"In terms of campus planning it was a great tragedy," said Floyd. For at Harvard more than anywhere, campus planning means finding a great architect, giving him a proper site, giving him enough money, and hoping he comes up with something brilliant that also fits in.
The scene in which Stirling was to work was painted for him. And he was limited by not enough space and not enough money, said Philip Johnson, a noted American architect. So he dealt brilliantly with the interior of the building and poorly with the exterior, said Floyd.
"The spacial developments are brilliant. It's very beautiful on the interior," said Floyd.
Indeed by every account--positive or negative on other aspects--the Sackler's interior is a jewel.
The building serves as a museum and an office building. However, Stirling was asked to keep the two functions separate, so that the galleries could be climate controlled and the offices self controlled for economic reasons.
And in dealing with those two functions he created a Disneyland of rooms and galleries--constant surprises, wonderful colors, lovely offices--a magical mystery tour of an Indian, Chinese, Japanese and modern art collection.
And on the exterior?
"The exterior is a disaster, an absolute disaster. It's a very egocentric building," said Floyd. "The slick hard finished brick is purposefully a color that doesn't go well with Memorial Hall or the Fogg. Its machine made quality is the antithesis of the touchy, textural quality of Harvard buildings," said Floyd.
Floyd said the original pink and moss green brick colors Stirling wanted would have been a vast improvement.
Walsh said the University couldn't find pink and green bricks that would withstand the harsh Cambridge winters.
Stirling has drawn similar criticism for designing an excitingly vibrant entrance and a tremendously dull side and back.
"This slick finish, the bright green