Opus 6

“Roman theaters, circuses, and baths were built and operated with imperial funds and were available at no charge to the public…There was, of course, a price to be paid for such state largess…. By the time of Diocletian’s reign, 284 to 305 CE, restrictions bound sons to the trade of their fathers and farmers to the land, and thus the basis of medieval serfdom was created.” (Roth, p.269-270) The structure of the Roman Empire prior to its collapse led to small, feudal kingdoms and large gaps in social stratification. Castles were built to enhance fortification during these tumultuous times and the recording of history seems to have come to a halt. (Blakemore, pp.68-70) These were the Dark Ages.

It has been suggested that technological and societal advances came to a halt during these times as well, but the truth is in the details. “When history of the West began to be written in the fifteenth century, Renaissance scholars wrote of the dark ages that intervened between the glory of Greece and Rome and what they perceived as their own enlightened age. But in actuality, the ten centuries following Constantine’s death were not quite the cultural wasteland [they] imagined.” (Roth, p.302) Throughout the Middle Ages, the main building form was the Cathedral – commissioned by the Catholic Church or local wealthy families. In the absence of ruling empires, the church began to organize societies. Extending high above the cities or towns surrounding them, the cathedral stands in stark contrast to the modest homes of the commoners.

The cathedral’s basic composition spans regions and time as the customary planning technique sets a standard for the form as a whole. The perfect square at the center of the cross determines the geometric proportions, while the intricate details of each demonstrate the progression that continued throughout the Middle Ages. The basilica form of Salisbury Cathedral – Salisbury, England (1220-12858) can be laid within the plans of Notre-Dame d’Amiens – Amiens, France (1120-1410), The Duomo – Florence, Italy (1296-1462) and Cologne Cathedral – Cologne, Germany (1248-1560) and relate diagrammatically to each. Although not exact replicas, each cathedral in plan view connects proportionally to Salisbury – with the central square precisely in the same location at Salisbury, Amiens and Cologne. The center square of the Duomo has been shifted to match the secondary crossing of Salisbury Cathedral, with three elaborate apses surrounding this crossing and the central vertical element not matching the spires of the other three, but instead a powerful dome rising high to the heavens.

“The building of great urban cathedrals, driven by swaggering civic pride as well as sincere religious piety, provided the arena of the most probing architectural experimentation.” (Roth, p. 348) The use of flying buttresses in three of the four cathedrals listed above marks one of the important technological advances in construction within the Middle Ages and allowed for dramatic light and airy vertical vaults throughout the space. Risks were taken, alterations were made as time passed, designers changed and the stories of these cathedrals were enhanced through the trial and error that allowed for impressive technological advances within the Middle Ages. Despite their locations across Europe, these cathedrals show similarities that speak of communication between churches while their differences show the allowance of regional distinctions, individuality and the correlation between designer and financier.

These cathedrals were built as places of worship and community gathering. The classical orders are stretched toward infinity, reaching heavenward. The central spire, or dome at the Duomo, mark the alter, exclaiming its importance to society and again stretching high above the landscape. The decoration of these cathedrals is elaborate. Each turn creates a new moment distinguished by vast expanses, intricate detailing and awe inspiring light. “The artistic focus shifted to the building’s interior, on creating a mystic image of heaven that was the very opposite of the architecture of the workaday world outside.” (Roth, p.298) These cathedrals brought the impression of heaven on earth to the common people of society.

Classical Greece is also evident in the Gothic Cathedral through the continued use of breaking down space in respect to the porch, court and hearth. The porch continues to be a place of transition, of orientation, an entrance. At Notre-Dame d’Amiens, the recessed arches that define the doorways act like a hand of god taking the scale of this enormous building back to a more comfortable human scale and welcoming the commoners into the space beyond. The court space is accentuated both horizontal toward the alter and vertically toward heaven, reiterating the primary importance of the building as a whole. The light that enters throughout the court areas again brings a sense of wonder to the individual and enhances the psychological impressions on the soul. The hearth of the cathedral is the alter, standing below the tallest architectural element and again imposing its importance on society.

While it is often thought that society came to a standstill during the Middle Ages, the advances in the cathedral form, both technologically and its ability to so strikingly relate the commodity of a space through its form, show this not to be true. The cathedrals have a voice of their own and it is greatly expressed through its details. Although enhanced by the chanting, melodic voice of the priest and music within the spaces, the organization of space and dramatic vertical elements of the building itself are able to express its most important message without saying a word.

These design ideals are present today. Using contrast, scale, detailing, materiality, surface decoration, etc.; the designer attempts to emphasize the imporant aspects of a building with visual cues so that it may speak for itself. If a "design challenged" individual can understand the greater meaning of a building without reading a word, the designer has acomplished a great feat of portraying his and/or the building's ideals through design. He has effectively translated the story to a greater community's understanding. In lighting design we are currently looking at the ways in which to detail important aspects of a building through electrical lighting. Three main lighting techniques are ambient, task and accent; each used to enhance a different atmosphere or use of space. Lighting is one way of expressing a story within a space without saying a word. Is the space dark and cool? Probably not for reading or energetic activity. Is the space light and airy? Probaby not intended for sleep. Light levels are specific to the activity that is intended to take place within a space and can effectively be used as one way in which to detail a story without saying a word.