Reading comprehension 3

Below is my colored pencil depiction of Cologne Cathedral in Cologne Germany. Construction dates 1248-1560 & 1842-1880

As the monumental verticality of the cathedrals engulfs its occupants, light pours in sectioned off, mainly through the passageway of arched windows. This “engulfing” could be considered to many as a divine attribute, very fitting for the structure type of a cathedral. The pointed arched windows found in both Cologne and Salisbury cathedrals follow the same verticality along the walls they adorn. Elongated forms, allow the illumination of these buildings in daylight. Light can be viewed as a source of life, which allows humans to produce, and stay warm. At a time when so many were searching for refuge often in the simplest form of having shelter, the concept of staying alive was a main priority many had to work towards, in a day-to-day struggle. This sense of light and warmth could possibly define the “Dark Ages” because of this principal that one needs light to live. The illumination of the Cologne and Salisbury interiors thus, automatically designates the structures as sanctuaries along with being places of worship. Adding to the stretches of vertical windows letting in massive streams of light, from bottom to clerestory, the stained windows often tell a story of their own. Other sources such as candles and reflections from thereof provide a more mystical sense of light and warmth, more indispensable at night. Overall, both Cologne and Salisbury cathedrals center on verticality and light. Light permits life and provides virtue of the divine.

The world did not add a layer of shadows in between the time of ancient Romans fall and the start of the “Dark Ages”. In fact to allow the amazing structural innovations such as barrel vaulted ceilings and flying buttresses to arise, the collaboration of many laborers was necessary in its development and construction. The designers logically would be higher up in social hierarchy in comparison with the many laborers. This is in assumption however, that such structural innovations were well thought out, requiring an educated designer, not just the makings of some “happy accident”. Although many were fleeing for sanctuary in the “dark ages”, some of the lucky individuals had the blessing of structural enclosure. The time that wasn’t spent preparing for the daily grime was allocated to great thought, perhaps enough to develop such structural strategies. Popping up in a time that has been looked at so drearily in history, we must observe aspects of the Cologne cathedral such as the ceiling in comparison with the vaulted ceiling at Amiens to look at the validity of this idea. The technological innovations in architecture seem to cross-regions without extreme alteration. Though we find more distant variations in the more elaborately adorned flying buttress at Cologne computed to its French neighbor (Amines). A focus on intricacy is more of a style change I would note as the most contrasting element between the two churches. The over-all compositions of the cathedrals show regional distinctions in style. As the result of taking a more artful approach we may easily see aspects such as exterior details that depict distinct styles. Their main contracting element once again being the level of intricacy, the Cologne is the cathedral, which takes on a more elaborate language. If anything, this showcases the great thought that must have been involved in creating these structures at a time we now consider to be “dark”.

Cologne

Amiens


It would be easy to suggest that a reiteration of a classical form such as the dome in Duomo cathedral in Florence suggests a degree of change leaning towards the beginning of the Renaissance as we correlate forms between historical periods. The circle as we know it, represents the divine form, appropriate for a place of worship as it symbolizes such perfection that man could not create. Perhaps this bold move in architecture was a calculated one based on the knowledge of Roman symbolism behind certain geometric forms. The cross of Cologne cathedral carries a human centered approach in the language of antiquity according to this belief. If all knowledge is based on the past we could regard that the forming of Cologne cathedral having a more humanistic core in comparison with the Florence cathedral was indeed purposeful. The architect Brunelleschi of Florence cathedral however, did in fact study ancient Roman architecture for a period before designing the dome, ringing true the idea that a skyward centered church was an intentional and past rooted creation. We see this shift without question when comparing the Cologne and Florence cathedrals’ crossing. The whole form of the Florence cathedral could be considered much softer as the result of these curves and a more prominent use of shingles. The Cologne cathedral protrudes as a defining landmark to it's city as well, but in a much different fashion of boldness. Instead, the spiky towers are more on the side of poking the sky along with protruding. Although both Cologne and Duomo cathedrals are astonishing masterpieces, they speak very different languages in terms of their design.

Plan-Cologne

Plan-Duomo


Imagining out of the various forms of domestic medieval Architecture that this woman depicted was working in a castle, we can assume a variety of attributes amongst her interior environment based on the information mainly provided to us my Harwood. The windows at this point are probably relatively small out of concern for safety. We might find some fabric wall hangings as these textiles travel easy in a time of consistently seeking refuge. Firelight torches and possibly some candles provide light and warmth in this space. From the looks of the given photo, the walls are whitewashed and the floors are made out of some type of dirt or stone. Judging by the outfitting and action being performed of this woman (working) however, a fabric hanging would be the possession of a wealthy master.