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research-roundup:-7-stories-we-almost-missed

Research roundup: 7 stories we almost missed


Ping-pong bots, drumming chimps, picking styles of two jazz greats, and an ancient underground city’s soundscape

Time lapse photos show a new ping-pong-playing robot performing a top spin. Credit: David Nguyen, Kendrick Cancio and Sangbae Kim

It’s a regrettable reality that there is never time to cover all the interesting scientific stories we come across each month. In the past, we’ve featured year-end roundups of cool science stories we (almost) missed. This year, we’re experimenting with a monthly collection. May’s list includes a nifty experiment to make a predicted effect of special relativity visible; a ping-pong playing robot that can return hits with 88 percent accuracy; and the discovery of the rare genetic mutation that makes orange cats orange, among other highlights.

Special relativity made visible

The Terrell-Penrose-Effect: Fast objects appear rotated

Credit: TU Wien

Perhaps the most well-known feature of Albert Einstein’s special theory of relativity is time dilation and length contraction. In 1959, two physicists predicted another feature of relativistic motion: an object moving near the speed of light should also appear to be rotated. It’s not been possible to demonstrate this experimentally, however—until now. Physicists at the Vienna University of Technology figured out how to reproduce this rotational effect in the lab using laser pulses and precision cameras, according to a paper published in the journal Communications Physics.

They found their inspiration in art, specifically an earlier collaboration with an artist named Enar de Dios Rodriguez, who collaborated with VUT and the University of Vienna on a project involving ultra-fast photography and slow light. For this latest research, they used objects shaped like a cube and a sphere and moved them around the lab while zapping them with ultrashort laser pulses, recording the flashes with a high-speed camera.

Getting the timing just right effectively yields similar results to a light speed of 2 m/s. After photographing the objects many times using this method, the team then combined the still images into a single image. The results: the cube looked twisted and the sphere’s North Pole was in a different location—a demonstration of the rotational effect predicted back in 1959.

DOI: Communications Physics, 2025. 10.1038/s42005-025-02003-6  (About DOIs).

Drumming chimpanzees

A chimpanzee feeling the rhythm. Credit: Current Biology/Eleuteri et al., 2025.

Chimpanzees are known to “drum” on the roots of trees as a means of communication, often combining that action with what are known as “pant-hoot” vocalizations (see above video). Scientists have found that the chimps’ drumming exhibits key elements of musical rhythm much like humans, according to  a paper published in the journal Current Biology—specifically non-random timing and isochrony. And chimps from different geographical regions have different drumming rhythms.

Back in 2022, the same team observed that individual chimps had unique styles of “buttress drumming,” which served as a kind of communication, letting others in the same group know their identity, location, and activity. This time around they wanted to know if this was also true of chimps living in different groups and whether their drumming was rhythmic in nature. So they collected video footage of the drumming behavior among 11 chimpanzee communities across six populations in East Africa (Uganda) and West Africa (Ivory Coast), amounting to 371 drumming bouts.

Their analysis of the drum patterns confirmed their hypothesis. The western chimps drummed in regularly spaced hits, used faster tempos, and started drumming earlier during their pant-hoot vocalizations. Eastern chimps would alternate between shorter and longer spaced hits. Since this kind of rhythmic percussion is one of the earliest evolved forms of human musical expression and is ubiquitous across cultures, findings such as this could shed light on how our love of rhythm evolved.

DOI: Current Biology, 2025. 10.1016/j.cub.2025.04.019  (About DOIs).

Distinctive styles of two jazz greats

Wes Montgomery (left)) and Joe Pass (right) playing guitars

Jazz lovers likely need no introduction to Joe Pass and Wes Montgomery, 20th century guitarists who influenced generations of jazz musicians with their innovative techniques. Montgomery, for instance, didn’t use a pick, preferring to pluck the strings with his thumb—a method he developed because he practiced at night after working all day as a machinist and didn’t want to wake his children or neighbors. Pass developed his own range of picking techniques, including fingerpicking, hybrid picking, and “flat picking.”

Chirag Gokani and Preston Wilson, both with Applied Research Laboratories and the University of Texas, Austin, greatly admired both Pass and Montgomery and decided to explore the underlying the acoustics of their distinctive playing, modeling the interactions of the thumb, fingers, and pick with a guitar string. They described their research during a meeting of the Acoustical Society of America in New Orleans, LA.

Among their findings: Montgomery achieved his warm tone by playing closer to the bridge and mostly plucking at the string. Pass’s rich tone arose from a combination of using a pick and playing closer to the guitar neck. There were also differences in how much a thumb, finger, and pick slip off the string:  use of the thumb (Montgomery) produced more of a “pluck” compared to the pick (Pass), which produced more of a “strike.” Gokani and Wilson think their model could be used to synthesize digital guitars with a more realistic sound, as well as helping guitarists better emulate Pass and Montgomery.

Sounds of an ancient underground city

A collection of images from the underground tunnels of Derinkuyu.

Credit: Sezin Nas

Turkey is home to the underground city Derinkuyu, originally carved out inside soft volcanic rock around the 8th century BCE. It was later expanded to include four main ventilation channels (and some 50,000 smaller shafts) serving seven levels, which could be closed off from the inside with a large rolling stone. The city could hold up to 20,000 people and it  was connected to another underground city, Kaymakli, via tunnels. Derinkuyu helped protect Arab Muslims during the Arab-Byzantine wars, served as a refuge from the Ottomans in the 14th century, and as a haven for Armenians escaping persecution in the early 20th century, among other functions.

The tunnels were rediscovered in the 1960s and about half of the city has been open to visitors since 2016. The site is naturally of great archaeological interest, but there has been little to no research on the acoustics of the site, particularly the ventilation channels—one of Derinkuyu’s most unique features, according to Sezin Nas, an architectural acoustician at Istanbul Galata University in Turkey.  She gave a talk at a meeting of the Acoustical Society of America in New Orleans, LA, about her work on the site’s acoustic environment.

Nas analyzed a church, a living area, and a kitchen, measuring sound sources and reverberation patterns, among other factors, to create a 3D virtual soundscape. The hope is that a better understanding of this aspect of Derinkuyu could improve the design of future underground urban spaces—as well as one day using her virtual soundscape to enable visitors to experience the sounds of the city themselves.

MIT’s latest ping-pong robot

Robots playing ping-pong have been a thing since the 1980s, of particular interest to scientists because it requires the robot to combine the slow, precise ability to grasp and pick up objects with dynamic, adaptable locomotion. Such robots need high-speed machine vision, fast motors and actuators, precise control, and the ability to make accurate predictions in real time, not to mention being able to develop a game strategy. More recent designs use AI techniques to allow the robots to “learn” from prior data to improve their performance.

MIT researchers have built their own version of a ping-pong playing robot, incorporating a lightweight design and the ability to precisely return shots. They built on prior work developing the Humanoid, a small bipedal two-armed robot—specifically, modifying the Humanoid’s arm by adding an extra degree of freedom to the wrist so the robot could control a ping-pong paddle. They tested their robot by mounting it on a ping-pong table and lobbing 150 balls at it from the other side of the table, capturing the action with high-speed cameras.

The new bot can execute three different swing types (loop, drive, and chip) and during the trial runs it returned the ball with impressive accuracy across all three types: 88.4 percent, 89.2 percent, and 87.5 percent, respectively. Subsequent tweaks to theirrystem brought the robot’s strike speed up to 19 meters per second (about 42 MPH), close to the 12 to 25 meters per second of advanced human players. The addition of control algorithms gave the robot the ability to aim. The robot still has limited mobility and reach because it has to be fixed to the ping-pong table but the MIT researchers plan to rig it to a gantry or wheeled platform in the future to address that shortcoming.

Why orange cats are orange

an orange tabby kitten

Cat lovers know orange cats are special for more than their unique coloring, but that’s the quality that has intrigued scientists for almost a century. Sure, lots of animals have orange, ginger, or yellow hues, like tigers, orangutans, and golden retrievers. But in domestic cats that color is specifically linked to sex. Almost all orange cats are male. Scientists have now identified the genetic mutation responsible and it appears to be unique to cats, according to a paper published in the journal Current Biology.

Prior work had narrowed down the region on the X chromosome most likely to contain the relevant mutation. The scientists knew that females usually have just one copy of the mutation and in that case have tortoiseshell (partially orange) coloring, although in rare cases, a female cat will be orange if both X chromosomes have the mutation. Over the last five to ten years, there has been an explosion in genome resources (including complete sequenced genomes) for cats which greatly aided the team’s research, along with taking additional DNA samples from cats at spay and neuter clinics.

From an initial pool of 51 candidate variants, the scientists narrowed it down to three genes, only one of which was likely to play any role in gene regulation: Arhgap36. It wasn’t known to play any role in pigment cells in humans, mice, or non-orange cats. But orange cats are special; their mutation (sex-linked orange) turns on Arhgap36 expression in pigment cells (and only pigment cells), thereby interfering with the molecular pathway that controls coat color in other orange-shaded mammals. The scientists suggest that this is an example of how genes can acquire new functions, thereby enabling species to better adapt and evolve.

DOI: Current Biology, 2025. 10.1016/j.cub.2025.03.075  (About DOIs).

Not a Roman “massacre” after all

Two of the skeletons excavated by Mortimer Wheeler in the 1930s, dating from the 1st century AD.

Credit: Martin Smith

In 1936, archaeologists excavating the Iron Age hill fort Maiden Castle in the UK unearthed dozens of human skeletons, all showing signs of lethal injuries to the head and upper body—likely inflicted with weaponry. At the time, this was interpreted as evidence of a pitched battle between the Britons of the local Durotriges tribe and invading Romans. The Romans slaughtered the native inhabitants, thereby bringing a sudden violent end to the Iron Age. At least that’s the popular narrative that has prevailed ever since in countless popular articles, books, and documentaries.

But a paper published in the Oxford Journal of Archaeology calls that narrative into question. Archaeologists at Bournemouth University have re-analyzed those burials, incorporating radiocarbon dating into their efforts. They concluded that those individuals didn’t die in a single brutal battle. Rather, it was Britons killing other Britons over multiple generations between the first century BCE and the first century CE—most likely in periodic localized outbursts of violence in the lead-up to the Roman conquest of Britain. It’s possible there are still many human remains waiting to be discovered at the site, which could shed further light on what happened at Maiden Castle.

DOI: Oxford Journal of Archaeology, 2025. 10.1111/ojoa.12324  (About DOIs).

Photo of Jennifer Ouellette

Jennifer is a senior writer at Ars Technica with a particular focus on where science meets culture, covering everything from physics and related interdisciplinary topics to her favorite films and TV series. Jennifer lives in Baltimore with her spouse, physicist Sean M. Carroll, and their two cats, Ariel and Caliban.

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“bouncing”-winds-damaged-houston-skyscrapers-in-2024

“Bouncing” winds damaged Houston skyscrapers in 2024

“Bouncing” winds

Damage sustained by the Chevron Building Auditorium during the derecho: a) damaged side of the building, b) global damage view, c) & d) localized glass damage.

Damage sustained by the Chevron Building Auditorium during the derecho: a) damaged side of the building, b) global damage view, c) & d) localized glass damage.

Damage sustained by the Chevron Building Auditorium during the derecho: a) damaged side of the building, b) global damage view, c) & d) localized glass damage. Credit: Padgett et al., 2024

Elawady decided to investigate why the Houston derecho’s structural damage was so much more extensive than one might expect. He and his colleagues analyzed the impact of the derecho on five of the city’s most notable buildings: The Chevron Building Auditorium, the CenterPoint Energy Plaza, the El Paso Energy Building, the RRI Energy Plaza, and the Wedge International Tower.

The Chevron Building Auditorium, for instance, suffered significant damage to its cladding and shattered glass windows, mostly on the side facing another skyscraper: the Chevron Corporation Tower. The CenterPoint Energy Plaza’s damage to its double-skin facade was concentrated on one corner that had two tall buildings facing it, as was the damage to two corners of the El Paso Energy building. This suggested a wind-channeling effect might have played a role in that damage.

Next Elawady et al. conducted wind tunnel experiments at the FIU Natural Hazards Engineering Research Infrastructure’s “Wall of Wind” facility to determine how the winds may have specifically caused the observed damage. They placed a revolving miniature tall building in the tunnel and blasted it with wind speeds of up to 70 meters per second while placing an identical mini-model at increasing distances from the first to mimic possible interference from nearby buildings.

The results confirmed the team’s working hypothesis. “When strong winds move through a city, they can bounce due to interference between tall buildings. This increases pressure on walls and windows, making damage more severe than if the buildings were isolated,” said co-author Omar Metwally, a graduate student at FIU. For example, in the case of the Chevron Building Auditorium, the channeling effects intensified the damage, particularly at higher elevations.

“On top of this, downbursts create intense, localized forces which can exceed typical design values for hurricanes, especially on the lower floors of tall buildings,” Metwally added. The problem is only likely to worsen because of accelerating climate change. Glass facades seem to be particularly vulnerable to this kind of wind damage, and the authors suggest current design and construction guidelines for such elements should be re-evaluated as a result of their findings.

Frontiers in Built Environment, 2025. DOI: 10.3389/fbuil.2024.1514523  (About DOIs).

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A peek inside the restoration of the iconic Notre Dame cathedral


Tomas van Houtyryve’s striking photographs for National Geographic capture the restoration process.

Notre Dame’s nave is clean and bright thanks to a latex application that peeled away soot and lead. Credit: Tomas van Houtryve for National Geographic

On April 15, 2019, the world watched in transfixed horror as a fire ravaged the famed Cathedral of Notre Dame in Paris, collapsing the spire and melting the lead roof. After years of painstaking restoration costing around $740 million, the cathedral reopens to the public this weekend. The December issue of National Geographic features an exclusive look inside the restored cathedral, accompanied by striking photographs by Paris-based photographer and visual artist Tomas van Houtryve.

For several hours, it seemed as if the flames would utterly destroy the 800-year-old cathedral. But after a long night of work by more than 400 Paris firefighters, the fire finally began to cool and attention began to shift to what could be salvaged and rebuilt. French President Emmanuel Macron vowed to restore Notre Dame to its former glory and set a five-year deadline. The COVID-19 pandemic caused some delays, but France nearly met that deadline regardless.

Those reconstruction efforts were helped by the fact that, a few years before the fire, scientist Andrew Tallon had used laser scanning to create precisely detailed maps of the interior and exterior of the cathedral—an invaluable aid as Paris rebuilds this landmark structure. French acousticians had also made detailed measurements of Notre Dame’s “soundscape” that were instrumental in helping architects factor acoustics into their reconstruction plans. The resulting model even enabled Brian FG Katz, research director of the National Center for Scientific Research (CNRS) at Sorbonne University, to create a virtual reality version of Notre Dame with all the acoustical parameters in place.

A devastating fire

Flames and smoke billowing from the roof of Notre Dame cathedral in Paris, France, on April 15, 2019.

Flames and smoke billowing from the roof of Notre Dame cathedral in Paris on April 15, 2019. Credit: Pierre Suu/Getty Images

As we previously reported, Notre Dame’s roof and its support structure of 800-year-old oak timbers had almost completely succumbed to the flames. Firefighters reported the cathedral’s bell towers safe and said that many works of art had been rescued or were already stored in areas believed to be safe from the fire. The main spire—750 tons of oak lined with lead—collapsed in flames, landing on the wooden roof, which was destroyed. The trees that made up the roof’s wooden structure were cut down around 1160.

Thanks to the efforts of preservationists like Philippe Villeneuve, chief architect of historic monuments, the cathedral has been rebuilt nearly exactly as it was before the fire. The interior is most transformed since the walls, stained glass, paintings, and sculptures were all cleaned and restored for the first time since the 19th century. All the furnishings have been replaced, and sculptor and designer Guillaume Bardet was committed to creating a new altar and various liturgical items, including a new baptismal font and massive bronze altar. (The original stone altar was crushed as the collapsing spire plunged to the main floor.)

Much of the structural repairs will not be readily apparent to visitors, most notably the cathedral’s attic and roof, which were rebuilt with new hand-hewed timber trusses fixed in place by pegged mortise-and-tenon joints. One modern improvement: “Fire-resistant trusses at the crossing will isolate the spire and the two transept arms from the nave and the choir, so a fire can never again race through the entire attic,” Robert Kunzig wrote in the NatGeo article. “Should flames break out in this space, misters distributed throughout the attic will help suppress them until firefighters can climb hundreds of stairs.”

A photographer speaks

National Geographic was granted special access throughout the reconstruction process and tapped van Houtryve to capture everything in photographs and video footage. Ars caught up with him to learn more.

Designer Guillaume Bardet was hired to create a new bronze altar and pulpit, among other new liturgical furnishings.

Designer Guillaume Bardet was hired to create a new bronze altar and pulpit, among other new liturgical furnishings. Credit: Tomas van Houtryve for National Geographic

Ars Technica: How did you get involved in documenting the cathedral’s restoration in photos/video?

Tomas van Houtryve: My journey in documenting the restoration of Notre-Dame de Paris began with an incredible opportunity through National Geographic’s partnership with Rebâtir Notre-Dame de Paris. I’ve always been drawn to the intersection of history and architecture, and I immediately knew I wanted to be a part of this project. It just so happened that through National Geographic and Rebâtir, I was able to perfectly combine my passion for visual storytelling with my deep connection to the city. Being entrusted to capture such a monumental effort felt like a natural progression in my career as a photographer—challenging, inspiring, and deeply meaningful.

Ars Technica: What were the biggest challenges in capturing this years-long process on camera?

Tomas van Houtryve: From a working standpoint, one of the biggest challenges was the high level of lead contamination. To be on-site, I had to wear a hazmat suit and often a respirator mask, which added a layer of physical difficulty to the work. Another significant hurdle was the heights. Thankfully, my background in rock climbing and the rope access training I completed with technicians proved invaluable. Once on-site, this assignment demanded every skill I’ve ever learned as a photographer. From flying drones in sensitive areas and mastering architectural photography to conducting the historic wet plate process with a 19th-century wooden camera, I applied everything in my visual toolbox. It was an all-encompassing challenge, but also an incredibly rewarding one.

Ars Technica: Was there any special equipment (lenses, cranes, etc.) needed to capture the photos and footage?

Tomas van Houtryve: It’s difficult to convey just how awe-inspiring the Notre-Dame de Paris restoration site is unless you see it in person. Stepping inside felt almost like entering a space station. There was an otherworldly blend of towering scaffolding, echoing sounds of the craftsmen at work, and the unique atmosphere of the cathedral itself. To document the restoration, I used a combination of modern and historic technology. Drones allowed me to navigate the intricate scaffolding and capture aerial perspectives that most people wouldn’t normally be able to see. And I also used a 19th-century wooden camera and portable darkroom to create glass plate photographs using the historic wet plate process. It was an incredible merging of the old and the new—a perfect representation of what Notre-Dame is and how it’s being restored.

Credit: Tomas van Houtryve for National Geographic

Ars Technica: What were some of the particular highlights for you as part of this long process?

Tomas van Houtryve: One of the standout highlights for me was witnessing the incredible craftsmanship that went into every detail of the restoration. Seeing the artisans, stonemasons, and carpenters recreate original elements with such precision and care was something that was very special. It gave me a deep appreciation for the skill and dedication involved in bringing Notre Dame back to life.

Another remarkable highlight was witnessing the transformation of the cathedral itself. Many people don’t realize that Gothic cathedrals like Notre-Dame de Paris were originally designed to be light, bright, and vibrant spaces of worship. Over centuries, time and human interaction dulled their appearance, creating the more imposing image we often associate with them. Seeing the cathedral fully cleaned, with its light stone walls restored to their original brilliance, felt like stepping back in time to another world. It was awe-inspiring to see the cathedral as it was meant to be, a true testament to its enduring beauty.

Ars Technica: As a Parisian, what has it meant to you to see Notre Dame restored to its former glory?

Tomas van Houtryve: Although I wasn’t born a Parisian, the years I’ve spent living here have made me feel deeply connected to this city—it’s my true home. On the night of the fire in 2019, every Parisian, including myself, watched in horror as our geographical epicenter—Notre-Dame de Paris—went up in flames. I’ll never forget it, and we’ve been haunted in some ways since then. Being trusted to photograph this monumental restoration, a feat of both engineering and unwavering passion, was not only a once-in-a-lifetime opportunity, but it was cathartic. Contributing, even in a small way, to preserving the legacy of such an iconic symbol was both humbling and profoundly inspiring.

Cover of the December 2024 issue of National Geographic magazine

Credit: National Geographic

Photo of Jennifer Ouellette

Jennifer is a senior reporter at Ars Technica with a particular focus on where science meets culture, covering everything from physics and related interdisciplinary topics to her favorite films and TV series. Jennifer lives in Baltimore with her spouse, physicist Sean M. Carroll, and their two cats, Ariel and Caliban.

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How London’s Crystal Palace was built so quickly

London’s Great Exhibition of 1851 attracted some 6 million people eager to experience more than 14,000 exhibitors showcasing 19th-century marvels of technology and engineering. The event took place in the Crystal Palace, a 990,000-square-foot building of cast iron and plate glass originally located in Hyde Park. And it was built in an incredible 190 days. According to a recent paper published in the International Journal for the History of Engineering and Technology, one of the secrets was the use of a standardized screw thread, first proposed 10 years before its construction, although the thread did not officially become the British standard until 1905.

“During the Victorian era there was incredible innovation from workshops right across Britain that was helping to change the world,” said co-author John Gardner of Anglia Ruskin University (ARU). “In fact, progress was happening at such a rate that certain breakthroughs were perhaps never properly realized at the time, as was the case here with the Crystal Palace. Standardization in engineering is essential and commonplace in the 21st century, but its role in the construction of the Crystal Palace was a major development.”

The design competition for what would become the Crystal Palace was launched in March 1850, with a deadline four weeks later, and the actual, fully constructed building opened on May 1, 1851. The winning design, by Joseph Patterson, wasn’t chosen until quite late in the game after numerous designs had been rejected—most because they were simply too far above the £100,000 budget.

Joseph Paxton's first sketch for the Great Exhibition Building, c. 1850, using pen and ink on blotting paper

Joseph Paxton’s first sketch for the Great Exhibition Building, c. 1850, using pen and ink on blotting paper.

Joseph Paxton’s first sketch for the Great Exhibition Building, c. 1850, using pen and ink on blotting paper. Credit: Victoria and Albert Museum/CC BY-SA 3.0

Patterson’s design called for what was essentially a giant conservatory consisting of a multi-dimensional grid of 24-foot modules. The design elements included 3,300 supporting columns with four flange faces, drilled so they could be bolted to connecting and base pieces. (The hollow columns did double duty as drainage pipes for rainwater.) The design also called for diagonal bracing (aka cross bracing) for additional stability.

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notre-dame-cathedral-first-to-use-iron-reinforcements-in-12th-century

Notre Dame cathedral first to use iron reinforcements in 12th century

On the twelfth day of Christmas —

Devastating 2019 fire gave scholars access to previously hidden parts of the cathedral.

View of the chevet of Notre-Dame de Paris under restoration.

Enlarge / The Notre-Dame de Paris has been under restoration since a devastating fire destroyed the main spire and roof in April 2019.

There’s rarely time to write about every cool science-y story that comes our way. So this year, we’re once again running a special Twelve Days of Christmas series of posts, highlighting one science story that fell through the cracks in 2023, each day from December 25 through January 5. Today: The Notre Dame cathedral in Paris has been undergoing extensive renovation in the wake of a devastating 2019 fire. Previously hidden portions of its structure have revealed the use of iron reinforcements in the earliest phases of the cathedral’s construction, making it the earliest known building of its type to do so.

On April 15, 2019, the world watched in collective horror as the famed Notre Dame cathedral in Paris was engulfed in flames. The magnificent cathedral’s roof and its support structure of 800-year-old oak timbers were destroyed when the main spire—750 tons of oak lined with lead—collapsed in flames, landing on the wooden roof. French President Emmanuel Macron vowed to rebuild the cathedral, and that work has continued steadily in the ensuing years; the current planned re-opening will occur on December 8, 2024.

If there is a silver lining to the destruction, it’s that the damage has revealed parts of the cathedral’s structure that were previously inaccessible, telling archaeologists and conservationists more about the materials originally used to construct Notre Dame in the mid-12th century. According to a March 2023 paper published in the journal PLoS ONE, the original builders used iron reinforcements during the initial phases, making Notre Dame the earliest building of its type to do so.

“The fire has shed light on certain uses of iron, such as the staples on the top of the upper walls which were totally hidden by the framework,” co-author Maxime L’Héritier of Université Paris told Gizmodo. “We could not have seen them without the blaze or a huge restoration. We believed that [the] great building yards of the 13th century had invented these construction processes using iron armatures, but now it seems that it all occurred at Notre Dame.”

Although no original plans for Notre Dame Cathedral exist, a couple of centuries after Notre Dame’s construction, other building projects left behind documents called building accounts or fabric accounts, which include information like materials purchases and payments to masons. But in the late 12th century, written documents weren’t yet widely used. In the early 1800s, the cathedral was crumbling, and architects Eugène Viollet-le-Duc and Jean-Baptiste-Antoine Lassus received a royal contract to restore the medieval structure. Working with relatively simple tools, Viollet-le-Duc left behind detailed, accurate drawings of the original architecture and his own restoration work.

Two hundred years later, art historian Stephen Murray and the late architectural historian Andrew Tallon of Vassar College carried laser scanners through the entire cathedral, including the space above the vault and several out-of-the-way spiral staircases, passages, and other hidden spaces. As for the cathedral’s much-praised acoustics, a group of French acousticians made detailed measurements of Notre Dame’s “soundscape” a few years before the fire. All of that data has been instrumental in helping architects and conservationists reconstruct the cathedral.

The 2019 fire exposed iron staples in the top walls, inside a column in the nave, and in the tribunes of the choir.

Enlarge / The 2019 fire exposed iron staples in the top walls, inside a column in the nave, and in the tribunes of the choir.

M. L’Heritier et al. 2023

Other medieval French cathedrals built after Notre Dame, such as in Chartres, Bourges, or Reims, all used iron armatures, tie-rods, and chains. But until now, it hasn’t been clear to what extent the original builders of Notre Dame used iron in its construction. Harnessing and scaffolding gave researchers access to the upper parts of the cathedral, although some parts remained inaccessible. Still, L’Héritier et al. found extensive use of iron staples at different levels, with the lowest being two rows of staples in the floors of the second-level tribunes above the arches, as well as in the nave and choir.

Per the authors, some iron reinforcements clearly dated back to reconstruction efforts during the 19th century, most notably iron chains and tie rods in the top walls of the choir and above its upper vaults. The real question was just how old the other iron staples might be. The team mapped and measured all those that were accessible, totaling roughly 170 staples for the upper walls and 100 for the tribunes. They also took samples for the metallographic analysis from iron staples that were already broken or damaged by the fire. The team used a new method for characterizing metal, combined with radiocarbon dating, to determine the age and possible provenance of those samples.

Broken iron staple in the tribunes.

Enlarge / Broken iron staple in the tribunes.

M. L’Heritier et al. 2023

L’Héritier et al. concluded that the iron staples in the floor of the tribunes dated back to the early 1160s, i.e., the earliest phases of construction. “So far, these series of staples are the earliest known example of iron armatures used in the initial design of a Gothic monument,” they wrote, a good 40 years before the iron reinforcements used to build the Chartres or Bourges cathedrals. The staples found at the top of the great lateral walls date to the early 13th century, indicating that the architects of that period also relied on iron reinforcements.

As for the iron itself, the metal analysis showed that the iron alloys used to make the staples were common to the Middle Ages and of similar quality to those found at Chartres, Troyes, and similar cathedrals. What makes the Notre Dame staples unusual is the presence of welding lines, indicating that several pieces of iron of different provenances were welded together to form each staple. Tracking those supply sources could shed light on the iron trade, circulation, and forging in 12th and 13th century Paris.

“Compared to other cathedrals, such as Reims, the structure of Notre Dame in Paris is light and elegant,” Jennifer Feltman of the University of Alabama, who was not involved in the research, told New Scientist. “This study confirms that use of iron made this lighter structure at Paris possible and thus the use of this material was crucial to the design of the first Gothic architect of Notre Dame.”

PLoS ONE, 2023. DOI: 10.1371/journal.pone.0280945  (About DOIs).

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