Amiens Cathedral: Part II Revelation

Summary

This script takes viewers on a virtual flight through the Gothic cathedral's construction, exploring its design principles and the challenges faced during its evolution. It delves into the architectural intricacies, the use of dynamic geometry, and the historical shifts in construction overseen by different master masons. The narrative also highlights the educational potential of technology in art history, showcasing the collaborative process behind creating an immersive video program.

Takeaways

• 🏰 The script discusses the conceptualization of Gothic cathedrals as metaphors for heaven and their structural significance in medieval cities.
• 🎨 It uses the myth of Daedalus and Icarus to symbolize the ambition and potential downfall in the construction of these architectural marvels.
• 📏 The design of the cathedral is based on precise geometric and mathematical principles, including the use of the Roman foot and the golden section.
• 🛠️ The construction process of the cathedral is detailed, starting with Robert of Lesage and continuing through the contributions of his successors.
• 🔄 The script highlights the evolution of the cathedral's design over time, including changes made by subsequent architects like Thomas of Croma and Renault of Cornwall.
• 🏗️ The challenges faced during the construction, such as structural issues with the flying buttresses, are mentioned, along with the solutions implemented.
• 🤔 The video script suggests a deeper intellectual analysis of the cathedral's construction, inviting viewers to consider the process of becoming and change in architecture.
• 🎥 The script reflects on the use of technology in education, specifically the creation of a video program to explore and teach about the cathedral's architecture.
• 👥 It emphasizes the importance of interdisciplinary collaboration in projects like this, involving various departments and experts.
• 📚 The project aims to make art history more accessible and engaging through the use of advanced imaging and animation techniques.
• 🔍 The script concludes with a reflection on the potential of such projects to transform education and reach a wider audience.

Q & A

What is the main theme of the images discussed in the script?

The main theme of the images is to use parables to represent and explore the reality of constructing a Gothic cathedral, its design, and its significance in both the earthly and celestial realms.

What is the significance of the myth of Daedalus in the script?

The myth of Daedalus is used as a metaphor for the flight of imagination and the ability to see the entirety of the cathedral's design and construction, symbolizing the creative and structural aspects of the cathedral.

How is the concept of the 'house of Daedalus' related to the labyrinth on the nave floor?

The labyrinth on the nave floor is known as the 'house of Daedalus' in the Middle Ages, symbolizing the complexity and creativity involved in the design of the cathedral.

What role did Robert of Lesage play in the construction of the cathedral?

Robert of Lesage was the first master mason who demonstrated the method of design for the cathedral, using the measure of man and heaven, and laying out the cathedral using the Roman foot.

What is the significance of the golden section in the cathedral's design?

The golden section is used in the design to create aesthetically pleasing proportions, such as the span of the aisle, by using mathematical relationships to define the layout and dimensions of the cathedral.

How did the construction of the cathedral progress over the years?

The construction started in 1220, with the southern flank of the nave and the West facade. Over the years, different master masons contributed to the construction, with changes in design and structural elements, leading to some structural issues that were later addressed.

What structural issues arose during the construction of the cathedral?

Structural issues included the ineffective flying buttresses built by Renault of Cornwall, which were too high and too light, leading to the main supports buckling and the need for additional support in the late Middle Ages.

What is the significance of the video program mentioned in the script?

The video program is significant as it represents a new way of teaching and experiencing art history, using advanced imaging techniques and animations to make the subject more accessible and engaging for a wider audience.

How did the process of creating the video program impact the participants?

The process was described as fascinating and rewarding, involving collaboration across departments, the use of advanced technology, and the challenge of rendering a large number of frames to create a full-screen video.

What is the potential impact of using technology in art history education as described in the script?

The potential impact includes making art history more dynamic and engaging, allowing for a wider audience to understand and appreciate complex subjects like Gothic cathedral architecture through visually rich and interactive content.

What challenges did the creators face in producing the video program?

The challenges included generating a large number of high-resolution frames, collaborating with different departments and machines, and managing the rendering process, which involved using every available Silicon Graphics station and supercomputers.

Outlines

00:00

🏰 Gothic Cathedral Design and Construction

This paragraph introduces the concept of the Gothic cathedral as a metaphorical representation of heaven and its construction as a reflection of human and divine proportions. It describes the city's transformation from a Roman to a medieval setting, with the cathedral's imposing presence dominating the landscape. The narrative takes the viewer on a flight over the city, revealing the cathedral's facades and its labyrinthine floor plan, symbolizing the myth of Daedalus. The paragraph delves into the design process led by the first master mason, Robert of Lesage, who used the Roman foot as a unit of measurement and the golden section to lay out the cathedral's dimensions. The cathedral's construction is portrayed as a harmonious blend of structural integrity and artistic vision.

05:03

🛠 Evolution and Challenges in Cathedral Construction

This paragraph continues the narrative of the cathedral's construction, highlighting the dynamic geometry used to expand the design from the Great Central Square. It explains the geometric progression that led to the formation of the cruciform shape and the placement of the choir and transept. The paragraph also discusses the challenges faced during the 50-year construction period, including the transition of master masons from Robert of Lesage to Thomas of Chroma and then to Renault of Cornwall. It details the structural issues that arose from Renault's modifications to the design, which ultimately required additional support to prevent collapse, illustrating the cathedral's resilience and the evolving nature of architectural projects.

10:04

🔍 Exploring the Spatial Complexity of the Cathedral

The third paragraph takes the viewer on a virtual tour through the cathedral's interior, emphasizing the spatial complexity and the architectural features that define its grandeur. It describes the movement through the nave, crossing, and choir, highlighting the cathedral's use of square and diagonal geometric patterns. The paragraph also touches on the structural challenges faced by the cathedral's piers and the medieval solution of using an iron chain to stabilize them. The narrative concludes with reflections on the potential of video programs to educate and engage audiences in the study of art and architecture, suggesting that such technologies can extend the reach of academic departments and enrich educational experiences.

15:06

🎥 The Process and Impact of Creating the Cathedral Video

The final paragraph discusses the technical and collaborative process of creating the video program about the cathedral. It outlines the challenges of generating over 22,000 frames of full-screen video and the innovative use of technology to render and animate the cathedral. The paragraph reflects on the interdisciplinary nature of the project, involving collaboration between art history and engineering departments, and the potential of such projects to revolutionize education by making complex subjects like architecture accessible and engaging to a wider audience. It concludes by emphasizing the importance of embracing new technologies in the field of education and the transformative impact they can have on learning experiences.

Keywords

💡Parable

A parable is a simple story used to illustrate a moral or spiritual lesson. In the context of the video, the images are described as parables, which are intended to 'ambush' reality, suggesting that they serve as metaphors to convey deeper meanings about the construction and significance of Gothic cathedrals.

💡Gothic Cathedral

A Gothic cathedral is a type of medieval church characterized by its pointed arches, ribbed vaults, and flying buttresses. The video uses the Gothic cathedral as a central theme, exploring its design, construction, and symbolic representation of heaven on earth, as seen in the script's references to the 'Gothic cathedral' and its various architectural features.

💡Celestial City

The celestial city refers to a heavenly or divine city, often used metaphorically to represent a place of perfection and purity. In the video, the celestial city is 'superimposed upon the earthly city,' indicating a layering of spiritual significance over the physical reality of the Roman city, highlighting the cathedral's role as a connection between the earthly and the divine.

💡Daedalus

Daedalus is a figure from Greek mythology known for his skill in craftsmanship and invention. In the script, the metaphor of Daedalus is used to describe the flight of the viewer's perspective over the cathedral, symbolizing the creative and ingenious design of the Gothic cathedral, as well as the viewer's ability to perceive the cathedral's grandeur from a divine or 'god-like' viewpoint.

💡Golden Section

The golden section, also known as the golden ratio, is a mathematical concept often used in art and architecture to create aesthetically pleasing proportions. The script mentions the use of the golden section in the design of the cathedral, where it is used to determine the span of the aisle and create harmonious relationships between different parts of the building.

💡Dynamic Geometry

Dynamic geometry refers to the study of geometric figures and shapes that can be changed in size, position, or shape while maintaining certain properties. In the video, dynamic geometry is used to describe the process of unfolding the cathedral's spaces from the central square, demonstrating the fluidity and interconnectedness of the cathedral's design.

💡Cruciform Shape

A cruciform shape is a shape that resembles a cross, commonly found in Christian architecture to symbolize the faith. The script describes the creation of the 'great cruciform shape' of the cathedral, which is a central element of its design, reflecting both its function as a Christian place of worship and its symbolic connection to the divine.

💡Flying Buttresses

Flying buttresses are architectural elements that support the walls of a building, allowing for larger windows and higher ceilings. The script discusses the 'flying buttresses' as part of the cathedral's structural behavior, highlighting their importance in the cathedral's design for both functional and aesthetic reasons.

💡Robert of Lesage

Robert of Lesage is mentioned in the script as the first master mason, indicating a historical figure or a symbolic representation of the architect or builder responsible for the cathedral's design. His method of design is showcased in the video, emphasizing the human creativity and skill involved in the construction of the cathedral.

💡Icarus

Icarus is a figure from Greek mythology who, in his attempt to fly too close to the sun, fell to his death because his wings melted. In the video, the script uses the metaphor of Icarus to describe the potential failure of the cathedral's construction, specifically the ineffective flying buttresses that could lead to structural instability.

💡Anagogical

Anagogical refers to a level of interpretation that seeks to find deeper, spiritual, or symbolic meanings. The script mentions an 'anagogical upward lifting' as a conclusion, suggesting a final interpretation of the cathedral that transcends its physical form to reveal its spiritual significance and the aspirations it represents.

Highlights

The images presented are parables, not pictures, aiming to ambush reality and construct the Gothic cathedral.

The concept of the Gothic cathedral's design is based on the measure of man and heaven, using the Roman foot as a unit.

The cathedral's layout is revealed through the metaphor of Daedalus's flight, symbolizing the creative and structural behavior of the building.

The central square of the cathedral, 50 feet in length, is likened to Noah's Ark, a vehicle of salvation.

The use of dynamic geometry unfolds the cathedral's spaces from the Great Central Square, creating a cruciform shape.

The construction of the cathedral began in 1220 with a vision by Robert of Lesage, focusing on the cathedral's structural clarity and beauty.

Robert of Lesage's method of design involved laying out the cathedral using foot units and golden section principles.

The construction process was marked by the succession of master masons, each introducing changes and innovations to the cathedral's design.

The flying buttresses introduced by Renault of Cornwall were ineffective, leading to structural issues and later modifications.

The cathedral's spatial complexity is explored through a model, revealing its intricate design and construction.

The video program on art humanities aims to extend the reach of art history education using advanced imaging and video techniques.

The project represents a creative collaboration between different departments, showcasing the potential of technology in education.

The process of generating 22,000 frames of full-screen video was a significant achievement for the School of Architecture.

The project utilized advanced animation software to animate the cathedral, providing a new dimension to art history education.

The project's success demonstrates the potential of combining art history with high-tech for a wider audience and easier understanding.

The Emmy project includes a creative forum with Eden Muir, Rory O'Neill, and other colleagues, fostering rewarding partnerships.

The project's research focuses on the process of becoming and change, exploring the transformation of architectural structures over time.

The project's use of technology in art history education sets a precedent for future educational applications in various fields.

Transcripts

the images you are about to see are not

pictures but parables intended to ambush

reality

the images invite you to construct the

Gothic cathedral or not go down with a

neon

it's imaging of heaven its location in

time and in the earthly City its design

in the measure of man and heaven its

construction is structural behavior and

fragility and the power of its forms and

spaces revealed through the metaphor of

Daedalus is flight

in the clouds we catch a glimpse of

heaven the celestial city is

superimposed upon the earthly city Roman

Amy and we see the grid system of the

Roman city the late Roman city wall and

the anticipation of the Gothic cathedral

the late Roman city turned into the

medieval city with its industrial

northern suburb enclosed inside

twelfth-century walls we find ourselves

dropping on the city dense pack houses

crammed inside the recently constructed

wall population between 15 and 20

thousand people living in two and

three-story wooden houses dominated by

the massive chalk bulk of the Gothic

cathedral

as we skim over the rooftops the

Cathedral turns to reveal itself first

the West facade and then the southern

flank

it is through the myth of leaderless

that we are able to fly like gods or

goddesses we can comprehend the entirety

of the Cathedral the cruciform shape of

the translated the flying buttresses the

central spire

with Daedelus we fly with Icarus we fall

through the nave roof in vaults

and at our feet we see on the nave floor

the labyrinth known in the Middle Ages

as the house of Daedalus at the center

of the labyrinth the octagonal plaque

celebrates the creativity of the three

architects and the founding bishop from

this plaque we take the first master

mason Robert of Lesage and as we listen

to the music of peloton composed as the

cathedrals being built Robert will

demonstrate for us his method of design

the cathedral is built in the measure of

man and of heaven it is laid out using

the Roman foot about twenty nine and a

half centimeters as Robert walks he

leaves behind him a trail of foot units

the feet are gathered into 10-foot

squares which are themselves gathered

into a great central square of 50 feet

Noah's Ark was 50 cubits the Cathedral

50 feet they are both vehicles of

salvation

the square turns into a space matrix and

the for crossing peers are located the

span of the aisle is created by means of

a golden section the square is haft the

diagonal of the half square is rotated

giving us a 5 to 3 relationship 50 to 30

feet the image turns gold to indicate

the golden section the central 50-foot

square is surrounded by a peripheral

space of 30 feet creating a double

square this is the image of heaven that

we saw at the beginning heaven is

encoded in the central space of the

cathedral the spaces of the cathedral

are unfolded outward from the Great

Central Square using dynamic geometry

first come the transept arms rotating

out words like windscreen wipers

next the diagonal of the great square

swings to give the length of the nave

creating a square root of two rectangle

the half diagonal gives the length of

the choir creating the great cruciform

shape

the same strategy gives the choir aisles

the center point of the hemicycle

is located slightly to the east of the

last division we find this point using

the diagonal of the choir

and from this Center is struck the

hemicycle

and radiating chapels

the Bay divisions are inserted and the

height of the edifice is found through

the rotation upwards of the Great

Central Square the cathedral is built ad

quadratum

the resultant space matrix has a kind of

platonic clarity and beauty

this was the vision of the cathedral

entertained by Robert of Lesage and the

clergy at the start of work in 1220

however fifty years of construction of

push and shove separated the vision from

its final realization we will now watch

the cathedral going up

work began along the southern flank of

the nave with the West facade the north

navel follows a little later

Robert of Lesage was probably asked by

the clergy to create a provisional

liturgical space that would serve for

the immediate celebration of the offices

in this way the South nave aisle and the

south transept aisle were finished in

the first five years of work

with the North may vial completed soon

afterwards probably around 12:30 Robert

of Lesage died and was succeeded by his

former collaborator thomas of chroma

in the 12 thirties and 1240 master

Thomas constructed the upper nave

simultaneously laying out the lower

choir

bells were hanging in the southwest

tower by 12 43

Thomas of Como died in the later 12 40s

with the upper nave complete he was

succeeded by his son

Renault of Cornwall who in the 12 50s

and 12 60s constructed the upper transit

and choir Renault changed his father's

forms introducing a different type of

triforium and a different flying

buttress

the choir fliers are placed too high and

are too light to be effective runner

thus becomes a type of Icarus a

disobedient son destabilizing the

authority of his father structural

system the upper choir was finished

towards 1269 the flying buttresses built

by Renault of chromel are ineffective

they are placed too high in relation to

the main vaults in the late Middle Ages

the main supports buckled the fliers

were dislocated

the cathedral was saved through the

insertion of an additional flyer placed

underneath the original support

we enter the model in order to explore

its spatial complexity the model becomes

a linear matrix echoing the linear

intensity of garthok we move down the

South navel into the crossing space

sensing the diagonal expensiveness of

the crossing area

we enter the double aisle of the choir

and circumnavigate the ambulatory

leaving the radiating chapels to our

right

we return along the choir North aisle

back through the crossing space

into the nave

entering the nave main vessel and

looking upward we sense that the

building is made of squares the aisle

vaults are perfectly square the nave

vaults are double squares we approach

the Great Central Square into the

crossing space the crossing piers are

slender and are pushed inwards by arcade

walls meeting of 90 degrees

the piers buckle and would have

collapsed

the collapse was averted in the late

Middle Ages through the addition of a

massive iron chain that pegs the piers

in place

with an anagogical upward lifting

conclusion we end where we began in the

heavens

years ago we started talking about

developing a video program on the basis

of art humanities the idea was that

there was an audience out there waiting

for it I mean just as we would put

together a course we would be able to

send our best instructors as it were

over the networks through the wires and

so forth that has now developed I think

much more actively much more dynamically

into what we're doing now it is it

becomes increasingly possible to make

much more articulate the experience of

architecture both in terms of the viewer

as spectator as moving spectator through

space but also in terms of the analysis

of construction intellectually it will

be amines I hope that a department that

prides itself on being one of the best

or perhaps the very best art history

department in the United States can

begin to project itself into a much into

a much wider community it's one thing to

deal with a picture which is a

two-dimensional surface using images

projected on a on a wall a building does

not respond so readily to that kind of

that kind of image intellectually the

subject of my current book and my

current research really has to do with

the process of becoming and the process

of change the phenomenon by which one

thing becomes another yes the kind of

partnerships that one finds within the

framework of a project like this are

rewarding amusing entertaining wonderful

the creative forum that we had

established to make the Emmy a project

that includes eden muir and rory o'neill

and our other colleagues across campus

has been one of the most rewarding

frameworks really that i've encountered

since coming to columbia of what's good

of the thing with the different types of

projects that are going on at columbia

right now the america Theed relie has

really planted a flag on top of a

mountain and has demonstrated that not

only is the cooperation between

departments potentially a wonderful

thing

but more generally that

these technologies are not just things

that should remain in the sphere of the

film industry or specialty industries

but can can come to bear on a wide

variety of fields and show a big promise

for the future of Education where our

telecommunications and electronic

distribution of these materials becomes

important and essential actually and

that if you take something like art

history which you don't normally

associate with special effects and

high-tech and mix it with this there is

the possibility that that it will bring

this type of information to a very large

audience and a fun and

easy-to-understand way and that this

could have be happening in all

departments well the the process was

fascinating because we had to generate

22,000 frames of full screen video which

is something that no school of

architecture has ever done before and

probably will never do again it was a

remarkable experience first of all we

had to do the the brunt of the rendering

which is the really difficult task after

final exams were passed and final

reviews were over it meant basically

taking over every machine in the

building putting it toward this task as

well as engaging in collaborative

arrangements with the School of

Engineering to get their large machines

rendering for us overnight so for a

period of several weeks we had every

Silicon Graphics station on campus

working for us including the two giant

supercomputers at engineering so

literally what was happening was every

day we were going downtown on the subway

several times with a very large hard

drive containing four gigabytes of high

resolution images and these were being

dumped to tape well the omnia project

has been a testbed for us in order to

experiment with new imaging techniques

with producing video on a great

Cathedral to animate the cathedral with

Softimage an advanced animation package

to create moving images because we've

never had moving images in the classroom

before at Columbia in teaching art

history

we found that that is particularly

effective and bringing three-dimensional

objects like a great Cathedral across

the students many of whom probably have

never seen a cathedral like omnia before