By Gay Walker '69
A year ago, Reed’s archives department discovered nine cartons of material related to buildings and grounds stashed away in the chapel’s attic. These boxes contained blueprints, floorplans, proposals, correspondence, and construction details for many of the college’s historic buildings.
Through the generosity of the Getty Grant Program, Reed has hired a team of architectural, landscape, and preservation consultants to identify, record, and interpret the character and defining features of the college’s natural and constructed environment. This historical detail will be utilized to create a heritage master plan, which will, in turn, assist the college as it prepares for its centennial celebration in 2011.
One of the unexpected products of this planning process is the list of “vanished buildings.” Watch future issues of Reed for more about the plan and the college’s architectural history.
One of the three men’s residence halls removed to build Bragdon Hall, Akerman was named to honor long-time faculty member, Clement Akerman, economics professor 1920-43. In layout and style, it was the same as the remaining Chittick and Woodbridge residence halls.
This 39-foot dome, made of triangular panels of prefabricated plywood and fiberglass insulation, sat on a platform near the art studio in the “art grove,” in front of the old chemistry building entrance. It served as a sculpture studio, and at one point, students painted the panels bright colors.
This small rectangular, war-surplus building with windows was moved in front of the old commons (now the student union), where it served as an art studio and an informal lecture room. In 1963, it was moved over to the “art grove,” facing north towards the old chemistry building and just east of the art dome. Extended on the west for a print shop, and on the southeast for a kiln and drying studio, it was the long-time home of calligraphy classes under Lloyd Reynolds and Robert Palladino.