Benjamin Latrobe

American architect
Also known as: Benjamin Henry Latrobe
Quick Facts
In full:
Benjamin Henry Latrobe
Born:
May 1, 1764, Fulneck, near Leeds, Yorkshire, Eng.
Died:
Sept. 3, 1820, New Orleans, La., U.S. (aged 56)

Benjamin Latrobe (born May 1, 1764, Fulneck, near Leeds, Yorkshire, Eng.—died Sept. 3, 1820, New Orleans, La., U.S.) was a British-born architect and civil engineer who established architecture as a profession in the United States. Latrobe was the most original proponent of the Greek Revival style in American building.

Latrobe attended the Moravian college at Niesky, Saxony, and traveled in France and Italy, acquiring a knowledge of advanced French architecture. After returning to England in 1784, he studied with the Neoclassical architect Samuel Pepys Cockerell. Latrobe may also have studied engineering under John Smeaton, a well-known civil engineer. Having begun his own practice about 1790, Latrobe designed Hammerwood Lodge, Sussex, which shows his subsequent combinations of bold geometric forms with classical details.

Latrobe emigrated in 1795 to the United States, where his first important work was the State Penitentiary in Richmond, Va. (1797–98; demolished 1927). Latrobe then moved to Philadelphia and in 1798 received the commission for his Bank of Pennsylvania, whose Ionic porticoes inspired countless imitations; the building is now considered the first monument of the Greek Revival in America. It is clear, however, that Latrobe did not feel himself confined by styles, as his Sedgeley House, Philadelphia, built about the same time, is thought of as the first Gothic Revival structure in the United States.

Hagia Sophia. Istanbul, Turkey. Constantinople. Church of the Holy Wisdom. Church of the Divine Wisdom. Mosque.
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Architecture: The Built World

In Richmond, Latrobe had met Thomas Jefferson, who, in 1803, made him surveyor of the public buildings of the United States. In this post Latrobe inherited the task of completing the U.S. Capitol in Washington, D.C. In the House of Representatives and the Senate chambers, he incorporated American floral motifs—corn cobs, tobacco leaves—into the classical scheme. His Supreme Court Chamber (designed 1806–07) in the Capitol is a notably original American classical interior.

Latrobe’s most famous work is the Basilica of the Assumption of the Blessed Virgin Mary, the Roman Catholic cathedral of Baltimore (begun 1805), a severe, beautifully proportioned structure slightly marred by the onion-shaped domes added, after Latrobe’s death, to the towers above the portico. Also in Baltimore is his Exchange (1820).

Latrobe was also active as an engineer, especially in the design of waterworks. His more inventive schemes, involving engines, steamboats, and similar projects, brought him to financial ruin. While supervising his waterworks project for New Orleans, Latrobe contracted yellow fever and died. Latrobe set high standards of design and technical competence that were adopted by his foremost pupils, Robert Mills and William Strickland.

This article was most recently revised and updated by Encyclopaedia Britannica.

architecture, the art and technique of designing and building, as distinguished from the skills associated with construction. The practice of architecture is employed to fulfill both practical and expressive requirements, and thus it serves both utilitarian and aesthetic ends. Although these two ends may be distinguished, they cannot be separated, and the relative weight given to each can vary widely. Because every society—settled or nomadic—has a spatial relationship to the natural world and to other societies, the structures they produce reveal much about their environment (including climate and weather), history, ceremonies, and artistic sensibility, as well as many aspects of daily life.

The characteristics that distinguish a work of architecture from other built structures are (1) the suitability of the work to use by human beings in general and the adaptability of it to particular human activities, (2) the stability and permanence of the work’s construction, and (3) the communication of experience and ideas through its form. All these conditions must be met in architecture. The second is a constant, while the first and third vary in relative importance according to the social function of buildings. If the function is chiefly utilitarian, as in a factory, communication is of less importance. If the function is chiefly expressive, as in a monumental tomb, utility is a minor concern. In some buildings, such as churches and city halls, utility and communication may be of equal importance.

The present article treats primarily the forms, elements, methods, and theory of architecture. For the history of architecture in antiquity, see the sections on ancient Greece and Rome in Western architecture; as well as Anatolian art and architecture; Arabian art and architecture; Egyptian art and architecture; Iranian art and architecture; Mesopotamian art and architecture; and Syro-Palestinian art and architecture. For later historical and regional treatments of architecture, see African architecture; Chinese architecture; Japanese architecture; Korean architecture; Oceanic art and architecture; Western architecture; Central Asian arts; Islamic arts; South Asian arts; and Southeast Asian arts. For a discussion of the place of architecture and architectural theory in the realm of the arts, see aesthetics. For related forms of artistic expression, see city; interior design; and urban planning.

Use

The types of architecture are established not by architects but by society, according to the needs of its different institutions. Society sets the goals and assigns to the architect the job of finding the means of achieving them. This section of the article is concerned with architectural typology, with the role of society in determining the kinds of architecture, and with planning—the role of the architect in adapting designs to particular uses and to the general physical needs of human beings.