7. Related Works

#7: Related Works

Three works that are worth examination in relation to Austin Hall are H.H. Richardson’s Sever Hall (Cambridge, MA), Trinity Church (Boston, MA), and New York State Asylum (Buffalo, NY). The first is pertinent due to its status as the other Richardson-designed classroom building on Harvard University’s campus. The second is perhaps Richardson’s most noted work, at least in the Boston area. Finally, the third building represents Richardson’s largest project, completed in collaboration with renowned architect and sometime Richardson collaborator Frederick Law Olmstead.

Sever Hall

Dates of Construction: 1878-1880
Architect: H.H. Richardson (1838-1886)
Location: Harvard University, Cambridge, MA
Medium: Brick
Style/period: Romanesque Revival (Richardsonian Romanesque)
Dimensions:176 X 74 X 80

            Sever Hall, as one of Harvard College’s classroom buildings (as opposed to the Law school), casts a far less imposing profile on its surrounding quadrangles and installations. It was intended as way for the college to expand its classroom space and was built with a gift from Anne Sever in memoriam of her husband. Possessing less distinct turrets and a smaller entry portico than Austin Hall, Sever could be seen as less characteristically Richardsonian Romanesque. Indeed, the symmetry and regularity of the windows as well as the uniformity of brick coloring allow Sever Hall to recede into near anonymity amongst its Georgian peers, whereas Austin marks a clear break from the traditions of its neighbors. This divergence– the lack of Sever’s distinctness from its neighbors contrasted with Austin’s uniqueness– perhaps reflects the retrospective contexts of their construction, with Austin being the first of its kind and Sever being molded to fit an already existent set of structures. At the same time, its relative lack of ornament and decided monochromatic facade allow it to stand out amongst its fellow Richardson-designed peers, perhaps explaining why it has been named a National Historic Landmark. 

Trinity Church

Dates of Construction: 1872-1877
Architect: H.H. Richardson (1838-1886)
Location: Boston, MA
Medium: Longmeadow Sandstone, Clay, Glass
Style/period: Romanesque Revival (Richardsonian Romanesque)
Dimensions: 211 feet tall.

            While not fully complete until after his death, Trinity Church marks what is probably Richardson’s best-known achievement. Though purposed as a church and not a building of secular education like Austin, Trinity still retains some of the key elements of Richardson’s trademark approach: Longmeadow sandstone and granite, an impressive tower, large porticos, and elaborate, asymmetrical windows. Additionally, the building bears aspects that are modeled after foreign churches, particularly in France and Italy, reflecting Richardson’s training and influence obtained from abroad. Specifically, the Romanesque churches of St. Trophime, France and the Cathedral of Salamanca were key sources. Finally, it should be noted how Trinity’s surrounding buildings remind the viewer both of Richardson’s profound influence on future American architecture (seen in the Boston Public Library, a product of his former assistant) and then how much progress has been made since his day (observed in IM Pei’s Copley Plaza).

New York State Asylum

Dates of Construction: 1870
Architect: H.H. Richardson (1838-1886)
Location: Buffalo, NY
Medium: Brick and Sandstone
Style/period: Romanesque Revival (Richardsonian Romanesque)
Dimensions: Unknown

Constructed complete with 59 acres of grounds to house humanely the State's growing mental health patient population, the Asylum entailed numerous administrative and treatment buildings.  In addition to size, the New York State Asylum is likewise noteworthy for Richardson’s not being the only architect as well as the firm influence of French elements. The fact that it was a team effort means that many of its elements are less distinctly Richardsonian. Large entry porticos are still evident, as is impressive, overbearing fenestration, but the overall shape of the building is much more boxy, without the rounded quality of its outline that is observable in both of Richardson’s Harvard building. Curiously, though, despite the Asylum lack of many of Richardson’s hallmark characteristics, it is still attached to Richardson’s name, perhaps revealing just how important the mere mention of the architect’s name is to the building’s status.