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Interior elevation of a Gothic cathedral, with clerestory highlighted
The church of St Nicholas, Stralsund in Germany –the clerestory is the level between the two green roofs, reinforced here by flying buttresses

A clerestory (/ˈklɪərstɔːri/ KLEER-stor-ee; lit. 'clear storey', also clearstory, clearstorey, or overstorey; from Old French: cler estor) is a high section of wall that contains windows above eye-level. Its purpose is to admit light, fresh air, or both.

Historically, a clerestory formed an upper level of a Roman basilica or of the nave of a Romanesque or Gothic church, the walls of which rise above the rooflines of the lower aisles and which are pierced with windows.

In addition to architecture, clerestories have been used in transportation vehicles such as buses and trains to provide additional lighting, ventilation, or headroom.

History

[edit]
The walls of the clerestory of the basilica-shaped Cathedral of Monreale, Italy, covered with mosaics

Ancient world

[edit]
Front-view profile of Great Hypostyle Hall, an early example of a clerestory.

Clerestories appear to originate in Egyptian temples, such as the Great Hypostyle Hall,[1] where the lighting of the hall of columns was obtained over the stone roofs of the adjoining aisles, through gaps left in the vertical slabs of stone. They appeared in Egypt at least as early as the Amarna Period.[2] Minoan palaces in Crete such as Knossos employed lightwells in addition to clerestories.[3]

According to the Hebrew Bible, Solomon's Temple featured clerestory windows made possible by the use of a tall, angled roof and a central ridgepole.[4]

The clerestory was used in the Hellenistic architecture of classical antiquity. The Romans applied clerestories to basilicas of justice and to the basilica-like thermae and palaces.

Early Christian and Byzantine basilicas

[edit]

Early Christian churches and some Byzantine churches, particularly in Italy, are based closely on the Roman basilica, and maintained the form of a central nave flanked by lower aisles on each side. The nave and aisles are separated by columns or piers, above which rises a wall pierced by clerestory windows.

Malmesbury Abbey, Wiltshire, England. The nave wall is divided into three stages: the upper stage with windows is the clerestory, beneath it is the triforium, and the lowest stage is the arcade.

Romanesque period

[edit]

During the Romanesque period, many churches of the basilica form were constructed all over Europe. Many of these churches have wooden roofs with clerestories below them. Some Romanesque churches have barrel-vaulted ceilings with no clerestory. The development of the groin vault and ribbed vault made possible the insertion of clerestory windows.

Initially the nave of a large aisled and clerestoried church was of two levels: arcade and clerestory. During the Romanesque period, a third level was inserted between them, a gallery called the "triforium". The triforium generally opens into space beneath the sloping roof of the aisle. This became a standard feature of later Romanesque and Gothic large abbey and cathedral churches. Sometimes another gallery set into the wall space above the triforium and below the clerestory. This feature is found in some late Romanesque and early Gothic buildings in France.

The oldest glass clerestory windows still in place are from the late eleventh century, found in Augsburg Cathedral in Bavaria, Germany.

Gothic period

[edit]
The clerestory of Amiens Cathedral in northern France

In smaller churches, clerestory windows may be trefoils or quatrefoils. In some Italian churches they are ocular. In most large churches, they are an important feature, both for beauty and for utility. The ribbed vaulting and flying buttresses of Gothic architecture concentrated the weight and thrust of the roof, freeing wall-space for larger clerestory fenestration. Generally, in Gothic masterpieces, the clerestory is divided into bays by the vaulting shafts that continue the same tall columns that form the arcade separating the aisles from the nave.

The tendency from the early Romanesque period to the late Gothic period was for the clerestory level to become progressively taller and the size of the windows to get proportionally larger in relation to wall surface, emerging in works such as the Gothic architecture of Amiens Cathedral or Westminster Abbey, where their clerestories account for nearly a third of the height of the interior.[5]

Today

[edit]
Modern clerestories of Holy Trinity Parish Church in Cainta, Rizal, Philippines

Modern clerestories often are defined as vertical windows, located on high walls, extending up from the roofline, designed to allow light and breezes into a space, without compromising privacy. Factory buildings often are built with clerestory windows; modern housing designs sometimes include them as well.

Modern clerestory windows may have another especially important role, besides daylighting and ventilation: they can be part of passive solar strategies, in very energy-efficient buildings (passive houses and zero-energy buildings).[6]

To that end, clerestories are used in conjunction with stone, brick, concrete, and other high-mass walls and floors, properly positioned to store solar heat gains during the hotter parts of the day – allowing the walls and the floor to act as a heat bank during the cooler parts of the day.[7]

Clerestories – in passive solar strategies – should be properly located (typically in the sunny side of the building) and protected from the summer's sun by rooflines, overhangs, recessed thick walls, or other architectural elements, in order to prevent overheating during the cooling season.

In transportation

[edit]
Barney and Smith Car Company clerestory-roofed passenger cars at the Mid-Continent Railway Museum. As in these examples, later clerestory roofs ended in a bullnose.
Interior of the clerestory roof of a 1908-vintage tram at the Tramway Museum, St Kilda, South Australia, showing how it provides improved light and ventilation

Clerestory roofs were incorporated into the designs of many railway passenger cars and trams Commonwealth English) / streetcars (American English & Canadian English) from about 1860[8] to the 1930s.[9][10] They increased the daylight and ventilation available to passengers.

In the US, the railroad clerestory roof was also known as the "lantern roof".

The first Pullman coaches in the UK had clerestory roofs. They were imported from the US and assembled at Derby, where Pullman set up an assembly plant in conjunction with the Midland Railway, a predecessor of the London Midland and Scottish Railway (LMS). The first coach, a sleeping car named "Midland", was assembled and ready for trial-running in January 1874.[11]

In the UK when coaches were equipped with gas lighting, a clerestory was normally incorporated to improve ventilation near the lamps, in order to improve combustion and reduce the risk of carbon monoxide poisoning.

The last clerestory-roofed trains on the London Underground were the 'Q' stock, which were withdrawn from operation in 1971.[12]

Clerestories were also used in early British double-decker buses, giving better ventilation and headroom in the centre corridor, as well as better illumination.[13]

The Volkswagen Type 2 Kombi, or Transport, commonly called the Microbus, came in a deluxe version with clerestory windows. VW made the Samba from 1961 to 1967 in several versions, which had as many as 23 windows, and it is highly prized by collectors.

In the UK, the style is also known as "mollycroft roof", especially in Romany caravans, such as vardos, and other caravans.

See also

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Clerestory

View on Grokipedia
from Grokipedia
A clerestory (or clearstory) is a high section of , typically above , that features a row of windows designed to allow and sometimes ventilation into the interior of a building, such as a hall, temple, or church, without obstructing the main space below. The term derives from "clear storey", referring to the lighted upper level. This architectural element emerged in ancient Egyptian temples, where it was used in structures like the Hypostyle Hall at to illuminate vast column-filled interiors through elevated windows with stone grilles, creating a dramatic, ethereal lighting effect that enhanced the spiritual atmosphere. In Roman basilicas, clerestories were positioned above lower side aisles to brighten the central , a design that influenced early Christian and medieval by enabling light to flood the main space while maintaining . During the Gothic period, advancements in ribbed vaults and flying buttresses allowed for taller clerestory windows, often filled with to depict religious narratives and symbolize divine illumination, as exemplified in cathedrals like . Beyond religious buildings, clerestories have been adapted in secular contexts, such as historic dwellings, to optimize daylighting while preserving privacy and views, and in transportation vehicles for additional and ventilation.

Definition and Characteristics

Definition

A clerestory is an elevated section of a in a building that features windows positioned above eye level, typically integrated into the upper portion of the structure to allow to penetrate deep into interior spaces. This design element rises higher than adjacent roofs or lower , distinguishing it as a vertical feature rather than a roof-based opening. The term originates from "clerestory," combining "clere" (meaning clear or light-filled, derived from "cler" and Latin "clarus") with "story" (referring to a building level, from Anglo-Latin "historia"), first attested in the early to describe the lit upper parts of church naves. Its primary purposes include admitting daylight to illuminate large volumes without compromising or views from below, while also facilitating fresh air circulation through operable windows that leverage the —where warmer air rises and exits higher openings, drawing in cooler air from lower levels. Clerestories can take the form of a continuous row of windows spanning a length for uniform light distribution, or isolated openings placed strategically for targeted illumination and ventilation in specific areas. Their vertical orientation enhances the for , promoting airflow in tall interiors without mechanical systems, and they maintain structural integrity by elevating windows beyond standard reach, often starting 7 to 8 feet (2.1 to 2.4 m) above the floor. This height ensures light floods horizontally across rooms while preserving space for partitions or furnishings below. Unlike skylights, which are installed directly in the roof plane to capture overhead light and risk heat gain or leaks, clerestories are wall-mounted and oriented to diffuse sidelight more evenly. They also differ from dormers, which project outward from the roof to create additional headroom or space alongside windows, whereas clerestories remain flush with for a seamless .

Design Features

Clerestories are structurally integrated into buildings through supports such as columns, arches, or flying buttresses, which bear the load of the elevated wall section and enable its separation from lower levels like naves or aisles in multi-story designs. This integration allows for expansive window openings while maintaining stability, with the height providing a buffer against ground-level obstructions and facilitating even light distribution. Materials for clerestories have evolved from stone and wood in early constructions, where solid masonry walls with openings provided durability, to glass and stained glass for enhanced light transmission, and contemporary insulated glazing units (IGUs) that incorporate low-emissivity coatings for improved energy efficiency. Stone offered robust support in load-bearing systems, while wood framing allowed flexibility in pre-modern applications; modern IGUs, often double- or triple-pane, minimize heat loss and condensation in high-exposure positions. Functionally, clerestories leverage the —where warm air rises and exits through high vents—for , drawing cooler air from lower openings and promoting airflow without mechanical systems. For daylighting, they achieve optimal interior illumination with daylight factors (DF) typically ranging from 2% to 5%, balancing brightness and glare reduction by positioning windows above eye level to diffuse light evenly across spaces. Aesthetic variations in clerestory design include window shapes such as rectangular panels for minimalist profiles, arched forms for classical elegance, or tracery-filled openings for intricate patterns that filter decoratively. devices like operable louvers or external fins are incorporated to mitigate overheating, allowing adjustable control over while preserving visual appeal. Key challenges in clerestory construction involve bridging, where heat transfers through metal frames or uninsulated edges, potentially leading to energy inefficiency and . Contemporary solutions, such as double-skin facades with air cavities for insulation or thermal break materials in framing, address these issues by creating barriers that enhance overall building performance without compromising the clerestory's elevated functionality.

Historical Development

Ancient Origins

The concept of clerestory, involving elevated windows to admit light into large interiors, first emerged in architecture around the Mediterranean. In Minoan Crete, palaces such as , constructed circa 1900–1700 BCE during the Middle Minoan period, incorporated light wells—vertical shafts with high openings—and clerestory windows placed above the roofs of lower rooms to illuminate and ventilate multi-story complexes without direct exposure to external elements. These features were integral to the palace's layout, which spanned multiple levels around a central , facilitating natural airflow in densely built environments. In ancient Egyptian monumental of the New Kingdom (circa 1550–1070 BCE), clerestories became a hallmark of temple design, particularly in halls where rows of columns supported varying roof heights to create elevated window slits. The at the Temple of Amun-Re in , initiated by around 1290 BCE and completed by Ramses II circa 1250 BCE, exemplifies this with its 134 massive papyrus-bundle columns; the central aisle's higher roof allowed clerestory openings to filter sunlight onto the floor, illuminating the vast space while keeping lower walls intact for hieroglyphic inscriptions and reliefs. This arrangement not only addressed practical needs for visibility in column-filled interiors but also carried ritual significance, as the controlled ingress of light symbolized the divine presence of Amun-Re and other deities, evoking a mystical atmosphere within the sacred enclosure. Levantine influences drew from these traditions, as seen in the biblical description of in , built circa 950 BCE during the United Monarchy. According to 1 Kings 6:4, the structure included "windows of narrow lights"—interpreted by scholars as clerestory openings high in the walls of the main hall (hekhal) and inner sanctuary (devir)—to provide diffused illumination for rituals while maintaining the sanctity and structural solidity of the cedar-paneled interiors adorned with gold and cherubim. Overall, ancient clerestories balanced functionality and symbolism: practically, they enabled light and air circulation in expansive, enclosed spaces without undermining load-bearing walls needed for decorative or structural purposes; ritually, the ethereal glow reinforced theological ideas of heavenly intervention and godly habitation. These innovations laid groundwork for later adaptations in classical Mediterranean architecture.

Early Christian and Byzantine Architecture

Early Christian architecture adapted the clerestory from Roman civic basilicas, such as the Basilica of Constantine in (completed around 337 CE), where upper-level windows illuminated the interior above the colonnades. This feature was incorporated into church designs to provide natural light for worship spaces, as seen in in (built 326–333 CE under Emperor Constantine), which featured a clerestory with eleven windows on each side of the walls above the colonnades, directing light toward the central area. In these basilicas, clerestory windows in the upper walls served to illuminate both the altars and the congregations below, while integrating with reflective mosaics to enhance the diffusion of light. A prime example is in (completed 537 CE), where the dome includes an annular clerestory of 40 windows that allow light to filter through, interacting with gold mosaics to create a shimmering, heavenly glow within the vast interior. Byzantine architects innovated on this by developing domed basilicas with annular clerestories—rings of windows encircling the base of domes—to produce ethereal lighting effects that symbolized divine presence. The in (consecrated 548 CE) exemplifies this, employing high clerestory windows around its octagonal dome to flood the space with light, accentuating the intricate mosaics and fostering a sense of transcendence. Functionally, these clerestories improved visibility for religious icons, scriptures, and liturgical elements by channeling downward without obstructing views or creating floor-level drafts. In humid Mediterranean climates, they also facilitated ventilation, allowing air circulation high in the structure to maintain comfort during gatherings. The use of clerestories spread from the to by the 7th century, influencing monastic and basilical churches in regions like , and became a staple in Eastern Orthodox traditions for illuminating sacred interiors.

Romanesque Architecture

In , spanning the 10th to 12th centuries across , clerestories were typically positioned above barrel vaults or wooden roofs to enhance interior illumination while maintaining structural stability through massive stone construction. This period's designs emphasized solidity, with clerestories integrated into thick walls that supported the weight of vaults without compromising the building's integrity. A key innovation was the introduction of the triforium gallery, a situated below the clerestory, which served as internal buttressing to distribute loads and reinforce the walls. This feature is exemplified in in , constructed in the late , where the south clerestory incorporates the earliest surviving windows dating to c. 1065 CE, depicting prophets. Similarly, Durham Cathedral in England (1093–1133) features robust stone walls at clerestory level, flanked by sub-arches that echo the triforium's supportive role, allowing for modest window openings amid the nave's heavy ribbed vaults. Cluny Abbey in , rebuilt in the under Hugh, relied on exceptionally thick to bear the clerestory, creating a fortified elevation that prioritized endurance over expansive light. The primary purpose of Romanesque clerestories was to admit balanced, diffused light into the while ensuring earthquake-resistant stability, particularly in seismically active regions like , where small, often clear glass windows minimized vulnerabilities in the massive walls. Regional variations are evident in the Norman style of , as seen in (begun 1079), with its low, paired arched clerestory windows emphasizing horizontal massing, contrasted by the Lombard style in 's (construction from 1099, clerestory added c. 1130), where rhythmic arcading and striped integrated clerestories into more ornate, yet still robust, facades.

Gothic Architecture

The introduction of ribbed vaults and flying buttresses around 1140 CE marked a pivotal technological breakthrough in , enabling the construction of clerestories that reached heights of up to 100 feet while maximizing interior light. These innovations distributed structural loads more efficiently than earlier Romanesque methods, allowing walls to be pierced with expansive windows without compromising stability. At in (1194–1220), flying buttresses supported the high vaults, permitting a clerestory that flooded the with natural illumination through its towering glazed sections. Prominent examples illustrate the clerestory's evolution in Gothic design. (, 1220–1270) exemplifies unification of the and clerestory levels, creating a seamless vertical flow that amplified light penetration and reduced visual barriers between architectural tiers. In England, (1245–1517) showcases with its intricate fan vaults, where the clerestory integrates delicate to enhance the sense of upward aspiration and ethereal space. Aesthetically, the clerestory played a profound role in Gothic cathedrals, featuring large traceried windows often filled with that transformed sunlight into a of colored rays, symbolizing . Abbot Suger's renovations at Saint-Denis Abbey (1144) introduced the concept of lux nova ("new light"), where clerestory windows served as theological metaphors for spiritual enlightenment, integrating rose windows to evoke heavenly radiance. This luminous quality elevated the clerestory beyond mere functionality, making it a vessel for sacred symbolism in worship spaces. Structurally, Gothic clerestories featured walls thinned to 2–3 feet in thickness, externally buttressed to bear the weight of ribbed vaults and allow for vast glazing areas. Variations emerged across styles: Gothic employed linear for a radiant, geometric clarity, as seen in the expansive window walls of (, 1242–1248), while Gothic introduced curvilinear, flame-like patterns that further dematerialized the stone framework, prioritizing ornamental intricacy. These adaptations prioritized verticality and translucency, with external supports freeing interior surfaces for artistic expression. By the post-15th century, the Gothic clerestory's emphasis on extreme verticality waned as gained prominence, favoring classical symmetry, proportion, and solid pediments over the skeletal lightness and height of Gothic forms. This shift reflected broader cultural preferences for humanist ideals and revived antique motifs, leading to a decline in clerestory-dominated designs in favor of balanced, horizontally oriented facades.

Modern and Contemporary Applications

In Architecture

Following the medieval period, clerestory windows experienced a revival in secular architecture during the and into the , particularly in neoclassical halls and industrial structures where natural lighting was prioritized for expansive interiors. Similarly, Joseph Paxton's of 1851 in exemplified industrial application, with its vast glass-and-iron featuring elevated glazing that flooded the exhibition halls with daylight, reducing reliance on artificial sources and influencing subsequent and market designs. In the , modernist architects integrated clerestories to enhance spatial flow and light diffusion in both residential and symbolic buildings. Eichler homes in the United States during the employed narrow clerestory strips above central atria, promoting indoor-outdoor connectivity and in post-and-beam structures amid California's suburban expansion. Le Corbusier's Notre-Dame-du-Haut Chapel at , completed in 1955, featured asymmetrical clerestory openings in its thick concrete walls, allowing filtered light to create dramatic interior effects and marking a shift toward expressive, site-specific . Contemporary applications from 2020 to 2025 emphasize clerestories in passive solar designs for residences and commercial spaces, leveraging advanced glazing to balance illumination and thermal control. In residences like those documented in recent passive solar projects, clerestory windows positioned on south-facing roofs capture winter sun for heating while overhangs minimize summer gain, contributing to net-zero energy goals. Energy-efficient insulated glass units (IGUs) in these clerestories, often filled with argon and coated with low-emissivity layers, can reduce solar heat gain by 20-30% compared to standard double-pane glass, enhancing overall building performance. Key benefits of modern clerestories include superior daylighting that supports certification credits under the Indoor Environmental Quality category, where designs achieving daylight levels of 300–3,000 for at least 50% of regularly occupied can earn up to 2 points. They also provide privacy in urban settings by elevating views above eye level, avoiding direct sightlines while fostering biophilic connections to the outdoors, a trend amplified in conversions of historic structures like churches into residences with high clerestory additions for wellness-focused interiors as of 2025. Globally, examples span sustainable factories, such as those in incorporating clerestories for uniform daylighting to cut energy use by 15-25%, and residential projects in the .

In Transportation

Clerestory designs in transportation originated in the mid-19th century for railway passenger cars, where they addressed ventilation challenges in enclosed vehicles before widespread . Inventor Webster Wagner introduced the clerestory roof in 1859, featuring a raised central section with side ventilators to improve airflow in sleeping cars by expelling stale air upward. This innovation was quickly adopted in luxury rail services, such as the first Pullman coaches imported in 1874 for the , which incorporated clerestory roofs to enhance passenger comfort on long journeys. Peak usage of clerestory roofs occurred from the late 19th to early in heavyweight passenger coaches, particularly and . American Pullman cars, built primarily between 1900 and 1930, often featured clerestory sections adding 8 to 10 feet of height above the main roof for increased headroom and ventilation, allowing passengers to stand comfortably in the raised area while facilitating natural air circulation. In the UK, the London Underground's Q Stock trains, introduced in 1923, utilized distinctive clerestory roofs on cars to provide light and airflow in subway environments; these were gradually withdrawn, with the last units retired in 1971. Clerestory elements also appeared in road vehicles during the early , especially in buses and trams where raised roof sections improved upper-deck illumination and ventilation. In , double-decker buses adopted clerestory-style roofs on the upper level to admit through high-placed windows, enhancing for passengers in open-top designs transitioning to enclosed models. A notable example is the Samba, produced from 1961 to 1967, which featured up to 23 small windows including upper-side placements resembling clerestory arrangements to maximize interior light and airflow in its minivan configuration. The functional role of clerestories in transportation emphasized through the , where warm air rose and exited via roof vents, drawing cooler air in from lower openings to maintain comfort without mechanical systems. This design provided additional headroom in the curved, elevated roof section, particularly beneficial in rail cars where motion and varying climates demanded reliable . By the mid-20th century, clerestory roofs declined in transportation due to the adoption of systems, which eliminated the need for raised vents and enabled sleeker, streamlined profiles. Rail cars increasingly incorporated mechanical HVAC starting in the 1930s, leading to the phase-out of clerestory designs by the as non-air-conditioned models became obsolete for commercial service. Today, clerestories see rare revivals in heritage trains for historical accuracy and custom vans where enthusiasts add high-placed windows for ventilation, though no widespread commercial applications exist post-2020; they remain popular in scale model railways to replicate aesthetics.

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