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Notre Dame Cathedral, Chartres, France, 1220
- Westfront: beyond Tymphanum: alongside of doors were figures of saints + kings of France (mixed reli and gov)
- Fire-> east and west not equal
- single aisle, big transept, double aisle apse
- volume of cross becomes more prominent and significant
- transepts become entrances
- buttress cleaner, double set windows w rose window, blind gallery allows maximizing of stained glass
- vaulting comes all the way down the wall
- 4 part vaulting system
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Notre Dame Cathedral, Amiens, France, 1220
- Combo of horizontal banding that creates light facade
- Refinement of buttressing system, extension of space, permuable exterior
- further refinement of vaults
- 3 storey nave elevation with 4 part vaulting & pronounced transept (Chartres)
- 2 lancent windows and 1 eloculous ->tracery creates lightness of wall
- piers rise up and hold vaults in place, skeletal structure articulates the lightness -> features stained glass
- Greater height & thinner
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Ste. Chapelle, Paris, France, 1250
- buttressing system allows the exterior walls to be almost entirely comprised of stained glass
- Gothic tracery and dark stained glass is reinforced with iron chains
- stonework painted like stained glass
- 4 part vaulting
- The upper level was private and linked to Louis 9th's palace, and contains relics of Christ's Passion. The lower level is linked to the courtyard.
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Canterbury Cathedral, Canterbury, England, 1200
- open choir of St. Denis influence
- 3 part elevation but not huge heights: clerestory, triforium, aisle
- layering of vault
- VS Durham Cathedral (Norman/High G, England, 1100)
- ---thicker, taller, passage in triforium gallery, closer connection to vault
- ---slimming down
- ---both layering wall system but Canterbury layering of material vs D layering of structure
- ---horizontal spacing (not vertical)
- ---vaulting is not architectural, ends in middle
- ---striving for expression of materials
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Salisbury Cathedral, Salisbury, England, 1260
- conceptually similar: 2 towers w central entrance, no rose window
- elements don't line up - interior w a face
- no radiating chapels (in F Gothic)
- more rectilinear spaces, sequential
- vaults do not come down to floor, main aisle independ. of nave
- unity absent
- more highly elaborated nave walls, gilded columns, cut space into three levels -- horizontally
- Chapter house (not in F Gothic) - civic function and fan vaulting
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Wells Cathedral, Wells, England, 1320
- appearance most like F. : vertical, connect of doors to aisles
- expressive innovative instead of structural
- barrel vault w decorations
- upper choir wall becomes lavey decorative
- English moved to less about structural importance
- VS Notre Dame Cathedral, Amiens (H Gothic)
- ---both want lightness of walls/transparency but express different ways - vertical high wall vs deco
- ---not same proportion of space of structure
- chapter house, clositer, tracery of walls like F. Arch
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Great Mosque, Isfahan, Iran, 1100
- Seljuq Dynasty
- ---Secular figure (opp. of Carolingian)
- ---institution of madrasas=schools of Islamic law
- Built over time like Cordoba, Spain Mosque
- Iwan=open vaulted hall, exterior, combo of hypostyle hall in Mosque and regional outdoor style hall, facing Mecca
- Worship in Iran is mostly outside, simple complex with walls around it
- carving of stone and brick as script decoration
- hypostyle hall: combo of pointed arched vaults + muqarnas domes that run in opp. directions
- ---Muqarnas vault: honey comb pattern that resolve the difference, shows culturally mathematically, geom. sophisticaltion (ex. squinch + pendentive)
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Mosque-madrasa of Sultan Hasan al-Nasir, Cairo, Egypt, 1350
- Mamluk Dynasty
- a palace that dev into a fortress near the gate and wall of Cairo, not inside city
- civic space dev for commerce
- complex of mosque (center) and 4 madrasas (schools) and series of public institutions
- central courtyard space, 4 vaulted space w fountain for worship
- central mausoleum framed by 2 minarets
- Muqarnas vaulting and cornice
- Highly dev brick work/deco patter/scale like Isfahan, large range of color marble
- opposted to courtyard mosque - Isfahan, Iran
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Alhambra, Granada, Spain, 1350
- Nasrid Dynasty
- Not religiuos, Palace complex. No worship
- Fortress town that gradually dev iinto a princely complex
- Court of Myrtles - vegetation, importance of landscape, absolute stillness of water, lightness of material and surface treatment - non structural arcade in courtyard
- lavish tile and stucco dec
- column capitals, niches, muqarnas vaults
- Hall of Ambassadors for Sultan to receive guests, interior plasterwork richly colored and patterned
- Lion Court has a 12 lion fountain
- muqarnas squinches lead to octagonal dome creating dematerialization and afemoral struct.
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Monpazier, France, 1300
- a bastide town, a countryside town, self govern
- civic marketplace > church
- wall, gridded town, repetitive lots, space of church and market, major and minor streets
- walls were inhabited
- simple stonework, venacular, not deco or high
- marketplace with a continous arcade creating 'protection', gothic style arches and arcades but modest
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Lubeck, Germany, 1300
- In Hanseatic League, center of trade agreements
- Marketplace > church
- guild on townhall - gothic trait is expressive of social class/occcupation
- Famous for harrings and fish
- double-walled
- authority of individual
- Main church: ;Marienkirche
- Marketplace with protective arcaded space
- towhall has symbols of gild of the the town, Gothic
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Venice: Piazza S. Marco, 1180; Basilica S. Marco, 1300; Doge's Palace, 1400
- the combination of space of church and governence
- Byzantine flavor of repositiong
- Piazza in city and turns to the sea where the commerce is
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Florence: Piazza della Signoria, 1300; Palazzo Vecchio, 1300
- wealth of an individual becomes urban symbol
- both together form a city
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