f DBR - Gothic Psychological Type Essay



The Ideals Behind Gothic Architecture



We all seem to agree that Gothic architecture reflects the nature of the north and would not be a fitting counterpart to the hot and dusty climate of Texas , which is much better matched with Spanish style architecture. However, I think we've overlooked the ideals that ground Gothic style architecture, namely those "characters belonging to the builder--: 1. Savageness or Rudeness. 2. Love of change. 3. Love of nature. 4. Disturbed imagination. 5. Rigidity. 6. Redundance" (Ruskin 539). These elements manifest themselves clearly in Gothic architecture, but I believe they can also be applied to architecture in general, regardless of style.

 

The first element Ruskin discusses is "savageness," which he describes as a "magnificence of sturdy power" and a hardworking, "strong spirit" (543). His descriptions of gothic architecture, hewn out of stone against raging winds, as compared to the seemingly frivolous decoration of southern architecture, seem to connote a utilitarian component of his value of northern architecture. Additionally, in agreement with what everyone has said thus far about UT's architecture reflecting its roots, Ruskin also encourages "the expression by man of his own rest in the statues of the lands that gave him birth" (542). Both of these -- an architecture that reflects the value of hard work and an area's character -- could easily be drawn to other types of architecture.

   

UT's Spanish style architecture reflects its warm climate in the same way
the University of Chicago’s gothic architecture reflects its cold, northern climate.

 

The next ideal Ruskin puts forth is that of "changefulness," or variety, which he insists "is as much a necessity to the human heart and brain in buildings as in books" (546). Universally, I think most everyone appreciates architecture that is varied and engaging over architecture that is static and monotonous. Much in the same way that a good style of architecture should reflect the regional character, it should also "fit itself most easily to all services" (547). Again, any style of architecture could use these ideals.

 

Next, Ruskin discusses love of nature as an aspect of his ideal architecture, and his ideal architect "renders all [nature's] characteristics with as much accuracy as [is] compatible with the laws of his design and the nature of his material" (551). Not only should the architect render nature in form on the building itself, but he should also blend the building into the nature of its environment, as mentioned earlier.

 

Plan II frieze shows a combination of intricate
details of nature and connection with regional elements.

 

Simply, we can translate Ruskin's "grotesque" into imagination and creativity, and "rigidity" to "the particular energy which gives tension to movement" (552), and "redundance" to complexity and "magnificent enthusiasm" (556). These ideals also play into his definition of valuable architecture.

 

Essentially, in Ruskin's view, good architecture should reflect a region's character, be variable and adaptable to a variety of structures, not only display nature accurately but fit in to the nature of its environment, be complex and imaginative, and capture energy in its structure. Arguably, these characteristics could be applied to any style of architecture while still maintaining Ruskin's gothic ideals.