Hugh Stubbins

Adams Residence, at Concord, Massachusetts, 1950
Veterans Housing, at Wellesley, Massachusetts, 1954 (project)
Back Bay Center, at Boston, Massachusetts, 1954
The Country School, at Weston, Massachusetts, 1954
United States Legation, at Tangier, Morocca, 1955
Better Homes and Gardens House, at Chicago, Illinois, 1955
Dracut Junior/Senior High School, at Dracut, Massachusetts, 1955
Piney Point Beach Club, at Marion, Massachusetts, 1955
Animal Rescue League, at Boston, Massachusetts, 1956
Sharpe House, at Poujac, Rhode Island, 1956
330 Beacon Street Apartment House, at Boston, Massachusetts, 1956
Shaughnessy Elementary School, at Lowell, Massachusetts, 1956
Congress Hall, at Berlin, Germany, 1957
Woodland Elementary School, at Weston, Massachusetts, 1959
Continental Terrace Apartment House, at Cambridge, Massachusetts, 1959
Scientifice Engineering Institute, at Waltham, Massachusetts, 1959
Loeb Drama Center, at Harvard University, Cambridge, Massachusetts, 1960
Unitarian Church, at Concord, New Hampshire, 1960
Gulf Coast Community College, at Panama City, Florida, 1960
Charlesbank Apartment House, at Boston, Massachusetts, 1960
Brookline Farm, at Massachusetts, 1961 (project)
Beverly School for the Deaf, at Massachusetts, 1962
Graduate student housing, at Massachusetts Institute of Technology, Cambridge, Massachusetts, 1962
Various buildings, at University of Massachusetts, Amherst, 1962 to 1969
Various buildings, at Mount Holyoke College, South Hadley, Massachusetts, 1962 to 1975
Physics Building and Dormitory, at Princeton University, Princeton, New Jersey, 1965
Falmouth Intermediate School, at Falmouth, Massachusetts, 1965
Countway Library of Medicine, at Harvard University Medical School, Boston, Massachusetts, 1965
Gymnasium, at Bowdoin College, Brunswick, Maine, 1965
North East Primate Center, at Harvard University, Southboro, Massachusetts, 1966
Senior Center, at Bowdoin College, Brunswick, Maine, 1966
Dana Hall School, at Wellesley, Massachusetts, 1967
Fine Arts Building, at Rochester Institute of Technology, Rochester, New York, 1967
Administration Center, at Brandeis University, Waltham, Massachusetts, 1967
Union Mutual Life Insurance Company Office Building, at Portland, Maine, 1968
Gymnasium, at Oberlin College, Oberlin, Ohio, 1968
National Technical Institute for the Deaf, at Rochester Institute of Technology, Rochester, New York, 1968
Decorative Arts Wing, at Boston Museum of Fine Arts, Boston, Massachusetts, 1968
Student Union, at Brandeis University, Waltham, Massachusetts, 1968
1033 Massachusetts Avenue Office Building, at Cambridge Massachusetts, 1969
Veterans Stadium, at Philadelphia, Pennsylvania, 1971
Academic complex and hockey rink, at Tabor Academy, Marion, Massachusetts, 1972
Technical School, at Shiraz Technical Institute, Iran, 1972
Master Plan, at Hampshire College, Amherst, Massachusetts, 1972
Library, at Alfred University, Alfred, New York, 1973
The Bank, at Manchester, New Hampshire, 1974
Southeastern Massachusetts University, at North Dartmouth, Massachusetts, 1974
Law School, Graduate School of Business Administration, and Master Plan, at University of Virginia, Charlottesville, 1976
Newburg Public Library, at Newburg, New York, 1976
Pusey Library, at Harvard University, Cambridge, Massachusetts, 1976
Hewlett-Packard Company, at Waltham, Massachusetts, 1977
Y.M.C.A., at Worcester, Massachusetts, 1977
Citicorp Center, at New York, New York, 1976 to 1978.  * 3D Model *
St. Peter's Church, at New York, New York, 1978
Federal Reserve Bank of Boston, at Boston, Massachusetts, 1978

      map of works

(b. Birmingham, Alabama 1912, d. Cambridge, Massachusetts July 5, 2006)

Hugh Stubbins, Jr. was born in Birmingham, Alabama in 1912. He studied at the Georgia Institute of Technology in Atlanta and at the Harvard University Graduate School of Design.

Like many of his contemporaries, Stubbins shows a concern for space, form and aesthetics within his buildings. Although Stubbins sees good design as essential to good architecture, he also emphasizes enlightened programming and excellence in planning, function and technology as integral ingredients. As a result he has developed a successful firm that consistently produces beautiful buildings.

Although Walter Gropius, Marcel Breuer and Alvar Aalto have each affected Stubbin's philosophy, they have had limited affect on his style. Each of Stubbin's buildings has its own style, and each offers a unique solutions to individual problems. Stubbins has not produced any radical, new overall style and no high-sounding theories, but he has produced a consistently excellent architecture.

References
Muriel Emmanuel. Contemporary Architects. New York: St. Martin's Press, 1980. ISBN 0-312-16635-4. NA680.C625. p782-785.

The Creator's Words

"I think of architecture not as individual buildings but as the whole fabric of our physical environment. Architecture is the man-made world in its totality. It is everything we have built around us - our cities, our suburbs, our sidewalks, highways, buildings, parks, signs, street-lighting, right down to the houses we live in, and the chairs we sit in - all our physical aids to living. It is seldom, if ever, that one can design the whole fabric. Usually only a small part of it comes within the purview of the architect, and it follows that if order and all great attributes of the art of architecture are to be achieved then an important consideration is the relation of each individual effort to the whole.

"Alvar Aalto in Finland has consistently followed the approach of building within the whole fabric of his environment. He was strongly influenced by the background and geography of his country. I think that he is the greatest living architect. His always fresh, sincere and humble approach has influenced me greatly. Aalto never strives for "newsworthy" architecture. He builds with a thorough familiarity with the problem and its situation, with a palette of homogeneous materials and logical structure. He draws on past experience with an eye to the future. ...

"In the final analysis, the environment of man is the consequence of what he believes to be important, the reflection of his own inner drive towards a greater awareness, and his concern for all human values."

— Hugh Stubbins. from Paul Heyer. Architects on Architecture: New Directions in America. p217.

"Hugh Stubbins, Modern Tower", by Michael J. Crosbie, ArchitectureWeek No. 298, 2006.0809, pN1.1.

Paul Heyer. Architects on Architecture: New Directions in America. New York: Walker and Company, 1966. LC 66-22504. ISBN 0442017510. discussion p300-301. — Revised edition available at Amazon.com

Hugh Stubbins. Architecture: The Design Experience. New York: John Wiley & Sons, 1976. ISBN 0471834823. — Available at Amazon.com

Dianne M Ludman. Hugh Stubbins and his associates: The first fifty years. Stubbins Associates, 1986. ISBN 0961741619. — Available at Amazon.com

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