Chapter 5: Romanesque and Islamic Design

 

Chapter 5: Romanesque and Islamic Design

This week, I learned about Romanesque and Islamic design, two important design traditions that developed during the medieval period. Mark Hinchman’s History of Interior Architecture: Furniture, Design, and Global Culture places Romanesque and Islamic design together in Chapter 5 and shows how architecture, interiors, furniture, and decorative arts were influenced by religion, culture, materials, and different regions of the world. In the current edition, Chapter 5 begins on page 59 and continues through the Romanesque and Islamic sections before Chapter 6 on Gothic design.

Romanesque architecture developed throughout Western Europe during the 11th and 12th centuries. One of the main things I noticed about Romanesque architecture is how heavy and solid the buildings appear. Thick stone walls, rounded arches, large columns, vaulted ceilings, and relatively small windows were common features. These buildings often have a strong, almost fortress-like appearance. Romanesque churches were also designed around religious functions, with long naves, aisles, transepts, apses, and spaces that could accommodate worshippers and pilgrims.

 

One building that stood out to me is Speyer Cathedral in Germany. It was begun in 1030 and became one of the most important examples of Romanesque architecture. Its massive scale, rounded arches, towers, and vaulted spaces demonstrate the structural character of the style. UNESCO describes it as one of the most significant Romanesque monuments in Europe.

I also found the interiors of Romanesque churches interesting because the structure itself becomes part of the design. Instead of hiding the massive walls and structural supports, the architecture makes them very noticeable. The repeated arches and columns create a strong rhythm throughout the interior. The stone construction also helped create a feeling of permanence and strength.

Another important part of Romanesque design was sculpture and decoration. Sculptures were often placed on doorways, capitals, and other architectural elements. Biblical stories and religious figures were used as decoration and could also communicate religious ideas to people who could not read. Autun Cathedral in France is a particularly important example because of its Romanesque sculptures associated with Gislebertus.

 

The other major design tradition covered in this chapter is Islamic architecture and interior design. Islamic design developed across a large geographic area, so there are many different examples and regional variations. Some characteristics that stood out to me are geometric patterns, repeating designs, decorative tilework, arches, courtyards, fountains, calligraphy, and detailed surface decoration.

The Alhambra in Granada, Spain, is one of the examples that I found especially interesting. The Alhambra was developed as a palace city and includes courtyards, gardens, water features, palaces, baths, and other spaces. Its design demonstrates how architecture, landscape, water, and decoration can work together. UNESCO describes the Alhambra as an important example of Nasrid art and Islamic architectural tradition.

 

Something I especially noticed about Islamic design is the importance of patterns and repetition. Geometric designs can cover walls, ceilings, floors, screens, and other surfaces. Water is also an important part of many Islamic gardens and courtyards. At the Alhambra, water channels, pools, gardens, and architecture were carefully connected.

Overall, Romanesque and Islamic architecture are very different, but both show how strongly design can reflect culture and religion. Romanesque architecture often emphasizes heavy construction, structure, stone, and religious storytelling, while Islamic design often emphasizes geometric patterns, courtyards, water, light, and detailed surface decoration.

Favorite Historical Examples

1. Speyer Cathedral — Germany

I like Speyer Cathedral because of its massive scale and strong Romanesque character. The thick walls, towers, rounded arches, and vaulted spaces make the building feel powerful and permanent. UNESCO identifies it as one of the most important Romanesque monuments in Europe.

2. Durham Cathedral — England

Durham Cathedral is another good example of Romanesque architecture. Its heavy stone construction and repeated arches create a strong visual rhythm.

3. Santiago de Compostela Cathedral — Spain

The interior of Santiago de Compostela shows how Romanesque architecture created a strong processional space with repeated arches, columns, and a long central nave.

4. Alhambra — Granada, Spain

The Alhambra is one of my favorite Islamic examples because of its courtyards, water, arches, geometric decoration, and connection between architecture and landscape.

5. Great Mosque of Córdoba — Spain

The repeated red-and-white arches of the Great Mosque of Córdoba create one of the most recognizable interiors of Islamic architecture.

Current Applications

Even though these styles developed hundreds of years ago, I noticed that many of their ideas are still used in contemporary architecture and interior design. Designers today may not copy an entire historical style, but they can use individual principles such as arches, geometric patterns, natural light, courtyards, water, decorative screens, and repetition.

  

1. Romanesque Revival

Modern and historic revival buildings sometimes use the rounded arches, masonry, repetitive arcades, and heavy appearance associated with Romanesque architecture. The Romanesque Revival became especially visible in the United States during the late 19th and early 20th centuries.

2. Geometric Islamic Patterns

Geometric patterns continue to appear in modern floors, walls, ceilings, screens, furniture, and decorative surfaces. These patterns can provide visual interest while still creating a sense of order.

3. Mashrabiya Screens

A particularly interesting modern application is the mashrabiya, a traditional type of screen used in Islamic architecture. Contemporary architects have adapted the idea to control sunlight, provide privacy, and create decorative façades. The Al Bahar Towers in Abu Dhabi use a contemporary, responsive interpretation of mashrabiya screens.

4. Courtyards and Water

Modern designers also continue to use courtyards, gardens, and water features to connect buildings with nature. This is similar to the way Islamic architecture often combines architecture, gardens, water, and shade.

5. Modern Islamic-Inspired Interiors

Contemporary interiors can use Islamic geometric patterns, arches, decorative screens, and natural materials without reproducing an entire historic building. This allows designers to take traditional ideas and adapt them to modern lifestyles.

One Step Further: Gislebertus

For my One Step Further, I chose Gislebertus, a Romanesque sculptor associated with the Cathedral of Saint-Lazare in Autun, France. He is especially interesting to me because his work shows how art could become part of the architecture instead of simply being something placed inside a building.

Gislebertus is associated with the sculptures of Autun Cathedral, including the famous Last Judgment tympanum and numerous carved capitals. His work dates primarily to the first half of the 12th century. The sculptures contain biblical stories, figures, animals, and decorative foliage.

  

One of his best-known works is the Last Judgment on the west portal of Autun Cathedral. The large stone sculpture shows Christ at the center with different figures arranged around him. The dramatic poses and expressions make the scene easy to understand visually.

Another work associated with Gislebertus is the Dream of the Magi capital. The sculpture shows the three sleeping Magi while an angel wakes one of them and points toward the star. I like this piece because the sculptor was able to tell an entire story within a relatively small architectural element.

The Eve relief is another interesting example. The elongated figure and detailed carving show how Romanesque sculptors could create expressive figures while still working within the limitations of stone and architectural surfaces.

One interesting detail is that scholars have debated whether the name Gislebertus on the portal definitely identifies the sculptor. Smarthistory notes that some newer scholarship questions whether the inscription refers to the artist himself or another person connected with the cathedral. This makes his work even more interesting because there is still some uncertainty surrounding the person behind these sculptures.

Closing Reflection

After learning about Romanesque and Islamic design, I understand more clearly how architecture can reflect the culture and beliefs of the people who create it. I was especially interested in how Romanesque buildings use heavy stone, rounded arches, and repeated structural elements to create strong and lasting spaces. I also really liked Islamic architecture because of its detailed geometric patterns, courtyards, water features, arches, and connection to nature.

 What I found most interesting is that many of these ideas are still used today. Modern designers can take historical principles such as arches, patterns, natural light, courtyards, and decorative screens and reinterpret them in new ways. This chapter helped me see that historical design does not have to stay in the past because its ideas can continue to influence the way we design interiors and buildings today.