-
1 developed Gothic
Строительство: средняя готика -
2 developed Gothic
-
3 Gothic
-
4 Villard de Honnecourt
[br]b. c. 1200 Honnecourt-sur-Escaut, near Cambrai, Franced. mid-13th century (?) France[br]French architect-engineer.[br]Villard was one of the thirteenth-century architect-engineers who were responsible for the design and construction of the great Gothic cathedrals and other churches of the time. Their responsibilities covered all aspects of the work, including (in the spirit of the Roman architect Vitruvius) the invention and construction of mechanical devices. In their time, these men were highly esteemed and richly rewarded, although few of the inscriptions paying tribute to their achievements have survived. Villard stands out among them because a substantial part of his sketchbook has survived, in the form of thirty-three parchment sheets of drawings and notes, now kept in the Bibliothèque Nationale in Paris. Villard's professional career lasted roughly from 1225 to 1250. As a boy, he went to work on the building of the Cistercian monastery at Vaucelles, not far from Honnecourt, and afterwards he was apprenticed to the masons' lodge at Cambrai Cathedral, where he began copying the drawings and layouts on the tracing-house floor. All his drawings are, therefore, of the plans, elevations and sections of cathedrals. These buildings have long since been destroyed, but his drawings, perhaps among his earliest, bear witness to their architecture. He travelled widely in France and recorded features of the great works at Reims, Laon and Chartres. These include the complex system of passageways built into the fabric of a great cathedral; Villard comments that one of their purposes was "to allow circulation in case of fire".Villard was invited to Hungary and reached there c. 1235. He may have been responsible for the edifice dedicated to St Elizabeth of Hungary, canonized in 1235, at Kassa (now Košice, Slovakia). Villard probably returned to France c. 1240, at least before the Tartar invasion of Hungary in 1241.His sketchbook, which dates to c. 1235, stands as a memorial to Villard's skill as a draughtsman, a student of perspective and a mechanical engineer. He took his sketchbook with him on his travels, and used ideas from it in his work abroad. It contains architectural designs, geometrical constructions for use in building, surveying exercises and drawings for various kinds of mechanical devices, for civil or military use. He was transmitting details from the highly developed French Gothic masons to the relatively underdeveloped eastern countries. The notebooks were annotated for the use of pupils and other master masons, and the notes on geometry were obviously intended for pupils. The prize examples are the pages in the book, clearly Villard's own work, related to mechanical devices. Whilst he, like many others of the period and after, played with designs for perpetual-motion machines, he concentrated on useful devices. These included the first Western representation of a perpetualmotion machine, which at least displays a concern to derive a source of energy: this was a water-powered sawmill, with automatic feed of the timber into the mill. This has been described as the first industrial automatic power-machine to involve two motions, for it not only converts the rotary motion of the water-wheel to the reciprocating motion of the saw, but incorporates a means of keeping the log pressed against the saw. His other designs included water-wheels, watermills, the Archimedean screw and other curious devices.[br]BibliographyOf several facsimile reprints with notes there are Album de Villard de Honnecourt, 1858, ed. J.B.Lassus, Paris (repr. 1968, Paris: Laget), and The Sketchbook of Villard de Honnecourt, 1959, ed. T.Bowie, Bloomington: Indiana University Press.Further ReadingJ.Gimpel, 1977, "Villard de Honnecourt: architect and engineer", The Medieval Machine, London: Victor Gollancz, ch. 6, pp. 114–46.——1988, The Medieval Machine, the Industrial Revolution of the Middle Ages, London.R.Pernord, J.Gimpel and R.Delatouche, 1986, Le Moyen age pour quoi fayre, Paris.KM / LRD -
5 Wren, Sir Christopher
SUBJECT AREA: Architecture and building[br]b. 20 October 1632 East Knoyle, Wiltshire, Englandd. 25 February 1723 London, England[br]English architect whose background in scientific research and achievement enhanced his handling of many near-intractable architectural problems.[br]Born into a High Church and Royalist family, the young Wren early showed outstanding intellectual ability and at Oxford in 1654 was described as "that miracle of a youth". Educated at Westminster School, he went up to Oxford, where he graduated at the age of 19 and obtained his master's degree two years later. From this time onwards his interests were in science, primarily astronomy but also physics, engineering and meteorology. While still at college he developed theories about and experimentally solved some fifty varied problems. At the age of 25 Wren was appointed to the Chair of Astronomy at Gresham College in London, but he soon returned to Oxford as Savilian Professor of Astronomy there. At the same time he became one of the founder members of the Society of Experimental Philosophy at Oxford, which was awarded its Royal Charter soon after the Restoration of 1660; Wren, together with such men as Isaac Newton, Robert Hooke, John Evelyn and Robert Boyle, then found himself a member of the Royal Society.Wren's architectural career began with the classical chapel that he built, at the request of his uncle, the Bishop of Ely, for Pembroke College, Cambridge (1663). From this time onwards, until he died at the age of 91, he was fully occupied with a wide and taxing variety of architectural problems which he faced in the execution of all the great building schemes of the day. His scientific background and inventive mind stood him in good stead in solving such difficulties with an often unusual approach and concept. Nowhere was this more apparent than in his rebuilding of fifty-one churches in the City of London after the Great Fire, in the construction of the new St Paul's Cathedral and in the grand layout of the Royal Hospital at Greenwich.The first instance of Wren's approach to constructional problems was in his building of the Sheldonian Theatre in Oxford (1664–9). He based his design upon that of the Roman Theatre of Marcellus (13–11 BC), which he had studied from drawings in Serlio's book of architecture. Wren's reputation as an architect was greatly enhanced by his solution to the roofing problem here. The original theatre in Rome, like all Roman-theatres, was a circular building open to the sky; this would be unsuitable in the climate of Oxford and Wren wished to cover the English counterpart without using supporting columns, which would have obscured the view of the stage. He solved this difficulty mathematically, with the aid of his colleague Dr Wallis, the Professor of Geometry, by means of a timber-trussed roof supporting a painted ceiling which represented the open sky.The City of London's churches were rebuilt over a period of nearly fifty years; the first to be completed and reopened was St Mary-at-Hill in 1676, and the last St Michael Cornhill in 1722, when Wren was 89. They had to be rebuilt upon the original medieval sites and they illustrate, perhaps more clearly than any other examples of Wren's work, the fertility of his imagination and his ability to solve the most intractable problems of site, limitation of space and variation in style and material. None of the churches is like any other. Of the varied sites, few are level or possess right-angled corners or parallel sides of equal length, and nearly all were hedged in by other, often larger, buildings. Nowhere is his versatility and inventiveness shown more clearly than in his designs for the steeples. There was no English precedent for a classical steeple, though he did draw upon the Dutch examples of the 1630s, because the London examples had been medieval, therefore Roman Catholic and Gothic, churches. Many of Wren's steeples are, therefore, Gothic steeples in classical dress, but many were of the greatest originality and delicate beauty: for example, St Mary-le-Bow in Cheapside; the "wedding cake" St Bride in Fleet Street; and the temple diminuendo concept of Christ Church in Newgate Street.In St Paul's Cathedral Wren showed his ingenuity in adapting the incongruous Royal Warrant Design of 1675. Among his gradual and successful amendments were the intriguing upper lighting of his two-storey choir and the supporting of the lantern by a brick cone inserted between the inner and outer dome shells. The layout of the Royal Hospital at Greenwich illustrates Wren's qualities as an overall large-scale planner and designer. His terms of reference insisted upon the incorporation of the earlier existing Queen's House, erected by Inigo Jones, and of John Webb's King Charles II block. The Queen's House, in particular, created a difficult problem as its smaller size rendered it out of scale with the newer structures. Wren's solution was to make it the focal centre of a great vista between the main flanking larger buildings; this was a masterstroke.[br]Principal Honours and DistinctionsKnighted 1673. President, Royal Society 1681–3. Member of Parliament 1685–7 and 1701–2. Surveyor, Greenwich Hospital 1696. Surveyor, Westminster Abbey 1699.Surveyor-General 1669–1712.Further ReadingR.Dutton, 1951, The Age of Wren, Batsford.M.Briggs, 1953, Wren the Incomparable, Allen \& Unwin. M.Whinney, 1971, Wren, Thames \& Hudson.K.Downes, 1971, Christopher Wren, Allen Lane.G.Beard, 1982, The Work of Sir Christopher Wren, Bartholomew.DY -
6 Sullivan, Louis Henry
SUBJECT AREA: Architecture and building[br]b. 3 September 1856 Boston, Massachusetts, USAd. 14 April 1924 Chicago, Illinois, USA[br]American architect whose work came to be known as the "Chicago School of Architecture" and who created a new style of architecture suited specifically to steel-frame, high-rise structures.[br]Sullivan, a Bostonian, studied at the Massachusetts Institute of Technology. Soon he joined his parents, who had moved to Chicago, and worked for a while in the office of William Le Baron Jenney, the pioneer of steel-frame construction. After spending some time studying at the Ecole des Beaux Arts in Paris, in 1875 Sullivan returned to Chicago, where he later met and worked for the Danish architect Dankmar Adler, who was practising there. In 1881 the two architects became partners, and during the succeeding fifteen years they produced their finest work and the buildings for which Sullivan is especially known.During the early 1880s in Chicago, load-bearing, metal-framework structures that made lofty skyscrapers possible had been developed (see Jenney and Holabird). Louis H.Sullivan initiated building design to stress and complement the metal structure rather than hide it. Moving onwards from H.H.Richardson's treatment of his Marshall Field Wholesale Store in Chicago, Sullivan took the concept several stages further. His first outstanding work, built with Adler in 1886–9, was the Auditorium Building in Chicago. The exterior, in particular, was derived largely from Richardson's Field Store, and the building—now restored—is of bold but simple design, massively built in granite and stone, its form stressing the structure beneath. The architects' reputation was established with this building.The firm of Sullivan \& Adler established itself during the early 1890s, when they built their most famous skyscrapers. Adler was largely responsible for the structure, the acoustics and function, while Sullivan was responsible for the architectural design, concerning himself particularly with the limitation and careful handling of ornament. In 1892 he published his ideas in Ornament in Architecture, where he preached restraint in its quality and disposition. He established himself as a master of design in the building itself, producing a rhythmic simplicity of form, closely related to the structural shape beneath. The two great examples of this successful approach were the Wainwright Building in St Louis, Missouri (1890–1) and the Guaranty Building in Buffalo, New York (1894–5). The Wainwright Building was a ten-storeyed structure built in stone and brick and decorated with terracotta. The vertical line was stressed throughout but especially at the corners, where pilasters were wider. These rose unbroken to an Art Nouveau type of decorative frieze and a deeply projecting cornice above. The thirteen-storeyed Guaranty Building is Sullivan's masterpiece, a simple, bold, finely proportioned and essentially modern structure. The pilaster verticals are even more boldly stressed and decoration is at a minimum. In the twentieth century the almost free-standing supporting pillars on the ground floor have come to be called pilotis. As late as the 1920s, particularly in New York, the architectural style and decoration of skyscrapers remained traditionally eclectic, based chiefly upon Gothic or classical forms; in view of this, Sullivan's Guaranty Building was far ahead of its time.[br]BibliographyArticle by Louis H.Sullivan. Address delivered to architectural students June 1899, published in Canadian Architecture Vol. 18(7):52–3.Further ReadingHugh Morrison, 1962, Louis Sullivan: Prophet of Modern Architecture.Willard Connely, 1961, Louis Sullivan as He Lived, New York: Horizon Press.DY
См. также в других словарях:
Gothic Architecture — • History of the style Catholic Encyclopedia. Kevin Knight. 2006. Gothic Architecture Gothic Architecture † … Catholic encyclopedia
Gothic — or Goth may refer to:Germanic personsOriginally, the ethnonym of a group of East Germanic tribes. *The Goths – **the Gothic language, an extinct East Germanic language, spoken by the Goths ***the Crimean Gothic, Gothic language spoken by the… … Wikipedia
Gothic fiction — (sometimes referred to as Gothic horror) is a genre of literature that combines elements of both horror and romance. As a genre, it is generally believed to have been invented by the English author Horace Walpole, with his 1764 novel The Castle… … Wikipedia
GOTHIC REVIVAL ARCHITECTURE — Gothic Revival architecture can be seen as part of the general trend of Romanticism that characterized mid 18th through mid 19th century European culture, and while it reached its high point from 1830 to 1870, a continued interest in the… … Historical Dictionary of Architecture
Gothic Revival architecture in Canada — is an historically influential style, with many prominent examples. The Gothic Revival was imported to Canada from Britain and the United States in the early nineteenth century, and rose to become the most popular style for major projects… … Wikipedia
Gothic II: Night of the Raven — German cover of the expansion pack Developer(s) Piranha Bytes Publisher(s) JoWood, Aspyr … Wikipedia
Gothic declension — Gothic is an inflected language, and as such its nouns, pronouns, and adjectives must be declined in order to serve a grammatical function. A set of declined forms of the same word pattern is called a declension. There are five grammatical cases… … Wikipedia
Gothic — [gäth′ik] adj. [LL Gothicus: see GOTH1] 1. of the Goths or their language or culture 2. designating, of, or related to a style of architecture developed in W Europe between the 12th and 16th cent. and characterized by the use of ribbed vaulting,… … English World dictionary
Gothic architecture — See also: Gothic art The western façade of Reims Cathedral, France … Wikipedia
Gothic rock — This article is about the musical style of gothic rock. For the goth scene in general, see goth subculture. Infobox Music genre name=Gothic rock bgcolor=crimson color=white stylistic origins=Punk rockDave Thompson / Kirsten Borchardt ·… … Wikipedia
Gothic art — This article is about Gothic art. See also Gothic architecture Gothic art was a Medieval art movement that lasted about 200 years. It began in France out of the Romanesque period in the mid 12th century, concurrent with Gothic architecture found… … Wikipedia
