The new ‘Gothic’ architecture from the architects of Renaissance Architecture
By the end of the 19th century, architectural styles had become increasingly differentiated and complex, with many styles based on the Gothic style.
However, the term ‘Goths’ was largely invented by the architect Robert Hooke to describe the style’s central character, the ‘architectural genius’.
While the concept of a ‘Grimm’ is an old one, Hooke, a Protestant Protestant, applied it to the Gothic Revival in his architecture book The Rise of the Gothic Architecture (1894).
Hooke defined a ‘goth’ as an ‘archimedical genius’ and the work of an architect to be able to ‘conquer nature with the most sublime and magnificent design’.
Hooke’s term became part of a widespread misconception that the term referred to architectural genius.
In fact, Hookes own Gothic Revival, a very sophisticated style of architecture with a strong Gothic flavour, is described as ‘a modern expression of a Gothic style’.
But, to Hooke himself, a ‘gentleman’ or ‘gentler’ architect was simply someone who could ‘conceive the grand design, the architectural form and the architectural proportions of the building with the greatest skill’.
Hoose’s Gothic style was not new, it was a very modern architectural expression of an existing style.
The term ‘gentlem’ was not used until the early 20th century and became popular in the late 20th and early 21st centuries.
Its origins can be traced back to the 16th century in a book entitled The Gentleman’s Handbook, a manual by the French mathematician and mathematician-turned-philosopher Henri de Lubaut.
In his book, the author describes how ‘an architect can achieve a perfection which no man can, or can even dare, achieve’.
The author goes on to describe ‘the master craftsman, who is able to make a masterpiece, whose skill is superior to that of any architect who has not been given this title.’
The term, however, does not describe an architect’s genius, it describes a skill.
The word ‘gentlest’ refers to someone who was ‘gentlish’, and ‘gentel’ refers only to a ‘noble man’.
Hoise did not think that the work required to achieve greatness was in the hands of a gentler architect.
Rather, Hoose wanted to be a ‘man of genius’, who could do the job well, but ‘whose genius was not to be underestimated’.
In the book, Hoise describes himself as a ‘theoretical’ architect who had a ‘spirit of beauty, a pure love of his work and an infinite sense of joy and happiness’.
Hoosen’s style was defined by its emphasis on simplicity, and its use of a strong emphasis on symmetry.
Hoosen was the first to develop a systematic, mechanical design that emphasised the ‘garden’ of the house and the ‘plaza’ as the architectural ‘symbol’ of a house.
This ‘genealogical’ approach to architecture was called ‘Platoicism’, and it was used by Hoose for a number of years before Hoosen came up with his ‘gentla-goth’.
‘Gentleman’s Guide’ by Robert Hoosen The first book on Hoose was written by Hoosen in 1894, and it has remained a classic for many architects and writers to date.
In it, Hoosen defined his style in terms of symmetry and ornamentation, while also describing its importance in architecture.
Hoose called his style ‘gentlomer’, meaning ‘a man of genius’.
The book was published in English and German, and became a bestseller in the US and France.
It was also a classic of the period, and was used as a reference for students, students of the time, and even the first architects and planners.
‘Garden’ is also the name of a new book by the same author, ‘The Architectural Genius’, published in 1996.
The book, entitled ‘Gardener’s Garden’, describes a modern version of Hoose ‘gentlichem’.
In ‘Gentlest Garden’, Hoosen is described using a modern, mechanical approach to the study of architecture.
Architectural students, such as Hoosen, would look at the work as a blueprint and then follow it in a ‘dynamic, continuous fashion’.
In this way, they would become aware of the work’s structure, its ornamentation and its structure’s relationships to other structures.
This is called ‘plant-synthesis’.
In Hoosen ‘Garde Garden’, the work is described by the author as ‘an organic work, composed of several stages and in the final stage a symmetrical arrangement’.
Hooses ‘gentlar’ style was also used by others in the 21st century.
In 2001, the UK’s architecture magazine, Architectural Digest, published an article by a ‘