Harvard University - The Cambridge Historical Commission Blog

Architect Spotlight: Happy Birthday Benjamin Thompson

Posted on July 3, 2020August 17, 2020 by Brittany F.

Today marks the birthday of a locally influential architect, Benjamin Thompson (1918-2002) who was a founding member of The Architects Collaborative (TAC). In operation from 1945 to 1995, TAC was an architectural firm of eight architects who specialized in post-war modernism design. Thompson left TAC in 1966 due to creative differences and he established Benjamin Thompson and Associates (BTA) a year later. He also embarked on an interior design company, Design Research (D/R), which he owned from 1953 to 1970 when it then changed ownership. Thompson’s original store was located at 57 Brattle Street.

thompson image — Thompson, Benjamin. “Let’s Make it Real.” *Architectural Record.* January 1966.

To celebrate Thompson’s birthday, we want to highlight one of his many projects. We’ve chosen his renovation work on a historic building here in Cambridge since it marks his efforts to combine his modernist sentiments with a conscious effort to retain older architectural design. The choice was further bolstered by Thompson’s personal connection with his client, Harvard University. Thompson was an instructor for the Harvard Graduate School of Design and from 1964 to 1968 he presided as Chair of the Architectural Department. Furthermore, the CHC possesses the Benjamin Thompson Associates Collection (CHC051), which contains booklets, images, and other formats concerning the work of the architecture firm and Thompson’s designs.

So what is the building? Boylston Hall, located at the southwest side of the Harvard Yard. But before we get into Thompson’s renovation, we’d like to give some historical background of the building.

Boylston Hall_HU_ca.1870_No source - small — CHC digital image. Ca. 1870

Boylston Hall was designed and built by Paul Schulze (1828-1897) in 1858. Schulze was a German immigrant who moved to America in 1849. He had previously planned and constructed Appleton Chapel (built 1858) for Harvard University and the success of that venture motivated members of the Harvard faculty to advocate for his continued employment. One spokesperson was Erving Professor Josiah P. Cooke, Jr. who wrote a letter of encouragement to Harvard’s President Rev. James Walker. As part of the Chemistry Department, Cooke’s letter explained how his department was being inadequately serviced in the University Hall.

Items from CHC051 collection. Featuring Boylston Hall and Design Research building

For some time, the Chemistry Department was held in University Hall’s basement. Conversations had begun the spring and summer of 1856 to search for alternative accommodations and it was decided that a purpose-built chemistry laboratory facility was the solution. It would be the first building of its kind in America whose construction was specifically dedicated to chemistry. Schulze completed and submitted his description of Boylston Hall on January 15, 1857.

Boylston Hall received financial patronage from Ward Nicholas Boylston (1747-1828) who posthumously donated a large sum to the University under the agreement that the new construction would adhere to his stipulations. Boylston required that the building would house an Anatomical Museum, a Mineralogical Cabinet, a Cabinet of Apparatus, lecture rooms, and a chemistry lab — the final component aligning smoothly with the University’s needs. To speed up the construction process, a subscription was raised to increase the building fund to $40,000.

Schulze, as part of Schulze & Schoen, constructed the 117’ x 70’ Boylston Hall. Designed in the Renaissance style, Boylston Hall has been labeled as part of the Boston Granite Style and this style became highly influential in Boston’s mercantile buildings and wharf structures, such as Mercantile Wharf, the Custom House Block, and Quincy Market. Boylston Hall has likewise been equated to Schulze’s contemporary and prolific Bostonian architect, Gridley J.F. Bryant, by architectural historians due to their similar material use.

Items from CHC051 collection. Featuring Benjamin Thompson’s interior designs

Nonetheless, Boylston Hall exterior was of Rockport granite set in rough large blocks almost 2 feet thick. The building held curved windows with Italianate tracery and its entrance was centered. Contracted skilled workers included Ebenezer Johnson, master mason; Jonas Fitch, carpentry; Smith and Felton, ironwork; Thomas Haviland, plastering; and John Bates, painting and glazing. The interior was lined with brick and plaster and it was split into two stories of 17ft and 23ft tall. The first floor held the Public Laboratory, the library, the Anatomical Laboratory, and lecture and recitation rooms, which were connected by a central hall. The Anatomical Museum, the Mineralogical Cabinet, the Cabinet of Apparatus, and more lecture rooms were located on the second floor. At the time, the items in these exhibits were under the stewardship of Professor Jeffries Wyman but presently some are now housed at the Peabody Museum of Archaeology and Ethnology.

Boylston Hall was part of a Harvard trend where buildings were situated in relation to the Yard. The front facade faced inwardly instead of toward Massachusetts Avenue or even University Hall, which was once the center of a campus design plan. Douglas Shand-Tucci states in Harvard University: An Architectural Tour, “Boylston Hall’s original role as one of the heralds of the New Yard” helped bolster this variant campus nucleus that countered the Old Yard” (151). It also became the site of great expansion to the Chemistry Department under the direction of Erving Professor Josiah P. Cooke, Jr., Professor Charles Loring Jackson, and Professor Henry Barker Hill.

Boylston Hall_HU_1874_Notman & Son Photo — Notman & Son image. 1874

By 1870, the Chemistry Department required more space, and so a mansard roof, incorporating a new third story, was added to accommodate a new laboratory. Peabody and Stearns facilitated the extension and the work was completed in 1871. However, after another twenty years, in 1895 there were again remarks about the space being too cramped for the department’s growing needs. In 1902, a 85’ x 35’ laboratory was adjoined to the basement. According to a Harvard Crimson article, the addition included 8 double benches, 2 single benches, and 14 sinks. Boylston Hall served the Chemistry Department for another twenty years.

In 1929, the Hall was remodeled to house the Harvard-Yenching Institute, an independent public charitable trust founded in 1928 by the Charles M. Hall estate. Still active today, the institute is committed to advancing higher education in Asia in the humanities and social sciences. However, it is no longer headquartered in Boylston Hall; the Institute left in 1958 before another renovation.

Boylston Hall 1976-002 — CHC survey image. 1976

boylston interiors — 1959 Renovation. Interior views. Image from CHC Thompson collection

1959 interior- CHC collection item — 1959 Renovation. Interior Elevation. Image from CHC Thompson collection.

The 1959 renovation to Boylston Hall has been lauded repeatedly. It was the work of the TAC with Benjamin Thompson as principal-in-charge. As mentioned earlier, Thompson was concerned with “adapting spaces to conserve the best qualities of traditional architecture,” as quoted from a booklet available in our CHC051 collection. Coined as “recycling” and cited as the first of its kind in the area, Thompson’s design took great pains to retain the original Boylston Hall. For instance, the new arrangement placed fixed glass sheets in the curved windows. This was intended to improve the visual appeal priorly inhibited by wooden mullions. The new version of glass set in bronze would offset the granite and impose fewer interruptions. Additionally, Bainbridge Bunting stated in Harvard : an architectural history that “the detailing of other new elements, such as the arched metal vestibule at the main entrance, enhances the sense of strength conveyed by the granite masonry” (51). However, the fixity of the windows would prove to be a problem in the future.

Nevertheless, Thompson’s main task for the renovation was to accommodate more office spaces. Over the course of the project, Boylston Hall went from 39,206 sq ft to 53,300 sq ft, allotting 40% more floor space. This was achieved by remodeling the interior by adding a mezzanine between the first and second floors and another floor, making 5 levels total. The project cost about $880,000. Additional interior images can be seen in the items of the CHC051 collection.

Years later, in 1992 upgrades were issued to the exterior granite and six years after, a major renovation occurred. The 1998 project cost $8.3 million and was completed by Robert Olson and Associates, who were tasked with updating Boylston Hall for its current inhabitants.

Boylston Hall_HU_Dan Reiff Image (3) - small — Dan Reiff photo. CHC files

The space was now occupied by humanities departments as part of a larger strategic plan that made a Humanities Arc from Quincy Street to the Yard. Departments included Classics, Literature, Comparative Literature, Linguistics, and Romance Languages. Robert Olson and Associates addressed many of their particular concerns, including making the windows functional to improve air quality.

Boylston Hall_HU_Hollis Image Current — Hollis image. Exterior. *North Side [Ralph Lieberman photograph, 2012)*. Photographer: Ralph Lieberman, 2012. Image ID: olvsurrogate991681

hollis-interior view of lecture hall (2013) — Hollis image. Interior view of lecture hall (2013). Photographer: Ralph Lieberman, 2013. Image ID: olvsurrogate1032227

hollis- interior view of reading room — Hollis image. Interior view of reading room (2013). Photographer: Ralph Lieberman, 2013. Image ID: olvsurrogate1032221

The firm also achieved brighter, more open corridors by installing glass partitions. One of the most notable themes of the renovation was the emphasis on social spaces. Boylston Hall now sported a mezzanine cafeteria (C’est Bon cafe), common spaces and meeting rooms (Ticknor Lounge), and a 144 seat stadium-style auditorium (Fong Auditorium).

On the first floor, two prior large classrooms were split into three more usable classroom sizes. Although the redesign was applauded by most, not everyone praised the changes. News articles quoted people remarking on inferior workmanship and the loss of office space– it seems Ebenezer Johnson and the other contracted skilled workers of the first build were greatly missed! Additionally, as we’ve moved to the twenty-first century, the glass partitions between classrooms have caused logistical problems with audiovisual equipment due to the presence of glare. Nonetheless, Boylston Hall’s exterior has retained most of its visual integrity. Today, the building still serves the Departments of Classics and Linguistics but also Women, Gender & Sexuality.

Sources:

Bunting, Bainbridge. Harvard: An Architectural History. Cambridge, Mass.: Belknap Press of Harvard University Press, 1985.
Cambridge Chronicle. 24 August 1895.
Eliot, Charles W. Harvard Memories. Cambridge, 1923.
Harvard Crimson. 25 September 1902.
Harvard University. “About: Boylston Hall.” https://rll.fas.harvard.edu/pages/boylston-hall
Harvard University Gazette. 12 March 1998.
Henry, Stephen G. “A Brand New Boylston.” Harvard Crimson. 30 October 1998.
Powell, Alvin. “Boylston Hall Gets a Facelift.” Harvard University Gazette. 17 September 1998.
Shand-Tucci, Douglas. Harvard University: An Architectural Tour (The Campus Guide). Princeton Architectural Press, 2001.
Thirty-Second Annual Report of the President of Harvard College to the Overseers, Exhibiting the State of the Institution for the Academical Year 1856-1857. “Letter of Professor Cooke to Rev. James Walker. December 24, 1857.” Cambridge: Metcalf and Co, 1856.
Image from Thompson, Benjamin. “Let’s Make it Real.” Available in CHC051 Collection.

Torn Down Tuesday – Harvard Botanic Garden Greenhouse

Posted on April 28, 2020May 13, 2020 by cambridgehistoricalcommission

greenhouse_Page_1 — View of the greenhouse complex from within the garden, 1867.

From 1805 to 1948, Harvard University operated a botanic garden under the direction of its botany department. In addition to its role in scientific research and education, the garden was open to the public and became a very popular park. Located on seven acres at the corner of Linnaean and Garden streets, the garden featured a greenhouse filled with exotic tropical plants. The structure was one of several buildings organized in a line on the northern, elevated portion of the site, including the professor’s residence, a herbarium, a library, and a lecture room.

Screenshot 2020-04-28 09.41.29B — 1886 Hopkins atlas showing the layout of the botanical garden buildings and walkway circulation. The greenhouse complex is circled in red.

The greenhouse was designed by Ithiel Town who also designed the professor’s residence (now located at 88 Garden Street). Known for his Greek Revival designs, Town also developed a truss system for bridges, which is named after him. The dimensions of the greenhouse are not known. The structure consisted of a semicircular central block with a pitched roof and lower wings that also had pitched roofs. Cold frames were located along the southern foundation, and a toolshed/workshop was located at the north wall. Wooden shutters slid up and down on tracks. Two cisterns inside the greenhouse were filled with water from a nearby spring, and two wood- and coal-burning stoves heated the structure. The greenhouse featured a traveler’s tree of Madagascar (Ravenala madagascariensis), Indian bamboo (Bambusa bosa), an extensive collection of cacti and palm plants, and over 200 orchids.

greenhouse_Page_2b — View of greenhouse to the right, along with library and herbarium situated on a terrace overlooking the botanical garden, 1867.

An article in a publication called The Century Illustrated Monthly from 1886 described the greenhouse complex:

“From the lecture room, you may pass directly into the conservatory, or what is pleasanter, you may walk out around the big hickory on the terrace and enter the rounded front of the central greenhouse, where an ambitious bamboo almost fills the doorway with masses of dark green drooping leaves … . There are several distinct compartments so as to suit the different requirements of the tropical and sub-tropical plants here brought together from all parts of the world. The 1400 species grown insure a goodly supply of blossoms at all seasons of the year, and hundreds of kinds not found in other greenhouses.”

The structure was razed in the late 1940s to make way for a new residential development for Harvard faculty and students, as well as returning military servicemen.

With the establishment of the Arnold Arboretum in Jamaica Plain in 1872, research on woody plants was moved to that location. The herbarium collection continues to be maintained by Harvard at a facility at 22 Divinity Avenue. The former herbarium building, now known as Kittredge Hall, is the home of Harvard University Press.

Below are several illustrations of the greenhouse and plants in The Century Monthly Illustrated drawn by Roger Riordan, Harry Fenn, Francis Lathrop, and E. P. Hayden.

Pages from THE_CENTURY_ILLUSTRATED_MONTHLY_MAGAZINE-2

Sources:

Ernest Ingersoll, “Harvard’s Botanic Garden and Its Botanists,” The Century Monthly Illustrated, 1886, pp.242-243.

Susan E. Maycock and Charles M. Sullivan, Building Old Cambridge, 2016.

Charles A. Hammond, “The Botanic Garden in Cambridge, Massachusetts, 1805-1834,” The Herbarist, Vol. 53, 1987, The Herb Society of America.

Historic Buildings: Lionel Hall and Mower Hall at Harvard

Posted on April 17, 2020April 17, 2020 by cambridgehistoricalcommission

It is hard to name an architecture style more identifiable with Harvard than the Georgian style. The oldest extant buildings in Harvard Yard include Massachusetts Hall (1720), the Wadsworth House (1726) and Holden Chapel (1744), just some of a larger group of Georgian buildings constructed before the American Revolution. The Georgian style is eponymous for the first four British monarchs of the House of Hanover—George I, George II, George III, and George IV—who reigned in continuous succession from 1714 to 1830. It is in this time that Harvard, the oldest institution of higher learning in the United States, created its now iconic architectural identity. By the 19th century, other buildings in various styles were designed in the Yard, from University Hall (1815) in the Federal style, to Matthews Hall (1872) a Victorian Gothic dormitory, to Sever Hall (1880) one of the greatest examples of Richardsonian Romanesque architecture in the world; Harvard would later return to the Colonial-era Georgian style. Two great and lesser-known examples are Lionel Hall and Mower Hall.

1930 Bromley map showing recently completed Lionel and Mower Halls enclosing the two small quadrangles.

Current aerial of Lionel (yellow) and Mower (blue) Halls, facing west. Holden Chapel at center.

Abbott Lawrence Lowell, Harvard University President (1909-1933) is responsible for the wide-scale revival of the Georgian style at Harvard through his massive building programs for the Harvard River Houses, dormitories in the Yard, and the new President’s House. Two of the smallest being Lionel Hall and Mower Hall.

Screen Shot 2020-04-15 at 4.27.04 PM — Circa 1925 image of Mower (left) and Lionel (right) Halls during construction from Peabody Street. Courtesy of Harvard Property Information Resource Center.

Screen Shot 2020-04-15 at 1.21.57 PM — Plans of Lionel Hall (identical to Mower Hall) published in Architectural Forum, Dec. 1925.

Lionel and Mower Halls were built in 1925 in the Georgian Revival style and sited to frame the Holden Chapel and enclose the western edge of the Yard. Appropriately nicknamed “The Holden Twins”, the two dormitory buildings were designed by the firm of Coolidge, Shepley, Bulfinch, and Abbott, who went on to design many later buildings for Harvard, including the River Houses (both the Georgian style and later Modern Houses). Both Lionel and Mower Halls were funded by a building campaign by President Lowell to expand the university and house additional students. They are constructed of red brick with stone trim. Both buildings are near-identical and rise 2 1/2 stories into a gambrel roof. Symmetrical facades and stone entries with fluted pilasters capped with Corinthian capitals over rusticated stone complete the Georgian Revival motif.

46838104 — Lionel Hall quadrangle facade. Photo by Ralph Lieberman (2012).

46838107 — Lionel Hall entry detail. Photo by Ralph Lieberman (2012).

Lionel Hall is named after Lionel de Jersey Harvard (class of 1915), an English descendent of John Harvard who was killed in World War I in France. Lionel was the first known relative of John Harvard to attend his namesake’s University. He descended from Thomas Harvard (1609–1637), brother of Harvard University founder John Harvard (1607–1638), who had died childless. Lionel Harvard in 1918 served as Commander of Number One Company, in the British Army and died from mortar fire in March of 1918, during the German Spring Offensive, leaving behind a widow and infant son.

LioneldeJerseyHarvard_InUniformStanding — Undated photo of Lionel de Jersey Harvard, Creative Commons.

Mower Hall is named in honor of Thomas G. Mower, by a gift valued over $18,000 from Miss Sarah E. Mower as a memorial to her late father. Thomas Gardner Mower (1790-1853) graduated from Harvard College in 1810 and immediately began to study medicine, later enlisting in the army as a surgeon in the War of 1812. After the war, Mower settled in New York and became a head Surgeon and examiner for the US Army until his death.

While these two modest dormitories do not stand out for their size nor architectural grandeur among the iconic buildings in Harvard Yard, they together showcase how proper design, massing and siting can truly enhance the character of an area without diminishing the significance of nearby buildings.

Lewis Family Collection

Posted on March 11, 2020December 1, 2020 by Brittany F.

The Commission has recently finished processing a small image collection titled the Lewis Family Collection. This collection chronicles a portion of the longstanding and prolific Lewis family of Cambridge, Mass. and it is part of a much larger set of subject records available concerning the Lewis family. Other records include the Lewis family and Lewisville segments of African American files in CHC people files. However, these other textual files mainly pertain to the family’s 19^th century contributions and its efforts in various African American movements, including the Cambridge Liberian Emigrant Association. We highly recommend you visit us to see these incredibly rich records!

The Lewis Family Collection is unique because it is solely visual documentation and it covers a period of about 20 years (1900-1920) that is not often represented in historical accounts of the Lewis family. It also is a product of a larger effort conducted by the CHC primarily in 1980-1982 called the Cambridge Photo History Project. The Project was intended to bring together photographs of Cambridge taken before 1945. For this collection, the donor brought in five scrapbooks, which were photographed page-by-page and then returned to her. The CHC retained the surrogates and transformed them into negatives and copy prints so that the content of the scrapbook would be available to you.

“Dad.” George W. Lewis Jr. ca. 1900-1920s

Within the collection are three generations of the Lewis family, immediate relatives, and close friends. The first generation shown is Nancy and George Washington Lewis (Jr.) George Washington Lewis (Jr.) was born in Cambridge in 1848 and he worked as a steward for the Harvard Porcellian Club for over 45 years and he replaced his father’s position in 1876.

Nancy Lewis as young woman — “Ma.” Nancy E. Lewis, ca. 1900-1920s

On October 11, 1872 George married Nancy E. Poole who was born ca. 1852 in Columbia, South Carolina. They had five children, Elizabeth E. Lewis, Jerome Theodore Lewis, Walter E. Lewis, George Colman Lewis, and Ethel A. Lewis. By 1897 the family purchased 47 Parker Street and were noted for hosting amateur theatrical productions and housing black Harvard undergraduates.

A.M. from Harvard, 1917 — “A.M. Harvard. 1917”

Julia Harris, Dave Houston, Bob Morris, Ida Morris, and Tony Har — “[top left] Julia Harris, [Gordon David] Dave Houston, [top right] Bob Morris, [bottom left] Ida Morris, [bottom right] Tony Harris”, ca. 1900-1920s

These images exemplify some of the African American youth that would congregate at the Parker Street residence. Gordon David (Dave) Houston is the resident of “Houston’s Den” mentioned in this collection. He was born in Cambridge on May 6, 1880 and attended the Cambridge High and Latin School. In 1900 he graduated from the high school, the same year as Anthony Harris– it is possible that they knew each other through sports. In 1904 he graduated from Harvard College cum laude and pursued an academic career as an English professor. He led English departments at Tuskegee Institute, Howard University, Dunbar High school, and Douglas High School. On August 20, 1907 he married Dora Mayo Lawrence and they had two daughters, Dorothy Maude and Ethel Augusta.

Anthony (Tony) Harris went to Sunday School at Christ Church in 1900– likely connecting him to Ethel Lewis. That same year he graduated from the Cambridge Manual Training School for Boys (CMTS) after attending and graduating from the Washington grammar school in 1895. During his time at CMTS, Anthony– or more popularly addressed as Tony– was known for his skills at football. He later coached football at CMTS until ca. 1906. The 1908 City Directory cites Anthony as a waiter boarding at 73 Howard Street.

The others in this image have speculative biographical histories available in the collection’s finding aid.

Vic Blackwell, Nora Wingfield, Elizabeth E. Lewis, Leila Stubbs, — “(left) Vic Blackwell, Nora Wingfield, Bessie Lewis, Leila Stubbs, (right) Maurice”, 1910

Along with hosting social gatherings for friends, Nancy and George had five children. The image on the left shows “Bessie” Lewis with her probable bridesmaids in 1910, the year she married Maurice Jefferson Brooks, who is in the right-side image. Bessie’s given name was Elizabeth Estelle Lewis but she went by various nicknames including Bessie, Birdie, Bess, and Aunt Lizzie. She was born in November 1880. After her family moved to Cambridge, she worked as a bookkeeper. She married Maurice (1879-1913), a porter from Washington D.C. living in Boston, on October 20, 1910. They had one son, Jerome Theodore Lewis, named after Elizabeth’s brother. When Maurice died in 1913, she moved back in with her parents.

Emille Bass and Ethel Lewis — “E.A. Lewis”

George and Nancy’s other daughter was Ethel A. Lewis who was born in October 1878. According to articles in the Cambridge Chronicle, she attended Sunday School at Christ Church and partook in the Girls’ Friendly Society in Cambridge– two organizations that connect her to other individuals in this collection. In the 1900 Census she is cited as working as a stenographer. She has been cited as graduating from Bryant & Stratton Commercial College ca. 1903 and by 1905 as working as a teacher for Simmons College, although no records of confirmation have been found. Nonetheless, a book was published by the Colored Citizens of Greater Boston and the Garrison Centenary Committee of the Suffrage League of Boston and Vicinity due to her efforts as stenographer. The book, The Celebration of the One Hundredth Anniversary of the Birth of William Lloyd Garrison was published in 1906 and it is available free as an online Google Book! Ethel moved to Baltimore, Maryland in 1906 to become a schoolteacher. She boarded at various residents including 1409 McCulloh St in 1920 and 1935 Druid Hill Ave in 1930 while being employed as a teacher and stenographer.

George Colman Lewis at 4 Wellington Ave — “G.C. Lewis”, ca. 1900-1920s

One of their sons, George Colman Lewis, was born in Columbia, South Carolina in 1875. By the 1890s he was a member of the Cambridge Social Union Debating Club and in 1892 he graduated from the Manual Training School. He also partook in the Riverside Cycle Club, an exclusively black club in Cambridge. At various points throughout his life George C. worked as a railroad worker but he attempted a career change ca. 1900 when he embarked on becoming a tailor at 29 Boylston Street. He soon returned to the railroad industry and became a porter. He died on August 19, 1906 at the Mt. Auburn Hospital of heart disease when he was 31 years old. He is here depicted at 4 Wellington Ave (now Somerville).

Nancy, George W. Lewis, family relations, and friends at home — “Ma Lewis, Pa Lewis, Nellie Sorrell, Anthony Harris, Benzina Reese, Henry Robbins, Ethel Lewis, Jerome Lewis”, ca. 1900-1920s

The Lewis’s eldest son, Jerome Theodore Lewis, was born on November 21, 1872. When the family moved to Cambridge, he worked as a laborer for Ford Motors at 400 Brookline Street. He also married Margaret A. Lewis. Another son, Walter E. Lewis was born in November 1876 and died August 23, 1880. Little is known about him.

Benzina Reese was Nancy Lewis’s niece. Born in October 1873 in South Carolina, Benzina came to Cambridge by 1900. The 1900 Census lists her as working as an office girl. In 1902 she married Frederick Sandford Gray– making her also the Mrs. Gray of this collection. At some point they moved to 10 Chestnut Street in Plymouth, MA, where Frederick worked as a chef. They had three children: Herman F., Helen E. and Leslie R. Gray. Herman is also present in this collection as a baby.

Washington Elm, Pa Lewis, and other photos — “(upper left) Pa Lewis, (upper middle) Kate, Sue [Harris], (bottom middle) Washington Elm, (bottom right): Andrew”, ca. 1900-1920s

There are so many others present in this collection we could only give a quick taste of what you can come see. We’ve also digitized a sampling of images for our Flickr page. Check them out here

To learn more about what is available in the Lewis Family Collection, our newly edited finding aid will be available here soon!

50 Quincy Street – Swedenborg Chapel

Posted on February 7, 2020May 14, 2020 by cambridgehistoricalcommission

The following is an excerpt from Swedenborg Chapel Planning Study by Mark Careaga, AIA.

Quincy St 50 DSC_8865 — View of the Chapel from Kirkland Street, near the Quincy Street intersection. CHC Collection.

The Cambridge Society of the New Jerusalem – the formal name of the congregation that worships at Swedenborg Chapel – was formed in 1888. The following year, the New Church Theological School purchased the Treadwell-Sparks house at 48 Quincy Street, directly south of the site where the chapel would later be built in 1901. Named for Jared Sparks, professor of ancient and modern history and president of Harvard University (1849-53), the Treadwell-Sparks house would become the home for the theological school for nearly 70 years. Ten years after the school moved into Sparks House, planning commenced for the chapel, which would serve both the congregation and the school.(26)

chapel drawing — Original exterior details of the Chapel for the New Church Theological School by Warren, Smith and Biscoe Architects, ca. 1901. Cambridge Society of the New Jerusalem Archives.

warren sketch — Drawing of the Chapel by the architect, ca. 1900. CHC Collection.

The chapel’s architect was Herbert Langford Warren (1857-1917), a prominent Boston architect among whose many accomplishments include being a founder and president of the Society of Arts and Crafts, Boston. He was also the first “dean of the School of Architecture at Harvard, having taught there continuously since offering the first course in architecture in 1893.”(27) Warren was a lifelong practicing Swedenborgian, influenced by his father’s commitment to the faith. As an architect, Warren had distinct preferences for English styles,(29) which may stem from his roots (he was born, reared, and educated in Manchester, England (30), from Swedenborgianism’s roots (the church was founded in England in 1787 by devotees of Emanuel Swedenborg’s distinctive Christian theology (31), or both. The chapel’s design reflects the English gothic style consistent with Warren’s deeply felt affection for the medieval English parish church, which he expressed to his students in his lectures.

Below is a description of the Chapel published by the Cambridge Society of the New Jerusalem.

cambridge society desc full 2

chapel and sparks house — View of Sparks House to the right of the Chapel, later moved to Kirkland Street. Undated photograph, CHC Collection.

In the 1960s, the school decided to relocate to Newton, Massachusetts and sold the Sparks House property to Harvard. Given the historical significance of the house, Harvard relocated it a short distance away on Kirkland Street, where it remains today as the home for the minister of Harvard Memorial Church. As Robert Kiven observed in 1968, this was in fact the second time that Sparks House had been moved.(32) As City of Cambridge preservation planner Sally Zimmerman notes, “in 1901, the house was turned 90 degrees and moved south on its lot to make room for the chapel’s construction.”(33)

The New Church Theological School’s establishment at Sparks House marked the beginning of a century-long transformation of Quincy Street. Starting in the 1840s, Quincy Street began to unseat “Professor’s Row” (Kirkland Street) “as a prime residential location for those connected to [Harvard College], and it remained so up to the end of the nineteenth century, as a cosmopolitan group of noted academics settled along the street’s length.”(34) This can be seen in the 1865 map below, which shows five faculty houses on the west side of Quincy Street, in Harvard Yard, eventually replaced by expansion of academic facilities – in particular, Robinson Hall, Sever Hall, and Emerson Hall.

1865 map 2 — Map of Cambridge from 1865 showing faculty housing on Quincy Street. The Chapel would be built where “Prof Lovering” is located, just below “Kirkland St.” City of Cambridge GIS.

1916 Bromley map 3 — Map from 1916 showing the Church of the New Jerusalem, now known as the Swedenborg Chapel. Bromley 1916 atlas, CHC Collection.

The transformation began with the Fogg Museum, designed by architects Coolidge, Shepley, Bullfinch, and Abbott of Boston and built in 1927, taking over 28-36 Quincy Street. In 1963, the Le Corbusier-designed Carpenter Center was completed, with its iconic ramp structurally integrated with a basement library book-stacks facility that was added to the back of the Fogg in 1961 to expand the Fine Arts Library.(35) In 1963, the Minoru Yamasaki-designed William James Hall was completed to house Harvard’s Department of Psychology, which William James was instrumental in establishing.(36) James’ father, Henry James, Sr., was deeply influenced by the writings of Emanuel Swedenborg.(37) Six years later work began at 48 Quincy Street to construct Gund Hall for the Harvard Graduate School of Design (“GSD”), bringing the school that Herbert Langford Warren had founded in the late 1800s directly next door to the chapel he designed for his fellow Swedenborgians and affiliated theological school. Lastly, the Sackler Museum was constructed in 1985, replacing the 1951 Allston Burr Lecture Hall,(38) an outdated science building that had supplanted two smaller residential buildings for Harvard College.

View of lancet window with hand carved detailing. Photo courtesy of M. Careaga.

By the time it relocated to Newton in the 1960s, the New Church Theological School had changed its name to the Swedenborg School of Religion (SSR), and the school constructed an annex on the north side of the chapel, facing Kirkland Street. Designed by Cambridge architect Arthur Brooks, it provided fellowship space and other ancillary functions to support the Cambridge Society congregation, which continued to hold services at the chapel after the school’s departure. By the late 1990s, SSR announced its intentions to sell the chapel property to raise much-needed capital to support its operations. Concerned about the potential loss of a significant work of architecture, the local community and the Cambridge Historical Commission lobbied successfully to obtain City of Cambridge landmark status for the chapel in 1999, paving the way for the Massachusetts New Church Union and the Cambridge Society of the New Jerusalem to purchase the property from SSR in 2001. The chapel site is the only parcel of land that the university does not own on the city block bounded by Quincy Street, Kirkland Street, Sumner Road, and Cambridge Street. Regardless of its status as private property separate from the university, the chapel and its land are intimately connected to Harvard, woven into the physical fabric of the university’s campus as well as through the intersecting histories of Harvard University and the Cambridge Society of the New Jerusalem.

View of reredos and alter. Photo courtesy of M. Careaga.

Today, along with its own congregation, the Swedenborg Chapel hosts two other worshipping communities as well as a monthly Taize candlelight service.

Mark Careaga is Principal and Founder of Mark Careaga Architect LLC, in Cambridge MA. He can be found online at http://www.mcarq.co and on Twitter and Instagram @mcarqco

References

26. Maureen Meister, Architecture and the Arts and Crafts Movement in Boston: Harvard’s H. Langford Warren (Lebanon, NH: University Press of New England, 2003), 110.
27. Meister, 1.
28. Meister, 7-8.
29. cf. Meister, 5, 110.
30. Meister, 8.
31. Meister, 8.
32. Robert H. Kiven, “Letter from the Editor,” The Messenger 188, no.10 (October 1968): 142-143.
34. Sally Zimmerman, “Church of the New Jerusalem / Swedenborg Chapel, 50 Quincy Street, Landmark Designation Study Report,” prepared for the Cambridge Historical Commission, March 5, 1999, 8. This report can be accessed online at: https://www.cambridgema.gov/~/media/Files/historicalcommission/pdf/Landmark_reports/lm_quincy_50.pdf.
35. Zimmerman, “Landmark Designation Study Report,” 8.

36. Natalie Moravek, “William James Hall,” in “William James’ Cambridge,” website designed and hosted by the Cambridge Historical Society, accessed February 7, 2019, https://cambridgehistory.org/james/James 5.html.
37. “Famous Swedenborgians,” part of the website of the Swedenborgian Church of North America, accessed February 7, 2019, https://swedenborg.org/famous-swedenborgians/henry-james-sr/. The web page cites the following source: Alfred Halbegger, The Father: A Life of Henry James, Sr. (New York: Frrar, Straus and Giroux, 1994).
38. Susan E. Maycock and Charles M. Sullivan, Building Old Cambridge: Architecture and Development (Cambridge MA: The MIT Press, 2016), 817. Allston Burr was designed by architect Jean-Paul Carlihan of Coolidge, Shepley, Bullfinch & Abbott.

Torn Down Tuesday: Willard Phillips House and Barn, 58 Linnaean Street

Posted on November 19, 2019May 14, 2020 by cambridgehistoricalcommission

The Willard Phillips House formerly at 58 Linnaean Street was constructed in 1841 in the then fashionable Gothic Revival architectural style. Willard Phillips was born in 1784 in Bridgewater, MA and graduated Harvard University in 1810. After graduating, Phillips studied law and by 1826, was a member of the legislature and during this time, he was an editor of multiple law review journals which were distributed all over the country. By 1839, he was made judge of probate for Suffolk County and built his home shortly after in Cambridge. He retired from legal practice in 1845 to become the president of the New England Mutual Life Insurance Company, where he remained until 1865 when he retired.

Circa 1930 image of the Willard Phillips House (58 Linnaean Street) courtesy of HOLLIS Images.

After his death, the property remained in the Phillips family who rented the home to Professor John Trowbridge, who was the Director of the Jefferson Physical Laboratory at Harvard. By 1900, 58 Linnaean Street, land which extended from Linnaean Street to Shepard Street and all buildings thereon were conveyed to Radcliffe College, who also purchased the land of Dr. Bemis next door to develop what is known now as the Radcliffe Quad.

The Phillips House became known as the Trowbridge House, a dormitory for students at Radcliffe while the larger brick dormitories along Shepard Street were being constructed. As the Radcliffe Quad developed into the 1920s, open space became a challenge, and many wood-frame dwellings and outbuildings were demolished or moved. The Phillips House eventually was razed in 1951 for Holmes Hall, a wing of Moors Hall.

Detail of Phillips House and barn at rear, undated photo in CHC Archives.

The original Gothic style barn as part of the Phillips estate was moved in 1926 to the rear of 61 Garden Street and redesigned by Mary Almy, a Radcliffe Graduate and principal architect of the firm of Howe, Manning & Almy which was started in 1900 by Lois Lilley Howe. Radcliffe hired the firm to convert the former barn structure into a field house for athletics on the Radcliffe Quad.

Photograph of Phillips Estate barn at second location behind 61 Garden Street. Image part of MIT Special Collections. Circa 1926.

Location of former Phillips estate barn after renovation to Radcliffe Field House behind 61 Garden Street (Edmands House, dormitory). 1950s Sanborn Map.

The Field House was redesigned in the Colonial Revival style and was nearly indistinguishable from the former barn besides the bargeboards at the side gable of the roof which were retained to showcase the history of the structure.

1968 Photo of Radcliffe Field House taken by CHC.

Ca. 1930s view of Radcliffe Field House, courtesy of HOLLIS Images.

Plans and documents which are in the Howe, Manning & Almy Special Collection at the MIT Special Archives showcase the drawings and floor plans of the space even down to the large wooden beam at the mantle on the interior which reads “In Memory of Rosamond Claire Esty 1925”. Ms. Esty, 22, was a recent Radcliffe graduate who was swept from a ledge in Rockport by rogue waves in and despite her brothers attempts to save her, died in the surf.

1930s interior of Radcliffe Field House and carved wooden mantle reading “In Memory of Rosamond Claire Esty 1925”.

Photo of Radcliffe Field House proposed front elevation, original at MIT Libraries.

The Field House was a success and saw heavy use until the 1960s when the building became known by the College as a “necking hangout”. Radcliffe allowed its female students to study in the Field House with a male companion until midnight by requiring students to sign out a key held at nearby Holmes Hall; this made the Field House the only building at Radcliffe legally available to Radcliffe students and their dates every night. Articles explained that the key was often signed out under assumed names and would go missing and unauthorized duplicates later would proliferate through the Quad.

Radcliffe and Harvard Students posing at recently completed Radcliffe Field House, ca. 1930. Image courtesy of HOLLIS Images.

The Field House was razed by 1970 for the construction of the Currier House.

Cambridge Open Archives Recap

Posted on July 12, 2019May 14, 2020 by cambridgehistoricalcommission

Thank you to all who attended this year’s Cambridge Open Archives! From June 24-28, eight different archives and collecting repositories opened their doors to the public, showcasing collections items and sharing the stories behind objects, documents, and photographs. This year’s Open Archives theme was Politics and Activism in Cambridge (and Beyond).

Below, take a look at some of the photos taken by a few of this year’s participating archives and attendees. If you have photos from the event, feel free to share them with us! chcarchives@cambridgema.gov.

Thank you to all of the archives and archives fans! We’ll see you next year.

00100lPORTRAIT_00100_BURST20190627151833797_COVER — Cambridge Historical Society

IMG_20190625_145840 — Cambridge Historical Society

Modern Monday: Pusey Library at Harvard University

Posted on June 10, 2019May 14, 2020 by cambridgehistoricalcommission

Exterior image_Architectural Record_09-1976_Edward Jacoby Photographer — 1976 image included in Architectural Record 09-1976. Edward Jacoby photographer.

Pusey Library Current_Full view steps_HOLLIS — Pusey Library as seen from Widener Library steps.

The Pusey Library in Harvard Yard was conceived from a 1960 report by Harvard, which outlined the needs for future expansion and growth for the university. The potential for expansion of facilities within Harvard Yard was surveyed between 1968 and 1970 by Hugh Stubbins, who examined the 22-acre area for circulation and the possibility for additional structures. Three years later, Stubbins was commissioned to design a new library in Harvard Yard.

Harvard University: An Inventory for Planning, 1960. Copy in CHC Library.

Pusey Library Current_Full view_HOLLIS — Pusey Library viewed from Harvard Yard.

The new library was to be named after Nathan Pusey, president of Harvard University from 1953-1971. President Pusey oversaw one of the largest building programs in Harvard’s history (second only to President Lowell). In 1957, Pusey announced the start of a program for Harvard College, a $82.5 million effort that raised $20 million more and resulted in three additions to the undergraduate House system: Quincy House (1959), Leverett Towers (1960), and Mather House (1970). During the 1960s, the Program for Harvard Medicine raised $58 million. In April 1965, the Harvard endowment exceeded $1 billion for the first time. Pusey left Harvard in June 1971 to become the second president of New York’s Andrew W. Mellon Foundation.

Nathan Pusey_1964 portrait, HOLLIS.jpg — 1964 portrait of President Pusey. Courtesy of Radcliffe College Archives.

Hugh Stubbins believed that an above-ground library would be too constricted in the Yard and he began plans for a subterranean structure. From the beginning, the proposed library was envisioned as an interconnecting link among three existing libraries – Widener, Houghton and Lamont, all within close proximity. Its roof serves as a link as well, with paths and landscaping reinforcing the existing circulation network in the yard. From the exterior, the Pusey Library is a slanting grass-covered embankment only visible from some areas in Harvard Yard. Its roof is a stone-rimmed platform of earth containing a lawn, trees and shrubs.

Floor plate plan of Pusey Library_Arch Record 09-1976 — Plan of Pusey Library.

First Floorplan of Pusey Library_Arch Record 09-1976 — Site plan and level one plan of Pusey Library.

The main entrance to the library is built into the slope of the hill with a broad band of brick paving at the ground level which forms a moat between the berm and the window wall. The moat allows for light to reach the interior on the perimeter walls without completely disrupting the landscape. Alexander Calder’s “The Onion” sculpture marks the main entry to the library.

Pusey Library Current_Entrance art1_HOLLIS — Current view of “The Onion” by Alexander Calder.

Exterior artwork_Architectural Record_09-1976_Edward Jacoby Photographer — 1976 image included in Architectural Record 09-1976. Edward Jacoby photographer.

Construction of Pusey Library. Courtesy of Radcliffe Archives.

At the center, a two-story light well between Houghton and Lamont is apparent seemingly to only those who look for it. Sunk down two floors into the ground, the well is home to a Japanese Maple tree, which just peaks out from its subterranean home providing a clear statement of presence for the library.

Pusey Library Current_courtyard and tree_HOLLIS — Interior sunken courtyard with large maple tree.

Stubbins even designed the interior spaces, using a very 70’s design aesthetic. Nylon carpeting was used throughout except in bookstack areas. Most of the furniture was made of oak, as was the trim work. Walls were covered with a textured vinyl fabric with a flat off-white, non-reflective surface to reduce sound reverberation and create a sense of warmth in the otherwise bunker-like building. The interior spaces have since been modernized to meet current needs for the library.

Interior image1_Architectural Record_09-1976 — Interior design by Hugh Stubbins’ office. Photographed by Edward Jacoby, 1976.

Pusey Library Current_interior hall_Hollis
While underground construction is not needed or desirable in every location, it was brilliantly executed at the Pusey Library. Former Director of the Cambridge Historical Commission and historian, Bainbridge Bunting has said, “No other building has added so much to Harvard Yard yet disturbed its integrity so little”. We could not agree more!

Sources:

Architectural Record. September 1976, pages 97-102.

HOLLIS Images http://id.lib.harvard.edu/images/olvsite32606/catalog

Nathan Marsh Pusey, Biography. Harvard University. https://www.harvard.edu/about-harvard/harvard-glance/history-presidency/nathan-marsh-pusey

Radcliffe Archives, Pusey Hall under construction. Images.

Save The Date: Cambridge Open Archives 2019

Posted on May 13, 2019May 14, 2020 by cambridgehistoricalcommission

Dive into the tangled history of Cambridge politics and social activism at 7 local archives from June 24-28, 2019.

Archivists at each site will share treasures from their collections – photographs, art, posters, letters – that tell complex and unique stories about dynamic politicians and dedicated activists; fights over highways and development schemes; a strong mayor vs. Plan E.

See what an archive is, find out what archivists do all day, and see how you can use these resources to learn more about your family and community.

This year’s participating archives:

MIT Museum

The Cambridge Room at the Cambridge Public Library

Harvard Semitic Museum

Harvard Art Museums Archives

Cambridge Historical Commission

Cambridge Historical Society

Mount Auburn Cemetery

REGISTRATION OPENS MAY 31

Info here: http://www.cambridgema.gov/openarchives

This event is free but registration is required.

Questions? 617-349-4070 or chcarchives@cambridgema.gov

Modern Monday: Harvard Science Center

Posted on April 8, 2019May 14, 2020 by cambridgehistoricalcommission

The Harvard Undergraduate Science Center at 1 Oxford Street, is a pre-cast concrete behemoth designed by Josep Lluís Sert (1902-1983) the Dean of the Harvard Graduate School of Design at the time.

Science Center_2019 — Staff photo of Harvard Science Center (1 Oxford Street) April 2019.

Designed in 1970 and completed just two years later, the Brutalist structure integrates its siting along the three major streets in which it is framed: Kirkland, Oxford and Cambridge Streets and is a visual link between Harvard Yard and the North Yard. The design terraces upward from the pedestrian mall overpass at Cambridge Street to limit the massing and shifts the bulk of the structure back (north) with just a more pedestrian-scaled section fronting the mall. A central spine runs down the building which visually serves as an upwards staircase and terminates at a nine-story tower. Science Center Model_Radcliffe Archives_1970 Science Center Model aerial_Radcliffe Archives_1970

Science Center under construction_Harvard Archives 1971
Approximately two-fifths of the cost of the $25 Million building centered around the two un-adorned concrete towers on the western and eastern walls of the Science Center. The non-descript boxes are water-cooling towers intended to service not only the Center itself, but all buildings in the North Yard. The towers are connected by a massive pump room in the basement. The tarantula-like steel girders seemingly creep over the lecture hall area and serve to support the roof of the auditorium.

Science Center exterior_Radcliffe Archives_1970s

Science Center aerial_Radcliffe Archives_1973

Science Center Interior 1st floor_Radcliffe Archives_1973

Science Center Interior 1st floor_Harvard Archives_2011

It is believed that Sert took inspiration for the design from his former mentor, Le Corbusier, who designed the Carpenter Center for the Visual Arts at Harvard just ten years prior. The Science Center was influenced by an unbuilt project, The Palace of the Soviets, designed for Russia by Le Corbusier in 1931 and worked on by Sert as a young architect. The current Science Center borrows the steel girder and cable vocabulary from the unbuilt Palace of the Soviets along with the use of pre-cast concrete panels to somewhat pay homage to his mentor. Sert loved the use of concrete as an “honest and muscular material that could be molded into any shape” and liked to set splashes of bright color against its textured grey – “like a parade of elephants and parrots”.

LeCorbusier’s Model of the Palace of the Soviets (unbuilt)

Aerial of the Palace of the Soviets (unbuilt)

Harvard later outgrew the Science Center and hired firm Leers-Weinzapfel Associates Architects in 2004 to expand the science village. Three vertical additions of minimal steel-framed glass volumes contrast in materiality from the concrete panel main structure yet echo elements of the initial design. The verticality of the glass panes creates a visual rhythm with the vertical grooves in the older precast concrete panels. At the interior, splashes of color and light flood the spaces and the newly dedicated museum space is visually connected to a light-filled terrace.

Rendering of completed additions by LWA Architects.

Completed additions by LWA Architects.

Interior courtyard with new addition by LWA Architects.