Architectural Forms

Posted: March 27th, 2020

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Architectural Forms

Architecture has always possessed a healthy relationship with art history. Firstly, aesthetic values have always been incorporated in the design of buildings and similar public structures. Subsequently, functionality assumed an imperative role in the development of these architectural frameworks. After all, these structures were created to serve specific public functions such as religious events, civil ceremonies, and the consolidation of security. In respect to these considerations, building architecture often relied on collaborative relationships between craftspeople, artists, and laborers. This association influenced the creation and development of different architectural forms that characterized buildings and other structures from the Prehistoric era through to the Gothic period. The discourse in question will focus specifically on detailed critical architectural styles that were applied in the respective periods, the aims that the structures bearing these forms planned to serve, and whether the arrangements in question facilitated the gratification of the purposes above.

The first architectural form involves the ziggurat form, which was a pertinent building feature in Sumerian architecture. Structures founded on geometric patterns, which were created during the prehistoric periods, were developed with earth and stone (Stokstad and Cothren 45). This illustrates why pyramid and ziggurat forms were commonly utilized prehistorically especially in the Mesopotamian context. Nonetheless, the use of the ziggurat form in Sumerian architecture was based on religious function, primarily minimization of the distance between the people and the deities that they worshipped. The gods worshipped by the Sumerians at the time were thought to inhabit high places above the mountains (Stokstad and Cothren 83). This, in turn, necessitated the development of artificial hills crafted from mud bricks. The Great Ziggurat at Ur is an example due to the role that it assumed in the past as an establishment for the moon god, Nanna, and her temple (Stokstad and Cothren 83). The structure managed to serve its function because it was the loftiest point and was visible across the city. In this respect, it allowed people to seek spiritual nourishment by enabling them to get closer to the deity in question. Even though access was limited, the space was mostly used for rituals directed by priests.

Another architectural form is the Byzantine form, which was a part of the Roman architecture. Similar to paintings that were based on the style, the Byzantine form was primarily rooted in Common Era Italy at a time when Christianity was the sole religious order in Rome and most parts of Europe. Religious buildings such as churches were based on the Byzantine form especially during the early Christian art period (Stokstad and Cothren 130). The style in question also accentuated the incorporation of triangular segments that facilitated the ceiling domes of the buildings (Stokstad and Cothren 133). An excellent example of the form in use is the Church of Hagia Sophia located in the city of Thessaloniki in Greece. The building’s application of Byzantine architecture is evidenced by the inculcation of pendentives that support the ceiling domes as well as massive open spaces that are evident in the building. Additionally, the form facilitated the building’s religious aim by promoting the incorporation of iconographic glass-oriented mosaics as well as Byzantine Christian art decorations within the interiors.

The last architectural form involved the gothic structure, which was widely prevalent in 12^th century Europe. The gothic appearance was mainly derived from renaissance artists from Italy that largely described the style as a primitive art form devised by Gothic tribes. Nonetheless, the style was applied for religious purposes due to its application in Christian buildings, especially cathedrals. The goal of implementing the respective technique involved incentivizing people to come and show their devotion to Christianity by showing the glory of God with respect to the building’s features (Stokstad and Cothren 189). A perfect example of the form involves the Notre-Dame Cathedral Paris, located in France. Ideally, the structure employs common Gothic features such as column clusters, pointed arches, and vaults that created the impression of proximity to Heaven. Furthermore, other traits such as windows made of stained glass also constitute a significant aspect of the Gothic form as applied in the building in question.

Architectural forms applied from the Prehistoric to the Gothic periods possessed different aims as illustrated by the three structures and buildings evidenced in this discourse. The ziggurat form was used to allow Sumerians to achieve a closer relationship with the gods that they worshipped. The Great Ziggurat at Ur functions as an excellent example of the form in use due to the way it allowed people and travelers to achieve spiritual proximity with the moon god, Nanna, at the temple located at the structure’s tip. The second form, which comprised the Byzantine outline, was intended mainly for the glorification of Christianity. By using triangular concave segments to buttress the massive ceiling domes, the form facilitated the creation of lofty Christian buildings such as the Church of Hagia Sophia in Thessaloniki, which was used largely for worship. Lastly, the gothic style, which was intended to promote the Christian religion across populaces located in 12^th century Europe, was identified by the inculcation of rounded arches, vaults, and column clusters that communicated the extraordinary nature of God’s glory as illustrated by the Notre-Dame Cathedral Paris. Based on the significance that these structures possess, it is clear that the forms assessed managed to fulfill their intended purposes.

Works Cited

Stokstad, Marilyn, and Michael W. Cothren. Revel for Art History Volume I. Pearson, 2018.