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Engineering the Impossible: Chartres Cathedral | National Geographic


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the church was extremely powerful it was
powerful in regard to belief it was
powerful in regard to political control
dr. Amy Livingston of Wittenberg
University Ohio believes that politics
was at the heart of chartreuse creation
the bishops we’re very much a part of
the political structure of medieval
Europe with such high stakes bishop Brno
knows the choice of architect or master
builder is crucial the search for the
right person could take years
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yet within weeks of the fire before the
search even gets underway an architect
who claims he can build the new
cathedral steps forward today his name
is shrouded in mystery there’s no record
of who this person was so we don’t know
how he was found where he came from we
don’t really know anything about him
journalists and Arthur dr. Philip ball
is intrigued by this enigmatic architect
it seems clear that he must have been
someone who had a lot of experience but
beyond that we know nothing
but he must have impressed Renault as he
is appointed master builder of the new
shot Raqqah Theed rule it’s a daunting
challenge the old cathedral was long and
narrow
but a common shape is not enough for
Bishop or know he wants his new
cathedral to be the cutting edge of its
day
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he transforms the rectangle
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– a cross across large enough to be seen
by God in heaven
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it’s an ambitious vision but at its
heart are three simple shapes the
Builder would use simple geometric
shapes for the cathedrals design for
professor Michael Davis of Mount Holyoke
College such shapes were crucial to
medieval architecture these would be the
circle the square and the equilateral
triangle these shapes were included in
every aspect of the cathedrals design to
the medieval mind the circle square and
triangle were uniquely harmonious
reflecting man’s desire to be at one
with a divine spirit
the circle is a sacred symbol of purity
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outside a circle can be drawn a perfect
square by diagonally bisecting the
perfect square we arrived at four
triangles
every single element of the design uses
derivatives of these three shapes
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