The architectural evolution of the University of Pennsylvania’s West Philadelphia campus showcases a deliberate departure from homogenous design, functioning instead as an architectural archive spanning more than a century of collegiate building trends. According to University Architect Mark Kocent, the institution historically sought out leading designers of their eras, encouraging them to pursue period-specific aesthetics rather than relying on pseudo-historical copies. Art history professor emeritus David Brownlee described the campus as a “museum of architecture” rather than a space bound to a single uniform style.
Early Gothic Revival and Functional Library Design
Following the University’s relocation to West Philadelphia in 1872, officials installed Thomas Webb Richards as chief instructor in architecture. Richards established the initial collection of campus structures around College Hall, including Cohen Hall and an adjacent hospital complex, utilizing an up-to-date Gothic Revival style. Brownlee noted that the campus’s distinct greenstone buildings drew direct inspiration from British architectural magazines of the period.
By the 1880s, design priorities shifted toward interior functionality. Opened in 1891, the Fisher Fine Arts Library served as the institution’s main library until 1962. Brownlee emphasized that Fisher was constructed with an astonishing focus on fulfilling the specific spatial and operational needs of a library. Around the turn of the century, the firm Cope and Stewardson introduced Collegiate Gothic architecture while encouraging students and designers to inventively use historical forms without direct copying.
Material Continuity and Campus Planning
Campus design plays a vital role in shaping the broader student experience outside the classroom, according to William Whitaker, director of Penn’s Architectural Archives at the Stuart Weitzman School of Design. Whitaker explained that the campus tells its history in bricks and mortar, utilizing brick as a unifying material that connects structures across the grounds while reflecting Philadelphia’s history as a city heavily built from the material. Kocent noted that contemporary architects are routinely required to study masonry and local materials, preserving what he calls the “DNA of Penn.”
Recent construction projects explicitly incorporate these historical material cues. The Annenberg Public Policy Center utilizes glass composition and height mapped to neighboring structures like Charles Addams Fine Arts Hall and the ARCH, with atrium slopes referencing surrounding rooflines. Meanwhile, ongoing renovations to the Fisher Fine Arts Library involve a materials consultant analyzing chemical formulations of mortar, brick, and terracotta to match original specifications. Similarly, the upcoming Physical Sciences Building intended to replace a large portion of the David Rittenhouse Laboratory will feature brown terracotta bases mirroring the existing DRL wing, the Palestra, and Franklin Field.
Balancing Historic Context with Contemporary Form
Modern structures on campus deliberately negotiate between historic surroundings and contemporary utility. The Vagelos Laboratory for Energy Science and Technology employs a distinctly modern design while utilizing custom bricks selected to balance the aesthetic of the adjacent Palestra. Similarly, Gutmann College House scales its architecture to match its location along Locust Walk; its lower four- to five-story wings feature terracotta shingles, while its 13-story rear elevation along Walnut Street utilizes light-colored aluminum to reflect the height of The Radian across the street.
Landscape architecture provides the essential connective tissue linking these diverse structures, according to School of Design Dean Frederick Steiner. Steiner and Kocent co-chair the Penn Design Review Committee, which evaluates building materials, landscaping, and accessibility through collaborative discussion rather than a single imposed design standard. For Kocent, the resulting architectural diversity functions as a living classroom, offering a four-generation visual history of Philadelphia architecture centered around intersections like 34th Street and Smith Walk.
Frequently Asked Questions
Who designed Penn’s earliest buildings on the West Philadelphia campus?
Thomas Webb Richards, the University’s chief instructor in architecture, designed the initial Gothic Revival buildings around College Hall starting in 1872.
What architectural style is the Fisher Fine Arts Library?
Opened in 1891, the Fisher Fine Arts Library was designed with a primary focus on interior function rather than a strict adherence to traditional aesthetic revivals.
How do modern architects maintain consistency with older campus buildings?
Contemporary architects study local masonry, bricks, and terracotta—referred to as the “DNA of Penn”—to ensure new buildings remain in conversational harmony with historic neighbors like the Palestra.
What is the role of the Penn Design Review Committee?
Co-chaired by Frederick Steiner and Mark Kocent, the committee evaluates building materials, landscaping, and accessibility through collaborative discussions before construction begins.
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