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Dissertations / Theses on the topic '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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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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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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Springer, Mary Ruth. "American Collegiate Gothic architecture: the birth of a style and its architects, patrons, and educational associations, 1806-1906." Diss., University of Iowa, 2017. https://ir.uiowa.edu/etd/5640.
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Collegiate Gothic architecture can be found on many American campuses, yet its beginnings in nineteenth-century United States are something of a mystery. As the nation’s colleges and universities grew more innovative in their modernized curricula and research, strangely, their architecture became more anachronistic with Collegiate Gothic being the most popular. Around the greens of their campuses, Americans built quadrangles of crenellated buildings and monumental gate towers with stained-glass windows, gargoyles, pointed arches, turrets, and spires, thus transforming their collegiate grounds into likenesses of the Universities of Oxford and Cambridge. Why medievalizing buildings came to represent the archetypal college experience has confounded many educators, scientists, and industrialists, who wondered why some of America’s most revolutionary institutions built libraries and academic halls in a style that seemed to oppose everything that was modern.
Scholarship has not fully addressed the reasons why Collegiate Gothic buildings came to occupy so many American college campuses. Authors have not regarded the style in its own right, having its own history within the nineteenth-century’s dynamic developments in higher education, religion, politics, urban planning, and architecture. My dissertation evaluates these relationships by addressing the Collegiate Gothic’s first one hundred years on American campuses from 1806 to 1906.
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Albo, Frank. "Freemasonry and the nineteenth-century British Gothic Revival." Thesis, University of Cambridge, 2013. https://www.repository.cam.ac.uk/handle/1810/283920.
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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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Bagley, Julie Arens. "Dallas as Region: Mark Lemmon's Gothic Revival Highland Park Presbyterian Church." Thesis, University of North Texas, 2004. https://digital.library.unt.edu/ark:/67531/metadc5560/.
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Informed by the methodology utilized in Peter Williams's Houses of God: Region, Religion, and Architecture in the United States (1997), the thesis examines Mark Lemmon's Gothic Revival design for the Highland Park Presbyterian Church (1941) with special attention to the denomination and social class of the congregation and the architectural style of the church. Beginning with the notion that Lemmon's church is more complex than an expression of the Southern cultural region defined by Williams, the thesis presents the opportunity to examine the church in the context of the unique cultural region of the city of Dallas. Church archival material supports the argument that the congregation deliberately sought to identify with both the forms and ideology of the late nineteenth-century Gothic Revival in the northeastern United States, a result of the influence of Dallas's cultural region.
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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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van, Gent Celeste. "Edmund Blacket, Medievalism and the Gothic in the Colony." Thesis, Department of History, 2021. https://hdl.handle.net/2123/24948.
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Edmund Blacket (1817-83) was an English-born Gothic Revival architect. This thesis uses the
critical framework of medievalism to identify the function of multiple timeframes, real and
imagined, within the Gothic style. It traces Blacket’s youth sketching Gothic ruins in the Yorkshire
countryside, his construction of quintessentially English churches in the Colony of New South
Wales, and his grand designs for the University of Sydney’s first buildings. This journey shows how
Blacket’s use of the Gothic style spoke at once to a romanticised medieval past and the fragmented
colonial present, as well as anticipating the Colony’s future.
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Johns, Ann Collins. "Defining the Gothic in Italy : the Cistercians of San Galgano and civic architecture in Siena 1250-1350 /." Digital version accessible at:, 2000. http://wwwlib.umi.com/cr/utexas/main.
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Timmermann, Achim. "Staging the Eucharist : late Gothic sacrament houses in Swabia and on the Upper Rhine." Thesis, Courtauld Institute of Art (University of London), 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.309509.
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Smith, Candice. ""Fine old castles" and "pull-me-down works" : architecture, politics, and gender in the Gothic novel of the 1790s." Thesis, University of Aberdeen, 2014. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=203790.
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This thesis examines the way in which four women writers of the 1790s appropriated the architectural metaphors of the Revolution debate in their Gothic novels. By transforming the political metaphor of the Gothic building into a material environment in their writing, this thesis argues that Charlotte Smith, Ann Radcliffe, Mary Robinson, and Jane Austen staked their own variant positions in contemporary debates regarding revolution and reform. In the 1790s, the more general struggle for political and social improvement was linked by writers such as Mary Wollstonecraft to the need for reform of sexual inequality in society. By closely examining the Gothic building – typically a hostile environment for its female inhabitants – this thesis argues that the Gothic house or castle functions in these novels as a critique of domestic, as well as state, politics. Chapter one begins by exploring the synergies between architecture, politics, and the Gothic novel in the eighteenth century. In this way, this thesis contributes to a neglected yet emerging area of Gothic scholarship: the complex and symbiotic relationship between architecture and the Gothic novel. Chapter two considers the way in which Charlotte Smith exploits contemporary associations of Gothic architecture in The Old Manor House (1793) to subvert the political ideology embedded in the architectural metaphors of Edmund Burke's Reflections on the Revolution in France (1790). In chapters three and four, the architectural descriptions of Ann Radcliffe and Mary Robinson are read in dialogue with those of Edmund Burke, Hannah More, John Thelwall, and Mary Wollstonecraft: in Radcliffe and Robinson's novels, this thesis argues, the simple structure of revolutionary reform is favoured over the ancient castle of counter-revolutionary custom. Finally, chapter five challenges the critical conception of Jane Austen as a political reactionary by examining the way in which her depiction of architecture in Northanger Abbey (1817) destabilises the most perniciously gendered aspects of Burke's Reflections on the Revolution in France.
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Bennett, Vicki. "The use of Gothic in nineteenth century church architecture of the Ottawa Valley." Thesis, University of Ottawa (Canada), 1994. http://hdl.handle.net/10393/6669.
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Olympios, Michalis. "Gothic church architecture in Lusignan Cyprus c. 1209 – c. 1373 : design and patronage." Thesis, Courtauld Institute of Art (University of London), 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.633515.
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Stobbe, Frauke. "Romanischer und gotischer Sakralbau in Frankreich : am Beispiel der Abteikirche von Saint-Denis." Master's thesis, Universität Potsdam, 2008. http://opus.kobv.de/ubp/volltexte/2011/5503/.
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Die Magisterarbeit „Romanischer und gotischer Sakralbau in Frankreich am Beispiel der Abteikirche von Saint-Denis“ beschäftigt sich mit den Gründen für den im 12. Jahrhundert stattfindenden Baustilwandel, wie und warum er sich ausgerechnet zuerst an der kleinen Abteikirche im Pariser Umland vollzog und welche Rolle dem dortigen Abt Suger zukam.
Zunächst werden grundlegende Fakten und Beispiele zum mittelalterlichen Sakralbau in Frankreich vermittelt, anschließend die beiden aufeinanderfolgenden Epochen Romanik und Gotik temporal, territorial und vor allem architektonisch eingeordnet und beschrieben. Den Schwerpunkt der Arbeit bildet die kritische Analyse der Abteikirche von Saint-Denis, wobei sowohl architektur-stilistische als auch (kirchen-)politische Aspekte einer eingehenden Betrachtung unterzogen werden. Zum besseren Verständnis ist der Arbeit ein Glossar architektonischer Fachbegriffe beigefügt.This paper deals with the wherefores of the architectural style transition from the Romanesque age to the Gothic era in the 12th century in Europe, especially in France. The author points out why one can say that the Gothic style starts in the small abbey church Saint Denis, situated in the environs of Paris, and which role is assigned to its abbot Suger. First, sample churches illustrate basic facts about medievial sacred architecture in France. Following this, the paper classifies the Romanesque and Gothic period in a temporal as well as territorial and architectural way. The paper’s focus is on a critical analysis of the abbey church Saint Denis which reviews thoroughly both architectural-stylistic and ecclesio-political aspects at that time. For a better understanding, a glossary of architectural technical terms is attached.
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Lindfield, Peter Nelson. "Furnishing Britain : Gothic as a national aesthetic, 1740-1840." Thesis, University of St Andrews, 2012. http://hdl.handle.net/10023/3490.
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Furniture history is often considered a niche subject removed from the main discipline of art history, and one that has little to do with the output of painters, sculptors and architects. This thesis, however, connects the key intellectual, artistic and architectural debates surfacing in 'the arts' between 1740 and 1840 with the design of British furniture. Despite the expanding corpus of scholarly monographs and articles dealing with individual cabinet-makers, furniture making in geographic areas and periods of time, little attention has been paid to exploring Gothic furniture made between 1740 and 1840. Indeed, no body of research on 'mainstream' Gothic furniture made at this time has been published. No sustained attempt has been made to trace its stylistic evolution, establish stylistic phases, or to place this development within the context of contemporary architectural practice and historiography — except for the study of A.W.N. Pugin's 'Reformed Gothic'. Neither have furniture historians been willing to explore the aesthetic's connection with the intellectual and sentimental position of 'the Gothic' in the period. This thesis addresses these shortcomings and is the first to bridge the historiographic, cultural and architectural concerns of the time with the stylistic, constructional and material characteristics of Gothic furniture. It argues that it, like architecture, was charged with social and political meanings that included national identity in the eighteenth century — around a century before Charles Barry and A.W.N. Pugin designed the Palace of Westminster and prominently associated the Gothic legacy with Britishness.
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Cunningham, Jane Alison. "Buildings and patrons : early Gothic architecture in the Diocese of Durham, c.1150-c.1300." Thesis, Birkbeck (University of London), 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.294951.
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Roy, Francine 1948. ""...Templum nova forma constructum..." : early 17th-century late Gothic churches in Wolfenbüttel and Bückeburg." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=31137.
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In the years around 1600, a change was noted in architecture towards a return to Gothic elements in Europe. The Gothic, in contrast to the Classical or Ancient, became a "new manner", a modern style. The residence churches at Wolfenbuttel and Buckeburg, which were erected around 1600 by Lower Saxon territorial princes, are Late Renaissance constructions that were made to look partly Gothic. This was neither a lingering on of Late Gothic design nor a misunderstanding of Renaissance architecture: it was rather a conscious evocation of the past and its merger with contemporary architecture. The forms of the churches recreated thus the sociopolitical reality of both Roman antiquity and the Middle Ages. This architecture was also emblematic in that it used the concrete objects of the churches as a means to convey an abstract content. Indeed, the aim was to provide a powerful political message, the confirmation of princely rule. In the rising absolutism of the beginnings of the 17th century, the builders of the Wolfenbuttel Marienkirche and the Buckeburg Stadtkirche used court architecture to construct their princely image and house mythology.
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Smith, Rebecca Avery. "Measuring the past: the geometry of Reims Cathedral." Diss., University of Iowa, 2018. https://ir.uiowa.edu/etd/6289.
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Reims Cathedral holds a great deal of significance for the history of Gothic architecture, as well as the larger history of France as the coronation church. Given the historic significance of Reims, it is not surprising that much scholarship has been dedicated to the building’s sculpture, glass, and architecture. Most studies dealing with the cathedral’s architecture are based on stylistic and archaeological analysis, augmented by the use of surviving documents related to the construction. Although much fruitful work has been done in this vein, important questions about the building’s chronology and design still remain unresolved. The extent to which the design of the cathedral was established at the start of its construction, for example, continues to be disputed. The most recent monograph on the cathedral, published by Alain Villes in 2009, suggests that dramatic revisions to the overall plan and elevation were introduced during the course of its construction, going beyond the alterations to the façade designs that many previous authors have noted, but his theses remain controversial. Subsequently, Robert Bork has produced geometric models of the cathedral, which suggest that its plan was more coherent and unified. Additionally, French archaeologist Walter Berry has conducted new excavations, which further reveal additional archaeological evidence not yet taken into account by other Reims scholars.
My dissertation, “Measuring the Past: The Geometry of Reims Cathedral,” examines the architectural design from a geometric perspective, augmented by archaeological, stylistic, and historic evidence. The primary contribution that my dissertation makes to art history is the development of a new, modern plan of the cathedral. I developed this plan by taking thousands of measurements using handheld devices and laser mapping, which I then incorporated into a single data set. This work allowed Bork and me to further refine the underlying geometry that created the cathedral’s layout and proportions. This new plan indicates that a master plan devised by the first architect governed the whole church, with subsequent modifications affecting its articulation rather than its overall layout. In addition to explaining how this plan was originally conceived, my dissertation also examines the anomalies and mistakes made during construction, which at times forced minor deviations from the plan. Some of these building errors and the obvious attempts to correct them give clues to the order of construction, in addition to supporting the notion that the masons repeatedly returned to the uniform scheme. This allows me to reassess the scholarship written about the cathedral and the complex history of the building project, while resolving some of the disputes over the cathedral’s construction and design.
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Macdonell, Cameron. "Haunted by the gothic: deconstructing the new St. Mary's Anglican church, Walkerville, Ontario." Thesis, McGill University, 2013. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=114416.
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Ralph Adams Cram (1863–1942) was among the rare Gothicists who practiced both Gothic architecture and literature. He designed several Gothic-Revival churches and campuses across North America, and he wrote a book of Gothic ghost stories in 1895, calling the collection Black Spirits and White. Traditionally, scholars have assumed that the discourses of modern, Anglo-Gothic architecture and literature parted company after the 1830s. Scholars have based that assumption on two interrelated arguments. First, the Victorian Gothic novel evolved beyond the distinctly medieval; whereas, Victorian Gothic architects became rigorously attentive to structural and cultural principles of the Middle Ages. Second, and more importantly, even though architecture has been thematic for Gothic literature, scholars of the genre have concentrated on the domesticity of haunted houses. This has not been as problematic for scholars of Georgian Gothic architecture, where Gothic details plastered over domestic architecture; Victorian Gothic architects, however, expressed their principles most effectively through church building. The modern Gothic church, as the true house of God, is supposed to have exorcized any confusion with the domestic architecture of man, providing sanctuary from the haunting conditions of a secular, urban-industrial, modern world.Ralph Adams Cram complicates that assumption. In the darkest moments of his despair, Cram designed churches that were not resurrected Gothic beauties, but spectral remnants of a murdered past beyond his powers to avenge. His Gothic literature expressed that impotent horror, addressing several houses that modernity, having murdered the medieval past, haunted. So did the new St. Mary's Anglican Church of Walkerville, Ontario. Using the hauntological strategies of Jacques Derrida, this project deconstructs the Walkerville church to solicit the withered horror of a spectral hand haunting the Anglican house of God. Cram designed the Walkerville church for Edward Chandler Walker, de facto king of Walkerville, who was secretly dying of syphilis. Cram encrypted Edward's illness in the Walkerville church through the withered limb of a biblical leper. Edward's withered "hand" was then visualized through the spreading fingers of the letter "k," its grammatological mark silently concealed and revealed in the Gothick moniker that its structural, spatial, social, and semiotic languages declare to the modern world. Ultimately, the Walkerville church calls for a Grail Knight's arrival, one whose holy hand can end the suffering of the Fisher King, Edward Walker—and, by extension, a knight who might end the dark night of decadent modernity. Yet will the Grail Knight ever arrive?Ralph Adams Cram (1863–1942) a été un des rares adeptes du gothique à s'adonner à la fois à l'architecture et à la littérature. Surtout connu comme concepteur de plusieurs églises et campus universitaires en Amérique du Nord, il a aussi publié en 1895 un recueil de contes gothiques qu'il intitula Black Spirits and White. Il est pourtant généralement convenu, qu'après 1830, l'architecture néo-gothique et le roman gothique ont suivi des routes divergentes, opinion fondée sur deux arguments interdépendants: 1- les romanciers gothiques de l'époque victorienne ont généralement cessé de cadrer leur récit dans un contexte historique strictement médiéval alors qu'au contraire les architectes néo-gothiques de la même période se sont attachés à faire revivre le moyen âge le plus scrupuleusement possible; 2- quand les romanciers gothiques victoriens mettent en scène un cadre architectural, il se concentre généralement sur l'espace domestique, telle la maison hantée, alors que chez les architectes, ce sera l'église qui sera l'objet principal de la passion gothique. Envisagée comme la « maison » de Dieu, l'église était conçue en opposition au monde domestique, offrant ainsi un refuge contre les hantises d'un monde séculier, urbain et industriel.Le cas de Ralph Adams Cram remet en question cette idée d'une étanchéité entre littérature et architecture gothique après 1830. À l'instar de ses contes gothiques où il met en scène de vieilles maisons assaillies par une modernité destructrice du passé, Cram conçoit ses églises non pas comme une résurrection mais comme le retour spectral d'un passé à jamais disparu et qu'il n'a pas le pouvoir de faire revivre. C'est le cas, en particulier, de l'église anglicane de Ste. Marie de Walkerville en Ontario construite entre 1902 et 1904 sur les dessins de Cram. Ayant recours aux strategies hantologiques élaborées par le philosophe français Jacques Derrida, la thèse tente une déconstruction de l'église anglicane de Walkerville en faisant ressortir l'horreur de ce spectre qui hante la maison de Dieu telle que conçue par Cram. L'église de Walkerville était une commande de Edward Chandler Walker, puissant chef d'entreprise qui contrôlait comme un monarque la ville de Walkerville. Cet homme de pouvoir était atteint d'une maladie honteuse et fatale: la syphilis. Le programme iconographique de l'église de Walkerville encrypte cette maladie dégénérative sous la figure biblique d'un lépreux au membre atrophié apparaissant dans un des vitraux du bas-côté. C'est cette figure qui permet d'initier une analyse « déconstructive », la « main » rognée du lépreux étant lu comme les doigts écartés de la lettre « k », marque grammatologique dissimulée dans le terme anglais « gothic » mais révélée dans sa forme archaïque « gothick ». La thèse démontre comment, de par sa configuration structurale, spatiale, sociale et iconographique, l'église St-Mary de Walkerville propose une sémiotique de l'abjection face au monde moderne. Elle prépare ainsi l'arrivée du Chevalier du Saint-Graal, dont seule la main sainte peut mettre fin aux souffrances du Roi Pêcheur, Edward Walker, et, par extension, terminer la nuit sombre de notre modernité décadente. Mais le Chevalier du Saint-Graal arrivera-t-il jamais?
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Sawkins, Annemarie. "The architecture of the Parisian parish churches between 1489 and 1590 /." Thesis, McGill University, 1993. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=68135.
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The parish churches of Paris rebuilt between 1489 and 1590 are defined as an important group late Gothic monuments. They were each modeled after the Cathedral of Notre-Dame and given many of the same characteristics. The architectural features used in the rebuilding of the parish churches are part of a well-defined architectural vocabulary of both classical and flamboyant forms. The building histories show that the stylistic qualities of these monuments are the result of the constant application and reception of prevailing architectural ideas. The architectural arrangements and iconographic programs reveal the role of patrons; the monarchs, in particular, used the rebuilding of the parish churches to help define their own image. In this respect, the ecclesiastic architecture of the sixteenth century is reminiscent of the Court Style of Louis IX.
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Schilling, Martina. "The thirteenth-century abbey of Sant'Andrea in Vercelli : the Gothic architecture and its historical context." Thesis, University of Warwick, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.369453.
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Nakhai, Farzad 1947. "From Classic to Gothic: The interplay between the universals and the particulars in the European architectural history." Thesis, The University of Arizona, 1991. http://hdl.handle.net/10150/291943.
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This thesis deals with the development of and the interaction between the ideals of classical universalism and the ideas of Gothic particularism. Part One traces the birth and the development of classical universalism; Part Two, medieval particularism. Part Three deals with the renaissance of the classical formulas, the adversary position the Renaissance held against medievalism and its consequences for the succeeding centuries. Part Four deals with the ideas of particularism making a come-back, leading to the formation of the Gothic Revival Movement. The Gothic Revival Movement and its adversary position against classical universalism is treated in Part Five. Part Six looks at the ninteenth century Revivalism and the birth of the new industrial era.
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Sturgis, Alexander J. "The liturgy and its relation to gothic cathedral design and ornamentation, in late twelfth and early thirteenth century France." Thesis, Courtauld Institute of Art (University of London), 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.321172.
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Kerrigan, Steven James. "Normandy's role in the development of the Flamboyant style: decoration, meaning, and exchange in Late Gothic architecture." Diss., University of Iowa, 2013. https://ir.uiowa.edu/etd/2542.
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This dissertation explores the significance of Norman Flamboyant architecture by considering its origins, its local meanings, and its place in the larger narratives of late medieval architectural history. This examination of Normandy's role in the development of the Flamboyant style includes a brief assessment of the historiography of the Late Gothic period, with emphasis on questions of regional and national identity. Since many elements of the Flamboyant style had been imported from the Decorated Style that developed in England, a country with which France was still at war when the Flamboyant began, the relationship between these traditions remains controversial even today. To address this controversy, this project examines the motivations of Norman patrons who employed these new forms in the context of the Hundred Years War, before going on to consider the later phases of the Flamboyant, adopted in Normandy after the expulsion of the English, and the demise of the style in the decades after 1500. By linking architectural form and social context, this work clarifies the history of Norman Gothic architecture and its cultural significance.
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Janko, Joan Paula. "The Chapel of the Assumption of the Virgin in Spišský Štvrtok : Late Gothic architecture on the periphery." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99376.
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The aim of this thesis is to address the dating, attribution, patronage, formal motifs, structural solutions, stylistic associations and historical context of the Chapel of the Assumption of the Virgin in the Slovakian town of Spissky Stvrtok. In the course of the text, it is revealed that the structure is a contained and coherent system of architectural forms that represents an international transmission of ideas, a continuous development of the architectural vocabulary of the Gothic, and the relevance of "the periphery" to a comprehensive understanding and appreciation of the Late Middle Ages. To that end, the chapel is shown to stand as material evidence of a developed Late Gothic sensibility in the northern margins of the Kingdom of Hungary in the second half of the 15th century, of the wealth and power of the lords in that region, and of the far-reaching influence of the Viennese lodge of masons.
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McAuley, Jenny. "Representations of Gothic abbey architecture in the works of four romantic-period authors : Radcliffe, Wordsworth, Scott, Byron." Thesis, Durham University, 2007. http://etheses.dur.ac.uk/2564/.
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This study argues the importance of the Gothic abbey to Romantic-period constructions of creative imagination and identity. I examine four Romantic-period authors with reference to particular abbey sites with which they engaged, placing their works in dialogue with contemporary topographical and antiquarian literature, aesthetic theory, and cultural trends. I consider these authors' representations of Gothic abbeys specifically in the terms of eighteenth-century picturesque landscape aesthetics, according to which the abbey was associated with contemplation. My study thus provides an alternative to readings of architectural descriptions in Romantic- period literature that have conflated abbey architecture with castle architecture (regarded as representing states of repression and confinement). Relating Ann Radcliffe to St Alban's Abbey, William Wordsworth to Furness Abbey, Sir Walter Scott to Melrose Abbey and George Gordon, Lord Byron to Newstead Abbey, I show how these authors each used their informed awareness, and aesthetic appreciation, of Gothic abbey architecture both to assert their personal senses of artistic identity and purpose, and to promote their work within a Gothic Revival-epoch literary market. In this consideration of individual authors and their experiences and representations of specific Gothic abbey sites, my study demonstrates the usefulness of sustained engagement with the eighteenth-century Gothic Revival context to an appreciation of those many literary works of the Romantic period that feature Gothic architectural settings. It is also hoped that it may indicate possible, new directions for critical investigation into the relationships between "Gothic" and "Romantic" literature, and between the literary and the architectural Gothic.
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Monckton, Linda. "Late Gothic architecture in South West England : four major centres of building activity at Wells, Bristol, Sherbourne and Bath." Thesis, University of Warwick, 1999. http://wrap.warwick.ac.uk/34754/.
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By 1360 the Perpendicular style was established as the successor to Decorated architecture. During the subsequent one hundred and eighty years, until the Reformation, major building work was carried out at four great churches in the south west of England. The complete reconstructions of St Mary Redcliffe, Sherborne Abbey and Bath Abbey, and considerable work to the precinct at Wells Cathedral during this period, form the basis for this thesis. Through a study of each of these major centres, the issues of workshop identity and stylistic trendsetters are considered. It is shown how the interpretation of documentary evidence has impeded an understanding of these buildings, which can be revealed by an analysis of the fabric. Based primarily on a methodology of buildings archaeology and assessment of moulding profiles, traditional assumptions concerning the chronology and patronage are challenged. The new chronology for works at Sherborne Abbey, and the redating of the commencement of Bath Abbey further our understanding of the nature of masons' workshops, patronage and stylistic development within a regional context. Introspection in masons' workshops during the 15th century, and retrospection in later design in the region, demonstrates a reliance on the innovations of the 14th century, and the significance of the parish church tradition in the region, respectively. The thesis concludes with a discussion on the influence of major church workshops on domestic architecture, and the impact of the dissemination of the lodges in the early 16th century.
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O'Callaghan, Adrienne Patrice. "Space as a function of structure and form : the integrity of architectural vision in the cathedral of St. Etienne at Bourges." Thesis, University of British Columbia, 1987. http://hdl.handle.net/2429/26891.
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Despite its monumental scale, its position at a turning point in the development of Gothic architecture and its visionary spatial conception, the cathedral of Bourges has remained an anomaly of medieval architectural history. Conceived and built concurrently with the cathedral of Chartres, Bourges has persistently been viewed as the lesser of the two buildings. This thesis attempts to contextualize supposed irregularities of Bourges' design and to review existing historiographical notions of the building in order to rearticulate its artistic character and redefine its historic position.
Historically, Bourges has been overshadowed by the greater success of Chartres as a model on which subsequent buildings were based. In turn, the somewhat fragmented acceptance of Bourges' ideals has led to an historiography in which the building is perceived as a series of individual elements rather than as the embodiment of a powerfully focused vision. These factors, and the resulting insistent comparisons of Bourges with Paris as an antecedent and with Chartres as a contemporary, have nurtured a significant bias against Bourges and a consequent disparity in studies of High Gothic architecture. In seeking to redefine the role of Bourges in the history of Gothic architecture, it is essential to identify the unifying force which motivated the first architect of the building who envisioned the original design which was preserved, virtually intact, throughout the building's sixty-year period of construction. At Bourges, it was a fascination with spatial amplitude on a very large scale which fueled the builder's efforts, and it was toward the goal of spatial equilibrium that all elements of the building were oriented. The designer's highly integrated spatial conception was concretized through his use of form and structure, resulting in a building of powerful homogeneity.
In the creation of its spatial configuration, and with respect to those buildings influenced by it, Bourges' elevation and structure are its most distinctive features. Bourges' elevation consists of five levels
distributed over three planes, resulting in simultaneously two and three dimensional characteristics. The complete three-story elevation of the inner aisle is amply visible through the very tall main arcades so that the two elevations form a single aesthetic unit. At the same time, the three planes differentiate the volumes of the building without being spatially divisive. The elevation's individual components provide an element of vertical continuity while the multiplicity of its planes assures an expansiveness of space throughout the building.
Although the elevation is perhaps a more obvious feature of the building's spatial configuration, Bourges' singular vision is no less a function of its structure. The flying buttress, which was introduced towards the end of the twelfth century, provided a powerful structural tool for the builders of both Chartres and Bourges because it provided the technology necessary to build very high, vaulted buildings without using a cumbersome, galleried construction. The artistic emancipation resulting from
the use of the flying buttress provided a strong impetus, not only to re-evaluate the Early Gothic aesthetic, but also to develop an entirely new appreciation of structure itself. The Bourges architect capitalized on both aspects of the flying buttress, availing of the artistic opportunities
it gave to the building as a whole, and of the aesthetic properties inherent within it.
Bourges' flyers manifest a clear understanding of the structural dynamics of masonry construction and a profound desire to exalt those structural properties to a point where they visually contribute to the realization of the designer's spatial concept. They are daringly slender, steeply profiled, supporting members which transfer the thrust of the main vaults to the heads of similarly slight pier buttresses. The designer audaciously employed very spare supporting members, not only to economize on the amount of material used, but also to reduce the elements to essential visual minima. The flyers create the characteristically
erect exterior profile of the building and provide a unifying element for its three tiers which correspond
to the interior volumes. They are not only vital to the stability of the building but also to its appearance, betraying the designer's awareness of the aesthetic potential of structure which sets him apart from his contemporaries.
Unlike Chartres, Bourges' vision was rarely reformulated in its entirety; its success as a whole
was too heavily dependent on the building's size and particular
configuration. Although its elevation was rearticulated in several buildings in France, Spain, and even Italy, and the building's structural system was extremely precocious,
Bourges' design never became an architectural formula because it was ill-adapted to the thirteenth-century liturgy. Its lack of a transept and the consequent unification of space failed to reflect the separation of laity and clergy which became increasingly marked in the liturgy from the twelfth century on. Furthermore, the building did not provide the variety of liturgical spaces requisite to thirteenth-century worship. Although Bourges failed
to make as visible and lasting an impression on subsequent buildings as Chartres, it represents a profoundly unique architectural statement which marks a particular, creative moment in the history of medieval architecture.Arts, Faculty of
Art History, Visual Art and Theory, Department of
Graduate
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Kovalskiy, V., L. Toalombo, В. П. Ковальський, and Л. Тоаломбо. "Basilica of the National Vote." Thesis, ВНТУ, 2018. http://ir.lib.vntu.edu.ua//handle/123456789/22990.
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The Basilica of the National Vow is a neo-Gothic religious building of the historic center of the city of
Quito D.M. Due to its size and style, it is considered the largest neo- Gothic temple in America. It is located
in the area known as Santa Prisca, in Carchi and Venezuela streets, next to the convent of the Oblate Fathers.
Keywords: Quito Architecture, Catholic Church, Neo-Gothic Architecture.Базиліка національної обітниці є неоготичною релігійною спорудою історичного центру міста Кіто Д. М. Завдяки своєму розміру і стилю, дана будівля вважається найбільшим неоготичним храмом в Америці. Він розташований у районі, відомій як Санта-Приска, на вулицях Карчі та Венесуела, поряд з монастирськими Отцями Облатів
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Fiore, Lyzabeth Ana. "Redesign of the exterior space at Gambier Village in order to integrate it with the remarkable Gothic Revival buildings and the overall open space quality of Kenyon College at Gambier, Ohio." The Ohio State University, 1986. http://rave.ohiolink.edu/etdc/view?acc_num=osu1406730550.
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Kenneally, Rhona Richman. "The tempered gaze : medieval church architecture, scripted tourism, and ecclesiology in early Victorian Britain." Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=19609.
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This dissertation explores how architecture is valorized by the cultural artifacts, both visual and text-based, which present and describe it. It examines aspects of the Gothic Revival in early Victorian Britain, to consider the assimilation of models of evolving architectural discourse by one organization with specialized interest in its promotion, and adaptations of that discourse in the realm of popular culture. The dissertation focuses on the ideology of the Cambridge Camden Society, from its inception in 1839 through to 1850. The Society advocated an appreciation of Gothic churches both for aesthetic, and for religious and moral reasons. A key dimension of its mandate, captured in the rhetoric of ecclesiology, was to prioritize an empirical investigation of extant medieval churches. Findings were to be recorded on specially-devised questionnaires, called "church schemes," using a text-based, specially-encoded taxonomy. Given the availability both of extensive documentation by the Society concerning these schemes, and of almost seven hundred completed forms, areas of conformity and divergence between the prescriptive, instructional material, and the descriptive material which indicates the actual reception of the architecture, may be discerned. "Church visiting" hence became the primary means of personal engagement with the architecture, enacted through the elaborate ritual of scripted tourism spelled out by the church schemes and attendant pedagogical documents. The importance, and the implications, of tourism to members of the Cambridge Camden Society are addressed through an evaluation of travel theories and methodologies, developed, especially, since the 1990s. An understanding of ecclesiology in terms of travel theory enables it to be evaluated in a wider context, namely as part of an emerging tourist ethos based on expanding opportunities and incentives to travel through Britain. From this perspective, the Cambridge Camden Society is to be perceived as part of a larger consortium of advocates of tourism to sights of medieval architecture, who employed similar inducements and terminology, and who created such markers of architectural authenticity as travel guides to mediate the traveller's reception of a given sight. As a result, the possibilities of the widespread dissemination of at least the architectural components of ecclesiological ideals, as part of the groundswell of promotional material devoted to all things Gothic, were enhanced.
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Carter, McKee Kirsten. "Genius Loci of the Athens of the North : the cultural significance of Edinburgh's Calton Hill." Thesis, University of Edinburgh, 2014. http://hdl.handle.net/1842/15833.
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At the eastern end of the Edinburgh World Heritage Site, a protrusion of volcanic rock known as Calton Hill is situated on the northern side of the Waverley Valley. This area sits approximately 100m above sea level at its highest point - around 20m higher than Princes Street in the First ‘New Town’ and at approximately the same height as the Castle Esplanade in the ‘Old Town’ of Edinburgh. During the early nineteenth century, the hill and its land to the north were developed, to extend the city of Edinburgh towards the Port of Leith, in order to open up new routes of access and communications between the port, the city, and the surrounding lands to the south and east. The resulting development provoked debates on the best approach to the development of the urban landscape, the suitability and resonance of specific architectural styles within the urban realm, and the use of public funds for large-scale urban development projects. In addition, the visual prominence of the hill in the city presented a stage for massive changes to the visual context of the boundaries of the city, the relationship between the Old and New Towns, and Edinburgh’s relationship with its surrounding countryside. This blurring of the rural and the urban alongside new interpretations of the classical and the gothic, further emphasised the discordance between societal classes, initially marked out by the mid 18th century expansion of the first New Town and which became further emphasised during the city’s industrial expansion in the latter half of the 19th century. The great care over the choice for the hill’s architectural character as an allegorical commentary on Scotland’s role within the constitutional development of the United Kingdom became muddied throughout the 19thcentury, as shifts in both societal perceptions and government constructs resulted in an evolution of the hill and its structures within the mindset of the Scottish populus. Although the structural evolution of the site during the later 19th and 20th centuries had lesser visual impact on the urban realm, as Scottish national identity swayed from a political to a culturally led discourse in architectural terms, perceptions of the structures on Calton Hill were considered to be representative of Scottish support for the construct of the British State during the 19th century. This was further confirmed by the development of the Scottish Office in the 1930s on the southern side of the hill, and the failed establishment of a Scottish Parliament in 1979, which was to be sited in the vacant Royal High School building. This culminated in the site becoming the focus for grassroots led campaigns for Scottish Independence and Home Rule by the later 20th century. This thesis therefore focuses on the changing relationship between the perception of the hill and its structures over time, by exploring the architectural evolution of the site within broader aesthetic, social and political dialogues. It considers the extent to which the site, its structures, and the discourse surrounding the development of the hill represent the nuances that define Scotland as a nation, and help us to further understand how Scots viewed their identity, within both a British and Scottish context from the late 18th to the early 20th centuries. This approach not only places the architecture on the hill within a broader discourse surrounding architecture’s relationship with national, state and imperial identities, it also demonstrates how a more nuanced exploration of urban landscapes can contribute to a better understanding of the contemporaneous societies who developed the urban realm, and the events and debates that surrounded their development. Due to the wide variety of themes that this thesis explores, and the extended timeframe that this work covers, the geographical limitations of the study area are mercurial in their extent, changing focus with the issues being discussed throughout the text. However, for clarity and for ease of reading, the physical study area has been defined as that of the external limits of Playfair’s 1819 plan for the Third New Town (Plate ii), which in the present day is defined through the following locations: The southern limit is the North Back of Canongate; the northern limit is the bottom of Leith Walk, at the intersection with Great Junction Street; the western limit is where Waterloo Place meets Princes Street, and follows Leith Street to the top of Broughton Street; and the eastern boundary is at the junction of Easter Road, Regent Road and Abbeymount, running down Easter Road to meet Leith Walk at its northernmost point.
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De, Swardt Ignatius P. "Die koloniale manifestasie van die Neo-Gotiese kerkboustyl op die Tuinroete van Suid-Afrika." Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/79867.
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Thesis (MA)--Stellenbosch University, 2013.ENGLISH ABSTRACT: During the 12th century the Ab Suger, a church leader from near Paris in France, initiated a new approach to church architecture, the Gothic style. He diverted from the existing traditions and utilized pointed arches as one of the basic components of the new style. Pointed arches, unlike normal arches, distribute load-carrying weight not only downwards, as normal arches do, but also sideways. Strategically placed flying buttresses can help neutralize the thrust to the sides and reduce the weight on walls. Walls no longer had to be massive and it became possible to utilize big parts of the walls for windows, which were filled with brightly coloured glass. The style deliberately made use of height and enclosed spaces as a design element, to an extent unknown until that time. For some four centuries cathedrals in this style were built all over Europe, before the style was replaced with the coming of the Renaissance. The 19th century saw the coming of a style of Gothic Revival. New building materials had become available and there were fundamental differences between the original Gothic style and the Neo-Gothic (or Gothic Revival) style. In some instances elements of the original style lost their functions and were applied in a purely decorative function in the Gothic Revival style. With the colonization of Africa, the Neo-Gothic style came to South Africa. It took root locally and became part of South African church architecture. Local conditions required that some adaptations be made and several varieties of the Neo-Gothic style became part of the South African architectural landscape. Many church buildings were constructed in South Africa in this style during the last century and a half. The ones older than sixty years enjoy some measure of protection under current legislation relating to heritage conservation. It became evident that within the variety of Neo-Gothic idioms a number of churches have become so simplified that only some characteristics of the style have remained. Throughout the study it was indicated how the significance of a building and its architectural style also impact on the non-material culture of a community.
AFRIKAANSE OPSOMMING: Gedurende die 12de eeu het ab Suger, ‘n kerkleier van naby Parys in Frankryk, met ‘n nuwe benadering tot kerkargitektuur na vore gekom wat later as die Gotiese styl sou bekend staan. Hy het afgewyk van bestaande tradisies en gebruike in verband met kerkargitektuur. Deur die aanwending van spitsboë is die afwaartse druk van ‘n kerk se dak gedeeltelik na buite verplaas, in plek van alles na onder. Strategies geplaasde boogstutte het die sywaartse druk geneutraliseer. Hierdie boumetode is saam met die gebruik van geribde gewelwe gebruik om die druk in so ‘n mate van symure af te haal dat die mure nie meer dik en sterk moes wees nie en dit moontlik was om groot dele van die mure met vensters van gekleurde glas te vul. Die nuwe styl het ingeslote ruimtes en hoë gewelwe gehad soos die Middeleeuse mens nog nie vantevore geken het nie. Vir sowat vier eeue lank het katedrale in dié styl oral oor Europa opgeskiet, totdat dit met die koms van die Renaissance deur ander style vervang is. In die 19de eeu het daar ‘n herlewing in die Gotiese styl gekom. Beter boumateriale was beskikbaar en die Gotiese Herlewingstyl het in sommige opsigte groot verskille met die oorspronklike getoon. Van die Gotiese boustyl se komponente is aangepas om totaal ander funksies te vervul. Verskeie aspekte van die Gotiese styl is slegs behou as versiering. Met die kolonisasie van Afrika het die Gotiese Herlewingstyl na Suid-Afrika gekom. Die styl het posgevat en versprei in Suid-Afrika maar plaaslike omstandighede het aanpassings daarvan genoodsaak en etlike variasies op die Neo-Gotiese tema het na vore gekom. ‘n Groot aantal kerke is in die afgelope anderhalf eeu in Suid-Afrika in hierdie styl gebou. Sommiges daarvan geniet ‘n mate van beskerming ingevolge Suid-Afrika se bewaringswetgewing. Hierdie studie fokus op kerkgeboue met Neo-Gotiese stylkenmerke in ‘n bepaalde geografiese gebied in Suid-Afrika. Daar is bevind dat van die variasies op die Neo-Gotiese styl so vereenvoudig het, dat daar slegs enkele stylkenmerke by hulle oorgebly het. Deurgaans is aangedui op watter wyse die betekenis van die kerkgebou en die styl daarvan ook die nie-tasbare kultuur van ‘n gemeenskap geraak het.
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Joyner, John Edward III. "The architecture of orthodox Anglicanism in the Antebellum South : the principles of Neo-Gothic parish church design and their application in the southern parish church architecture of Frank Wills and his contemporaries." Diss., Georgia Institute of Technology, 1998. http://hdl.handle.net/1853/22975.
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Zuo, Julie Qun. "Chinoiserie: Revisiting England’s Eighteenth-Century Fantasy of the East." University of Cincinnati / OhioLINK, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1082042574.
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Nobbs, Garrett Brandon. "The St. Johns Bridge: a prayer in steel." Thesis, University of Iowa, 2010. https://ir.uiowa.edu/etd/865.
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The St. Johns Bridge is a 1,207 foot span suspension bridge crossing the Willamette River in Portland, Oregon, connecting the Portland communities of St. Johns and Linnton on the eastern and western banks, respectively. Commissioned in 1928, the bridge was completed in 1931, with much fanfare in the local community. The two neighborhoods are some distance from downtown Portland, and the bridge brought prestige to an otherwise nondescript locale. It was designed by the New York-based firm of Steinman & Robinson. David Barnard Steinman (1886-1960) acted as the public face for the firm, however, and the design of the bridge has traditionally been ascribed to him in the literature. Steinman was one of the most prominent bridge engineers of the twentieth century, and is recognized today, as he was even within his lifetime, as such. It was a position which he worked fervently to attain.
Steinman wrote extensively concerning the St. Johns Bridge and spoke of it as his own; his extensive use of the St. Johns Bridge as an example of aesthetics in bridge engineering is related to the early twentieth-century debate between engineers and architects regarding the role of each in bridge design. As an engineer who sought, without the aid of the architect, to build bridges which were objects of beauty, he asserted the role of the engineer as artist. The predisposition toward the engineered machine aesthetic in the intellectual climate of the avant-garde in the early twentieth century enabled Steinman to style himself as such an artist--even though the St. Johns Bridge, which he frequently employed in this regard, was not a work of functionalist aesthetics. While the architectural avant-garde was borrowing from the engineer for artistic rejuvenation, Steinman was in an advantageous position to argue for the engineer-artist, thereby casting the engineer as an individual sui generis, equal to and without need of the architect.
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Drapeau, Samuel. "L'église Saint-Michel, la fabrique d'un monument : étude historique, artistique et archéologique de l'église Saint-Michel de Bordeaux." Thesis, Bordeaux 3, 2016. http://www.theses.fr/2016BOR30041.
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L’église Saint-Michel de Bordeaux est construite à la fin du Moyen Âge au centre d’une paroisse urbaine très dynamique. L’activité portuaire et commerciale fait vivre de nombreux artisans et enrichit les puissants marchands du quartier de la Rousselle. Ils sont investis dans le gouvernement de la commune et financent copieusement le chantier de leur église paroissiale. Leurs pratiques pieuses et leur activité à la tête de l’administration de la fabrique et des confréries sont représentatives de la religion civique à la fin du Moyen Âge. L’église accueille depuis la fin du XVe siècle un collège de prêtres-bénéficiers, au service des nombreuses fondations pieuses et des confréries installées dans les chapelles latérales. Elles sont construites durant le second chantier gothique, qui met en œuvre à partir du second quart du XVe siècle une vaste église flamboyante de plan basilical. Celle-ci succède à une première église gothique menée à son terme durant le XIVe siècle selon un parti-pris architectural de type « halle ». Le chantier de la cathédrale, qui introduit à Bordeaux les formes du gothique rayonnant du Nord de la France, est une source d’inspiration à Saint-Michel, dans le domaine de la modénature et de la sculpture monumentale. Le chantier flamboyant voit l’arrivée de maîtres-maçons dont l’œuvre a pu être identifiée. Elle se réfère aux chantiers normands, parisiens ou financés par le roi de France. Les Lebas de Saintes apportent leur culture artistique et leur technique à l’accomplissement du transept, à la conception de la nef et du clocher isolé. La faible influence de l’œuvre de Saint-Michel sur la création artistique locale est compensée par le rayonnement de son clocher-tour, un des plus hauts clochers du royaume. Son chantier exceptionnel est très bien renseigné par 11 années de comptes de la fabrique. Ils illustrent les conditions de travail et l’équipement nécessaire à la construction à grande hauteur. Un des autres chefs-d’œuvre de l’église, le portail nord, est probablement réalisé vers 1520 par Imbert Boachon, maître-maçon, imagier, menuisier, selon la nature des travaux et selon les villes ou il travaille. Aujourd’hui, la silhouette de l’église et du clocher, tous deux isolés au milieu de plusieurs places, ne reflète plus totalement la morphologie de l’œuvre médiévale. Des faiblesses structurelles obligent les hommes du XIXe siècle à reconstruire le chevet. Le clocher est rénové par Paul Abadie et l’église reçoit une esthétique gothique influencée par l’archéologie monumentale et les doctrines de la restauration patrimoniale de l’époqueThe church of St Michael of Bordeaux has been built in the late Middle Ages, in a very dynamic urban parish. The fluvial and commercial activities of the port generate work for craftsmen and enrich the powerful merchants from the borough of La Rousselle. These merchants are invested in the communal government and finance the building of their parish church. Their pious practices and their activity at the head of the parish fabric and friaries are good examples of the late medieval civic religion. From the end of the fifteenth century, the church receives a college of priest provided by religious benefits. They are in the service of many pious foundations and friaries which are established in the lateral chapels. These chapels are built during the second gothic construction, which makes a big Flamboyant style church with the plan of a basilica. This building follows a first gothic church, conducted at its term during the fourteenth century in accordance to a “halle” architectural volume. The construction of the cathedral of Bordeaux, which introduces the gothic style from the north of France, is an inspiration for St Michael, in the domain of modenature and monumental sculpture. The Flamboyant construction induces the arrival of some master mason, whose work can be identified. That work is influenced by Norman, Parisian and French king’s financed buildings. The Lebas from Saintes give their artistic culture and their technique to the accomplishment of the transept, to the conception of the nave and the isolated bell tower. The low influence of the work of St Michael of Bordeaux on the local artistic creation is balanced with the bell tower, one of the tallest in the French kingdom. Its constructions are well informed thanks to an eleven years’ register for the fabric accounting. It illustrates the work conditions and the necessary equipment for high tall building. One of the masterworks of the church, the north portal, is probably made around 1520 by Imbert Boachon, master mason, sculptor or joiner according to the kind of the work or the town where he works. Nowadays, the silhouette of the church and the bell tower are isolated in the middle of many places and are not totally representative of the medieval made morphology. Some structural frailties oblige the nineteenth century men to rebuild the chevet. The bell tower is renovated by Paul Abadie and the church receives a gothic aesthetic which is influenced by monumental archaeology and the patrimonial restorations doctrines of that period
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Arends, Isabel Maria. ""Gothische Träume" : die Raumkunst Edwin Opplers auf Schloß Marienburg /." Hannover : Hahn, 2005. http://deposit.ddb.de/cgi-bin/dokserv?id=2773088&prov=M&dok_var=1&dok_ext=htm.
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Martínez, Moya Joaquín Ángel. "La arquitectura del expoliado Palacio Condal de Oliva a través del legado gráfico." Doctoral thesis, Universitat Jaume I, 2017. http://hdl.handle.net/10803/404100.
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El Palacio Condal de Oliva, Monumento Nacional desde 1920, hoy casi desaparecido, fue un referente de la arquitectura tardogótica valenciana. El objetivo principal del presente trabajo consiste en profundizar en su conocimiento y fomentar su difusión.
Se ha realizado una búsqueda de fuentes documentales para contextualizar el edificio, así como a sus promotores y posibles creadores desde un punto de vista histórico, social y estilístico.
Partiendo de la documentación gráfica levantada por los arquitectos daneses Fischer y Lauritzem (1917-1920) se han analizado los elementos arquitectónicos que lo componían, estudiando su trazado, métrica y composición.
Se han restituido algunos de sus elementos más singulares siguiendo una rigurosa metodología gráfica, con la finalidad de poder visualizar este espacio arquitectónico y poder profundizar en el análisis y comprensión del conjunto arquitectónico, para posteriores estudios, así como la difusión de este monumento.The Earls' Palace in Oliva, National Monument since 1920, but today almost disappeared, was a point of reference of the Valencian late-Gothic architecture. The aim of this work is to deepen its knowledge and promote its dissemination. A search has been made to find documentary sources to contextualize the building, as well as its promoters and possible creators from a historical, social and stylistic point of view. Starting with the graphic information collected by the Danish architects Fischer and Lauritzen (1917-1920), architectural elements that composed it have been analyzed, studying its layout, metrics and composition. Some of its most unique elements have been graphically restored following a rigorous graphic methodology, in order to be able to visualize this architectural space, allowing a deeper analysis and understanding of the architectural complex, for use in further studies. It also helps to the diffusion of this monument to a wider public.
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Heath, Anne Elizabeth. "Architecture, ritual and identity in the Cathedral of Saint-Etienne and the Abbey of Saint-Germain in Auxerre, France /." View online version; access limited to Brown University users, 2005. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3174619.
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Chan, Amy Beth. "Trembling Earth." VCU Scholars Compass, 2008. http://scholarscompass.vcu.edu/etd/1248.
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This thesis details the literary and visual influences in my work, the definition of American Gothic, and its connection it to my work. Literary sources such as Edgar Allan Poe and Fanny Kemble help spark a vision of the landscape. Visual influences include Japanese woodblock prints, scenic wallpapers, vintage postcards and Victorian mourning pictures. My regional explorations span the James River, Tidewater swamps and architecture within the city of Richmond.My work depicts local history and ecology inspired by Richmond and the surrounding region. Subtle Gothic elements add anxiety to the otherwise pastoral scenes. Gothic foreboding in the work questions our ecological future and the permanence of our human presence in the landscape.
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Kim, Narae. "Architecture des Missions Étrangères de Paris en Corée (Père Coste 1847 – 1897)." Thesis, Paris Sciences et Lettres (ComUE), 2018. http://www.theses.fr/2018PSLEP001.
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Cette recherche consacrée au Père Eugène Jean Coste suivra trois orientations. La première est historique : la diffusion du catholicisme en Extrême-Orient menée par les missionnaires occidentaux à la fin du XIXe siècle. Malgré deux grandes persécutions, grâce au traité de 1886 la situation a complétement changé. L’Eglise reprend vie, et la paroisse épiscopale de Myeongdong croît rapidement. Les activités architecturales des missionnaires qui ont commencé à cette période ont par ailleurs révélé la culture européenne aux coréens. La cathédrale de style européen a inspiré une esthétique nouvelle dans la paroisse. La seconde orientation est architecturale. Les études portant sur les réalisations architecturales qui, dès 1896, permirent la modernisation de l’architecture coréenne font considérablement défaut. Coste, qui était procureur des Missions étrangères de Paris, avait assimilé les principes de l’architecture néo-gothique et les a incorporés à de nombreux bâtiments religieux, notamment lorsqu’il a dirigé la construction de la plus grande église de Corée, la cathédrale de Myeongdong à Séoul. Cette recherche sur les églises conçues initialement par ce missionnaire français permet alors de déchiffrer l’architecture moderne coréenne. De plus, on peut y découvrir des variantes du style néo-gothique français dans un pays de mission. Ces mouvements ont été réalisés en relation intime entre la Corée, la Chine et le Japon. L’architecture des Missions étrangère de Paris témoigne donc de l’histoire des échanges avec la culture occidentale, en prenant en compte les factures économiques et pratiques. Les réalisations du Père Coste ont influencé la conception d’autres églises coréennes des Missions étrangères de Paris conçues en style européen. Avec l’archétype de l’architecture du Père Coste pour modèle, ses confrères, prêtres-constructeurs ont bâti des églises dans les différentes régions avec des résultats variables selon la compétence de chacun et les choix des communautés. En dernier lieu, nous étudions la conception du patrimoine religieux et la procédure de patrimonialisation de l’architecture des Missions étrangères de Paris pour valoriser leurs édifices. Concernant son authenticité, leur architecture en style européen est une reproduction ou une imitation des églises du XIXe siècle en France. Mais à cause du caractère de la maison coréenne et du style éclectique, cette architecture s’est transformée et a évolué. L’adaptation au contexte et l’emploi des matériaux régionaux, surtout les briques en couleur et diverses, révèle un caractère de l’architecture vernaculaire. Le problème patrimonial demeure entier, étant donné la faiblesse des connaissances historiques et les techniques limitées. Cependant, la restauration de l’église Saint-Joseph à Yakhyeon en 2000 s’est inspiré des idées et des techniques nouvelles. Elle est un premier pas vers les restaurations suivantes. A ce jour nous envisageons la mise en valeur des édifices des Missions étrangères de Paris en considérant que le patrimoine religieux doit être conservé dans sa globalité si l’on veut faire vivre des lieux symboliquesThis research devoted to Father Eugene Jean Coste follows three orientations. The first aspect is associated to historical circumstance: the diffusion of Catholicism of the Far-East Asia, which was conducted by the western missionaries at the end of XIX century. In spite of two merciless persecutions, the treaty signed in 1886 completely changed the situation. The Catholic Church in Korea was re-established and the Catholic Parish of Myeongdong expanded its community rapidly. Missionaries’ architectural activities that commenced in this period, otherwise, introduced the European culture to Korea. The European-style cathedrals inspired a new aesthetic in the Parish. The second orientation is an architectural perspective: these studies considerably are related to their architectural realizations in the year of 1896 which drew the modernization of Korea. Coste, who was a prosecutor of Paris Foreign Missions Society, assimilated into the principles of the Neo-Gothic architectures and incorporated them in the religious buildings, especially when he supervised the construction of the biggest church in Korea, Seoul Myeongdong Cathedral. The research on the churches initially designed by this French catholic missionary, accordingly, tries to identify modern Korean architectures. In addition, the research could allow readers to discover the various French Neo-Gothic styles in the mission country. Such architectural movements were launched in the intimate relations among Korea, Japan and China. Therefore, Paris Foreign Missions Society’s architectures testify to the history of exchanges with the western culture, taking the economical and practical factors into consideration. The realizations of Father Coste have influenced the concepts of other Korean European-style churches designed by Paris Foreign Missions Society. With the archetype of Father Coste’s architectures, his colleagues, priest-constructors built the churches in the region with the various results of both individual competences and other church communities. In the end, the dissertation studies the conception of religious heritages and the procedure that the architectures of Paris Foreign Missions became heritages in Korea. The concern about heritages remains entirely showing the weakness of historical knowledge and technical limitation. But new idea and technology of the conservation were introduced. The first step was the restoration of Yakhyeon Saint-Joseph Church in 2000. Finally, we will contemplate the applications of Paris Foreign Missions Society’s edifices and the conservations of religious heritages in the same protection zone for the survival of these historical architectures
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McBride, Stephen Richard. "Bishop Mant and the Down and Connor and Dromore Church Architecture Society : the influence of the Oxford and Evangelical movements, the Cambridge Camden Society and the Gothic Revival on the Church of Ireland and its architecture in Ulster 1838 - 1878." Thesis, Queen's University Belfast, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.318793.
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Reus, Planells Guiem Alexandre. "L’arquitectura religiosa en els antics territoris de la Corona de Mallorca, segles XIII-XIV Un estudi de paisatge monumental." Doctoral thesis, Universitat Autònoma de Barcelona, 2017. http://hdl.handle.net/10803/457776.
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Aquesta tesi doctoral proposa l’estudi de l’arquitectura religiosa construïda en el conjunt dels territoris que varen pertànyer a la Corona de Mallorca, des de la conquesta catalana de l’illa l’any 1229, per part de Jaume I, fins a la mort del rei Jaume III, l’any 1349. Després d’una introducció històrica per delimitar el context espai-temporal en el qual s’emmarca el treball, un segon apartat proposa una aproximació a l’arquitectura duta a terme en aquells moments tenint present les conseqüències que tengué la conquesta catalana de Mallorca i, al mateix temps, la creació del Regne Privatiu en aquest àmbit, això és: la formació de la xarxa parroquial i l’establiment dels ordes conventuals i, per tant, la fixació dels trets formals definitoris de l’arquitectura dels frares predicadors que, en definitiva, són els propis del gòtic meridional i que s’implantaren al llarg de tots els seus territoris, illencs i continentals. Amb tot, és l’apartat dedicat al paisatge monumental el que es converteix en l’autèntic eix vertebrador del present estudi, puix mitjançant la seva anàlisi se’ns permet aproximar-nos a les construccions realitzades durant les tres principals èpoques històriques en el qual s’insereix la investigació: l’època de la Repoblació de les illes Balears (1229-1300), l’època del Regne Privatiu (1276-1343/44), i finalment, l’època de la desfeta de la Corona de Mallorca i la reincorporació del Regne mallorquí dins la Corona d’Aragó (1343/44-1349). Precisament, és a través de la confecció d’aquest paisatge monumental que s’ha intentat aprofundir en la realitat urbana i rural de l’època i, d’aquesta manera, comprendre millor la integració de l’arquitectura religiosa en dit paisatge. A continuació, s’ha elaborat un estudi de la xarxa monumental present a tots els territoris mallorquins fent especial menció a les diferents tipologies d’esglésies: parroquials, conventuals, hospitalàries, catedralícies, palatines i sufragànies. Finalment, dos apartats més analitzen els diversos models arquitectònics i la seva recepció tant a les illes com al continent, així com la importància del finançament de les obres en base a quins foren els seus comitents els quals feren possible la construcció de fins a 252 edificis religiosos al llarg de tots els territoris de la Corona de Mallorca.The aim of this thesis is the study of religious architecture built around the territories owned by the Majorcan Crown from the moment of the Catalan conquest of the island in 1229, by Jaume I to the death of the king Jaume III in 1349. After a historical introduction, in order to establish the temporary and geographical context of that period, a second chapter let us look at the architecture practised at that moment, bearing in mind the consequences that the conquest and the creation of the Kingdom of Majorca had on this matter, that is to say, the formation of the parochial network, the establishment of the Conventual Religious Order as well as the architectural features of the Friars Preachers which, definitively, are those of the Meridional Gothic, implemented around its territories including the islands and the continent. However the chapter devoted to the study of the architectural landscape becomes the real main axis of the present essay, due to the fact that its analysis gives us a better understanding of the architecture created during the three most important eras analysed such as the repopulation of the Balearic Islands (1229-1300), the Kingdom of Majorca (1276-1343/44) and, finally, its collapse and its reintegration to the Aragon Crown (1343/44-1349). In fact, this architectural landscape gives us a better knowledge of the rural and urban reality of that time and thus the integration of the religious architecture in that context. Then, it studied the architectural heritage which is possible to spot in all the Majorcan territories according to its different typologies such as parish churches, Conventual churches, hospital churches, cathedrals, palatine chapels and so on. Eventually, there are two more chapters which analyse the diverse architectural models and its reception in the islands and on the continent as well as the importance of the origin of its fundings, bearing in mind who sponsored those buildings, thanks to whom 252 religious constructions were built along all the Majorcan Crown territories.