مهندسین مشاور آسه مهر
The time interval between the twelfth century and the early sixteenth century is called Gothic art. In the seventeenth century, this style was attributed to the tone by humiliating to the Goths of a European Berber family. Gothic art began from France and walked into England, Spain and Germany. At the beginning of the Gothic period, in around the year 1150 AD, the area that was a chronology of Gothic art was limited to the state of two France–the city of Paris and its suburbs, which was counted as the special realm of the French kings. It is necessary to remember that the formation of French Gothic architecture was rooted in the Anmegolestan architecture in the رومانسک period. The first gothic word was used in the art of architecture and the art of the mentioned style was well known. It has been in the last 100 years to discuss Gothic configuration and painting. Modern architectural history experts, in contrast to the simple perspectives that existed in the past, have created a complex and confusing interpretations of Gothic architecture. In general, three dominant approaches govern: structural approach, visual elegance and symbolic.
The first approach emphasizes on the stone structure of Gothic architecture structure and is explored in terms of engineering work. The creators of the رومانسک do not have another concern in the transformation of the heavy walls of the stone container. They raised this perspective in the nineteenth century, Gothic, with a close relationship with the new technology of iron and steel architecture. In this view, in the overall segmentation of architectural structures, the Gothic style had no significant difference with Crystal Palace or Eiffel Tower.
The second approach is the Gothic architecture of the visual Arts (visual), or it is part of the aesthetic knowledge that emphasizes the role of repeating lines, which is in the visible part of the interior, and the shape of the flat and living, to the board The space is adorned and light and dynamic.
Others emphasize the role of lighting in this type of architecture, not only against the light effect that shines from the outside of the colored glass, but also the impact of the phenomenon known as the exponential yarn in Gothic style. The yarn decreases by creating laminated and visible layouts of the strength and hardness of the structure. Such samples are referred to below.
The interior of the Gothic architecture is similar to the چترمانندی layers, which are located in a متحدالمرکزند and inside each other, or by the diagonal of the shape, or the different forms of the molds in contrast with the simplicity that exists in the رومانسک style does not leave any doubt about this. But building, for example, the complexity of the amine church without strong and profound emotional, is not based on structural and visual considerations. During the vogue of Gothic style, symbols are a major part of religious currents and intellectual in churches. The process of enlightenment was the اسکولاستیسم philosophy of the (Modarresi), and the most famous of it was St. Thomas (1225-1274), whose theological (Summa Theologica) is a review of the religious and intellectual thoughts of his time. There are strong links between the اسکولاستیسم and the Gothic architecture, including the encyclopedias encyclopedic views, adornment the church with the stone and glass, or a close association of the church building, with rubber statements. اسکولاستیسم can be considered a cultural mirror of the Gothic church. But this interpretation includes all the excitement and magic of architecture — which is less focused on reasoning and more on penetrating symbols. The church is a symbol of Jerusalem, a heavenly city that lives in the Gospel and St. Augustine in the City of God (The City of God) as the final destination of near (forgiven). Building the church as the House of God on Earth, it must be بنمایاند from that other world: with sculptures and colored glass, and the sheer movement upward and topping, and of all the more fundamental by making the sublime pink of the limitations of this world which was both pleasantly association and Also calculated. The pinnacle of architecture in the age of faith is the visual inference of the medieval man of transcendental reality. The only kind of justification is the design of the Gothic church and the religious feelings seen in its buildings. This is the quality of the heavenly dream, which becomes shocking in the initial collision. The overweaving in the Gothic church puts other funds on the building in the right perspective. The architects put the symbolic view of their main goal, which was truly consistent with the desired hierarchy in the philosophy and the rest of the details were formed to achieve this goal, and the apparent characteristics (such as: space, light, line and geometry) create the sublime atmosphere of building. Structural characteristics (arched veins, sharp arches, stretch backs) also create visual factors.
The surrounding behind the suspended straps that have taken the church are preserved forms that create a dream space within the building. These forms are remembered for the viewer that is present within the church's building, the bezel behind the tabs. In such a way that they only rely on the supernatural force, the miracle, and the divine grace. That is the heavenly style.
Gothic also has many similarities in bizansi style. The Church of Ayasvfyh is a dokhtare of the church of the amine, not only in terms of conception, but in terms of its values globally in Christianity. In both buildings, reasonable geometric structures are created, non-influences. Although our emphasis on the visual and symbolic features of the Gothic church has been more than its structural features, but it cannot be the importance of these features, especially the arch of the rib bone in this kind of architecture. The name of the metaphor refers to the role of gears in human anatomy, as a tissue-plugging and bone-skeletal structure. In the practice of these gears in architecture is not something but the arched arches that usually all three pairs in a rectangular compartment شکا continue to be longitudinal, transverse and diagonal. These are diagonal arches that differentiate the rib bone arches. Because the bezel was surrounded by longitudinal and transverse arches in a compartment arch and a رومانسک style. This difference is not only visually intuitive but also a structural and technically decisive. Crossover gears, along with curved bezel frames, create perfect reinforcement of arches in the main curvature of the original arch. This is its own advantage in the estuary and for that it should be remembered a insul of the رومانسک in the Roman style. In the رومانسک style, there are bumps in the intersection of vertical corners between the two compartments. Although it has advantages over the compartment vault, it also provides many limitations in practice. It is open from around so that light and space are not facing the obstacle and the weight is somewhat concentrated in the corner. But this arch is heavy and requires a huge mold when making. Aside from that, Arch has many technical problems.
The Gothic arches are naturally only enforced on the square map, and even in this case, the overhead lines of the arch of the enclosure-curvy lines are a form of a line that is prevented when making the lines of fine and clean. Arch-Bone is overcome by the obstacles. To understand this point, first, we have to know how to set up a helical arch. The creator of the arch starts mainly with the formation of two arch tracks: The tilting lines are formed in the second stage at the junction of these two arches of song.
Collected by: Mehrdad Noble-Zadeh
arel.ir
