19th Century Architecture

Mister Schiffle was a notable draftsman who produced a significant drawing of a stairwell published in his collected works around 1840.
The published print illustrates:
- The upper floor of the stair hall, which is more open compared to the lower floors.
- A screen of columns separating the hall from the outside.
- The staircase leading to a landing, from which a corridor extends, populated by well-dressed early nineteenth-century Germans observing museum exhibits.
This perspective reveals the intended use of the staircase.
Modern modifications include a wall of glazing which, while preserving some of the design, diminishes its original effect.

The central room of the building is topped by a dome, encapsulated in a white box set back from the main facade, and rises above the roofline of the museum.
A painting shows the dome’s appearance, revealing:
- A two-story space with Corinthian columns on the first floor.
- A second floor that is devoid of columns.
- A hemispherical dome with coffers features an opening at its apex, which is glazed to prevent weather interference in Berlin's cold and rainy climate.

The hemispherical dome with an ocular opening resembles the Roman Pantheon, which also incorporates:
- Corinthian order columns on the first story.
- A second floor with minimal columns.
- A dome featuring coffers and an open oculus.
In contrast, the Pantheon's oculus is directly exposed to the elements, unlike the glazed dome in Berlin.
The design by Schenkel reflects an architectural eclecticism:
- The exterior remains Greek, while the interior showcases Roman elements.
- This fusion signifies Schenkel's versatility in design styles while acknowledging historical influences.

In the 1830s, Schenkel expanded his architectural repertoire beyond ancient Greek styles, including:
- A church designed in Berlin with three distinct proposals in various architectural styles, of which the Gothic design was ultimately chosen for construction.

The Gothic revival is epitomized by the Houses of Parliament in London, located on the banks of the Thames River in Westminster.
Historical Context of Westminster:
- Derived from Westminster Palace, historically utilized by the English monarchy but reassigned to Parliament due to diminished royal use.
- A significant fire in 1834 led to the construction of a new Parliament building, following an architectural competition.

Architects were instructed to design in either Gothic or Elizabethan styles only, excluding classical architecture.
Reasons for the restriction include:
- The close proximity of Westminster Abbey, a notable Gothic structure, influencing the desired stylistic approach.
- Preservation of the remaining parts of Westminster Palace, harmonizing new construction with existing Gothic architecture.
- A cultural revival of Gothic architecture in response to its historical significance and royal ties to the Middle Ages.

Throughout the late 18th century, various European countries attempted to claim the origins of Gothic architecture, often with incorrect assertions.
Notable figures, such as the German poet Johann Wolfgang von Goethe, erroneously credited Germanic roots to Gothic architecture through essays like 'Von Neutsche Mauthwitz'.
Actual invention of Gothic architecture is traced to Northern France and spread to England post-1066 with the Norman conquest.

The design of the new Parliament building aimed to evoke English identity and connection to medieval traditions in governance.

A remnant of the old Westminster Palace, known for its large size and ceremonial importance.
Features:
- A hammer beam ceiling, representative of late Gothic construction techniques, built in 1394.

Charles Barry was an architect with a neoclassical background, involved in the competition for the new Palace of Westminster.
Barry engaged A.W.N. Pugin, a Gothic architecture specialist, to enhance his design.
Their collaboration resulted in a successful design that combined elements of both architectural styles:
- Barry structured the building’s plan and sections, while Pugin handled its elevations.

The building displays a symmetrical layout influenced by both Gothic and classical design principles:
- Two houses of Parliament (House of Lords and House of Commons) connected by a central hallway.
- The architecture reflects traditional Gothic elements while also incorporating classic organizational techniques.

The layout includes:
- A central octagonal hall serving as a junction for the two legislative chambers.
- An irregular axis to align with Westminster Hall’s existing structure.
- Several towers, with the Victoria Tower serving as the official entrance for royal visits, and the Clock Tower containing "Big Ben".

The architectural style draws from the perpendicular Gothic tradition, reflected in:
- The vertical and horizontal lines of the design, as seen in the windows and façades of the building.
Details such as pointed arches, crockets, and crowns, along with unique Gothic enhancements, signify Fuget's creative contributions.
Heights of towers: Victoria Tower at 323 feet and Clock Tower at 315 feet.

The House of Lords features rich design with intricate stained glass and a grand hammer beam ceiling, enhancing its ceremonial atmosphere.
The House of Commons, in contrast, is simpler and reflects post-war reconstruction efforts after being damaged during the Blitz in 1940.

Pugin expressed dissatisfaction with the Houses of Parliament, feeling it was not truly Gothic:
- Predominantly classical in structure, criticized for lacking authentic Gothic characteristics.
- The architectural community did not share Pugin’s sentiments, as the building gained public acclaim.

Pugin published works advocating for the superiority of Gothic architecture, contributing to architectural discourse in the 19th century.
His polemical book "Contrasts" argues the decline of modern taste by comparing contemporary buildings unfavorably against Gothic designs from the 14th and 15th centuries.
Pugin utilized sketches to illustrate the harmony and aesthetic appeal of Gothic architecture compared to modern equivalents, emphasizing a nostalgic view of Gothic purity.