Trinity Church, Boston - Essay Example

Trinity Church, Boston Figure Trinity Church, Boston 1872-77 designed by Richardson (Picture Courtesy of American Institute of Architects Association) Introduction The Trinity Church in Boston, Massachusetts was built between 1872 – 1877. It was designed by the architect Henry Hobson Richardson for the Episcopal Diocese of Massachusetts (AIA). It is located in the Back Bay of Boston. Richardson’s design of this church helped establish his reputation as on of the great architects in history, as soon as the building was completed. He designed it in the post Baroque Romanesque stile that was late to be replicated in several important buildings in the United States. His style was also the first to be replicated across Europe and Canada (AIA). It has since been recognized as one of the historical landmarks in the United States. It is the only church and the only building in Boston to have been honored as one of “The Ten Most Significant Buildings in the United States” by the American Architectural Association (AIA). History of the Building The construction of the church was ordered by Rector Phillips Brooks who was in charge of the parish. The original church burned down in the Great Boston Fire of 1872, which prompted Brooks to seek a designer for a brand new church. He is the one who influenced the commissioning of Richardson, an emerging reputable architect at the time. Richardson himself was not widely known before this particular project that was to change his reputation forever, for the better (Fletcher, 122). The building came up at a time when the neo-classical architecture had emerged strongly in the post Baroque era. The Baroque era traced back to the Council of Trent of 1545 emerged out of a counter reformation in the Catholic Church against the Protestant movement at the time. It coincided with the emergence of wealth and power in the Catholic Church and colonial Europe. It was therefore an expression of the pride, opulence and power of the state and church of the era. It replaced the classical era, which insisted on functional forms and simple order of symmetry in structures. The Baroque era tended to achieve structural unity in its own seemingly asymmetrical way. In addition, it emphasized structure that appealed deeply to the emotions; something that classical architecture had frowned at (Fletcher, 122). Subsequently, the emergence of the neo-classical era was therefore a kind of restoration of the old classical forms with the requisite improvisations adopted from other forms, including Baroque. The movement came out strongly in the mid to late 18th century. The neo-classical designs took may forms in different places and the Romanesque expression of Richardson was one of them. This approach restored both the symmetrical and functional unity of the classical style, while borrowing a bit of the aesthetic enhancements of the Baroque era. In other words, the neo-classical style was a new style over and above the old classical style (AIA). The new Romanesque style borrowed its name from the old Roman classical style, but was unique in the way it treated subtle design elements. For example, the centrality of the use of pillars, that is as old as ancient Greece, was modified to fit in with the modern trend. In this way, the old classical Roman architecture that had been replaced by the Baroque, now re-merged albeit in a different modified form (Fletcher, 122). Design and Construction The plan of the Trinity Church building in Boston is based on a modified Greek Cross. Its four arms extend outwards enjoined at the central tower. The tower itself stands 64 meters tall. It is situated in Copley Square, overshadowed by the John Hancock Tower. It is surrounded by the paving of the square that also serves as parking for vehicles and the space for numerous Catholic processions (Burne-Jones & Morris, 82). Built in Bostons Back Bay, that was initially a mud flat, the church rests on 4500 wooden piles, supported by 30 feet of gravel fill, silt, and clay. The piles are continuously hydrated by the waters of the Back Bay, which averts the possibility of rotting if exposed to air (AIA). It is the archetypal birthplace of the Richardsonian Romanesque style. This is characterized by polychromy, a clay roof, a rough finish of stone, very heavy arches plus a huge, high tower. The original artists who were called in to help decorate the windows were Edward Burne-Jones and William Morris who designed the main stained-glass window known as "Davids Charge to Solomon" in the year 1882. In 1835 John La Farge was contacted to help give the church a richly colored interior. This was essential for the overall beauty and ambiance of the church. It was La Farge’s first commission on such a major scale, but he took up the offer willingly on condition that all the expenses he incurred would be covered. It turned out to be a very good choice since his reputation was truly established after carrying out the work (Burne-Jones & Morris, 82). The windows, with the exception of the “David’s Charge to Solomon” were all originally blank. Their decoration was therefore entirely the work of the American artists. Four of the windows were designed by Bourne-Jones and effected by Morris. La Farge worked on the rest. The church has interior murals, covering some 2,000 m², which were completed by hired American artists. These make the interior quite wonder to behold and unshackle the mood of spirituality of any worshiper who ventures within (Burne-Jones & Morris, 82). Their work completely revolutionized the working of window glass as they used for the first time layering of opalescent glass (Burne-Jones & Morris, 82). This brought about a beautiful tainted finish that remains one of the main attractions of the church to date. Arc shapes at the top further improved the finish on the windows. High window shapes were used to bring in plenty of light to the interior of the church in an array of kaleidoscopic pigmentation. The exterior of the church is finished in an array of gold, brown, off-white and dark brown colors that blend well with the red tiles of the central tower roof. This gives it a picturesque mix pleasant to the beholding eye especially in the golden rays of the rising and setting sun. The arches on the side entrances and windows further enhance the external appearance of the church. The tall peaks of the pyramid shapes on the roof, give the church its overall tall appearance enhanced further by high wall panels (Fletcher, 122). In the construction of the church, Richardson preferred pyramid shaped roof peaks to the commonly used dome shape that characterized the baroque era. This signals a return to the classical age when squared appearances were predominant due to the fact that they saved on space and were easily utilized on the inside without wastage of space. On the contrary, the use of domes and other circular shapes were used in the baroque era with the express intention of making the building aesthetically attractive giving little consideration to the utility aspect. This is an important element differentiated the two styles (AIA). Even the modernist architecture buildings that came later derived more from the post baroque era with the emphasis on economizing space, and this is still applied today. Modern buildings emphasize much more on utility than mere aesthetics. To further enhance the interior, sculptures were added by artists Daniel Chester French and Augustus Saint-Gaudens. The sculptures the icons of Mary, Joseph, Jesus and the nativity scene that are present in all Catholic churches. The church organ was constructed in 1876 by Hilborne L. Roosevelt. It employed the use of both mechanical action of Barker levers on all of its divisions as well as an electrically controlled Echo division (Burne-Jones & Morris, 82). It was later relocated to the gallery after the chancel proved insufficient for the function. The church houses up to 3,000 families who share its four services every Sunday. On special occasions, as many as 5,000 adherents have been known to flock into the church for such services as the nativity and new year celebrations (Fletcher, 122). Influence of the Project The Trinity Church in Boston was thrust into the international limelight in 1885 when it was voted the most important building in he United States. It was to be recognized later as one of “The Ten Most Significant Buildings in the United States” by the AIA. It has since been an important influence even on modern design. The building has attracted several tourists and pilgrims who admire its overall design and has thus played an important role in influencing the design of other churches. Its style was quickly adopted for several public buildings in the United States, and replicated in Europe and Canada (AIA). The design method has also been used in the construction of secular buildings such as modern day skyscrapers (Fletcher, 122). Though it may not be immediately obvious, its central pile support system helped set the pace for modern columns used in neighboring buildings such as the John Hancock Tower that stands tall overshadowing it. The central tower system of the church was a great help as an example for realizing the construction of such high buildings (Fletcher, 122). The church like any other architectural project, and indeed any other work of creative art, has had its critics. Among the issues raised with it is that it is too much of a high design thus creating vertical space that does not add any utility value to its primary function as a church. Though the main purpose of creating such a high design was to serve among other purposes to aerate the church and regulate heat considering that it had to be attended by many people at the same time; many critics still feel the height was exaggerated and is thus a waste of material and effort (Fletcher, 122). Conclusion Though built in the late 19th century, the centrality of place occupied by the Trinity Church Boston in the history of architecture cannot be gainsaid. It remains not only a major milestone in architectural development, but is also a constant influence and point of reference for modern day architecture. The physical beauty and functional finish of the building cannot be ignored by any modern day architect who is truly interested and passionate about art. Works Cited American Institute of Architects (AIA). “Ten Most Significant Buildings in the United States.” Retrieved on 18th December, 2009. Burne-Jones, Edward & Morris, William. The Worship of the Magi. New York: Edwin Mellen Press, 1941. Fletcher, Banister. A History of Architecture. London: Architectural Press, 1996. Read More