Most high school world history classes will include a picture of a Gothic church. As the students are giggling over the term “flying buttress,’ the teacher explains that a Gothic church is a clear illustration of the Age of Faith.
It took generations to complete the structure – a prayer in stone. A New York City teacher could highlight Saint John the Divine, the world’s largest Gothic cathedral. It is located in Morningside Heights. Saint John has all the traditional features of Gothic architecture – pointed arches, ribbed vaulting, and buttresses. The Cathedral, over 120 years old, is still incomplete. (Legend has it that if the cathedral is completed, the Episcopal Church will end.)
Gothic churches were not organic structures that sprang up without planning. Gothic by Design demonstrates the essential function of architectural drawings in the construction of the exterior and interior. These drawings include presentation drawings, technical plans, and small sketches. The works are from structural thinkers and sculptural designers. Every design is distinct, yet all share a consistent style. Initially, the plans were restricted to the site for security reasons. However, from the 1480s, several artists published their plans. These plans show how various parts could be combined in different ways to create different visions. All designs were deeply rooted in geometry since geometry showed God’s guidance.
Looking at these plans, one can appreciate the thought and planning that went into creating the psalms in stone that are in Gothic churches. How can this relate to the 21st century? The Block Research Group at the Federal Institute of Technology (ETH) in Zurich has integrated Gothic techniques and designs in modern structures. Just like the Gothic architects, ETH used geometry. One example of transference over the centuries is the funicular floor. ETH utilized Gothic rib-jousted vaults for the flooring of a ten-story multi-purpose office building. The ribs serve as stiffeners, providing strength and distributing the flow of forces. The funicular flooring is much more efficient and less expensive than the traditional use of concrete and steel rebars. Thus, we have bridged the centuries, incorporating Gothic methods into modern buildings.
This exhibit offers us a rare opportunity to meet the people behind the designs. Hans Holbein the Elder’s silverpoint portraits bring us face-to-face with some of the creators of the beauty memorialized in stone. Holbein identified some of the master masons by using their personal masons’ marks. These were signatures found on drawings and the stones of the structures. A fragment of tracery arcade from Canterbury Cathedral bears a distinct mason’s mark. The window is suddenly linked to a real person.
The creators of many architectural drawings can be identified. This exhibit presents individual creations. We can see how generations of architects adjusted and altered.
