology, 2015. http://dx.doi.org/10.5593/sgemsocial2015/b41/s15.043.

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Sánchez Corrochano, Álvaro, Enrique Martínez Sierra, Alessandro Greco, and Daniela Besana. "Técnicas digitales para el estudio del Patrimonio Defensivo: “Puerta de Almenara” y lienzos sur del Palacio del Gobernador y Plaza de Armas del Castillo de Sagunto (Valencia)." In FORTMED2020 - Defensive Architecture of the Mediterranean. Valencia: Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11387.

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Digital technicals for the study of the Defensive Heritage: “Puerta de Almenara” and south walls of “Palacio del Gobernador” and “Plaza de Armas” of the Castle of Sagunto (Valencia)The use of digital documentation and registration techniques in Cultural Heritage is becoming more common every day, thanks to its ability to capture a large amount of data in a fast and efficient process. Its high geometric precision, thoroughness, performance retrieved and especially the generation of high fidelity and precision of architectural good assets make these tools optimal for the planimetric surveys. The work of intervention or conservation of cultural heritage requires a previous graphic registration using different techniques available. This article presents a combined method of implementation of various digital techniques that allow to achieve the most accurate graphic documentation possible. The different results obtained from the use of photogrammetry by drone or by manual camera are discussed. It is intended to seek the standardization and optimization of the process of documentation and value of the Cultural Heritage by combining these techniques. These techniques have been used in a real case: the three-dimensional modeling of various parts of the defensive set of the Castle of Sagunto (Valencia), called the “Puerta de Almenara”, which gives access to the square of the same name, on the eastern side and some walls of the fortification. The Castle of Sagunto is a mosaic of the different cultures who occupied it (Iberians, Romans, Goths, Arabs...). The fortification is located on top of a hill of the Sierra Calderona, controlling even the Mediterranean coastal road and the communication route with Aragon. During the last years, the castle has been immersed, for almost 20 years, in various works of consolidation and restoration to initiatives of the Institute of Cultural Heritage of Spain.
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Molok, Nikolai. "The Classical Ideal and Gothic Nationalism. John Soane and the Architectural Patriotism of the Early 19th Century." In 3rd International Conference on Arts, Design and Contemporary Education (ICADCE 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icadce-17.2017.6.

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