Reviewed by:

• Opus in Brick and Stone: The Architectural and Planning Heritage of Texas Tech University by Brian H. Griggs
• Kathryn E. Holliday

Texas universities have long used their architecture to create a visually distinctive identity and to compete with each other through the grandeur and scale of campus facilities. Rice University's Collegiate Gothic, the University of Texas at Austin's Beaux-Arts ensembles, Trinity University's mid-century modern, and the University of Texas at El Paso's Bhutaneseinspired quads all create unified campus environments that contribute to clear visual narratives of the university's role in civic and educational culture. Texas Tech is no exception, and Brian Griggs's exhaustive exploration of its campus history focuses particularly on the Spanish Revival core of the campus, built gradually from the 1920s through the 1940s. Griggs is especially interested in the ways that the neo-plateresque Spanish Revival style, based directly on university architecture in Spain rather than the Spanish colonial architecture of Texas, was exploited by the university's architects and administrators to solidify the university's reputation and status in the competitive world of Texas higher education.

When Texas Tech was founded in 1923, it did not immediately have the full support of the Texas Legislature. Because Texas A&M University already existed, many in the state believed there was no need for an additional agricultural college in Lubbock. Griggs takes a deep dive into the machinations of early supporters, including Amon Carter and John [End Page 92] Carpenter, who used their political and economic influence to found the university and insure its growth. The university's early architects, primarily William Ward Watkin of Houston and Wyatt Hedrick of Fort Worth, were savvy negotiators of this business and political climate and navigated the thorny problem of creating an image for Texas Tech from scratch on an apparently vacant, flat plain. The Administration Building, still standing today, is an excellent example of this early period, a relatively modest brick structure ornamented with beautifully crafted cast stone finials, scrolls, balusters, towers, and pediments typical of the style. Problems with funding, material, labor supply, and political chicanery are well-documented.

Some of the more interesting aspects of Texas Tech's campus that make it distinctive receive less attention than its style. The campus was designed from the beginning to be sprawling, open, and navigated by car. Later advocacy resulted in a more pedestrian-friendly campus that pushed cars to the perimeter. Tech's early sponsors also visited technical campuses like the Polytechnic College of Pennsylvania and Lowell Technological Institute in Massachusetts to understand the needs of agricultural college buildings, particularly those dedicated to cotton and textile sciences. The campus's history of modernist architecture, especially the often-maligned brutalist tower of the Art and Architecture Complex, designed by Ford, Powell & Carson, receive relatively short shrift. These projects were certainly curtailed by funding and have been unpopular, but they also reflect the idealism of designers who believed that breaking with the past could provide freedom from its constraints.

Griggs is a Texas Tech graduate, an architect who designs buildings for the campus today, and a passionate advocate for the campus's historic architecture and continuing the university's Spanish Revival style in its new buildings. His book is a product of both of those missions, providing an argument for how closely connected the Spanish Revival was to the ideals of the university's founders and early administrators. Architectural historians have increasingly interrogated these revivalist styles for their associations with Europhilia and whiteness during the era of Jim Crow. Debates during the 1930s over the inclusion of sculpted portraits of Abraham Lincoln or Jefferson Davis, for example, point to the inherently political nature of architecture on a public university campus. Both portraits, as Griggs clearly shows, were ultimately left out. Opus in Brick and Stone is lovingly documented, well-illustrated, and important reading for all Texas Tech graduates and students as well as anyone interested in the ways that campus architecture shapes...

审核人：

• 砖石作品：德克萨斯理工大学的建筑和规划遗产，布赖恩·H·格里格斯（Brian H. Griggs）
• 凯瑟琳·E·霍利迪

德克萨斯大学长期以来一直利用他们的建筑来创造视觉上与众不同的身份，并通过校园设施的宏伟和规模相互竞争。莱斯大学的哥特式学院、德克萨斯大学奥斯汀分校的美术学院、三一大学的中世纪现代建筑和德克萨斯大学埃尔帕索分校的不丹风格的四边形都创造了统一的校园环境，有助于清晰地描述大学在公民中的作用和教育文化。德克萨斯理工大学也不例外，布赖恩·格里格斯 (Brian Griggs) 对其校园历史的详尽探索尤其侧重于校园的西班牙复兴核心，从 1920 年代到 1940 年代逐渐建成。格里格斯对新板式西班牙复兴风格的方式特别感兴趣，

德州理工于 1923 年成立时，并没有立即得到德州立法机构的全力支持。由于德州农工大学已经存在，该州的许多人认为没有必要在拉伯克增建一所农学院。格里格斯深入探讨了早期支持者的阴谋诡计，包括阿蒙卡特和约翰[End Page 92]Carpenter，他利用自己的政治和经济影响力创办了这所大学并确保其发展。这所大学的早期建筑师，主要是休斯顿的威廉沃德沃特金和沃思堡的怀亚特赫德里克，是这种商业和政治气候的精明谈判者，并解决了在一个明显空置的平坦平原上从头开始为德克萨斯理工大学创建形象的棘手问题。至今仍屹立不倒的行政大楼是这一早期时期的一个很好的例子，它是一座相对朴素的砖结构，装饰着精美的铸石顶饰、卷轴、栏杆、塔楼和典型风格的山墙。资金、材料、劳动力供应和政治诡计方面的问题有据可查。

德克萨斯理工大学校园的一些更有趣的方面使其与众不同，但比其风格更受关注。校园从一开始就被设计为庞大、开放和汽车导航。后来的倡导导致了一个对行人更友好的校园，将汽车推到了周边。Tech 的早期赞助商还参观了宾夕法尼亚理工学院和马萨诸塞州洛厄尔理工学院等技术校园，以了解农业学院建筑的需求，特别是那些致力于棉花和纺织科学的建筑。校园的现代主义建筑历史，尤其是由福特、鲍威尔和卡森设计的艺术与建筑综合体中经常受到诟病的野兽派塔楼，受到的关注相对较短。

Griggs 是德克萨斯理工大学的毕业生，是一位为当今校园设计建筑的建筑师，并且是校园历史建筑的热情倡导者，并在其新建筑中延续了大学的西班牙复兴风格。他的书是这两项使命的产物，为西班牙复兴与大学创始人和早期管理者的理想之间的联系提供了一个论据。在吉姆·克劳 (Jim Crow) 时代，建筑历史学家越来越多地质疑这些复兴主义风格与亲欧主义和白人的联系。例如，1930 年代关于包含亚伯拉罕·林肯或杰斐逊·戴维斯的雕刻肖像的争论指出了公立大学校园建筑的内在政治性质。两幅肖像，正如格里格斯清楚地表明的那样，Opus in Brick and Stone为所有德克萨斯理工学院的毕业生和学生以及任何对校园建筑塑造的方式感兴趣的人提供了精心记录、精美插图且重要的阅读材料……