Geometry and feeling a case study in Gothic architecture and derived artworks

I begin by summarising the history of Gothic architecture and its structural principles. Next I explain the impact of numerology, geometry, perception and the golden ratio on the design of Gothic architecture. I then attempt to define what an emotional response is and consider how this can be measured. Next I review relevant literature from my field of study with a focus on the connections between art, architecture and emotion. I recount my visits to three cathedrals that I based my work on. During the visits my aim was to measure whether an emotional response can be generated from architecture and I record qualitative data from my findings. Following this I analyse artists who explicitly use geometry and emotions within their design concepts. After my research I include a summary of the experiments I conducted based on my prior findings and thesis statement. I explain the process of extracting geometry from the Gothic cathedrals that I visited and then I recall experimenting with optic angles in an attempt to mimic an experience of visiting a Gothic cathedral. I then explain the steps I took to create my final exhibition piece which was based on my findings. Next I give an account of my final exhibition piece Optic Cathedral and evaluate whether an emotional response is present from the audience. In order to assess my work fully, I survey a number of audience members and record the qualitative data that I collected. Finally I consider whether an emotional response is present from my derived work. I also debate whether qualitative data is reliable and whether emotional responses can ever truly be measured. Lastly I conclude that my derived work does in fact emulate the emotional response one receives when in the presence of a Gothic cathedral.