Architect 2016-01

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84 A friend who is a partner in a national architectural firm that does a lot of campus work recounted for me a conversation he recently had with the university architect of a leading public institution. That individual, my friend told me, referred to university architects as “curators of an architectural petting zoo.” An exaggeration? Consider the University of Cincinnati. Over the last decade, the university has commissioned buildings by Peter Eisenman, FAIA, Frank Gehry, FAIA, Bernard Tschumi, FAIA, Thom Mayne, FAIA, and the late Michael Graves. “The hope is that buildings by starchitects will turn the University of Cincinnati into a desirable, glamorous place to spend four years living and studying,” writes Nikil Saval in a recent issue of The New York Times Magazine. Saval points out that Cincinnati’s enrollment has increased and its place in the U.S. News & World Report ranking of universities rose—slightly—from No. 156 (2011) to No. 129 (2015). (The institution dropped to No. 140 in the 2016 ranking, after the Times article was published.) Thanks to the architectural glam, what has risen more than slightly is the university’s debt load, which is now $1.1 billion. “It’s a financial gamble—one that many public institutions find themselves driven to make,” Saval observes. “And it also threatens something more abstract but no less fundamental: that the university will turn into a luxury brand, its image unmoored from its educational mission—a campus that could be anywhere and nowhere.” Architectural Constancy We didn’t always build campuses this way. In 1894, the University of Pennsylvania, where I used to teach, appointed Walter Cope and John Stewardson as campus architects, and over the next two decades Thayer Academy in Braintree, Mass. entrusted their local firm with one major building after another: a dormitory quad, the law school, the school of engineering, the veterinary school. The exemplary work—nine buildings in all—continues to define the architectural character of this urban campus. Cope & Stewardson worked across the country: seven buildings at Bryn Mawr College in Pennsylvania, five at Princeton University in New Jersey, and 11 at Washington University in St. Louis. Although the firm more or less invented the style that came to be known as Collegiate Gothic, its prolonged relationships with its educational clients ensured that the character of the built results varied; the Penn quad was Jacobean, while the main building at Wash U. was, in the architects’ words, “academic Gothic of the fifteenth century.” Assigning university building to a single firm used to be a common practice. James Gamble Rogers was consulting architect at Yale University, and he left a Gothic Revival stamp on that campus. Ralph Adams Cram and Bertram Grosvenor Goodhue rebuilt the U.S. Military Academy at West Point in a muscular Gothic style that Cram described as “between the Scylla of pictorial romanticism and the Charybdis of hard utilitarianism.” Cram later served as supervising architect at Princeton, designed Sweet Briar College in Virginia (where he switched to Colonial Revival), and planned a new campus for Rice University in Houston, whose quadrangles and medieval Byzantine style have influenced architects to this day. Paul Philippe Cret adopted a classicized regional style at the University of Texas at Austin, where he was supervising architect for four decades and was responsible for no less than 19 buildings. Architectural constancy was also visible on private preparatory school campuses, which often resembled miniature universities. Cram designed several buildings at both Choate (in Wallingford, Conn.) and Phillips Exeter Academy (in New Hampshire). Between 1894 and 1895, George Peabody of the Boston firm Peabody & Stearns built 10 buildings at the Lawrenceville School in New Jersey. The Lawrenceville campus was planned by Frederick Law Olmsted, and two decades later, Olmsted Brothers laid out the campus for the Middlesex School in Concord, Mass., where Peabody & Stearns designed most of the major buildings. While both campuses are centered on a sort of village green, the buildings at Lawrenceville are Richardsonian Romanesque, whereas those at Middlesex are Colonial Revival. The idea that continuity is more important than variety persisted until the mid 1900s. Eliel Saarinen oversaw the development of the Cranbrook schools for two and a half decades; the result was one of the most beautiful campuses in the country. Ludwig Mies warren jagger
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