(architects undocumented, due to the extensive time period in which this structure was developed) (begun 1220 to 36). Amiens Cathedral, west facade [masonry]. Amiens, France.

Distribution of voids and masses is foundational to the development of a value pattern (as much as it can apply) to architectural facades. That said, there is a definitive, incised character to edge development and the distribution of shadows and light-gathering planes on this structure. The interplay of moderately iconic figures, curved versus rigid ornamental motifs, horizontal organization, vertical energy and sumptuous global texturing provide both stability and movement. In addition, contrasting a taller tower with perpendicular lines of force against a shorter tower with more variation in angularity creates an asymmetrical facade. This is an extremely rare formal choice throughout most of western architectural tradition up to the modern age.

Clearly the western facade of the Amiens Catherdral qualifies for design. Individual patterns are developed within their own contexts: Close-framed and individualized figures, delicately narrow windows and ornate portals create horizontal letters and words while the patterns they forge create vertically-oriented phrases. Frames are embedded within frames; global and synonymous decoration merges to create sensitive textural surfaces out of an uncompromisingly solid medium. One of the foundations of beauty that characerises this cathedral's facade is the unbalanced ratio of curved and angled to perpendicular edges.

The disjointed and centuries-long development of this structure is the source of its unbalanced appearance. Initiated in the 13th century, it was not considered to be complete until the 15th. The sculpture that decorates the structure, especially those that greet the practitioner upon entering any of the three portals, was developed with budding realistic idealization based on the iconic flare that characterized the early Byzantine and dark ages. The stylistic and ornate standard set by the Amiens cathedral, and the 13th-century workshop that developed the statues of the lower levels, led to a Gothic sub-style known as the Amiens to become recognized and sought out throughout Western Europe during the time.