I had been reading a lot around the subject of timber building construction to try to understand the appearance or these types of building. My first port of call was Richard Harris’s Discovering Timber-Framed Buildings this excellent little book explains the construction of these buildings in great detail with lots of helpful, clear diagrams. Based on his writings I started to plan the distances and shapes of my beams and how they would slot together. The following image is the results. I have just added some basic textures and materials to the renders to give an idea about the space that is not bright pink. I also realise that my smoothing groups need playing around with a bit.

Shape of beam bays

Internal beams upper floor

Ground floor showing beamed roof

A window and fireplace from the upper floor

The space the beams need to cross is quite short (about 5m) so there was no need to think about having to bridge the gap using a tie beam or similar approach. The distance the bays are placed apart does not seem to be set. I choose to space them evenly across the entire span about 5m apart as this “looked right” based on photos of other Medieval Roofs I had been using for reference (see below). Before spacing them apart I had to also consider the shape of this part of the frame. I had been looking at the above images of roof beams and decided to not go with a Crown Post and instead use 2 slanting Queen posts.

Wilmington Priory timber roof

Portchester Castle

Brockhampton Estate: The Great Hall

Presenting these images to Graeme and Matthew highlighted a few errors. Matthew suggested that the angle I had used for the Queen Posts was much too slanted, which is indicative of later buildings. Instead he suggested that it would be much more interesting to include a Crown Post or make the Queen Posts vertical.

As there are a number of options instead of just making one decision about how the roof is structured Graeme suggested that instead I create a number of different models with different roofing options, including a crown post and not, moving the number and position of bays around a bit to see if there are any obvious options for lining them up. We also discussed whether there would have been a ceiling concealing these beams. I had always assumed that the rooms would be open to the roof as this is common in halls. I had not really considered putting a ceiling in place on this upper floor.

What I had not considered was how much this changed the appearance of the upper apartment. Until now I had been thinking about them as looking fairly similar situated one above the other. However. when the roof is in place it will transform the upper apartment making it feel much larger and more open. Whereas the lower apartment will feel much more contained.

The second discussion point coming from the meeting was in reference to the beams and how decorated they were or not. We had been discussing them in terms of ornamentation of the type found at Ightham Mote (see previous blog). I asked whether, considering the lack of architectural ornamentation found at Bodiam, the beams, which would be cheaper to carve, would also be devoid of decoration. I had been thinking about it a lot as I need to decide whether I am going to shape them sooner rather than later. Matthew suggested that the question was even more complex as unlike a lot of slightly earlier buildings the household was not a peripatetic one, it was solely based at Bodiam. Which we would have assumed that more of the building would be decorated as it would not have had to have been moved around. So wondering whether the more decayed areas of the building are as plain as the rest of it is a very hard question, which I have yet to find an answer for.

Leafy Bpss

Again unlike at Ightham it is not on display in an obvious entrance or public room, it is concealed in the on the right side of the gatehouse on the second floor. It is not in a room, but more of a passageway which only remarkable feature (other than the boss) is one of the new style gun loops. It is so concealed that few visitors notice it (and even so called experts *myself* spent a good morning wandering around looking at ceilings before I found it!).

Size of Room

It is curious that it is found in this location. As I have already stated at Ightham the majority of the ornamentation is on the public areas of the building. This area of Bodiam is so concealed it is not a display of ostentation as it is in other buildings. It is so concealed and so small we have to question why it is there. The room is tiny it could even be considered a corridor, its only feature is that the gun loop lighting it overlooks the gatehouse: which have been suggested as some kind of porters lodge use. The room itself is very dark even during the day, there is no space to sit in the room, or anything to do there except look out the gun loop. It required such a trained eye to find it it seems wasted here in this part of the building.

Second Floor Windows

First Floor Window Seat

I then had to decide on the number of windows that would be present along this side of the building and their positions. For this I have worked from a combination of observing the standing remains and looking at other reconstructions.

The building itself only offers one clue for these windows right at the northern extreme of the range. Here can be found the bottom of what appears to be a window seat detailed in the photo below. Apart from this much of the standing remains are below the first floor level.

Bottom of window seat at northern extent of range

Moving onto other peoples representations of the building. The National Trust provide a couple of sources for visitors to look at to try and picture that area of the building. The first is featured in the official guidebook and can also be found in John Goodall’s book The English Castle. It shows a cutaway reconstruction of the entire Eastern Elevation from above in a hand drawn style and in another image the courtyard. You can see areas of the courtyard walls detailing windows that are no longer present and internal areas of the building. The view is from a height above the building. The windows shown in these representation are of the same type I have suggested and are pictured below. They position the windows for the second floor directly above those for the first floor and there are four sets spread along this length of wall before you reach the spiral staircase.

The second is used as an aid for the guided tours for children as an interpretation tool. It is a series of stills used in the film shown at the castle and for sale in the shop. The images are based on a 3d model built of the castle by a digital media company for the National Trust. The ones we are concerned with show the courtyard and one of the rooms of the private chambers.The image of the courtyard shows the walls on the eastern edge of the courtyard. It shows the same type of windows as I have intended to use and the same as feature in John Goodall’s book. Again this image details four sets of windows along this section of the building.

Guided Tour Reconstuction

The final source is the model of the castle found in the Northeastern tower in a room above the introductory film about Bodiam Castle. An image of the model can be found below. Instead of lining up the windows on this model they are alterate on the first floor and second floor and on the first floor show alternating single and double windows.

Model of Bodiam

I have decided to go for the same approach as John Goodall as I think this fits more in the style of the other areas of the building. I have decided to feature four sets of windows and space them equally out along the range as I feel this reflects the buildings projected symmetry.

Moving on from these windows the final piece of wall that I had to produce was the gap between spiral staircase and the southern wall. I firstly inserted a set of doors (one on each floor) at the point where the staircase would have been entered. As a reference I used the same doors that had been used one above the other as used for the entrance to the eastern tower as there is no evidence what type of door would have stood there. I felt that if these doors were found in the same space they would look fairly similar.

I made one final decision and this was to place a squint in the wall overlooking the Great Hall. There is no physical evidence for this existing as the wall is entirely gone. I decided it would be appropriate having visited a number of other buildings which have this feature including Ightham Mote and Great Chalfield Manor. I decided as a similar feature is found overlooking the chapel at the other end of private chambers it would make sense to model it on this window.

Ightham Mote, Kent

While looking around I began to think about the experience of entering the great hall. Unlike at Bodiam Ightham has much for ornamentation on the structure of the building. There are decorative panels around the doorways and most importantly a series of engraved faces at the bases of the roof arches. These face in a range of directions and feature different characters. The first of these would have been encountered at the entrance to the hall these feature two (now somewhat eroded) faces. On another entrance in the courtyard the two faces are both gurning one looking sad and the other happy. The two faces on the entrance to the hall could have depicted similar features.

Smiling face to right of door

Sad face to left of other door

Closeup of one of the faces

Entrance to Great Hall faces can be seen on the archway

Other entrance from courtyard

Once through the door you now enter a new entrance room whereas just after the initial construction you would have entered directly into the hall. Another of these faces now greats you from directly opposite the entrance. This one is positioned as if he is holding up the hall. He looks under great strain. This could have links to the idea of lordship in feudal society. It could give suggestions of social status. It is also interestingly positioned at the lower end of the hall.

Figure opposite entrance

As one turns into the hall from this position there are two more sets of faces at the bases of the main beams in the hall. One set at the centre of the room look intently up towards the head of the room. This could be another architectural social cue. The building could be giving instructions through the architecture to those entering it. These figures show how those sitting below are meant to act towards their lord.

Figure at centre of hall

At the very head of the room are two final figures each with large shoulders again holding up the roof. These are looking back down the room at those seating below it. These ones are harder to read. They to some extent look like they are wearing masks.

Figures at head of hall

At Ecclesiastical sites architecture provides visual cues to convey social expectations particularly about what behaviour is expected or what they are expected to be thinking about. In an age where most people were not literate an image or visual cue would convey and have much more meaning than the written word (Woolgar, 2006: 179-180)(D. L. C. Clark, 2007). These figures might be being used to convey similar information about what is expected of the illiterate in this context.

Reference

Clark, D.L.C., 2007. Viewing the liturgy: a space syntax study of changing visibility and accessibility in the development of the Byzantine church in Jordan. World Archaeology, 39(1), pp.84-104. Available at: http://www.informaworld.com/openurl?genre=article&doi=10.1080/00438240601148798&magic=crossref||D404A21C5BB053405B1A640AFFD44AE3 [Accessed October 29, 2010].

Woolgar, C.M., 2006. The Senses in Late Medieval England, London: Yale University Press.

Following this amazing discovery I have completed the entirety of the eastern wall and stuck it all together which took a lot less time once I had got the hang of it!

I have to begin to think about accuracy and ambiguity. While producing the surveyed area of the building I found that I had to make decisions about parts of the shapes of windows that had been worn or broken away along the edges. I found I was thinking that obviously the edge of the window would have been straight… something that I do not in actuality know. For example this window the edge of the window is much dilapidated I know that at some point on some of the windows of this type bars ran across them and these were probably removed (forcefully) after the castle was abandoned causing much of the damage. But how much of the damage can I rebuild just by looking? To get around this problem I have been comparing the windows to others of the building where evidence for the bars still exists forming a fairly accurate edge and shape for the frame. I need to keep in mind what decisions I am making about rebuilding these shapes and think about how I am doing it.

Photo of window

Survey Data of the same window

Moving on from these areas which I have survey data for I have to think about my method for rebuilding windows in areas firstly where I know there are standing remains for such features and then secondly for where there are not. Building windows on the northern and southern walls has been and will be reasonably easy using a small amount of conjecture, I have photos of the windows themselves taken from both the interior and the exterior, positioning them will be more challenging, I have been using a combination of images and lining up planes in the 3ds max model to try to position them in line with window positions on the eastern elevation.

Much more tricky will be the western wall which is no longer standing. I know positions for windows at basement level (however, this does not indicate position for anything on the upper floor as can be seen from the eastern wall). I also can see evidence for one window seat from the lower level which is a good position to start. I also know that I will have to include the entrance to the spiral staircase on this wall, which links the great hall and both sets of apartments. Currently I have examined other areas of the building with windows overlooking the corridor such as the following, from these I should begin to be able to justify the style of window.

Overlooking from western range

Windows overlooking courtyard from Kitchens

Window overlooking courtyard from Great Hall

I have also been looking at other reconstructions of this area to see how other people have pictured the scene. The main image that appears was produced for the National Trust Guidebooks and was also reused in John Goodalls book: The English Castle. Which uses the same windows that are pictured above. (note: I will be critiquing this image in more detail later when it comes to decorating and furnishing the apartments.)

In essence I need to begin to be thinking clearly (and carefully recording) every decision I make about the construction of the rooms as their construction particularly from this point on will include an element of ambiguity.

Fireplace with opening on right side into adjoining tower

discussions with other have led to confusion there is no real understanding of what this is or why it is there. One thing suggested to me by Dave Potts a fellow PhD student is that if a fire is burned in a fireplace for 48 hours the whole chimney stack will heat up and act as a radiator for the adjoining rooms. Maybe this was one step further and was used as a double fireplace. However, the interior is a little odd as the position where the opening appears is right next to the door. Photo to follow on next trip to site!

The upper floors window seat is actually much taller than the one below. I hadn’t noticed this at all when I was recording it only became apparent when trying to reuse the window seat for the floor above that the ratios of height and width are very different.

Exterior of window seat windows

Interior of Window Seats

The house has been restored to its mid 14th century apparence and filled with reconstructed furniture of the period. Although a merchants house I found the visit useful to help me visualise filled living spaces.

The first thing to note is how, like I found at Dover, there is a limit amount of furniture. Unlike Dover, it was much harder to get photos of entire rooms, this is because the rooms were much smaller.

The presence of the furniture was also very helpful, again as at Dover, it was all very gaudy and brightly coloured. But Jude commented on the fact that it was much faded from its original colours (she has been visiting the building for a number of years).

Brightly Coloured Chest

Finally the main reason for the visit was to be able to look at the construction of two Hung Beds found in the upstairs bedroom. I was able to see how they appear in a room as well as see how they are put together and covered in textiles.

Hung Bed

I will hopefully be allowed to return when they put away the beds for the winter, by taking them down and removing all of the textiles as this will allow me to see more about their constrcution.

The rooms themselves are fantastic, richly coloured and filled with beautiful pieces of furniture. I suppose I always had the idea that rooms were always white based on how many are presented now and how they are pictured in books and other reconstructions.

The Great Tower at Dover Castle

The other thing I noticed which hadn’t appeared (in my memory) in a lot of images was the presence of lots of soot above all of the fireplaces. At Bodiam the fireplaces, open to the elements, have all been washed clean. Whilst at other properties I suspect many of them are kept clean as part of the daily conservation tasks, or no longer have fires burning. It made me think this is something I need to remember to include, as a lot of models produced are often too clean and don’t accuratley represent the nature of life and buildings when they are being lived in.

Soot above the fireplace at Dover Castle

http://www.reghardware.com/2011/08/03/game_graphics_could_be_10000_times_better/

It would be really good in terms of making Laser Scan data more managable when modelling. Thought I would send it out. I have not thought about using Laser Scan data myself yet as by all accounts it can be hard to manipulate for modelling but Alice Watterson has done and you could read about it here.