Just as Gothic cathedrals have long dominated the perception of medieval architecture, the spectacular drawings of the German lodges have shaped our view of the medieval design process. However, their towering importance has diverted scholarly attention from alternative drafting practices and reinforced the view of a homogeneous Gothic design practice based on quadrature. Historians generally accept that in the 16th century a new Renaissance graphic language challenged and ultimately replaced the Gothic tradition north of the Alps. However, this antagonistic narrative of one dominant practice superseding the other needs to be re-examined because hitherto neglected drawings for other types of buildings reveal that medieval drafting practice was more varied and open to new developments than is often believed. This paper will examine three rare sets of architectural drawings, together consisting of over thirty sheets, made for three stone sluices in the provinces of Utrecht and Holland between 1556 and 1563. They show that for technically demanding hydraulic works, drawings directed every step of the process, from enabling discussion of the most suitable design to guiding the stonemasons in the execution of the work. Moreover, they demonstrate that for such projects, Gothic masters did not adhere to tradition but engaged with new design methods, using scale, colour, and multiple views to convey all aspects of the project, thus indicating that changes in style and method were not always interrelated.

中文翻译：

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哥特式船闸：16 世纪荷兰水利工程的开创性图纸


正如哥特式大教堂长期以来一直主导着中世纪建筑的看法一样，德国小屋的壮观图纸塑造了我们对中世纪设计过程的看法。然而，它们的巨大重要性将学术界的注意力从替代性绘图实践中转移开来，并强化了基于正交的同质哥特式设计实践的观点。历史学家普遍认为，在 16 世纪，一种新的文艺复兴时期的图形语言挑战并最终取代了阿尔卑斯山以北的哥特式传统。然而，这种一种主导做法取代另一种主导做法的对立叙述需要重新审视，因为迄今为止被忽视的其他类型的建筑图纸表明，中世纪的绘图做法比通常认为的更加多样化，对新的发展持开放态度。本文将研究三套罕见的建筑图纸，共由 30 多张图纸组成，这些图纸于 1556 年至 1563 年间为乌得勒支省和荷兰省的三个石闸制作。它们表明，对于技术要求高的水利工程，图纸指导了过程的每一步，从讨论最合适的设计到指导石匠执行工作。此外，它们表明，对于此类项目，哥特式大师并不拘泥于传统，而是采用新的设计方法，使用比例、颜色和多个视图来传达项目的各个方面，从而表明风格和方法的变化并不总是相互关联的。