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Books > Arts & Architecture > History of art / art & design styles > 500 CE to 1400
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The Geometry of Creation - Architectural Drawing and the Dynamics of Gothic Design (Paperback)
Loot Price: R1,830
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The Geometry of Creation - Architectural Drawing and the Dynamics of Gothic Design (Paperback)
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The flowering of Gothic architecture depended to a striking extent
on the use of drawing as a tool of design. By drawing precise
"blueprints" with simple tools such as the compass and
straightedge, Gothic draftsmen were able to develop a linearized
architecture of unprecedented complexity and sophistication.
Examination of their surviving drawings can provide valuable and
remarkably intimate information about the Gothic design process.
Gothic drawings include compass pricks, uninked construction lines,
and other telltale traces of the draftsman's geometrically based
working method. The proportions of the drawings, moreover, are
those actually intended by the designer, uncompromised by errors
introduced in the construction process. All of these features make
these drawings ideal subjects for the study of Gothic design
practice, but their geometry has to date received little systematic
attention. This book offers a new perspective on Gothic
architectural creativity. It shows, in a series of rigorous
geometrical case studies, how Gothic design evolved over time, in
two senses: in the hours of the draftsman's labor, and across the
centuries of the late Middle Ages. In each case study, a series of
computer graphics show in unprecedented detail how a medieval
designer could have developed his architectural concept step by
step, using only basic geometrical operations. Taken together,
these analyses demonstrate both remarkable methodological
continuity across the Gothic era, and the progressive development
of new and sophisticated permutations on venerable design themes.
This rich tradition ultimately gave way in the Renaissance not
because of any inherent problem with Gothic architecture, but
because the visual language of Classicism appealed more directly to
the pretensions of Humanist princes than the more abstract
geometrical order of Gothic design, as the book's final chapter
demonstrates.
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