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Henry Hobson Richardson

 
Britannica Concise Encyclopedia: Henry Hobson Richardson
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(born Sept. 29, 1838, Priestley Plantation, La., U.S. — died April 27, 1886, Brookline, Mass.) U.S. architect. He studied at Harvard University in Cambridge, Mass., and the École des Beaux-Arts in Paris. His designs for Boston's Brattle Square (1870 – 72) and Trinity (1872 – 77) churches won him a national reputation. He designed houses, libraries, suburban railroad stations, educational buildings, and commercial and civic structures. Instead of the narrow vertical proportions and Gothic features used by his contemporaries, he favoured horizontal lines, simple silhouettes, and large-scale Romanesque or Byzantine-inspired details. The Crane Memorial Library in Quincy, Mass. (1880 – 82), with its granite base, clerestory windows, tiled gable roof, and cavernous entrance arch, stands among his finest mature works. His Romanesque style had an integrity seldom achieved by his many imitators, and the functionalism of his designs presaged the work of Louis H. Sullivan.

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Biography: Henry Hobson Richardson
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Henry Hobson Richardson (1838-1886), American architect, helped set the standard for innovative design from which modern American architecture grew.

Henry Hobson Richardson was born in St. James parish, La., on Sept. 29, 1838. He studied engineering at Harvard College (1854-1859). During 1859 he traveled throughout the British Isles, and the following year he entered the École des Beaux-Arts in Paris, enrolling in the atelier of Jules Louis André. Later, lacking funds as a result of the blockade of New Orleans during the Civil War, Richardson went to work for Théodore Labrouste and probably worked on the Hospice d'Ivry near Paris, begun in 1862. Richardson was the second American to study at the École. Following the lead of his predecessor, Richard Morris Hunt, he avoided using the architectural idioms of the French Second Empire when he returned to practice in the United States in 1865.

Richardson's early designs were an outgrowth of the High Victorian Gothic style as developed by English architects William Butterfield, Edward Godwin, and William Burges. The High Victorian Gothic influence was spread throughout the United States by the circulation of such English periodicals as the Builder. Godwin's Town Hall in Northampton, England (1861-1864), influenced Richardson's design for the Brookline, Mass., Town Hall (1870). It was also the basis for Richardson's American Merchants' Union Express Company Building, Chicago (1872), which introduced this style to the Midwest. Burges's entry in the competition for the London Law Courts (1866) influenced Richardson's Hampden County Courthouse, Springfield, Mass. (1871-1873). His Gothic style developed further in the Church of Unity, Springfield, Mass. (1866-1869); Grace Church, West Medford, Mass. (1867-1869); and the North Congregational Church, Springfield, Mass. (1868-1873). The English influence is also seen in his Cheney Building, Hartford, Conn. (1875-1876).

In 1870, when he won a design competition for the Brattle Square Church in Boston, Richardson introduced suggestions of a Romanesque revival style. The architectural historian Henry-Russell Hitchcock noted of the Brattle Square Church that Richardson "had now definitely chosen certain lines, no longer French or English, but his own." This originality developed through Trinity Church, Boston, for which he won the design competition in 1872 (built 1873-1877), and culminated in his design for the Marshall Field Wholesale Store, Chicago (1885-1887; demolished).

Trinity Church has the centralized Byzantine Greek-cross plan of St. Mark's in Venice, a church that Richardson considered the "most beautiful … in the world" when he saw it during his European trip in 1882. The silhouette is also Byzantine, but the lantern is influenced by Spain's Salamanca Cathedral. The apse is typical of the Romanesque churches of the French Auvergne, and the western entrance and the porch (which was added in the 1890s) were taken from the Provençal church at Saint-Gilles-du-Gard. In the interior the wooden roof trusses show Burges's influence. Britishers William Morris and Edward Burne-Jones were commissioned to design some of the stained-glass windows, and other windows and murals were executed by John La Farge of the United States.

Richardson's domestic architecture, after initial mid-Victorian derivatives, became an American extension of the English Arts and Crafts movement as expounded by the British architect Norman Shaw. The F. W. Andrews House (1872), with its open plan, and the William Watts Sherman House (1874), both in Newport, R.I., have the American "shingle" and "stick" qualities in addition to the Shaw influence. The M. F. Stoughton House at Cambridge, Mass. (1882-1883), goes beyond stylistic associations and is comparable in its simplicity to the Marshall Field Wholesale Store.

Richardson's Marshall Field store, described by architect Louis Sullivan as "massive, dignified, simple … foursquare and brown … a monument to trade," had an arcaded masonry skin over an iron skeleton frame. Richardson's work should be judged by this building, by the stark simplicity of the Allegheny County Jail, Pittsburgh (1884-1886), and by the J. J. Glessner House, Chicago (1885-1887). These were his ultimate architectural expressions at the height of his career. He died in Brookline, Mass., on April 27, 1886.

Richardson's influence spread far and wide. The work of the Burnham and Root architectural firm in the Monadnock Building in Chicago (1890-1891) and the whole span of Louis Sullivan's work captured the spirit of Richardson without copying his stylistic traits. Others who copied the "Richardson Romanesque" style designed buildings throughout the United States. His influence spread to Europe, where a host of architects took up his manner, adding local vernacular and sometimes historical traditions. From this great amalgam emerged modern architecture.

Further Reading

Mariana Van Rensselaer published a personal tribute to Richardson 2 years after his death, Henry Hobson Richardson and His Works (1888). Henry-Russell Hitchcock wrote The Architecture of H. H. Richardson and His Times (1936; rev. ed. 1961) and Richardson as a Victorian Architect (1966). See also Boston Museum of Fine Arts, The Furniture of H. H. Richardson (1962), an exhibition catalog of Richardson's furniture. Lewis Mumford revaluated Richardson in Sticks and Stones (1924; 2d rev. ed. 1955) and The Brown Decades, 1865-1895 (1931; 2d rev. ed. 1955).

Additional Sources

Architect of the new American suburb, H. H. Richardson, Princeton, N.J.: Films for the Humanities, 1978, made 1977.

Architecture and Landscaping: Henry Hobson Richardson
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(1838–86)

Influential and brilliantly gifted American architect. He studied at the École des Beaux-Arts (1860–2), and worked in Paris under Labrouste's elder brother, Théodore (1799–1885), and then Hittorff, before returning the USA (1865). He entered into partnership with Charles Dexter Gambrill (1834–80—a former partner of Post), who acted mostly as business manager, leaving Richardson free to concentrate on design. With his Brattle Square (1870–2) and Trinity (1872–7) Churches, Boston, MA, he established his reputation as an architect of great power, scholarship, and originality. Trinity Church is an assured essay in freely treated Romanesque Revival, with a monumental crossingtower, apsidal chancel, and gritty exterior, clearly influenced by contemporary French round-arched churches such as St-Augustin, Paris, and the works of Vaudremer, but the massiveness and strength also suggest an influence from Burges, some of whose publications Richardson had in his collection. With the geometrical emphases inherent in using the semicircular arch, Richardson gradually moved towards evolving his own style, using rock-faced rustication to give added weight to his buildings, as in the 7-storey Marshall Field Wholesale Warehouse, Chicago, IL (1885–7— demolished 1930). Round-arched too was his Allegheny County Court House and Gaol (1883–8), the staircase of which was ingenious and thrilling in terms of spatial interpenetration. At the Gaol, the massive oversized voussoirs, clearly derived from Florentine precedents, suggested the Sublime. Richardson was also attracted to the Arts-and-Crafts movement, and designed many fine and original houses, some of which were in the Shingle style, but all were ingenious, beautifully crafted, and organized with great sensitivity to their sites, especially those on the New England coast. Among his best domestic buildings were the Watts Sherman House, Newport, RI (1874–5), the Paine House, Waltham, MA (1884–6), the Glessner House, Chicago (1885–7), and the Stoughton House, Cambridge, MA (1882–3). His work influenced McKim, Mead, & White, Root, and Sullivan, among others.

Bibliography

  • M. Floyd (1997)
  • Harrington (1993)
  • Hitchcock (1966, 1966b, 1977)
  • Journal of the Society of Architectural Historians, ix/1–2 (Mar. & May 1950), 25–30
  • Meister (ed.) (1999)
  • L. Mumford (1924, 1931)
  • Ochsner (1982)
  • O'Gorman (1987a, 1997)
  • Placzek (ed.) (1982)
  • Rensselaer (1969)
  • V.J.Scully (1971, 1974)
  • Jane Turner (1996)

The full bibliography for this book is available to download as a pdf file.
Download the bibliography for A Dictionary of Architecture and Landscape Architecture (PDF: 1.2MB)

 
Columbia Encyclopedia: Henry Hobson Richardson
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Richardson, Henry Hobson, 1838-86, American architect, b. St. James parish, La., grad. Harvard, 1859, studied at the École des Beaux-Arts; great-grandson of Joseph Priestley. He was a major representative of romanticism in American architecture and was noted for his revival of Romanesque design. After employment in Paris, he began practice (1866) in New York City but moved to Brookline, Mass., in 1874. Trinity Church in Boston (1872-77) was his first monumental work; its French Romanesque design was a departure from the Gothic revival that controlled contemporaneous American architecture. In it and in subsequent works Richardson developed a free and strongly personal interpretation of Romanesque design. The style, known as Richardson Romanesque, spread and won many followers, exerting a great influence upon the building arts of the period, especially in the young, growing cities of Chicago, Cleveland, Cincinnati, and St. Louis. Richardson's buildings showed strength, simplicity, and a skillful employment of varied materials. In his country houses of wood he produced a distinct American type. He elevated the position of the minor crafts in his work, and to artists such as Augustus Saint-Gaudens and John La Farge he entrusted the important units of decoration. Among Richardson's principal works are the New Brattle Square Church, Boston; public library, Woburn, Mass.; courthouse and jail, Pittsburgh; Sever Hall and Austin Hall, Harvard; parts of the state capitol at Albany, in association with Eidlety and Olmsted; Glessner House, Illinois Institute of Technology; and the Marshall Field wholesale store, Chicago.

Bibliography

See H. R. Hitchcock, The Architecture of H. H. Richardson and His Times (1936, rev. ed. 1961); J. K. Ochsner, H. H. Richardson: Complete Architectural Works (1982); J. F. O'Gorman, H. H. Richardson (1987) and Living Architecture (1997).

Wikipedia: Henry Hobson Richardson
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Henry Hobson Richardson
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Henry Hobson Richardson, portrait by Sir Hubert von Herkomer from the National Portrait Gallery (United States)
Personal information
Name Henry Hobson Richardson
Nationality American
Birth date September 29, 1838(1838-09-29)
Birth place Priestly Plantation, St. James Parish, Louisiana, USA
Date of death April 27, 1886 (aged 47)
Alma mater Harvard College,
École des Beaux Arts
Work
Significant buildings Trinity Church, Boston
Significant design Richardsonian Romanesque

Henry Hobson Richardson (September 29, 1838 – April 27, 1886) was a prominent American architect of the 19th century whose work left a significant impact on Boston, Pittsburgh, Albany and Chicago, among others.

Contents

Biography

Richardson was born at Priestly Plantation in St. James Parish, Louisiana and spent part of his childhood in New Orleans, where his family resided on Julia Row in a red brick house designed by the architect Alexander T. Wood. He was the great-grandson of inventor and philosopher Joseph Priestley, who is usually credited with the discovery of oxygen. [1]

Richardson went on to study at Harvard College. Initially he was interested in civil engineering, but eventually shifted to architecture, which led him to go to Paris in 1860 to attend the famed École des Beaux Arts.

He didn't finish his training there, as family backing failed during the U.S. Civil War. Nonetheless, he was only the second US citizen to attend the École— Richard Morris Hunt was the first. The school was to play an increasingly important role in training Americans in the following decades.

Richardson returned to the U.S. in 1865. The style that Richardson favored, however, was not the more classical style of the École, but a more medieval-inspired style, influenced by William Morris, John Ruskin and others. Richardson developed a unique idiom, however, adapting in particular the Romanesque of southern France.

In 1869, he designed the Buffalo State Asylum for the Insane in Buffalo, New York, the largest commission of his career and the first appearance of his eponymous Richardsonian Romanesque style. A massive Medina sandstone complex, it is a National Historic Landmark and is presently the subject of an extensive restoration process.[2]

The 1872 Trinity Church in Boston solidified Richardson's national reputation and provided major commissions for the rest of his life. It was also a collaboration with the construction and engineering firm of the Norcross Brothers, with whom the architect would work on some 30 projects. Evidence of Richardson's contemporary recognition is that, of ten buildings named by American architects as the best in 1885, fully half were his: Trinity Church, Boston, Albany City Hall, Sever Hall at Harvard University, the New York State Capitol in Albany (as a collaboration), and Town Hall in North Easton, Massachusetts.

Richardson died in 1886 at age 47 of Bright's disease, a kidney disorder. He was buried in Walnut Hills Cemetery, Brookline, Massachusetts.

Though not a Richardson design, H.H. Richardson's house in Brookline, MA should also be mentioned in any discussion of his buildings. Richardson spent much of his later years in the house and, due to poor health, had a studio attached in order to limit travel. The house fell into disrepair and was listed in 2007 as an endangered historic site[3]. However, the house was purchased in January 2008 for roughly two million dollars with an amended deed requiring that the building be historically restored[4]. The house is on a hill, where Richardson could supposedly watch construction of the Trinity Church (in Boston's Back Bay) from his second story window.

Major Work

Trinity Church, Boston, MA (1872) is Richardson's most acclaimed work.

Richardson's most acclaimed work is Trinity Church in Copley Square, Boston, part of one of the outstanding American urban complexes built as the center piece of the newly developed Back Bay. The Boston Public Library was built across from it later by Richardson's former draftsman, Charles Follen McKim. The interior of the church is one of the leading examples of the Arts and crafts aesthetic in the US. It was at Trinity that Richardson first worked with Augustus Saint Gaudens, with whom he would work many times in the ensuing years.

A series of small public libraries donated by patrons for the improvement of New England towns makes a small coherent corpus that defines Richardson's style: libraries in Woburn, North Easton, Malden, Massachusetts, the Thomas Crane Public Library (Quincy, Massachusetts), and Billings Memorial Library on the campus of the University of Vermont[5]. These buildings seem resolutely anti-modern, with the atmosphere of an Episcopalian vicarage, dimly lit for solemnity rather than reading on site. They are preserves of culture that did not especially embrace the contemporary flood of newcomers to New England. Yet they offer clearly defined spaces, easy and natural circulation, and they are visually memorable. Richardson's libraries found many imitators in the "Richardsonian Romanesque" movement.

Richardson also designed nine railroad stations for the Boston & Albany Railroad as well as three stations for other lines. These buildings were more subtle than his churches, municipal buildings and libraries, but still unmistakably his.

After his death, more than 20 other stations were designed in Richardson's style for the Boston and Albany line by the firm of Shepley, Rutan and Coolidge, all draftsmen of Richardson at the time of his death. Many Boston and Albany stations were landscaped by Richardson's frequent collaborator, Frederick Law Olmsted. Additionally, a railroad station in Orchard Park, NY (near Buffalo) was built in 1911 as a replica of Richardson's Auburndale station in Auburndale, MA. The original Auburndale station was torn down in the 1960s during construction of the Massachusetts Turnpike. The original Richardson stations on the Boston and Albany line have either been demolished or converted to new uses (such as restaurants). Two of the stations designed by Shepley, Rutan, and Coolidge (both in Newton MA) are still used by Boston's MBTA (green line) public transit service.

Other Work

New York State Asylum, Buffalo, New York (1869)
  • Sever Hall, Harvard University (1880), brickwork, with molded brick string courses with turrets embedded in the walls, strips of windows, under a huge hipped roof as well as Austin Hall (Harvard University) (1882-1884) which followed a more traditional Richardson motif.
  • The Allegheny County Courthouse, Pittsburgh, Pennsylvania, (1883–1888) connected by a bridge to its jail across the narrow street: cyclopean masonry and a tall tower
  • Marshall Field Warehouse, Chicago, Illinois (1887) (demolished 1930), graded variations in rusticated stonework, vast windowed arcading spanning three floors, with not a historical detail in sight
  • Buffalo's New York State Asylum (1870), shown on the right, was the largest building of the master's career and the first to display his characteristic style. The complex was also the first of many projects on which he worked with Frederick Law Olmsted.

Richardsonian Romanesque

Main article: Richardsonian Romanesque

Richardson is one of few architects to be immortalized by having the honor of having a style named after him. "Richardsonian Romanesque", unlike Victorian revival styles like Neo-Gothic, was a highly personal synthesis of the Beaux-Arts predilection for clear and legible plans, with the heavy massing that was favored by the pro-medievalists.

Significant to Richardson's style was his picturesque massing and roofline profiles, along with his mastery of rustication and polychromy, semi-circular arches supported on clusters of squat columns, and round arches over clusters of windows on massive walls.

Following his death, the Richardsonian style was perpetuated by a variety of proteges and other architects, many for civic buildings like city halls, county buildings, court houses, train stations and libraries, as well as churches and residences. These include:

Replicas

Although many structures exist in the Romanesque style and some borrow so heavily that they are often mistaken for Richardson designs, several building have been built specifically to mimic a single Richardson structure.

  • Wellesley Farms Railroad Station - This structure was built by Shepley, Rutan and Coolidge (draftsmen of Richardson) soon after Richardson's death. Although this firm built many stations in Richardson's style, they were specifically penalized for this one because it was so similar to Richardson's Eliot station in Newton, MA[6]. Eliot station was torn down in the 1950s.
  • A railroad station in Orchard Park, NY (near Buffalo) was built in 1911 as a replica of Richardson's Auburndale station in Auburndale, MA. The original Auburndale station, Richardson's first for the Boston & Albany Railroad and which was described by Henry Russell Hitchcock as "the best he ever built", was torn down in the 1960s during construction of the Massachusetts Turnpike.[7]
  • The Patrick F. Taylor Library, formerly known as the Howard Memorial Library, was built soon after Richardson's death. Residents of New Orleans had wanted an example of Richardson's work, a native son of New Orleans. The office of Shepley, Rutan and Coolidge used a Richardson design which had been submitted and rejected some years earlier. This leads some, particularly those in New Orleans, to argue that this library is an original Richardson design. The library is currently part of the Ogden Museum of Southern Art.
  • The Old Orange County Courthouse in Santa Ana, California, was completed in 1906 and is heavily influenced by Richardson's designs, bearing a strong resemblance to Richardson's Sever Hall at Harvard.
  • Castle Hill Light is a lighthouse in Newport, RI which is often attributed to Richardson. Richardson drew a sketch for the lighthouse at that location which may have been the basis for the design, though the actual structure does not include the residence features in Richardson's sketch.

Chronological list of extant works

John J. Glessner House, Chicago, Illinois (1885)

This is a list of works by Richardson:[8]

Images

Church of the Unity, Springfield, Massachusetts (1866-69). Richardson's first commission.

Grace Episcopal Church, Medford, Massachusetts (1867)

Crowninshield House, Boston, Massachusetts (1868)

William Dorsheimer House, Buffalo, New York (1868)

H.H. Richardson Complex, New York State Asylum for the Insane, Buffalo, New York (1869). First building using the Richardsonian Romanesque style.

Brattle Square Church (now First Baptist Church), Boston, Massachusetts (1869)

Hampden County Courthouse, Springfield, Massachusetts (1871)

Trinity Church, Boston, Massachusetts (1872)

William Watts Sherman House, Newport, Rhode Island (1874)

Cheney Building, Hartford, Connecticut (1875)

Winn Memorial Library, Woburn, Massachusetts (1876)

Ames Free Library, North Easton, Massachusetts (1877)

Sever Hall, Harvard University, Cambridge, Massachusetts (1878)

Rectory for Trinity Church, Boston, Massachusetts (1879)

Oakes Ames Memorial Hall, North Easton, Massachusetts (1879)

Ames Monument, Laramie, Wyoming (1879)

Albany City Hall, Albany, New York (1880)

Ames Gate Lodge, North Easton, Massachusetts (1880)

Thomas Crane Public Library, Quincy, Massachusetts (1880)

Austin Hall, Harvard University, Cambridge, Massachusetts (1881)

Auburndale Railroad Station, Boston & Albany Railroad, Auburndale, Massachusetts (1881, demolished 1960s).

Old Colony Railroad Station, Boston & Albany Railroad, North Easton, Massachusetts (1881)

Mary Fiske Stoughton House, Cambridge, Massachusetts (1882-83)

Robert Treat Paine Estate, Waltham, Massachusetts (1883)

Converse Memorial Library, Malden, Massachusetts (1883)

Allegheny County Buildings, Pittsburgh, Pennsylvania (1883)

Billings Memorial Library, University of Vermont, Burlington, Vermont (1883)

Framingham Railroad Station, Boston & Albany Railroad, Framingham, Massachusetts (1883)

Wellesley Railroad Station, Boston & Albany Railroad, Wellesley, Massachusetts (1884)

Emmanuel Episcopal Church, Pittsburgh, Pennsylvania (1885)

New London Union Station, New London, Connecticut (1885)

Marshall Field's Wholesale Store, Chicago, Illinois (1885, demolished 1930s)

John J. Glessner House, Chicago, Illinois (1885)

Bagley Memorial Fountain, Detroit, Michigan (1885)

Lucius Tuckeman Mansion, Washington, D.C. (1885)

Lululaund or the Sir Hubert von Herkomer House - Bushey, Hertfordshire, England (1886)

Notes

  1. ^ Van Rensselaer, Mariana Griswold, Henry Hobson Richardson and His Works, Dover Publications, Inc. NY 1959 (Reprint of 1888 edition) p 1
  2. ^ "Buffalo State Hospital." National Historic Landmarks Program. (2009-01-11)
  3. ^ National Trust For Historic Preservation Press Website - H.H. Richardson House in Brookline, Massachusetts
  4. ^ http://www.boston.com/news/local/massachusetts/articles/2008/01/12/buyer_found_for_brooklines_historic_richardson_house/
  5. ^ UVM Billings History - Provost
  6. ^ A Field Guide to Southern New England Railroad Depots and Freight Houses by John H. Roy, Jr.
  7. ^ Auburndale Railroad Station from Historic American Buildings Survey
  8. ^ H.H. Richardson Complete Architectural Works by Jeffrey Karl Ochsner, 1982

References

  • Breisch, Kenneth A,. Henry Hobson Richardson and the Small Public Library in America: A Study in Typology, MIT Press, 1997
  • Floyd, Margaret Henderson, Henry Hobson Richardson: A Genius for Architecture, Monacelli Press, NY 1997
  • Hitchcock, Henry Russell, The Architecture of H. H. Richardson and His Times, Museum of Modern Art, NY 1936; 2nd ed., Archon Books, Hamden CT 1961; rev. paperback ed., MIT Press, Cambridge MA and London 1966
  • Larson, Paul C., ed., with Susan Brown, The Spirit of H.H. Richardson on the Midland Prairies: Regional Transformations of an Architectural Style, University Art Museum, University of Minnesota, Minneapolis, and Iowa State University Press, Ames 1988
  • Meister, Maureen, ed., H. H. Richardson: The Architect, His Peers, and Their Era, MIT Press, Cambridge MA 1999
  • Ochsner, Jeffrey Karl, H.H. Richardson: Complete Architectural Works, MIT Press, Cambridge MA 1984
  • Ochsner, Jeffrey Karl, and Andersen, Dennis A., Distant Corner: Seattle Architects and the Legacy of H. H. Richardson, University of Washington Press, Seattle 2003
  • O'Gorman, James F., Living Architecture: A Biography of H. H. Richardson, Simon & Schuster, NY 1997
  • O'Gorman, James F., H. H. Richardson: Architectural Forms for an American Society, University of Chicago Press, Chicago 1987
  • O'Gorman, James F., H. H. Richardson and His Office: Selected Drawings, David R. Godine, Boston 1974
  • Roth, Leland M.,A Concise History of American Architecture, Harper & Row publishers, NY, NY 1979
  • Shand-Tucci, Douglas, Built in Boston: City and Suburb, 1800 - 1950, University of Massachusetts Press, Amherst, MA 1988
  • Van Rensselaer, Mariana Griswold, Henry Hobson Richardson and His Works, Dover Publications, Inc. NY 1959 (Reprint of 1888 edition)
  • Van Trump, James D., "The Romanesque Revival in Pittsburgh," Journal of the Society of Architectural Historians, Vol. 16, No. 3 (October 1957), pp. 22-29

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