harvard architecture stands as a testament to the times

The facades of Harvard's buildings have often reflected the changing views of those within.

The Georgian revival architecture of the early 20th century, seen in buildings like the Emerson Hall, could be viewed as a manifestation of the conservative values of an institution once representative of a small, elite segment of society.

And modernist buildings like the Science Center or the Holyoke Center--erected in the '60s and early '70s--reflected a rebellious Harvard willing to break with its traditionalist past and embrace new modes of thought.

But a backlash to this new and controversial architectural style dampened the innovative spirit.

Now, after multiple decades of "non-confrontational" architecture, Harvard is once again pursuing bold designs, with international architects at the lead.

In the planning stages are a glass and wire office building on Mt. Auburn Street designed by Viennese architect Hans Hollein and, and a contemporary art gallery on Memorial Drive designed by Renzo Piano, who was responsible for Paris' Georges Pompidou Centre. Both men are recipients of the prestigious Pritzker Prize for architecture.

These projects take a modernist approach to design, using it not just as a means for production but also as an art form in itself.

"These projects give us a chance to realize what we've learned from the past, to move past the non-confrontational buildings of the last few decades," says Scott Levitan, director of University and commercial real estate for the Harvard Planning and Real Estate Office.

Just because the plans for these new buildings are already in the works does not mean, however, that they do not have their critics.

"When people think of Harvard, they think of bricks and ivy," says Mary H. Power, Harvard director of community relations.

And many feel that this traditional image must be preserved.

"It's important to have a general idea of the campus and maintain consistency," says Ahmed Arastu, a third-year student of architecture at the Graduate School of Design (GSD).

The Debate

Harvard has long tried to reconcile the need to progress toward innovative, experimental architecture with the desire by many to maintain a uniform style on the campus.

"One fear that people have is that Harvard will hire trophy architects who will all try to build their own Carpenter Centers," says Richard Marshall, associate professor of urban design at GSD.

Some became concerned that these modern structures would stand out too much from their surroundings, Levitan says.

William James Hall is one example of this type of architecture.

"Pretty much everyone would agree that was a mistake," Levitan says.

Power blames the lack of context on the architect who was unfamiliar with the setting and the Harvard style.

"It was an international architect who did not respond to the needs of the community," Power says.

But many argue that newer buildings can be made to compliment existing structures.

"Much of the community is open to Harvard speaking to the moment, and not being a carbon-copy of the past," Power says. "There is a realization that if everything is designed to look the same, the true historic buildings can get lost."

But if not a "carbon copy" Harvard's architecture from the late '70s to the late '90s could be described as architecturally unchallenging, Levitan says. The attitude of the administration at the time, he says, was to promote consensus--an aim reflected in the architecture of the time.

Harvard's Own

During the later decades of this century, the GSD played almost no role in advising Harvard on its architectural designs.

"The GSD has a significant role to play," Levitan says. "But in the recent past the dean and the faculty have not played a large role."

Many attribute this decline to a resentment for the GSD that formed after the "Sert Era." Josep Lluis Sert, former dean of the department of architecture at the GSD, secured a number of commissions for himself in the 1960s and 1970s.

These commissions include a number of well-known campus buildings, including the Holyoke Center (1962), the Science Center (1970-73) and Peabody Terrace (1963-4).

"Back then [Sert's buildings] were mostly hated," Marshall says. "That left some resent against the GSD that has taken a remarkably long time to go away."

Today GSD Dean Peter Rowe has helped form an initiate to put Harvard at the forefront of design, Levitan says.

Marshall says Rowe has a good relationship with President Neil L. Rudenstine, furthered by Rudenstine's interest in architecture.

For many the GSD's participation is necessary.

"The GSD houses many famous architects with lots of experience," says Hashim Sarkis, assistant professor of architecture. "If you have such experience and talent, why not use it?"

90 Mt. Auburn Street

Now, while it has moved beyond the consensus-building architecture of these past decades, Harvard is very conscious of the reaction of its neighbors. The University's decisions in commissioning the new project at 90 Mt. Auburn St. show this greater consciousness of community opinion.

Hollein came to Cambridge and met the neighbors before even starting his design. He returned two weeks ago for further discussion.

"Having discussion that brings the neighbors into the design process is important," Powers says. "Projects are enhanced through community involvement."

Hollein has much experience integrating modern designs in Vienna, a city known for its medieval architecture.

In a design reminiscent of Frank Lloyd Wright and Frank Gehry, Hollwein puts an undulating copper mesh facade in front of a wall of glass. The other sides will be coated in bronze-colored metal, and the building will have a courtyard accessible from both Mt. Auburn and J.F.K Street.

"[Hollwein] has done things on this site that are very creative and really quite brilliant," says Lee D. Cott, the principal architect for Bruner, Cott and Associates, the collaborating firm.

The site currently houses Harvard Provisions Company and Skewers Restaurant. The new building will have stores on the first level and the offices of the Harvard University Library in the upper floors of the building.

Harvard Square is not a homogenous place, Levitan says. Crate and Barrel's concrete and glass structure, Gnomon Copy's art-deco facade and the Lampoon's playful brick building all have equal place in the square, he says.

"If a group were to say, 'We're going to create a building that will match,' they would be hard-pressed to do that," Power says.

Structural changes have made the various faculties willing to look at how Harvard can work together architecturally, Levitan says.

"The emphasis on contextualism has not changed," Power says. "We're trying to find a way to have buildings that work in their environment but are still alive."

Experimenting with Art

Harvard is also breaking new ground with a new art museum near Peabody Terrace to hold the Sackler Collection. The project is still in its preliminary stages but the University has chosen world-renowned museum architect Renzo Piano for the job.

"To get Renzo is in itself an accomplishment," Marshall says. "He is probably amongst the top five architects at the moment in terms of exposure and influence."

Since the creation of the Pompidou, Piano has been known for understatement and for creating buildings modern buildings that blend with their surroundings.

His museums in Houston and Basel, for example, are known for their innovative roof structures and use of natural light.

With this art museum, James Cuno, director of the Harvard University Art Museums, wrote in a letter to neighbors "Piano is thinking of a low facility set within a canopy of trees. This, he and we believe, will harmonize with the scale of the neighborhood."

The Harvard Influence

While it is making an effort with these new buildings to increase the architectural diversity on its campus, Harvard is certainly not in a position to need to play catch-up.

"In architectural circles Harvard had and still has a reputation for having some remarkable buildings," Marshall says.

Marshall is of the school that believes that Harvard could do even better by taking the plunge and experimenting with more new styles. "I do think Harvard should take every opportunity to improve its building stock," he says.

But others say the University has a responsibility to maintain its traditional style.

"I don't think the priority should be necessarily to make the campus a showcase of the latest architectural trends," says John Jackson, a third-year student of architecture at the GSD.

Whatever the prevailing thought, GSD professors say, Harvard's design school will be at the cutting edge--using the Harvard campus as a classroom to study the trends of architecture over history.

"At the GSD we have a way of turning every building into a lesson, either way," Sarkis says.