A “Reflection” of its Time
As a product of late twentieth century architecture, the tower is minimalist and unique. One of the most striking aspects of it is the fact that is designed from an amalgam of mirrors, which reflect the life around it.
It was this reflection that is particularly fascinating, especially when considering its interplay with the spaces around it. When one walks around or near the tower, they see not only a reflection back of themselves but also the reflection of other buildings, other people, and how life transpires around this tower. In a way—this could be seen as the tower being the ultimate “center” of Copley Square, and Boston at large. Not only does it physically dominate the space because of its sheer size, it does so by acting as the mirror through which you see the world around it.
The idea of reflection is an architectural technique that is just so fascinating. While it could certainly be seen as a way in which the Tower dominates this space, it could actually even perhaps be considered as an indication of how it does not wish to be the center. In this perhaps “selfless” pursuit of reflecting other buildings, it takes the attention away from itself in a way.
Whatever the original intent and purpose, this paradox of how the tower is both imposing and reflects everything else that is around it is an interesting one when considering how it interacts with its surroundings and fits into Copley Square. Thinking back to de Certeau’s observations, it could be said that this reflective aspect of the building’s architecture plays an important role in fostering this collision of individual ideas. Passersby feel an intimate sense of personal interaction when walking past the Tower, which allows there to be a certain level of “order” around the square.
One of the most interesting interactions that the tower has is with Boston’s Trinity Church, which is beautifully reflected in the tower’s mirror-like architecture. As previously mentioned, the church and the tower have had an interesting past, which started with a lawsuit and perhaps even animosity but today has made way to a sort of symbiosis. When the two are seen in person, it is almost as though they could not survive without each other: the Church is in sight when looking at the Tower from just about any angles, and is also reflected very prominently in it. This juxtaposition is a perfect example of the Tower as a palimpsest—following its history from rocky beginnings to architectural marvel, the Tower and its surrounding buildings and square have all been through a lot. The two buildings have stood side-by-side in marriage through many decades. Interestingly enough, although the Trinity Church preceded the John Hancock Tower by over a century, it ushered in architectural innovation and the beginnings of this urban “patchwork quilt” discussed by de Certeau. Named one of “10 Buildings that Changed America” by the WTTW Chicago Public Media, it was lauded for “its heavy walls of rough-faced stone, rounded arches, and massive towers, Trinity Church heralded a muscular and bold new style.” Therefore, the two have been innovative in their own ways through various points of their histories, and today act as complements to one another.