ARCH5011 - FORM AND STR.

OF SPATIAL IMAGE :
PERCEPTUAL PRO. BETWEEN MAN AND SPACE
LECTURER PROF.DR.AYSU AKALIN
2020-2021 Fall

THE DIGITAL NATURE OF GOTHIC

LARS SPUYBROEK & JOHN RUSKIN

PRESENTED BY MUSTAFA DALLI

THE DIGITAL NATURE OF GOTHIC
■ I will start the presentation with Lars Spuybroek. After talking about himself, I will talk about his
discussions of beauty and grace, then John Ruskin's concept of "Vital Beauty" on beauty and John
Ruskin himself. Then I will complete my presentation by talking about Gothic and its
characteristics.
LARS SPUYBROEK&NOX ARCHITECTS
 Architect, theoretician and writer. And the director of NOX
Architects.

 Born in 1959 in Rotterdam, the Netherlands.

 Graduated from the Technical University Delft in 1989.

 1995-2010 – The principal of NOX Architects

 Since 2006 he is a full Professor and the Ventulett Distinguished

Chair in Architectural Design at the Georgia Institute of Technology
in Atlanta. URL 2
URL 1
“ARCHITECTURE MORE THAN EVER HAS ENTERED A STTE OF COLD MINIMALISM ,
BLIND TRADITIONALISM AND MINDLESS MATERIALISM.” – LARS SPUYBROEK

URL 3 URL 3
NOX Architecture - To develop radical and
vitalist architecture. Art ( inspired by Nature and
NOX Architecture - animalistic, express an artificial ideas ) + Digital Tools =
inner force, and at the same time fully Variable Design Outputs
engage with contemporary technology. URL 3 URL 3
LARS SPUYBROEK&NOX ARCHITECTS
■ Spuybroek was born in 1959 in the Netherlands. He graduated from Delft University in 1989. He
established his office called Nox Architects, which he conducted from 1995 to 2010. He has been
working as a professor at the University of Georgia since 2006. Since 2010, he has been working with
more writer and theorist identity.
■ Speaking of architecture, Nox has an understanding that is highly conceptual, inspired by art and
theories, related to the environment (interactive) and combining them with today's digital technology.
A company that is not eclectic, has a holistic understanding and aims to make symbolic structures.
■ As Spubroek wrote at the beginning of his sympathy book, "we must find a way back to the concept of
beauty that modernism takes from us." In other words, he is a person in search, who discusses today's
modernism, mass production and, in his own words, a "colorless and lifeless" world and in terms of
beauty.
BEAUTY & GRACE
 What matters is identifying the ontological turn of beauty, the actual jump
or twist, namely that in the experience of beauty, the parts that make up the
thing are shed or even thrown at you in an absolutely singular form. Parts
that merge into a whole spill out of that whole. Parts that
converge into a whole diverge from that whole.
 Conceptually, grace and beauty are equals… it remains at
the core of beauty. Grace is the beauty of actual
movement, but beauty is the movement of Fredrich Schiller (URL 5)
Leonardo Da Vinci (URL 4) the gift.
1452-1519 1759-1805

BEAUTY IS ARRESTED GRACE GRACE IS MOVABLE BEAUTY

 Radiance denotes the general form of beauty, charis its social form
and the gift its economic form, while existence employs only
specifications of the general form.

Antonio Canova (URL 6)

1757-1822
Three Graces (URL 5)
1819 Gifting Circle in Three Graces
3 Steps of Gifting Circle (Spuybroek, 2014)
(Spuybroek, 2014)
BEAUTY & GRACE
■ Here we have to look at some beauty debates. If we talk about beauty concepts; He talks about beauty
as a perceived act. And he mentions that the concept of beauty is a cyclical form that emanates from a
whole in the form of radiance, that is, radiance, and also has a return as a whole. And he mentions that
the Concept of Radiation, the general form of beauty, the concept of grace or charis, its social form, the
operational form of the concept of giving, and the concept of existing are also related to its general
form, the concept of radiance.
■ If we talk about the concept of grace, he mentions that the concept of elegance is a form of action of
beauty and argues that the concepts of elegance and beauty are inseparable. In explaining this concept
of elegance, he often refers to the concept of charis in Greek mythology. And again, he tries to explain
the charis in this Greek mythology with the three graces sculpture and gifting culture, which is
theartistic representation of charis.
 RADIANCE-EXISTENCE-VISIBILTY

Beauty as a Gift The Pure Generosity of Sun Beauty exist with others
(Spuybroek, Beauty as a Grace of Charis (URL 25) (URL 26)
2014) (Spuybroek, 2014)
«RADIANCE CAN NOT OCCUR WITHOUT STOPPAGE»  For something to exist, there must be the potential for it to
exist with others.
 Radiance, in contrast, relates the gift directly to visibility. The sun is the
ultimate model for relating the handing over of an object to the object «Flowers are beautiful because they have formally
showing itself. It is not just a model of visibility and generosity; it assimilated radiance by organizing themselves
is a model of visibility as generosity. radially.»

«Parts gathering into a whole & Parts radiating from a whole»

 Radiance cannot occur without stoppage. But stoppage is not to be

confused with rest. Beauty makes things step out of time and switch to another
type of movement – one that exceeds actuality – and to a visibility that
exceeds perspective. Three states of existence: a. things as cut off; b. things as radiant; c. things as related.
(Spuybroek, 2014)
RADIANCE-EXISTENCE-VISIBILTY
■ Going back to the concept of radiance, he tries to explain the concepts he mentions by using the Sun as
an example. He supports his argument by saying that the sun is the pure representative of a radiance,
the act of giving with infinite generosity and visibility. And he thinks that radiation cannot exist
without an interruption, but that this interruption should be perceived not as a pause, but as a change or
development, a change in direction and magnitude, that is, a deviation. Which tries to support this
concept of deviation with the concept of Lucretius' deviation.
■ I talked about the concept of existence, he says that the existence of beauty can only be achieved by
having the potential to exist together. In other words, he mentions that beauty in general is a
wholeness, that is, a concept of movement that spreads from a whole and affects the other and returns
to itself.
 VITAL BEAUTY-SYMPATHY-JOHN RUSKIN
Vital Beauty, is the beauty of living things, and it is concerned not with
form but expression, with the expression of the happiness and energy of life,
and, in a different manner, with the representation of moral truths by living
things.

«Vital beauty is a beauty of sympathies and affinities with

life forms. And “Sympathy”, is felt abstraction.»

.
Modern Painters-1843
John Ruskin (URL 9)
. (URL 8)

(URL 14)
Empathy leads us into bodies, and when we are in that body we can
abstractly adapt and take on form. Empathy is the first stage of
sympathy, and abstraction the final stage: the actual act of mimesis. (URL 14)
VITAL BEAUTY-SYMPATHY-JOHN RUSKIN
■ On the other hand, I would like to continue with the vital beauty concept that belongs to John Ruskin.
Because this concept is an important concept for Spuybroek. And it's actually a concept that forms
the basis of all this gothic ontology work. Ruskin first mentioned this concept in his book Modern
painters in 1843. And although the beauty seen before is expressed in magnificent symmetry,
measures, proportions, proportions, Ruskin speaks of beauty not as forms but as sympathy for
emotions, feelings and living things, vitality, imperfect, naturalness, in short, divine feelings. And
speaking of this, he explains that the two sides of our face do not have a magnificent symmetry, the
mountains do not have perfect symmetry or measure, or the branches of a tree do not elongate in the
same way, but we still feel sympathy for them or find them beautiful.
SYMPATHY Henri Bergson; intuition as
simple, indivisible experience
of sympathy through which one
is moved into the inner being
of an object to grasp what
is unique and ineffeable
within it.

Henri Bergson (URL 27)

1859-1941

(URL 14)

Theodor Lipps; Einfühlüng

(Feeling Into) is the fact …
that the opposition between
myself and the object
disappears…
Theodor Lipps (URL 28)
1851-1914 (URL 14)
SYMPATHY
■ I said felt sympathy, it is necessary to talk a little bit about the concept of sympathy here. Because
the concept of sympathy is an important concept for Spuybroek. That's why the title of the book is
also sympathy. Spuybroek says that because we feel the same emotions as the other person, it is a
feeling we feel towards him. And he talks about feeling the same way. And empathy, an often
confused concept, is the first stage of the concept of sympathy, he says. First, putting ourselves in its
place, then abstracting, and finally mimesis. So he describes it as imitation. So to feel as a whole
with the other. He tries to explain this by giving the following example of Theodor lipps. He thinks
that the feeling we feel when we see a tightrope walker we see at a circus losing his balance is
sympathy itself. Because he tells us that there is no difference between us anymore and that we are
becoming him after a while.
JOHN RUSKIN
 Writer, art critic, philosopher and social thinker - 8
February 1819 – 20 January 1900
 He wrote in many different fields from geology,
architecture, literature, education, botany, and political
economy. Chichester Canal – 1828 (URL 18)
 He was greatly influenced by William Turner's approach
to nature and painting.
 He thought that the division of labor that Adam Smith
mentioned in his book The Wealth of Nations, although J.M. WilliamTurner (URL 17)
it increased productivity in production, mechanized and 1775-1851
(URL 9) alienated the human being.

ALIENATION
1-Human alienation from nature - X Fort Vimieux – 1831 (URL 19)
2-The alienation created by capitalism -
✓

Karl Marx (URL 21) The German Ideology William Morris (URL23) Arts and Crafts
1834-1896 Movement (URL 24) Bruial At Sea- 1842 (URL 20)
1818-1883 (URL 22)
JOHN RUSKIN
■ Going back to Ruskin, Ruskin is a philosopher, writer, and art critic who lived in the 1800s. He is a person
who has produced a wide range of works from geology to education, from art to architecture, from politics to
botany. Ruskin grew up in a conservative and protective family. And while he received a strict religious
education by his mother in his childhood, literary works were taught by his father. In fact, in his works and
perspectives, we can see the results of this two-headed education he received in his childhood. As in the Vital
beauty example. John Ruskin was also influenced and inspired by William Turner, one of the pioneers of
Romanticism, and his work. Because, while talking about him, he said that he painted light and especially the
power of nature magnificently and that he awakened deeper feelings than looking at a painting.
■ In addition, as I said, Ruskin is a person who believes in nature, the natural and its beauty, and attaches great
importance to concepts such as handicraft-labor-craft, against modernization and mass production. He has
the idea that industrialization and mechanization alienate people. However, the alienation here should not be
perceived as the alienation of human from nature, which Karl Marx mentioned in the German ideology, but
the second alienation mentioned in the book, that is, a mechanization, an alienation created by Capitalism
and industrialization. His ideas deeply influenced William Morris, who is known as the initiator of the Arts
and Crafts movement, and contributed to the birth of this movement.
 GOTHIC ARCHITECTURE & CHARACTERISTICS
 12th century - 16th century.
 Born in France, later spread to various countries of Europe.
 Gothic architecture emerged with the development of the
Romanesque style.
 Developed for the first time is the "Ile de France" region in the
north of France, covering Paris and its surroundings.
 The first example of Gothic architecture is St. Petersburg, designed
by French historian and architect Abbot Suger in 1122. Denis
Church.
 The name Gothic was first used in the 16th century by the Italian
artist Giorgio Vasari to mean "barbarian" for the architecture
of the Goths that destroyed the Roman Empire.
(URL 12) (URL 13)
John Ruskin pays attention to characteristics of Gothic and Gothic
buildings. But he is not interested in the visible characteristics but he is
interested in arches, the vaulted roofs, the flying buttresses or
grotesque sculptures and also in the unseen characteristics. Ruskin
explains these characteristics in 6 titles. These are;
• Savageness,
• Changefulness,
• Rigidity,
• Naturalism,
• Grotesqueness,
• Redundancy
(URL 10) (URL 11)
GOTHIC ARCHITECTURE & CHARACTERISTICS
■ Before talking about Ruskin's gothic characteristics, I would like to talk very briefly about Gothic. Gothic,
as we know, is the name given to the architectural period between the 12th and 16th centuries, especially in
Europe. An architectural trend that was born in France and then spread to Europe, overcoming the
Romanesque style. And for the first time in the 16th century, the Italian artist georgio vasari used Gothic to
humiliate it, meaning "Barbarian", referring to the barbarian Goths who destroyed the Romans.
■ However, Ruskin Gothic studied Gothic architecture during his travels to Venice and wrote these works as
"The Nature of Gothic" in a part of his book called Stones of Venice. In this section he talked about the
Gothic characteristics. We know gothic with its physical features such as pointed arches, rib vaults, pointed
towers, and flying buttresses. However, the characterisites he mentioned here were not visible but rather felt
characteristics. And these characteristics are examined under 6 headings. These; It has been named
Savageness, Changefulness, Rigidity, Naturalism, Grotesqueness and Redundancy. However, since
Spuybroek examines the first three titles in his book, I will talk about the first three characteristics.
SAVAGENESS
 Constructed by inhabitants of Northern Europe, the
‘savage’ Northerners.
 The production was in cold climate.
 Ruskin associated the quality of savagery with the "
wildness " and " ruggedness " of the workers, with the
Gothic stone carvers and carpenters.
“Imperfection is not a perfect
design where something went wrong
during the execution of the work”.
Stone makers and carpenters had a
certain independence in their
working process. Gothic cutters and
carpenters, journeymen and
craftsmen could control their own
work.

“IMPERFECTION IS IN SOME NOX ARCHITECTS – OBLIQUE WTC

SORT ESSENTIAL TO ALL WHAT
WE KNOW OF LIFE.“
Chartres Cathedral (URL 11)
1220

Amiens Cathedral (URL 10)

1270
Notre Dame Cathedral (URL 13)
SAVAGENESS
■ Our first characteristic is savageness. When we say savagery, of course, we think of an unpleasant
concept. But the savagery mentioned here is mostly in the sense of vital beauty, in the sense of the
savageness of nature. The first cause of savagery was that the first examples of gothic structures were
made by Northern savages. Because the conditions of production were primitive, just like their
characters, mistakes sometimes occurred during material production or construction. And most of the
time, employees left them as they were. According to Ruskin, this was the concept that gave gothic
architecture its unique and vital beauty. Because when Ruskin talks about the savageness in the nature
of the Gothic, he says, “Being imperfect is directly related to being human. Because in order to make a
flawless production, gears must be attached to the hands of the craftsman and scales on his arms.
Which makes it mechanic. He continues saying.
 SAVAGENESS  However, savageness is not expressed by mistakes only. Workers certainly did
not try to make mistakes, nor did they strive for Gothic flaws.
 In Gothic, an architect would not make drawings such as facades, sections,
side facades, axonometry, isometry. Therefore, the architect could not predict
exactly which part would go where and in what form.

(Spuybroek,
2014) NOX ARCHITECTS – ECB
(URL 14)

“A Gothic entity cannot be simply theorised as a ‘body without

organs’, and more often the reverse is the case: organs free to
assemble a body. ... Or, in organisational terms: the division of
work allowed for the freedom of those groups to do their work. It
also means that savageness is over-spilled by changefulness, but
that changefulness is limited by savageness”.
SAVAGENESS
■ However, Spuybroek says we cannot explain the concept of savagery simply as something goes wrong
during production and construction. Because, in Gothic architecture, we can talk about the freedom of
craftsmen, masters and workers to do their work. He mentions that there is an architect concept as a
manager, but that this is not an architect who draws a section-view-plan facade as we know it today.
And he mentions that this division of labor, this freedom, and the decisions made during the
implementation in this place lead to an improvisation, that is, asymmetries in the buildings. In other
words, we can say that this situation leads to the concept of vital beauty of john rusk. Spuybroek
summarizes this situation as follows; "We should perceive this situation in Gothic structures not as a
body without organs, on the contrary, as a body in which organs come together and are free in their
own parts."
 CHANGEFULNESS
‘They were capable of
perpetual novelty.’

‘The vital principle is not the

law of Knowledge, but the
love of Change. ’
(URL 14)

«The element that is not an NOX ARCHITECTS – SON O HOUSE

element.»

(Spuybroek, 2014)
Piers like snow crystals. All are different, different in size,
but also in different combinations.
 Changefulness is the second type of variation, not the
rough variation of savageness, but a smooth or gradual
variation.
CHANGEFULNESS
■ Our second characteristic is changefulness. changefulness is of course a concept related to the
concept of savageness. Because I mentioned asymmetry in structures directly has the concept of
changefulness. But the changefulness mentioned in this characteristic is a softer and more
internally related change. In other words, the variability of the parts is reflected in the whole. When
explaining this concept, Spuybroek mentions that the typology of the columns seen in classicism
is the same. He says it could be elongated - shortened or narrowed in diameter - but still its
typology would remain the same. However, as we can understand when we look at Ruskin's
column plan scheme, each of the plans in Gothic is variable in itself and has different variations
when combined. Spuybroek calls this variability "like a snow crystal".
 CHANGEFULNESS
 The concept of Rib is heart of Gothic. Because the rib is the vehicle of
changefulness, of smooth variation. ‘ Ribs can be in any position: it can
snap into a casing or touch a window, do anything to make a larger
element or member, spread, knit, splash, intersect. They can be
thick or thin, straight or curved. That is why they are the most basic
members of Gothic. ’

(URL 14)

NOX ARCHITECTS – BRIDGE OF LIGHT

(URL 14)
It is the invention of the rib that allows the Gothic to make all
windows different and new each time they are formed. More
importantly, it is not only the combination of ribs that are constantly
different, they also change themselves each time the ribs meet. In short, the
ribs are not moved by an external force (this joins them) but internally,
which is another way of saying that they are changing
CHANGEFULNESS
■ While talking about changefulness, I would like to talk about the concept of rib used by Spuybroek.
Spuybroek; He calls them the heart and most important member of the Gothic, due to their ability to
bend and twist the ribs, to evolve straight-curved or thin or thick forms. He says that thanks to the ribs,
the windows, walls and vaults are all together, and that these ribs differ in each encounter, that is, in
forming a form or structure. And that's why he defines the concept of rib as the most basic member of
gothic because of its feature that allows changefulness and even provides changefulness.
 RIGIDITY
• John Ruskin explains this using a very interesting term: "active rigidity
". Active rigidity is what he calls 'the peculiar energy that gives rigidity
to movement and tension and resistance'. “this rigidity is a form of
action”.
• Movement and activity of figures and structures together on the
structure.
«Things are active, they work, and in doing so they come
together to produce structure.»
NOX ARCHITECTS – D-TOWER

(URL 14)

Rigidity, then, should be understood in the framework of

configurationalism, as having movement and activity on the
level of the figure and togetherness, and rigidity on the higher-
scale level of the configuration.

In the Gothic we cannot distinguish beauty from utility;

beauty is a beauty that Works. … This means that structure,
the becoming of things, is a result of beauty: things feel for
each other and that brings them together.
(URL 14)
 RIGIDITY
In Palladio … it needs to be decorated with leaves, with garlands
and cherubs, with various instantiations from living nature. They
are positioned onto the structure, often on the joints, while the
structure remains for what it is. … In the Gothic, life is in the
elements themselves and, while they are alive, they produce
structure. You may find large ornaments and small structures.
Fences often look like small structures while vaults look like
enormous ornaments.

(URL 14)

NOX ARCHITECTS – Living Web of Shenzen

(URL 14)
RIGIDITY
■ Our third characteristic is Rigidity. Ruskin describes the rigidity character as "Active Rigidity".
Spuybroek defines this active rigidity as "the joint movement and activity of elements, forms or
structures on a structure".
■ And in order to explain the subject better, he makes a comparison between Classicism and Brok
architecture and Gothic in this sense. Because a structure was produced in classicism and baroque and
the decoration was done afterwards. However, he says that in Gothic, the decoration constitutes a
structure and the structure constitutes an ornament. In other words, the elements are active in
themselves, but the combination does not have an eclectic style, they come together in a fluent and
natural way. That's why he says that we cannot distinguish between structure and ornament in gothic.
DIGITAL «RADIANCE CAN NOT OCCUR
WITHOUT STOPPAGE»

SAVAGENESS ?
Michael Hansmeyer (URL 29)

(URL 15)
«VARIABILITY OF ALL FIGURES
AND THEIR RELATIONALITY
MAKE THE GOTHIC THROUGHLY
DIGITAL.» (URL 30)
(URL 31)
The richness of figuration, the reversal
of the baroque-fold argument, the
inherent constructivism of
configurational patterning, the equation
of structure and ornament – all that has
still escaped contemporary digital design.

(URL 32) (URL 33)

DIGITAL
■ So why does he name gothic digitally? I want to talk about it a little bit. As can be seen in all the gothic
characteristics I have mentioned, the common point of the characteristics is that they differ, have
variations, have a fluency and have a holistic while doing this, Spubroek perceives digitally. And the
first thing that comes to our mind is not as a digital that includes calculations electronically, but as a
digital that includes a soul and a discussion of beauty and does it manually. And he talks about what he
actually wants to be digital. He criticizes that this is the point that today's digital design misses - it is a
soulless digital.
■ The reason why I put hannesmayer's works here is actually due to this situation. Yes, the works we see
are designs with variability. And yes, these designs are produced using digital design tools. However,
as I have just mentioned, we cannot speak of an asymmetry, or variability resulting from the
improvisation decisions of the craftsman, which we see in gothic in these productions and designs. And
this is exactly what Spuybroek criticizes. A digital that the craftsman does not add to his soul.
THE SYMPATHY OF THINGS
Thus my attempt is to dig up and steal the most precious corpse of
the English and run away with it as far as I can by developing the
notion of Gothic ontology, which is slowly developed into a notion
of sympathy.

URL 3

(URL 16) URL 3 URL 3

THE SYMPATHY OF THINGS
■ And as I have mentioned in the concept of sympathy, that is, in a holistic and feeling the same way, that
is, with sympathy, he approaches the Gothic, perceives it but not in a way of copying, but wants to
carry it to the present with a thought that draws its own way and interprets it in its own way, and that it
should be transferred to the present, today's digital. Thus, I complete my presentation.
REFERENCES
 Lars Spuybroek, The Sympathy of Things: Ruskin and the Ecology of Design (Rotterdam: V2 Publishing, 2011).
 John Ruskin, The Stones of Venice. Volume the Second. The Sea-stories, 1853, Smith, Elder & Co., London
 John Ruskin, The Nature of Gothic: A Chapter of The Stones of Venice (1892), Research Library, The Getty Research Institute.
 John Ruskin, Works, X: 203.
 Lars Spuybroek, Textile tectonics: an interview with Lars Spuybroek, Spuybroek, L. and Tramontin, M. L. (2006) Architectural
Design, v.76, Nov.-Dec, n.6, p.52-59
 NOX: Machining Architecture, Spuybroek, L. (2004) London: Thames and Hudson Ltd.
 Piotrek Swiatkowski, How to Think Constructivism? Ruskin, Spuybroek and Deleuze on Gothic Architecture, 41.
 Gothic Ontology and Sympathy: Moving Away From The Fold, Spuybroek, L. (2017), In Sjoerd Van Tuinen (ed.), Speculative
Art Histories Edinburgh: Edinburgh University Press
 Sun and Lightning The Visibility of Radiance, Spuybroek, L., . Brouwer, L. Spuybroek, S. van Tuinen (eds.) The War of
Appearances: Transparency, Opacity, Radiance (Rotterdam: V2_Publishing, 2016).
 Charis and Radiance: TheOntological Dimensions of Beauty, Spuybroek, L. (2014), In S. Van Tuinen (ed.), Giving and Taking:
Antidotes to a Culture of Greed. Rotterdam: V2_Publishing. pp. 119–49
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https://pi.tedcdn.com/r/pe.tedcdn.com/images/ted/6c114e3fddd4ba5d37a8c24de
b35a40943219286_1600x1200.jpg?w=1200
 URL 30 - https://inhabitat.com/michael-hansmeyer-unveils-insanely-complex-
plastic-columns-with-16-million-unique-facets/
 URL 31 - http://www.michael-hansmeyer.com/projects
 URL 32 - https://inhabitat.com/the-worlds-first-3d-printed-room-is-a-mind-
boggling-baroque-interior/michael-hansmeyer5/
 URL 33 - https://www.dataisnature.com/?m=200909