Modern Architecture - The Cambridge Historical Commission Blog

Modern Monday: 64 Highland Street

Posted on August 24, 2026August 24, 2026 by cambridgehistoricalcommission

In the early 1960s, architect Ferdinand Friedrich (Frederick) Adrian Bruck, known professionally as F.F. Bruck, was commissioned by Alan and Claire Steinert to design a new residence in the Reservoir Hill area of West Cambridge. Bruck was a Harvard GSD graduate who studied under Walter Gropius, a pioneer of modernist architecture.

64 Highland Street photographed by CHC staff in 1968

Bruck later apprenticed at the engineering firm of Stone & Webster, designing power plants, dams, and similar structures. Following his graduation, Bruck taught at the GSD part time as an Associate Professor, a position he held from 1952-1963. Concurrently, he was hired by The Architects Collaborative (TAC) under Gropius and assisted in designs with the firm as well as accepting independent commissions under his company, F. Frederick Bruck, Architect and Associates.

At the time of Bruck’s commission, Alan, a member of the Steinert Piano family, and his wife Claire were in their sixties. When they purchased the former Charles C. Little House on Highland St, they decided it was too large and dated for their tastes. The large Gothic Revival house was demolished and Bruck was tasked with designing a one-story modern home to allow the couple to age in place, display their art collection, and accommodate social gatherings.

64 Highland Street photographed by CHC staff in 1967

The couple insisted on incorporating the latest technologies, including central air conditioning, radiant heating, and low voltage lighting to illuminate their artworks. The design was featured in the 1965 edition of Architectural Record’s annual Record Houses publication, highlighting the best residential project designs of the past year.

Describing the construction of the house, Bruck noted that “the house is wood frame with dark brick veneer. Brick was chosen to blend with the substantial character of the surrounding houses, to reduce maintenance, and because it is a material which could meet the sloping terrain. Wood frame was chosen for economy and to facilitate construction during the winter months.” The building remains one of the best examples of 1960s residential designs in Cambridge.

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.

Modern Monday: Cambridge Federal Savings Bank, 38 Brattle Street

Posted on March 25, 2019May 14, 2020 by cambridgehistoricalcommission

The former Cambridge Federal Savings Bank was designed in 1937 by local architect William L. Galvin as was located at 38 Brattle Street in Harvard Square.

Brattle St 38 historic photo — 38 Brattle Street as it was constructed, photo taken circa 1939.

The limestone-faced bank was an excellent and rare example of Art Moderne architecture in Cambridge built at the tail-end of the Great Depression. At this time, banking institutions sought high-quality design in their facilities to provide a sense of wealth and security for existing and prospective members. The two-story bank was symmetrical in form and had a metal and glass storefront with glass blocks comprising most openings.

Brattle St 38 rendering DSC_4221 — Drawing of Cambridge Federal Savings Bank from William L. Galvin Collection at CHC Archives.

At the entrance, a curved metal canopy was topped by a bold glass transom with an eagle etched into the glass by Galvin. Also designed by Galvin, two porthole windows showing a beaver and an owl respectively, were etched into glass. The beaver was included, likely for its industrious qualities and the owl for its wisdom.

P0364_TransomDetail_FlatFile — Drawing of eagle design used in transom from William L. Galvin Collection at CHC Archives.

As the banking industry grew after the conclusion of World War II, the bank expanded, also hiring Galvin to design a one-story addition which blended seamlessly with the main structure.

Brattle St 38_Cambridge Federal Savings_0001 — Photo of 38 Brattle Street after merging with Watertown Federal Savings Bank, 1972.

Brattle St 38_Cambridge Federal Savings_0002 — Photo showing one-story addition to the left of the main building at 38 Brattle Street, 1972.

Brattle St 38_Cambridge Federal Savings_1966 Sanborn — 1966 Sanborn Map showing location and detail of 38 Brattle Street.

In 1967, the Cambridge Federal Savings and Loan Association merged with Watertown Federal Savings Association and was renamed as the Northeast Federal Savings Bank. The bank building at 38 Brattle Street was named a branch office of the bank and served that use for the remainder of its life.
A demolition application was submitted in 1987 for the building and it was demolished soon after to be replaced by One Brattle Square.

Brattle Sq One DSC_4296 — Staff photo of One Brattle Square, 2013.

Staff of the Cambridge Historical Commission was able to save the large transom with etched eagle design from the building just before it was demolished, the two porthole windows were already removed. The transom is now framed in the wall of our conference room at 831 Massachusetts Avenue.

For more information on the building or if you would like to schedule a visit to our office to review Galvin’s plans and drawings in the William L. Galvin Collection, please contact us at histcomm@cambridgema.gov.

Modern Monday: McCormick Hall and Katharine Dexter’s Legacy at MIT

Posted on March 11, 2019January 5, 2022 by cambridgehistoricalcommission

In the year 1960, just 22 women were admitted to MIT, in comparison to 914 men. After decades of feeling pressure to admit more female students, President James Killian and his Chancellor Julius Stratton made the decision not only to admit more women to the university, but to actively work to improve the environment and resources available for female students.

Women at MIT Enrollment

The shift to admit and provide better education to young women was described years later in 1970 in a report written by Professor Emily Wick, Associate Dean of Students and the first woman promoted to tenure at MIT:

“Until the Institute could commit itself to educating women in significant numbers, and could provide suitable living conditions, coeds were not overly `successful.’ … Before 1960 women entered MIT at their own risk. If they succeeded — fine! If they failed — well, no one had expected them to succeed. … The class of 1964 entered in 1960 knowing that MIT believed in women students. It was the first class in which coeds, as a group, matched the proportion of B.S. degrees earned by their male classmates!”

Emily Wick_MIT Alum Class 1964 — Emily L. Wick talking with students circa 1963. Photo courtesy of MIT Class of 1964.

An early and vocal advocate for women’s rights and increased visibility of women at MIT, Katharine Dexter, (1875-1967) graduated from MIT in 1904 in biology. She married Stanley McCormick whose mental illness emerged soon after. Throughout her life, she tried to find a biological basis and cure for schizophrenia as well as supporting women’s right to vote as a strong proponent of the suffrage movement. Later in life, she turned her full attention to the construction of the first women’s dormitory at MIT, which coincided with the Institute’s newly established goals for admitting more women. Starting in the 1940s, 120 Bay State Road in Boston was occupied as a women’s dormitory (the only such dormitory for female MIT students at the time), and it housed approximately 19 graduate and undergraduate women students from the early 1950′s until McCormick opened. The Bay State Road dorm was over a mile from campus, which was less than ideal. As a result, Katharine funded a taxi service to shuttle the students to campus on poor weather days.

800px-Katharine_McCormick_on_April_22,_1913 — Katharine Dexter McCormick in 1913. Photo courtesy of Wikimedia.

In 1963, the west wing of Stanley McCormick Hall was dedicated and named after her late husband. Just three years later, the second wing (a second tower) was constructed and dedicated just after her death. Both phases of the building were bankrolled by Katharine Dexter McCormick and were to house women studying at MIT. McCormick Hall was designed by Herbert Beckwith, a member of MIT’s architecture faculty and principal of the firm Anderson, Beckwith and Haible. Elizabeth McMillin Beckwith, Herbert’s wife, also an architect in the firm, assisted with the design. The dorm could today be classified as “Brutalist” in design. The two concrete and glass towers front Memorial Drive and are connected by a low-rise community space. The buildings are used today as all-female dorms housing upwards of 255 students.

Katharine McCormick at Hall dedication 1963_MIT Alum Class 1964 website — Katharine McCormick speaking at McCormick Hall dedication ceremony. Photo courtesy of MIT Class of 1964.

Mccormick Hall 1963_Before addition_MIT Alum Class 1964 — McCormick Hall West Wing. Photo courtesy of MIT Class of 1964.

McCormick Hall_1968_0002 — Image located in McCormick Hall Survey File at CHC. Photo circa 1966.

McCormick Hall_1968_0004 — Image located in McCormick Hall Survey File at CHC. Photo circa 1967.

Aerial 2017 — 2017 aerial view of McCormick Hall and surrounding structures.

To learn more about McCormick Hall, feel free to make a research appointment with us by emailing histcomm@cambridgema.gov.

Modern Monday: Loeb Drama Center, 64 Brattle Street

Posted on February 11, 2019May 14, 2020 by cambridgehistoricalcommission

Exterior of Loeb Drama Center_Radcliffe College Archives

Completed in 1960, the Loeb Drama Center at 64 Brattle Street stands as one of Cambridge’s greatest examples of Modern Architecture. The structure is human-scaled, made of regional materials and is a sensitive addition to its residential and commercial neighbors along Brattle Street. The scale of the building was reduced to blend in with adjacent heights and the use of New England waterstruck brick is a nod to the Harvard and Radcliffe buildings nearby. Exposed concrete serves as a sort of frame to the delicate ornamental grille which provides a lace-like effect, enhanced further at night when the light from inside the building shines through.

Exterior View of Loeb Drama Center_night_Radcliffe College Archives Exterior View: Harvard - Loeb Drama Center, 29 Brattle Street

Architect Hugh Stubbins wanted the theater to be architecturally exciting, while still serving as a backdrop to the purpose of the building, the arts. Stubbins was quoted as saying, “the auditorium should please the imagination in such a way as to release it, not captivate it” and later went on to reference examples of recent museums and art galleries erected by architects to overshadow the art within them.

Interior View of Loeb Drama Center_Radcliffe College Archives View of Loeb Drama Center setbuilding_Radcliffe College Archives

The building opens right off the sidewalk of Brattle Street by the way of deep setbacks off the first floor, forming a porch-like or arcade feeling. The sides of the building open to a garden court on one side and a spacious terrace on the other. The travertine flooring in the lobby extends gracefully to the brick-paved courtyard, contained by a red brick serpentine wall.

Exterior courtyard Loeb Drama Center_Radcliffe College Archives Exterior View of Loeb Drama Center (2)_Radcliffe College Archives

The theater was unveiled as a mechanical marvel as the first fully-automatic and flexible theatre in the United States. The audience’s position in relation to the stage, along with the position and shape of the stage itself could be altered between three main configurations: theater-in-the-round, proscenium, and arena seating, all possibly during the same performance. Yale’s noted stage technician and theater design engineer, George C. Izenour worked with Stubbins to integrate lighting, rigging and staging into an automated and hydraulic lift system, which could be altered and staged by just two people in mere minutes.

Courtesy of Architectural Forum, 10-1960.

The Loeb Drama Center is now home to The American Repertory Theater (A.R.T.) at Harvard University, which collaborates with artists around the world to develop and create work in new ways. To learn more about A.R.T. and their upcoming shows and events, check out their website at: https://americanrepertorytheater.org/

1960 color photo_CHC_LOEB — Color slide courtesy of CHC Staff.

Historic photos courtesy of Radcliffe College Archives and CHC slides.

Modern Monday: Charter House Motor Hotel

Posted on February 4, 2019May 14, 2020 by cambridgehistoricalcommission

Today’s Modern Monday posting is highlighting the Charter House Motor Hotel (now Royal Sonesta Boston). Completed in 1963, the first tower, with its zig-zag shape was developed by the Hotel Corporation of America, led by founder A.M. “Sonny” Sonnabend.

Charter House Survey photo

Sonnabend decided to locate the company’s first ever high-rise motor hotel in the United States in Cambridge due to its location near transportation routes, businesses, universities and proximity to the downtown Boston area. To stand out from competition, the motor hotel required high quality design, ample parking, and interior amenities including: televisions, radios, air-conditioning, and complete hotel services for all rooms. The word “Motel” was created as a blending of the words “motor” and “hotel” and has since served as a defining piece of roadside architectural history.

Viewed from boat

The Hotel Corporation of America was renamed Sonesta International Hotels Corporation in 1970. Due to the success and location of the Sonesta Hotel on Cambridge Parkway in East Cambridge, the Sonesta Corporation began planning for a renovation and addition to the hotel, doubling the amount of rooms and enhancing facilities for the modern traveler. Architect John T. Olson designed a Post-Modern tower to stand next to the 60’s Modernist hotel. Boston Globe’s architectural critic at the time, Robert Campbell called the original tower an “upended waffle” and noted that the later addition was the region’s first large-scale Post-Modern development.

East Elevation_Window detail zoomed

The Post-Modern tower addition features large expanses of brick and is distinguished by the gabled features at the roof. John Olson, the head architect explained the design and goal as wanting to make a hotel that would look house-like and more domestic than institutional. The triangular gable shape was seen as a symbol for the idea of a house and was repeated both inside and outside of the addition. The pediments over the slightly projecting wings, resemble the long expanses of rowhouses which are synonymous to Boston architecture. Besides red brick, the main cladding material on the building is a green tile, which was selected to resemble the patinaed green copper seen elsewhere in Cambridge and Beacon Hill, just over the Charles River.

Current Photo

The two towers stand proudly at the entrance of Cambridge from Boston and showcase how far architectural taste can change in a matter of 20 years. Globe writer, Campbell stated that “The new wing of the former Sonesta Hotel on the Charles River stands next to its predecessor as if the two were a pair of slides chosen by a professor of art history to illustrate just how far architectural taste can travel in a single generation”. Which wing do you prefer?

Aerial Image.png

Full view

Modern Monday: Putnam Furniture Company

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

For today’s #ModernMonday post, we are highlighting 1045 Mass Ave, the former Putnam Furniture Company store in Cambridge. The building was constructed in 1946 from plans by well-known Cambridge architect, William L. Galvin. The design could be classified as early International-style architecture with influence from Art Deco and Moderne designs-built pre-WWII. The white plaster, glass blocks on the second story and neon signage immediately drew in shoppers who were looking to furnish their homes during the post-WWII housing boom. Interior programming of the store separated furniture departments into rooms from bathrooms and kitchens to “Storkland”, which offered a complete assortment of baby and children’s accessories and furniture.

mass ave 1045 — Putnam Furniture Company circa 1946. Photo courtesy of Carl Barron.

mass ave 1051_night photograph — Putnam Furniture Company storefront lit up at night circa 1946. Photo courtesy of Carl Barron.

Putnam Furniture Company began in 1939 when founder, Carl F. Barron created the first furniture leasing company in the United States. The business began in two adjacent 1,200 square foot spaces in Putnam Square, one being a showroom and the other providing storage. Barron personally bought, uncrated, leased and delivered furniture which was very appealing to consumers. Due to the growth of the company, Putnam added a third story to the building in 1957 and eventually moved out of its headquarters in Putnam Square in 1974. The company transitioned to solely leasing of furniture in 1974 and expanded all over the region as far as Hartford, CT. Putnam Furniture Company was later sold to CORT Global Furniture Rental Network which operates all over the globe.

mass ave 1051_putnam square photograph — Putnam Square in late 1940s, Putnam Furniture on right.

After Putnam Furniture moved out of the space in 1974, the building was renovated, and well-known furniture store, Crate and Barrel moved in. Most recently, the store has been occupied by Design Within Reach, another furniture store specializing in modern home décor.

mass ave 1045_design within reach — Existing store presently used by Design Within Reach. Third floor added previously.

For more information on this building or architect William L. Galvin, email us at histcomm@cambridgema.gov.

Modern Monday: Hayden Memorial Library at MIT

Posted on December 31, 2018May 14, 2020 by cambridgehistoricalcommission

For today’s #ModernMonday posting, we are highlighting the Hayden Memorial Library at MIT.

Hayden Library PHoto

Located on Memorial Drive, the library is named after Charles Hayden (1870-1937) an MIT alum (1890) who studied “mining investment.” Hayden was a philanthropist who donated vast sums of money for the construction of buildings including; the Hayden Planetarium in New York, the Charles Hayden Planetarium at the Boston Museum of Science, and the Hayden Memorial Library at MIT to name a few. Hayden was involved with philanthropy most of his life. During World War I, he donated $100,000 per year to the American Red Cross. Hayden’s largest philanthropic effort came following his death in 1937 when his will directed roughly $50,000,000 ($853 million in today’s dollars) from his estate be used to create a foundation to advance the education and “moral, mental, and physical well-being” of boys and young men. The organization, known today as “The Charles Hayden Foundation”, distributes grants of between $10,000,000 and $20,000,000 annually to support programs for children in the Boston and New York metropolitan areas.

Charles Hayden Photo — Charles Hayden in 1934, from the American Museum of Natural History Digital Special Collections.

Exterior original drawings_Tech. Review — Architectural drawing included in Architectural Record, Nov. 1946.

Interior drawings_Tech. Review — Architectural drawing included in Architectural Record, Nov. 1946.

Interior drawings_Tech. Review (2) — Architectural drawing included in Architectural Record, Nov. 1946.

The Hayden Memorial Library at MIT was unveiled beginning in 1946 when the Architectural Record highlighted the design of the building. The building was designed by Ralph Walker (MIT Class of 1911) of Voorhees, Walker, Foley and Smith Architects and was completed in 1951 in a Post-WWII Art Moderne Style. Walker was called “The only other honest architect in America” by Frank Lloyd Wright, and “Architect of the Century” by The New York Times when he received the Centennial Medal of Honor from the American Institute of Architects. He was most well known for his Art Deco buildings in New York. “Three years after accepting his award from the New York Times, he resigned from the AIA amid controversy surrounding a member of his firm who was accused of stealing another firm’s contract. Though he was later cleared of all wrongdoing and reinstated, he was apparently never the same afterwards. Ten years later, in 1973, Walker shot himself with a silver bullet, only after destroying his AIA award. His original firm still exists under the name HLW International, but as Walker and his wife had no children, all that remains of his great legacy are the buildings he created” (Ralph Walker: Architect of the Century).

MIT Hayden Memorial Library_Exterior010 — Hayden Library in 1968, photo part of CHC Survey files.

MIT Hayden Memorial Library_Interior012 — Hayden Library in 1968, photo part of CHC Survey files.

The Hayden Library inaugurated the expansion and modernization of MIT’s academic facilities and was one of the first truly Modern buildings on the campus. At the time, vast amounts of technical literature – generated largely by the war – had to be housed, and facilities had to be updated to accommodate recent advances in conservation, storage, and photographic reproduction. The Hayden Library would have to meet those demands. The protruding two-story glass bays allow ample natural light into the library and the limestone façade serves as a nod to the older Beaux Arts MIT buildings nearby.

MIT Hayden Memorial Library_UMichigan Archives — Photo of Hayden Library courtesy of University of Michigan Digital Archives.

Utilizing the Hayden Library’s initial design goal of “flexibility”, Shepley Bulfinch re-imagined the building as the hub of the MIT Library System in 2012 and it now houses collections for science, engineering, humanities, music, and archives.

The 1951 building remains as a great example of Modern architecture in Cambridge and shows how good architectural design can be timeless and adapted to meet future needs.

MIT Hayden Memorial Library_Color Slide CHC017 — CHC Color slide of Hayden Library in 1990s.

Modern Monday: Esplanade Condominiums

Posted on December 17, 2018May 14, 2020 by cambridgehistoricalcommission

41300_Esplanade_Condos — The Esplanade from the Charles River. Courtesy of Safdie Architects.

#ModernMonday is featuring the Esplanade Condominiums (1989) at 75-83 Cambridge Parkway in East Cambridge. Designed by architect Moshe Safdie with Safdie Architects, the building could be classified as “structuralism” with its cubist features and grid-like design. The building was the final structure completed in “The Front” which is bounded by Cambridge Parkway and Edwin Land Boulevard.

41300_Esplanade_Condos Entrance night — Edwin Land Boulevard entrance. Courtesy of Safdie Architects.

41300_Esplanade_Condos Entrance — Edwin Land Boulevard façade. Courtesy of Safdie Architects.

The building, which is comprised of 206 units, had to comply with strict urban design guidelines laid out as part of the East Cambridge Urban Design Plan. This plan limited height, required brick as the main material for construction, and required building on the street edge. Given the high water table, the parking for the structure is above-grade, and the design minimizes the impact of the parking base by encasing the riverfront (east) elevation with housing units and a community garden on the parking roof at the fourth floor.

41300_Esplanade exterior — Cambridge Parkway façade, facing north. Courtesy of Safdie Architects.

The structure takes cues from Safdie’s 1967 project, Habitat 67 in Montreal, Canada with the repetition of cube projections with terraces and use of public spaces incorporated into the building’s design. In the real estate sales brochure for the building, the building’s form was said to have been inspired by the homes on the cliffs of the Amalfi Coast in Italy. Upon its completion, The Esplanade building was known to have the highest value units in the city. The design, coupled with the sweeping views of the river and Boston skyline created a huge draw for investors and homeowners alike.

Thanks to Safdie Architects for the original photographs and floor plans.

Modern Monday: William James Hall

Posted on December 10, 2018May 14, 2020 by cambridgehistoricalcommission

Today’s #ModernMonday post is highlighting William James Hall, built in 1964 and designed by famed architect Minoru Yamasaki. Harvard University hired Yamasaki to design a new building to house the new Behavioral Science Department, including: offices, laboratories, animal quarters, classrooms and a library for the growing department. The new building was constructed largely of precast concrete panels, set inside slender columns which were poured in place concrete. The building features an observation deck at the top floor which is screened from the street to allow researchers to study passersby on the street below without them knowing.

Full height_Radcliffe Archives — Image courtesy of Radcliffe Archives.

The 15-story structure was designed in the New-Formalism style which Yamasaki perfected. He is known today as being one of the two masters (Edward Durell Stone being the other) of the architectural style, which typically exemplified symmetrical facades, columnar arched supports and smooth-finished and un-adorned wall materials, commonly in a white color. Yamasaki is likely most well-known for his 1970 design of the World Trade Center towers in Manhattan. Yamasaki also designed Harvard’s Engineering Science Lab at 40 Oxford Street in 1962.

William James Hall_Model_Photograph — Photograph of Model by Sebastian Korab.

The $5.8 million dollar building was named for William James, a philosopher, whose pioneer work was undertaken at Harvard. Initially trained in painting, James abandoned the arts and enrolled in Harvard in 1861 to study chemistry and anatomy. In 1875 James taught one of the university’s first courses in psychology, “The Relations between Physiology and Psychology,” for which he established the first experimental psychology demonstration laboratory. In 1890 James published a highly influential, two-volume synthesis and summary of psychology, Principles of Psychology. The books were widely read in North America and Europe, gaining attention and praise from Sigmund Freud and Carl Jung in Vienna. James then moved away from experimental psychology to produce more philosophical works (he is credited as one of the founders of the school of American Pragmatism), although he continued to teach psychology until he retired from Harvard in 1907.