Copley Square

For many, copley square is a place that sticks out in memory. It is a fine testemony to the architectural mastery of the time period in which it was originally constructed, yet still resounds today with a serene, yet accomplished modern touch. The area of the square that i will be analyzing today is located just between Trinity Church and the John Hancock building. The two structures reside mere metres away from one another, yet represent such a gargantuan distance in human history and technology. Obviously, these two structures differ from one another on a vast scale. Not only were the buildings constructed literally centuries apart, but their concepts and architectural devices contrast one another so completely, that they actually seem quite complementary. Trinity Church has been a place of worship for Boston residents for a long time, and it still acts as one of the most revered religious buildings in the area.
It exhibits fine gothic and classical influence without becoming so large in scale. The stone construction obviously gives the structure a heavy appearance, yet it fits nicely within the context of the surrounding buildings - especially the Boston Public Library, which faces it from directly across the central plaza.

However, the John Hancock building seems - at first glance - to be so completely out of place when juxtaposed to Trinity Church. Not only are the construction types different, but the scale of the towering skyscraper dwarfs that of Trinity. The Hancock building also comprises very little ornamentation, and uses a repetetive pattern of window connections and mullions to create a grid-like facade of steel and glass. Whereas Trinity Church exhibits fine stone-work and craftsmanship, as well as highly ornate decoration. However, when examined a bit more closely, it immediately becomes clear that the towering obelisque of glass and steel actually fits quite nicely within the context of Trinity. The glass of the structure reflects the environment around it to a point where it nearly disappears, and also provokes viewers into contemplating the surrounding area from a different point of view. The grid-like facade of the tower also acts as a device that scales and frames the surrounding context, making it easier for close observation.
The "room" that is created between Trinity Church and the Hancock building is small on the ground plane (it extends only as far as the blocks on which the buildings are constructed) yet extends infinitely in the vertical direction. The tower of glass and steel, which opposes Trinity Church, actually seems to complement the verticality of the church spires across the street (whose purpose was to bring the structure closer to the heavens). As one looks upward to the top of the Hancock building, their eyes are drawn ever upward, as the edges of the tower point vertically to some unseen vanishing point far up above in the heavens. In conclusion, this area of Copley plaza serves as a great melding point for both the religious and economic governances of human culture, as well as displaying the accomplishments of detailed craftsmanship and mass production. And even though the scale of the two dominant buildings on site may be largely unbalanced, the Hancock building compensates for this by elegantly reflecting the surrounding environment, as well as contributing a modern touch to an area that is nearly completely renaissance.

Commonwealth Ave.

Commonwealth Avenue is located right next to the Boston commons and runs parallel to Newbury Street. The first thing I noticed about this particular area was the symmetry - there is an obvious axis of dividing the area into two symmetrical halves. the whole area is surrounded by trees spaced evenly apart, forming a distinct perimeter around the central green space. The symmetry of this space is also well complimented by the duality of two statues facing each other from each end of the green space. There is a distinct space or room that is created by the buildings on each side of commonwealth avenue and the stark figures of the enormous statues. However, this room seems a bit off scale when comparing the size of one corner building to the size of the opposing corner building.

As you can see from this sketch, the building on the left side is 15 stories tall, while the building on the right side is only 5 stories tall. Since many buildings around the area aren't much taller (if at all) than the 5 story building pictured on the right side of the sketch, the 15 story building definitely seems out of place. However, there seems to be a device that was devised to compensate for this inbalance. The Trees planted in the central green space seem to grow taller as one looks from the right to the left. Although the tree closest to the taller building doesn't come close to reaching 15 stories, the gradual rise in the canopy line does help to balance out the contrast between the left and right sides of commonwealth avenue.

(here we see an oblique view of the 15 story building rising far above the nearby buildings)

The corner building opposite the high-rise blends much better into the surroundings. Only 5 stories tall and built with classical influences, this structure is much more pleasing to the eye, and feels much more comfortable in scale. renaissance influence is clearly seen in the upper story windows, which are capped with alternating traingular and arched pediments. The classical style is also boldly used in the entrance, which is flanked by large sets of corinthian columns and pilasters. A bit of baroque-style influence can also be seen in the way the entrance is pulled out from the rest of the building. The front facade works its way outwards towards the street in a crescendo and climaxes with the main entryway jutting out several feet, making its presence clearly known in the Arlington street-side elevation. The stone construction of the building also begins to hint at the time period of construction, and also gives the building a sense of importance. The Ivy growing up the sides of the building facing the green space also make for a nice aesthetic and allows the building to blend well with the surrounding green space and public garden.Overall, this entire area serves as a pleasent public space in the middle of Boston, and is also conveniently close to famous Newbury Street. The architectural aesthetics of the area along with the vivid green of the Boston commons and public garden make this area beautiful on any day.

Louisburg Square

Louisburg Square is located right in the heart of Boston, on one of the original land formations of the city known as Beacon Hill. the hill is packed cozily with rowhouses reminiscent of the colonial style, while also incorporating motifs from the classic revival and the renaissance. The plan of Louisburg square consists of a large, fenced off green space, surrounded on all sides by rowhouses that were most likely constructed during the 18th century. The entire neighborhood is extremely tight-nit and private, with the only real public space being the green space in the center of the square. Even then, however, the green space is fenced off and unused.

My first examination of the area was of the ornate iron railings clearly visible on each building in the square. Each one was completely different from any other, and all the railings were very decorative. Some consisted of french curve-like figures swirling in and around one another, others more abstractly portrayed animals or crests, and a few seemed to have been designed freely, without any major significance.After taking a look at the railings and ornament in the area, i began to examine the doors and entrywas in the area. It was immediately clear that each one alluded to classical architecture in some way or another. Many doors were decoratively carved, with emblems and etchings in the center, conveying a sense of importance or authority. Others were ordained with polished brass knockers or fine trimmings. However, every entryway in the neighborhood was flanked on both sides by columns of some kind. Many used the doric style, others used ionic. Very few entryways used subtler classical motifs in the form of pilasters.

However, the most obvious reference to classical or renaissance architecture was in the form and pattern of the buildings themselves. Many of the rowhouses in the area were arranged in a pattern of curved wall to flat wall, repeating the entire length of the street. Another pattern could also be seen in the entryways, where the doorways were capped by traingular or arched greek-style pediments. This repetition was a technique often employed by architects in the palazzos of renaissance Italy in an attempt to create rhythm in facades. The use of such patterns clearly shows the influence of the renaissance. The use of the renaissance style is starkly contrasted, however, by the later additions to existing buildings. Many of the houses in the area seem to have had an extra floor added on at some point late after the original construction. This can be assessed by examining the windows of the top floors in comparison to the windows of the rest of the buildings. Also, the materials used in the additions seem a bit out of place, and in some cases (see picture below) an obvious difference in style and construction method can be seen. Overall, Louisburg square serves as a nice retreat from the busy streets of downtown Boston, while the cobblestone roads, the classical styles and materials used in construction serve as a pleasant reminder to a style of life enjoyed from the founding of our nation up until this very moment. Until next time...