INT 231 History of Interiors, Art and Furnishings
Spring 2024
Ruth Hernandez Silva

week 6: Gothic

This week we studied the Gothic era, which was at its height in Europe from the 12th to the 16th centuries. What struck me right away is how different Gothic design was from the Romanesque era that came before it. Where the Romanesque was dark, heavy, and fortress-like, Gothic design was soaring, light-filled, and seemed to reach upwards to the heavens. Gothic architecture is typified by pointed arches, ribbed vaults, flying buttresses, and huge stained-glass windows. These permitted architects to build taller buildings with bigger windows, which filled interiors with light and color in ways never before possible.

Notre-Dame Cathedral, Paris – Famous for its rose windows and tall towers.

Chartres Cathedral, France – Known for its incredible stained glass and perfectly balanced proportions

Inside Gothic cathedrals, furniture and decoration came after the building. Choir stalls, pulpits, and altars were intricately carved in wood. Interiors were not simply functional, but symbolic—everything pointed back to faith, devotion, and God's grandeur. The Gothic period also created intricate patterns for the floors, complex canopies, and tracery decoration. Even smaller items like chalices or reliquaries had the same sense of intricate design.

I was fascinated by how design during this era a matter of beauty was not only but also of engineering genius. Flying buttresses allowed for thinner, taller walls that pushed the weight out and gave the inside more space for art and glass. The effect overall was to make people feel as if they had entered another world, one that was larger and brighter.

Milan Cathedral, Italy

Cologne Cathedral, Germany

One Step Further – Abbot Suger

To expand further, I looked up Abbot Suger, commonly known as the "father of Gothic architecture." He was the abbot of the French Abbey of Saint-Denis and believed that churches were supposed to cause wonder and raise the soul up towards God. When he was in charge in the 12th century, the Abbey of Saint-Denis was reconstructed with features which would define the Gothic style: pointed arches, ribbed vaults, and stained glass.

Suger wrote of the idea of "lux nova," or new light, to account for how stained-glass windows transformed interiors. Light represented the divine, in his view, and the faithful bathed in splintered color and soaring structure would be drawn closer to heaven. The design not only revolutionized the Abbey of Saint-Denis but was copied by cathedrals across Europe.

Suger's ideas remind me that interior design is never really about ornamentation—it's about creating an experience and a mood, too. By refocusing on the way space and light could work in tandem, he completely redesigned the way people experienced sacred architecture.

Closing Reflection:

The Gothic period showed how design can speak of emotion and innovation. The use of engineering innovations like ribbed vaults and flying buttresses wasn't just a response to structural needs—it was a declaration of faith and beauty. The interiors of the Gothic period don't merely feel expansive; they seethe with light and symbolism.

Learning about the Gothic period taught me that interior design history is not merely a history of old styles, but also how the styles shape the modern world. Gothic architecture teaches us that when engineering, spirituality, and imagination are put together, there can be works that will remain for centuries.

Extra Credit: Video Reviews & Links

1. The Gothic Cathedral (Smart history)

   • Watch here

   • Explains Gothic cathedrals with clear visuals of pointed arches, ribbed vaults, and flying buttresses. It helped me understand the engineering behind the beauty.

2. Gothic Architecture Explained (The Art of Architecture)

   • Watch here

   • Focuses on the symbolism of light and stained glass. I liked how it connected architecture with spiritual meaning.