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Andres Quevedo

Gothic morphology, a derogatory name because its origin is not dark or gloomy, on the contrary, these works were the greatest advance in Europe in the new millennium (1400 AD), they started from the construction of semi-circular arches in a random sense due to their structural support intrinsic to formulation and planning. Those who possessed this knowledge had real power in such a way that they consolidated the visualization of Catholicism for 300 years. But what does Gothic architecture mean? It was the significance of light, the search for the representation of faith, wanting that intangible feeling and this element that surrounds us every day, which can be obtained any day during sunny hours, is transformed into a volume, a palpable volume, something that could even be carried in the hand, the weight of light.

The large windows that were consolidated transformed the daily experience into an almost literary allegory of what faith meant. The exorbitant scale of the human point only goes back to the search for God, reaching so high that its indexes collide with the power of all the stars. The exterior forms modify the incidence and complicate the possibility of visualizing the work in such a way that it only leaves room for the wildest passions, Gothic architecture is the achievement of man to dominate the light in the feudal era, how to think about the possibilities of this work ?, they only make it clearer how the search and conflict resolution is the architect's first job.

The monument to the Gothic reveals the greatest contributions and signifiers of this architecture, the monumentality of an unusual scale with its surroundings, the path of faith represented in the union of the ribbed vaults. In addition to the light or in the company of it, a second factor must be added, the shadows, because when one exists it is always a consequence of the generation of the other, the aversion of both and their union causes the formation of the interior.

The work was located in Paris, on the intersection of two avenues in a large green area, so that its surroundings in turn emphasize the semi-urban past, between the crosses the pure form is kissed, a crossing of pointed arches in ribbing that is they interconnect forming Xs at their intersections, carved with ceramic blocks, the arches are the structure and poetics of this work. The multilevel communication of the Gothic monument is scaled by a communication of ramps that allow us to appreciate the volume of light that passes through the arches, the floors communicate and when ascending we can denote how the light soothes and roots with the Gothic past.

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