Origin of the term

The American architect Alexander Jackson Davis "is generally credited with establishing the appellation",[18]​ documented in a manuscript description of his own English Collegiate Gothic Mansion of 1853 for the Harrals of Bridgeport, Connecticut.[19]​ The movement was known as "collegiate Gothic" in the 1890s.[20]​.

1904 Commentary

In his praise of Cope & Stewardson's Quartrangle Dormitories at the University of Pennsylvania, architect Ralph Adams Cram revealed some of the racial and cultural implications underlying Collegiate Gothic:.

Hybrids

Collegiate Gothic architectural complexes were often horizontal compositions, except for a single tower or towers that aroused admiration.

At the University of Pittsburgh, Charles Klauder was presented with a limited site and opted for verticality. The "Cathedral of Learning" (1926-1937), a 42-story steel-and-limestone-framed "skyscraper," is the second-tallest university building in the world and the second-tallest Collegiate Gothic building. It has been described as the literal culmination of late neo-Gothic architecture.[22]​.

The tower houses a half-acre Gothic hall whose mass is supported by its 16 m high arches.[23] It is accompanied by other campus buildings also made by Klauder, including the Stephen Foster Monument (1935-1937) and, inspired by French Gothic, the Heinz Memorial Chapel (1933-1938).

Motion

In the late 1880s, Philadelphia architects Walter Cope and John Stewardson expanded the Bryn Mawr College campus in an understated English Gothic style that was highly sensitive to site and materials. Inspired by the architecture of the universities of Oxford and Cambridge, historicists, but not literal copyists, Cope and Stewardson were very influential in the establishment of the Collegiate Gothic style. nascent of a movement that transformed many university campuses across the country.

In 1901, the firm Shepley, Rutan & Coolidge created a master plan for a campus of the fledgling University of Chicago in Collegiate Gothic, and then spent the next 15 years completing it. Some of his works, such as the Mitchell Tower (1901-1908), were almost literal copies of historic buildings.[9]​.

The movement gained further momentum when Charles Donagh Maginnis designed Gasson Hall at Boston College in 1908.[10] Maginnis & Walsh continued to design buildings in the Collegiate Gothic style on twenty-five other campuses, including the main buildings at Emmanuel College (Massachusetts) and the Law School of the University of Notre Dame in Indiana. Ralph Adams Cram designed one of the most poetic collections of collegiate Gothic buildings for the Graduate College of Princeton University (1911-1917).[11]​.

James Gamble Rogers did extensive work at Yale University, beginning in 1917. Some critics claim that he took historicist fantasy to the extreme, while others choose to focus on what is widely considered the resulting beautiful and sophisticated Yale campus. Rogers was criticized for the growing modern architecture. His Sterling Memorial Library building (1927–1930), with its ecclesiastical imagery and lavish use of ornament, was the subject of a Verbal attack from one of the Yale students:.

Other architects, notably John Russell Pope and Bertram Goodhue—who just before their deaths drew the original version of Yale's Sterling Library in which Rogers worked—advocated for and contributed significantly to Yale's particular version of Collegiate Gothic.[15][16]​

Following McMaster University's decision to move to Hamilton, Ontario, Canadian architect William Lyon Somerville designed its new campus (1928-1930) in the Collegiate Gothic style.[17]

Origin of the term

The American architect Alexander Jackson Davis "is generally credited with establishing the appellation",[18]​ documented in a manuscript description of his own English Collegiate Gothic Mansion of 1853 for the Harrals of Bridgeport, Connecticut.[19]​ The movement was known as "collegiate Gothic" in the 1890s.[20]​.

1904 Commentary

In his praise of Cope & Stewardson's Quartrangle Dormitories at the University of Pennsylvania, architect Ralph Adams Cram revealed some of the racial and cultural implications underlying Collegiate Gothic:.

Hybrids

Collegiate Gothic architectural complexes were often horizontal compositions, except for a single tower or towers that aroused admiration.

At the University of Pittsburgh, Charles Klauder was presented with a limited site and opted for verticality. The "Cathedral of Learning" (1926-1937), a 42-story steel-and-limestone-framed "skyscraper," is the second-tallest university building in the world and the second-tallest Collegiate Gothic building. It has been described as the literal culmination of late neo-Gothic architecture.[22]​.

The tower houses a half-acre Gothic hall whose mass is supported by its 16 m high arches.[23] It is accompanied by other campus buildings also made by Klauder, including the Stephen Foster Monument (1935-1937) and, inspired by French Gothic, the Heinz Memorial Chapel (1933-1938).