Showing posts with label cathedrals. Show all posts
Showing posts with label cathedrals. Show all posts

Thursday, December 30, 2010

The poet recollects the deeds that a dead man has forgotten



Watch the full episode. See more NOVA.

At a time when heaven still embraced the earth, when Uranus still lay with full-hipped Gaia, an aeon before the Olympian gods, the Titans were born and with them, memory, or Mnemosyne. In the Hymns to Hermes, she is called the Mother of the Muses. She is the earliest of the goddesses, preceding even Apollo with his lyre. Hesiod mentions her as the goddess of the first hour of the world and describes her flowing hair as she stretches out beside Zeus on his couch, there to beget the rest of her nine daughters, the Muses. It is she who adopts the son of Maya, the "shamefaced" or "awful" nymph, and thus makes him the son of two mothers. She provides Hermes with two unique gifts: a lyre and a "soul." When the god Hermes plays to the song of the Muses, its sound leads both poets and gods to Mnemosyne's wellspring of remembrance. In her clear waters float the remains of past lives, the memories that Lethe has washed from the feet of the departed, turning dead men into mere shadows. A mortal who has been blessed by the gods can approach Mnemosyne and listen to the Muses sing in their several voices what is, what was, and what will be. Under the protection of Mnemosyne, he may recollect the residues that have sunk into her bosom by drinking from her waters. When he returns from his visit to the spring -- from his dream or vision -- he can tell what he has drawn from this source. Philo says that by taking the place of a shadow the poet recollects the deeds that a dead man has forgotten. In this way the world of the living constantly makes contact with the world of the dead. 

The modern memory does no derive from the older Mnemosyne, but from another, later Latin word, memoria. Like words and text, memory is a child of the alphabet. Only after it had become possible to fix the flow of speech in phonetic transcription did the idea emerge that knowledge -- information -- could be held in the mind as in a store. Today, we take this idea so completely for granted that it is hard for us to reconstruct an age when recollection was not conceived as a trip into the cellar to pick up stores, of a look into a ledger to verify an entry. Since the fourth century B.C., memory as been conceived as such a deposit that can be opened, searched and used. Philosophers have disputed where this deposit is located -- in the heart, the brain, the community, of perhaps God, but in all these discussions memory has remained a bin, a wax tablet, or a book. 


Tuesday, March 16, 2010

Building in the Name of God


 [source]


It is difficult to watch the History Channel appeal to the lowest common denominator, to make history "hip" by adding techno beats and fast cuts to all of its shows.

Nevertheless, I endured Building in the Name of God.

Notes:

  • Hagia Sophia
  • Notre Dame
  • St. Peter's
  • Sagrada Familia
  • Crystal Cathedral

 [source]


Hagia Sofia:

  • purpose built structures
  • altar / nave / vaults
  • idea of dome 
  • circle upon a square
  • most structurally deformed bldg after tower at pisa\
  • procopius: "Golden Thread"

 [source]


Notre Dame

  • construct a bldg that would reflect divine power and light
  • ribbed vaults acting like bones of a skeleton
  • mortar - glue that allows flexibility but holds cathedrals together
  • skeletal b/c of flying buttresses

 [source]


St. Peter's

  • build a new church
  • wonder of the world
  • largest Christian structure
  • tomb of st peter
  • largest cathedral in the world
  • importance of dome

 [source]


Sagrada Familia

  • scale is insane
  • framework = skelton
  • inside the skeleton of Moby Dick
  • cantenary parabolic arches
  • impossible to design a cathedral on the scale of S.F. if you lack the necessary spiritual and religious inspiration
  • begun by a bookseller
  •  From Wikipedia: Towers

    Every part of the design of La Sagrada Família is replete with Christian symbolism, as Gaudí intended the church to be the "last great sanctuary of Christendom". Its most striking aspect is its spindle-shaped towers. A total of eighteen tall towers are called for, representing in ascending order of height the Twelve Apostles, the four Evangelists, the Virgin Mary and, tallest of all, Jesus Christ. (According to the 2005 "Works Report" of the temple's official website, drawings signed by Gaudí found recently in the Municipal Archives indicate that the tower of the Virgin was in fact intended by Gaudí to be shorter than those of the evangelists, and this is the design — which the Works Report states is more compatible with the existing foundations — that will be followed. The same source explains the symbolism in terms of Christ being known through the Evangelists.) The Evangelists' towers will be surmounted by sculptures of their traditional symbols: a bull (St Luke), a winged man (St Matthew), an eagle (St John), and a lion (St Mark). The central tower of Jesus Christ is to be surmounted by a giant cross; the tower's total height (170 m) will be one metre less than that of Montjuïc (a hill in Barcelona), as Gaudí believed that his work should not surpass that of God. Lower towers are surmounted by communion hosts with sheaves of wheat and chalices with bunches of grapes, representing the Eucharist.

    Façades

    The Church will have three grand façades: the Nativity façade to the East, the Glory façade to the South (yet to be completed) and the Passion façade to the West. The Nativity facade was built before work was interrupted in 1935 and bears the most direct Gaudí influence. The Passion façade is especially striking for its spare, gaunt, tormented characters, including emaciated figures of Christ being flogged and on the crucifix. These controversial designs are the work of Josep Maria Subirachs.


    Interior

    Tree-like supporting pillars of roof

    The church plan is that of a Latin cross with five aisles. The central nave vaults reach forty-five metres while the side nave vaults reach thirty metres. The transept has three aisles. The columns are on a 7.5 metre grid. However, the columns of the apse, resting on del Villar's foundation, do not adhere to the grid, requiring a section of columns of the ambulatory to transition to the grid thus creating a horseshoe pattern to the layout of those columns. The crossing rests on the four central columns of porphyry supporting a great hyperboloid surrounded by two rings of twelve hyperboloids (currently under construction). The central vault reaches sixty metres. The apse will be capped by a hyperboloid vault reaching seventy-five metres. Gaudí intended that a visitor standing at the main entrance be able to see the vaults of the nave, crossing, and apse, thus the graduated increase in vault loftiness.

    The columns of the interior are a unique Gaudí design. Besides branching to support their load, their ever-changing surfaces are the result of the intersection of various geometric forms. The simplest example is that of a square base evolving into an octagon as the column rises, then a sixteen-sided form, and eventually to a circle. This effect is the result of a three-dimensional intersection of helicoidal columns (for example a square cross-section column twisting clockwise and a similar one twisting counter-clockwise).

    Geometric details

    Alpha and Omega carving at Sagrada Família entrance. 
    Key to the symbolism of the church. 
    The towers on the Nativity façade are crowned with geometrically shaped tops that are reminiscent of Cubism (they were finished around 1930), and the intricate decoration is contemporary to the style of Art Nouveau, but Gaudí's unique style drew primarily from nature, not other artists or architects, and resists categorization. Gaudí used hyperboloid structures in later designs of the Sagrada Família (more obviously after 1914), however there are a few places on the nativity façade—a design not equated with Gaudí's ruled-surface design, where the hyperboloid crops up. For example, all around the scene with the pelican there are numerous examples (including the basket held by one of the figures). There is a hyperboloid adding structural stability to the cypress tree (by connecting it to the bridge). And finally, the "bishop's mitre" spires are capped with hyperboloid structures[3]. In his later designs, ruled surfaces are prominent in the nave's vaults and windows and the surfaces of the Passion facade. Symbolism Themes throughout the decoration include words from the liturgy. The towers are decorated with words such as "Hosanna", "Excelsis", and "Sanctus"; the great doors of the Passion façade reproduce words from the Bible in various languages including Catalan; and the Glory façade is to be decorated with the words from the Apostles' Creed. Areas of the sanctuary will be designated to represent various concepts, such as saints, virtues and sins, and secular concepts such as regions, presumably with decoration to match.

Crystal Cathedral

  • Robert Schuller looks like a reptile: cold blooded, flicking his pink tongue out to smell the prey, talking about money money money money.
  • who truly believes that the aesthetic monstrosity of the Crystal Cathedral deserves to have a place amongst these mountains?

Monday, March 15, 2010

Google Earth and Sketch Up







How to Build a Cathedral: With a square, a circle and a diagonal, you can generate an entire cathedral




  How To Build A Cathedral




Notes from How to Build a Cathedral: BBC 4

  • Gates of Heaven
  • Everything in existence has symbolic value
  • Man's actions images of Divine Order
  • Architects = Master Masons
  • 1 : √2


There are a number of algorithms for approximating the square root of 2, which in expressions as a ratio of integers or as a decimal can only be approximated. The most common algorithm for this, one used as a basis in many computers and calculators, is the Babylonian method of computing square roots, which is one of many methods of computing square roots.
[source]


The square root of 2 is equal to the length of the hypotenuse of a right triangle with legs of length 1.

Another proportioning system is the ratio of (Square root of 2) : 1. The simplicity of the derivation (square root of 2 is the diagonal through a square of side length 1) is paralleled by the ease of maintaining the proportion through division or multiplication of the proportioned rectangles. 
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[source]


Clearly the golden section proportion is closely connected with the square, the most neutral rectangular proportion (1 : 1) imaginable. (The "Modulor" books are square!) Compared with other proportions, the golden section rectangle is relatively long. That creates a certain tension between golden section and square, which may contribute to the interest that this proportioning scheme can maintain (see Corbu's Modulor), especially when compared to schemes that use the square as only proportioning scheme (see O.M.U.).

Now, does that constitute any understandable reason to connect golden mean proportioning inseparable with beauty? Without doubt: No. Because of the non-linear nature of the golden section, as clearly demonstrated in the Modulor derivations, it is possible to find some base length and some subdivisions close enough to the ratio of the golden section in anything that may be perceived as beautiful. But that may have to do with the underlying structuring into non-equal divisions that establish scale and generate more interest because of the increased amount of detail that is generated or that is cause of the inequal divisions. 

Another proportioning system is the ratio of (Square root of 2) : 1. The simplicity of the derivation (square root of 2 is the diagonal through a square of side length 1) is paralleled by the ease of maintaining the proportion through division or multiplication of the proportioned rectangles. The sum of two rectangles of proportion (Square root of 2) : 1 long side by long side is (Square root of 2) : 2. Divided by the square root of two we arrive at 1 : (Square root of 2), the same ratio as the two rectangles that were added together, only with a change of orientation. [source]



\This is suggested by the Roman architectural forerunner Vitruvius and his discussion of the application of the side and diagonal of a square. He pays great homage to Plato for stating and showing in Meno that the square on the diagonal of another square has twice the area of the smaller square. Vitruvius emphasizes the great utility of this result. He notes that this surmounts an arithmetical impossibility (i.e., writing down the square root of two) with a geometric solution. This ascribes to the ratio of the side of the square to itsdiagonal a special status—it is a profound principle. Its profundity, association with Plato as noted by Vitruvius, and long-standing traditional use may have given a reverence and prestigeto this principle during the medieval period.


The rediscovery of the mathematical schema, including the side of the square and its diagonal, employed at a specific church is a challenging problem within architectural history. As an example, Durham Cathedral, an Anglo - Norman Romanesque church, built 1093–1130/1133, in the northeast of England has many mathematical points of interest. Consider the constructional- geometric procedure for the major lengths of the building and the widths of the transepts. A design motif that was common, though not standard, in the large Anglo-Norman Romanesque churches was basically, in terms of interior lengths, that the west tower/nave (HD in Figure 6) to the west tower/nave/crossing/choir up to the chord of the central east-end apse (HB in Figure 6) is in the same ratio as the side of the square to its diagonal or equivalently, the half-diagonal to the side of the square. A slightly different situation appears at Durham Cathedral. The “cut-point” possibly should be the interior east wall of the transept chapels (C in Figure 6), rather than using the interior west wall of the transept or the transept piers (D in Figure 6). The length of the choir up to the chord of the central east-end apse (BC in Figure 6) to the width of the choir (AB in Figure 6) are also in the ratio of the side to the half-diagonal of the square. One of the other common larger scale relationships, for Anglo - Norman churches with attached monasteries including Durham, is that the length of the cloister’s side adjoining the nave (DG in Figure 7) to the length of the tower and nave (HD in Figure 7) equals the ratio of the side of the square to its diagonal, or equivalently the ‘half-diagonal’ of the square to its side. The thorough application of the square’s side and diagonal also occurred in the ground plan of the south transept and suggests a relationship between the full interior width of the south transept and the interior width of the nave and its north and south aisles [Figure 8]. These relationships are examples of the application of practical or constructive geometry in the design and laying out of Durham Cathedral. [source .pdf]

  • Proportion, Ratio and Symmetry = spiritual qualities the reflected the harmony of creation
  • With a square, a circle and a diagonal, you can generate an entire cathedral
  • Arches = basic building block of cathedrals
  • Scared Theater: architecture, sculpture, music all combined in harmony
  • Sacred Scenes on facades, in windows
  • Skeletons of Stone 



    Cathedral by David Macaulay






    Just watched Cathedral (1985) by David Macaulay. As in introduction, I highly recommend it. An easy mix of walk around narration by Macaulay and Caroline Berg with an interesting animated story that brings a certain life to the building of a cathedral.

    It is worth noting that I also recently read Ken Follett's Pillars of the Earth (1989). Granted that there are common elements to the construction of cathedrals and Pillars of the Earth is much deeper in dimensionality, but there are striking similarities between the two works. So much so that I was inclined to do some cursory research to see of there was any acknowledgment on Follett's part of the influence of Macaulay. Found nothing.

    Anyway, this is besides my pupose here.
     




    Notes from Cathedral:

    The Cathedral is a single unified expression of God's hand in nature.
    The Cathedral is a physical representation of the Divine Order of Things.
     Iconography of cathdrals used to teach the pre-literate.
    Stained glass as a three-dimensional (sic) picture book of religious instruction.