Gothic Revivalism in the Architecture of Augustus Pugin Essay

Pugin remained an influential figure in the revival of Gothic design. The gothic style gained popularity in the 19^th century and eventually replaced the Classical style of architecture. We shall focus on the success of Pugin in the Gothic revival (Gere and Whiteway, 1993).

Gothic is an architectural style with its origin in Europe. It dominated the designs of buildings between the 12^th and 16^th centuries. The gothic style gained popularity from the wealth, power, and inspiration of the church. We can see the Gothic style in church and government buildings, and other town structures (Ferrey, 1978).

Kenneth Clarke observed that the Gothic revival led to changes in building designs across the country. He noted that the style changed the face of buildings in England. The design covered churches, townhouses, banks, lodges, insurance companies, and other building structures (Clarke, 1974).

The gothic style relies on a definite architectural design that creates patterns resulting in spaces occupied by wide windows. Classical designs used thick walls to provide supports for the building. Conversely, the Gothic style used narrow parts of walls to provide supports for the building. The rest of the building had windows. The design also used buttresses extensively so as to eliminate the need for large walls. This enabled the architect to achieve a great height and space. The gothic style also created pointed windows. This is aimed at achieving large-sized windows with high windows to create space for light. Windows also had stained and coloured glasses (Davey, 1995).

Gothic architecture emanated from inspirations and experiments. It required skills and imagination. Churches inspired these architects. Gothic revivalists of the 19^th century believed that the style provided a sense of creativity and freedom to craftsmen.

It was the European Renaissance that promoted Classical designs. As a result, the Gothic style lost its status. Proponents of Renaissance ideologies dismissed the Gothic style as “archaic, uncivilised, and even barbaric as the word Gothic referred to Germans who had ransacked Rome” (Ferrey, 1978). In their views, the word was an insult. Classical designs dominated Britain. The design originated from ancient Greek and Rome. It reflected Rome and Greek features of buildings. It dominated Britain until the 19^th century.

The industrial revolution of Europe brought about changes in the appearance of industrial buildings. The works of Augustus Pugin and Thomas Carlyle reflected views of industrialisation based on pre-industrial ideologies. Pugin claimed that the Gothic style reflected Christian views and ideals that the Classical era had erased, and industrialisation posed danger to them. Pugin believed that true Christian values were only in Gothic design. As a result, he advocated for Gothic design. He believed that Classical designs reflected paganism, and he aimed at eliminating its secular forms in modern styles. Pugin believed that architects had to combine arts and culture in their designs. He noted that art was losing its integrity due to the negligence of the Gothic style. Scholars believed that Pugin did not like Classical architecture. They believed that Pugin considered Classical design dissent and that Gothic reflected the long-established history and Christian ideal values. Studies have also established influences of Pugin’s design. Carol Richardson referred to the interior of “the House of the Lords as a Gothic Aladdin’s cave” (Richardson, 2008).

Pugin had two significant rules regarding the building design. According to Pugin, the design had to reflect the true nature of the Gothic style, and these designs had to achieve a significant influence in Arts and Crafts history. These rules stated, “there should be no features about a building that are not necessary for convenience, construction or propriety, and all ornament should consist of the essential construction of the building” (Clarke, 1974). Pugin used his principles in all aspects of design. Apart from buildings, Pugin spread his Gothic style to metalwork, furniture, textiles, stained glass, and jewellery.

After the fire of 1834 that gutted the Houses of Parliament, Pugin and Charles Barry worked together to design and create construction for the Houses of Parliament. Pugin produced all the interior designs for the Houses of Parliament. The design created one of the most iconic buildings in the world. The Houses of Parliament reflected the “history of Great Britain, the need to balance the Crown’s power and power of the people, and representation of the human soul” (Richardson, 2008).

Pugin reached the peak of his work in the 1840s. At this time, Pugin had reviewed his theoretical views about the Gothic style and its revival. Consequently, he was liberal and no longer biased from the religious point of view.

After the death of Pugin, the Gothic revival continued with the works of George Edward and Burges Williams who used the Gothic style in furniture, internal designs, fittings and furnishing of buildings.

John Ruskin also supported Gothic revival. He was a fierce critic of Classical architecture. He argued that the Classical style demanded perfection and put pressure on constructors whom the system considered slaves. Ruskin regarded the Gothic style as a design for freedom and craftsmen. He also claimed that the work was a “noble and honest creation even if it lacked a perfect finishing” (Parry, 1996). The idea of ‘Savageness’ originated from the belief in natural and honest imperfection. Savageness became popular in Arts and Crafts movement during the Gothic revival. Ruskin opined that building designs should rely on the needs of humans instead of following rigid and prescribed standards. In addition, the architect should be free in order to adapt and change based on human needs from the building. This led to the idea of ‘Changefulness’. Changefulness gained popularity during the Gothic revival.

The Gothic revival indicates “the importance and influence of Arts and Crafts Movement in history” (Parry, 1996). The Gothic revival shows how designers valued their works, creativity, and believed in deriving meaning from their designs. Gothic revival also highlights the importance of creative design, purposeful, and functional buildings, instead of putting emphasis on decorations alone. Gothic revival and its proponents believed in the honesty and integrity of their works, which they achieved through construction using natural materials. With reference to design, Gothic style designers believed that the structure of a building should expose itself. This enabled people to observe creativity, honesty, and appreciate that ingenuity, which resulted in structures holding the building together. Gothic designs used the natural beauty of construction materials coupled with crafted handwork in order to provide creations that demonstrated the handiwork of God.

In the middle of the 19^th century, the Gothic revival sparked debates that resulted in its popularity. People believed that it would free them from the oppressive and rigid Classical views. They found the Gothic style appealing due to its ability to evoke past medieval memories and barbarism associated with medieval periods. It also reflected the human endeavours, acts of heroism, and liveliness of England in the middle periods. Studies have also recognised William Morris in the development of the Arts and Crafts Movement of the time (Parry, 1996).

Atterbury notes the influence of Pugin and writes that Pugin was a prominent designer and architect of the 19^th century (Atterbury, 1995). He gives credit to Pugin for his contribution to medieval art and architecture. He also credits Pugin with the establishment of the manual for Gothic revival through his writings on the subject in the 19th century. Pugin brought the idea of modern interior design. Pugin used colour, design, and ornaments as he strived to introduce and reflect Gothic design in every work of art in modern times (Pevsner, 1991).

The Gothic style persisted in the 20^th century. However, developments in technology, which introduced the use of steel frames and elevators, led people to think that the Gothic style was obsolete. The Gothic style spread to New York and Chicago. By mid 20^th century, the Gothic style incorporated some aspects of modernism by using technology in designs. Architects believed that Gothic architectural designs were honest expressions found in the technology of the time. These architects were proclaimed to be the rightful heirs of the Gothic revival in modern times through their steel structure.

The gothic style still found its way into the second half of the 20th century. Massive church buildings still relied on the design in order to reflect traditions. In America, Gothic architects claimed that the Gothic style remained uncontested inheritance from ancestors. The works of Gothic are prominent in New York Cathedral and Princeton University. After the 1930s, structures using Gothic design were reduced. However, churches still rely heavily on the Gothic style up-to-date (Brooks, 1999).

According to Lewis, the Gothic revival movement became more than “a fashion craze for pointed arches and pinnacles” (Lewis, 2002). Lewis noted that Pugin subjected every piece of art to great intellectual scrutiny with reference from medieval ages as an ideal platform. This is what he could use to judge the work of art and perceptions of modernism. The belief in Gothic revival covered entire Europe and the US after the 18th century. This is how the Gothic revival changed the architecture face of Victorian England. The gothic design soon overtook its historical and religious background as it became the ideal design for governments serving their political and national interests (Spooner, 2007).

The gothic design remains iconic in major buildings of England and the world. Today, Gothic design shows both modernity and traditions achieved through a combination of modernity and Western architecture from the inspiration and ingenuity of the middle ages (Bergdoll, 2000).

Scholars and architects celebrate Pugin as the figure behind the Gothic revival. The work of Pugin in the Palace of Westminster reflects Gothic ideas and dismisses the Classical architecture of his time. The building reveals the traditional beliefs of Pugin. He aimed at establishing a moral society that dated back before the classical era. This was the period when the Catholic religion dominated Wales and England.

According to Richardson, the Palace of Westminster also reflects the ideals of the British government (Richardson, 2008). This distinctiveness also represents the common name of the House of Parliament, which also serves as the Queen’s residence during ceremonial occasions. Major renovations have not interfered with the original Perpendicular Gothic design. The work reflects the idea of Gothic ideals through its architects who incorporated complex history and tradition of pre-modernism.

Reference List

Atterbury, P 1995, A. W. N. Pugin: Master of Gothic Revival, Yale University Press, New Haven.

Bergdoll, B 2000, European Architecture 1750-1890, Oxford University Press, Oxford.

Brooks, C 1999, Gothic Revival A&I (Art and Ideas), Phaidon Press, London.

Clarke, K 1974, The Gothic Revival, Icon Ed, London.

Davey, P 1995, Arts and Crafts Architecture, Phaidon, London.

Ferrey, B 1978, Recollections of A.N. Welby Pugin, and his Father, Augustus Pugin, Scolar Press, London.

Gere, C and Whiteway, M 1993, Nineteenth-Century Design: From Pugin to Mackintosh, Weidenfield and Nicholson, London.

Lewis, M 2002, The Gothic Revival (World of Art), Thames & Hudson, London.

MaCarthy, F 1974, All things Bright and Beautiful: Design in Britain 1830 to today, George Allen and Unwin, London.

Parry, L 1996, Catalogue for the William Morris Exhibition, Victoria and Albert Museum, London.

Pevsner, N 1991, Pioneers of Modern Design: From William Morris to Walter Gropius, Penguin, London.

Richardson, C 2008, Pugin and the Gothic Revival: Tradition and Dissent, The Open University, London.

Spooner, C 2007, Contemporary Gothic, Reaktion Books, London.