by Boston College Fine Arts Professor Jeffery Howe, excerpted from Changing Light: The Stained-Glass Home windows of Boston College
The architecture of Boston College was praised in the start. Devlin Hall was granted the J. Harleston Parker medal in 1925 through the Boston Society of Designers, an award given every 3 years for that new building judged is the most breathtaking within the Boston area. Rob Adams Cram, a tireless advocate from the modern Medieval Revival, recognized the brand new campus:
For many years everybody that has seen the origins from the new Boston College—and that has not?—has recognized that something was happening within Chestnut Hill which was hugely significant. The remarkable great thing about the website and also the striking characteristics from the architecture create a combination that does not only gives immediate satisfaction towards the eye but encourages the imagination regarding the future. Certainly, this is a plan arrived which promises to sort out into among the finest artistic options that come with Massachusetts, even from the U . s . States. . . . Altogether, the profession of architecture must feel it's already heavily indebted to Boston College and it is designers.
Nevertheless, the Collegiate Medieval style was surpassed within the other half from the last century, as worldwide modernism taken the area. The triumph from the Worldwide style am complete that even at Boston College it had been unthinkable to construct a Medieval-style building before the late eighties. The restoration of Bapst and Burns Libraries won an award because of its sensitive adaptation from the Collegiate Medieval style in 1986. One of the chief designers of the project, along with the restoration of Devlin Hall (1993), was Royston Daley. Subsequent projects, like the makeovers of Fulton Hall (1995) by Svigals + Partners and Higgins Hall through the firm of Shepley Bulfinch Richardson and Abbott (2002) remade individuals cumbersome nineteen fifties-style structures into elegant modern Medieval monuments. The Collegiate Medieval had came back because the signature type of Boston College.
The effective tower of Gasson Hall and also the impressive grouping from the original structures around the Levels are the initial and finest artworks backed through the College. In creating their ambitious plan, Father Thomas Gasson and also the designers Charles Donagh Maginnis and Timothy Walsh didn't allow themselves to become restricted to the exigencies from the moment, but looked towards the riches of history and, apparently, towards the unforeseeable riches for the future.