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.
64 Highland Street photographed by CHC staff in 1968
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.
64 Highland Street photographed by CHC staff in 1968
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.
A year after his family purchased the easternmost acres of the former Coolidge farm in West Cambridge, Edward Waldo Forbes built an enormous Georgian Revival mansion on the lot in 1911. An early convert to Modernism, Forbes, an art historian and Director of the Fogg Art Museum at Harvard University, allowed his daughter Rosamund and her husband, William Bowers, to build Cambridge’s first International Style house on the grounds in 1935. The introduction of this new design paved the way for M.I.T. physicist Francis Bitter and his wife, the singer Ratan Devī, to commission architect Carl Koch to design a modern house for the couple at the foot of the hill in 1946.
The House
Photograph by Ezra Stoller. Architectural Record (January 1949)
Carl Koch’s design for this house was praised by his contemporaries. Following its completion, the house was written up in two journals, Architectural Record (105:76-83 January 1949) and House & Garden (94:6;127-129 December 1948). The author of the article in Architectural Record described the well-conceived plan, “So in this house we have the straightforward, thoughtful planning that reflects and serves the owners’ individual needs and desires–convenient, cheerful, efficient, informal–but with its own welcome dignity.”
Coomarasumay, Ananda, Mrs. (Ratan Devī), 1917 May 8, by Arnold Genthe. Library of Congress Prints and Photographs Division.
Francis Bitter, ca. 1935, photographer unknown. MIT Museum.
The Bitter House was built as a modern, one-story, single-family house by Koch and his associate Frederic L. Day. The building was composed of cladding of vertical, tongue and groove fir boards on the living room wing. The bedroom wing, positioned for privacy opposite a garden “Plaza” from the living and service wing, was constructed of concrete block and not sided with another material. The entrance door opened into the glass-enclosed garden plaza which was designed around a sculpture by Francis Bitter’s father, Karl Bitter.
Photograph by Ezra Stoller. Architectural Record (January 1949)
On one side of the plaza was the living and service wing, which housed the living room, dining room, kitchen, and basement study. The living room was acoustically designed to accompany Mrs. Bitter’s love of music. Indoor living space continued to the outside with two patios, one off the dining room and the other off the garden plaza. The kitchen was designed for efficiency and included pass-throughs to the dining room and service entrance for the easy delivery of packages. The large, hooded fireplace was the focal point of the living and dining rooms.
Photograph by Ezra Stoller. Architectural Record (January 1949)
On the opposite side of the plaza was the bedroom wing. The master bedroom was designed as a suite with a large dressing area. The guest bedroom had a fold-out bed built into the slope of the linen closet in the hallway.
Unlike some of his later efforts in prefabricated housing components, this design is completely tailor-made to meet the needs of the Bitters: a physicist and a professional musician. Mr. Bitter was an expert in magnetic physics. Under her stage name Ratan Devī, Mrs. Bitter was a performer of Hindu songs and poems and recorded Indian music. Koch considered both of their vocations when designing the residence at 44 Gerry’s Landing. Koch designed the basement as Mr. Bitter’s laboratory and study with plenty of natural light provided by the sloping site on which the house was built. The living room was acoustically designed to enhance the piano music of Mrs. Bitter.
Photograph by Ezra Stoller. Architectural Record (January 1949)
Koch paid careful attention to the smallest details of the house–from the acoustics in the living room to the linen closet to the delivery panel in the kitchen wall. Koch employed the use of twentieth century materials such as linoleum and corrugated Transite in his design.
Development of the Site
Detail of Sanborn Fire Insurance Map, March 1950 (Vol. 2) with 44 Gerry’s Landing Road circled in blue. Library of Congress
The Brown and Nichols boys’ school was originally located on Garden Street. Although the school purchased fields at the base of Coolidge Hill in 1910-12 to use as athletic fields, its classes were not held on the lower campus until late in the 1940s. Brown and Nichols School gradually moved all its classrooms to the Gerry’s Landing campus between 1948 and 1963. The modern residences on the Forbes estate were soon acquired by the school and the Bitter House was converted for use as an art studio.
The Bitter House at 44 Gerry’s Landing Rd, photographed by R. Cheek in January 1969
Higher taxes, fewer domestic employees, and increased density after World War II affected the scale and efficiency of the designs for post-war construction. New technologies in building materials and construction quickly made their way to the private sphere after being developed by the military during the war. Carl Koch’s design intent for 44 Gerry’s Landing Road was a product of the new materials and design ideas of the post-war period. It was built in the same year as Koch’s more famous Snake Hill Houses in neighboring Belmont.
The Bitter House at 44 Gerry’s Landing Rd, photographed by R. Cheek in January 1969
An application to demolish the house at 44 Gerry’s Landing Road was received by the Cambridge Historical Commission on November 6, 1996, and the final application was made on November 26. The applicant, Buckingham, Browne and Nichols School, was notified of an initial determination of significance and a public hearing was scheduled for December 4. Although the Bitter House was found to be significant in part as an example of post-war architecture and in great part due to its relationship to the internationally significant architect, Carl Koch, the building was demolished in 1997. At the time of demolition, the intentionally limited exterior detailing of the modern residence was primarily intact with no evident additions or major remodeling.
Much of the text from this post was provided by the Cambridge Women’s Heritage Project
“Maude Morgan” photographed by Jamie Cope (1993). Gift of Jamie Cope to the Museum of Fine Arts, Boston, in honor of Maud Morgan
Born in New York City, Maud Cabot graduated from Barnard College in 1926 and traveled to Paris to study at the Sorbonne. She did not begin to paint until she was twenty-four, when she met her future husband, the artist Pat Morgan, in the late 1920s in Paris. In 1929, the couple moved back to New York, where she studied at the Arts Student League.
Following her studies, Morgan worked with Abstract Expressionist Hans Hofmann and began to exhibit at galleries in New York. In 1938, Morgan had a successful show at the Julian Levy Gallery, known as a haven for Surrealist art as well as experimental film and photography. During the show’s run, paintings by Morgan were sold to the Whitney Museum, the Metropolitan Museum of Art, and the Museum of Modern Art (MoMA).
“The Old Mill” by Maud Morgan, ca. 1930-1940. Whitney Museum of American Art, 42.33
In 1940 she and her husband moved to Andover, Mass, where he taught art at Phillips Academy, and she began to teach at the nearby girls’ boarding school, Abbot Academy. The couple had two children. In 1957, Morgan separated from her husband and moved to Boston. A few years later she moved to Cambridge, where she lived and painted for the rest of her life.
Clipping from the Cambridge Chronicle, 2 April 1964, depicting Maud Morgan and her winning painting “Candelabra” from the 20th Annual Spring Exhibition of the Cambridge Arts Association
Morgan continued to exhibit in New York, primarily at the Betty Parsons Gallery, where she was included in joint exhibitions with Jackson Pollock, Mark Rothko, Robert Motherwell, and other notable contemporary artists. Morgan had two retrospective exhibitions, 1967-1968 at the Fitchburg (Massachusetts) Art Museum, and 1977 at the Addison Gallery of American Art.
“Nautique SSX” by Maud Cabot Morgan, 1974. Addison Gallery of American Art, Phillips Academy, Andover, MA, gift of Victoria M. Benedict, 1977.168. This screenprint was exhibited in Maud Morgan: A Retrospective Exhibition, 1927-1977, Addison Gallery of American Art
The addition of an artist’s studio at her 3 Howland Street residence was designed by Yugoslav-American architect Alexander Cvijanovic in 1962.
Proposed Addition to the Residence of Mrs. Patrick Morgan, 3 Howland Str Cambridge, Mass. Alexander Cvijanovic, Designer. June 12, 1962
Cvijanovic was a graduate of the Harvard Graduate School of Design and later became a partner in The Architects Collaborative (TAC) as well as a close associate of Walter Gropius. The studio addition was demolished in 2004.
The artist’s studio at 3 Howland Street in 1965
The artist’s studio at 3 Howland Street ca. 2004
Cvijanovic’s wife, Maria, remembers that her husband very much enjoyed working on the project, after which the couple and Morgan became life-long friends. Following the commission of her studio, Morgan gifted the couple one of her paintings–a piece that still hangs in their home today.
Alexander Cvijanovic in his apartment in front of the two pictures of the Amberg “glass cathedral.” This building was the last planned together by Walter Gropius and Cvijanovic, his partner. Photo: Peter Geiger (Mittelbayerische, 2016)
In 1970, after her divorce was final, Morgan spent six months in Africa. She returned to Cambridge and lectured on art at Harvard and MIT and taught at Lesley College’s Institute for the Arts and Human Development.
“Green Hazard” by Maud Morgan (ca. late twentieth century). Lawrence University Wriston Art Center Galleries Collections
According to Morgan’s Getty record, the artist was known as “Boston’s modernist doyenne,” leaving a legacy spanning 80 years worth of skilled and complex works “from abstracts to still lifes and self-portraits as well as collages.”‘
In 1980 a film about Morgan’s art, “Light Coming Through,” by Nancy V. Raine (Producer/Co-Director) and Richard Leacock (Co-Director/Cinematographer) was released. The film premiered on October 21 at the Museum of Fine Arts, Boston, and was later shown at MoMA in New York and the Place Pompidou in Paris.
Maud Cabot Morgan, ca. 1950 / unidentified photographer. Robert G. McIntyre papers, 1903-1957. Archives of American Art, Smithsonian Institution.
In her eighties and nineties, she continued painting, displaying continuing creativity. She received an Honor Award in 1987 from the Women’s Caucus for Art. Since 1993 the Museum of Fine Arts, Boston, which holds a number of her significant paintings, has awarded the Maud Morgan prize yearly to a mid-career woman artist from Massachusetts.
Maud Morgan with self portrait, ca. 1990 / unidentified photographer. Robert and Jonatha Ceely papers regarding Maud Morgan, 1976-2000. Archives of American Art, Smithsonian Institution
In 1995, at the age of ninety-two, she published an autobiography, Maud’s Journey: A Life From Art. She died four years later in Cambridge and was buried in Mount Auburn Cemetery. An art museum and gallery, Maud Morgan Arts, has been constructed in her honor.
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.
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.
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.
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.
Courtesy of Architectural Forum, 10-1960.
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/
Color slide courtesy of CHC Staff.
Historic photos courtesy of Radcliffe College Archives and CHC slides.
