University of San Diego Magazine: Aesthetic Aspirations

Preserving USD’s Unique Architectural Legacy

The University of San Diego is annually recognized as one of the most beautiful college campuses in the country — it’s testament to a poignant decision made 75 years ago by co-founder Mother Rosalie Clifton Hill, RSCJ, to utilize 16th century Spanish Renaissance architecture as the unifying design element throughout campus.

In unison with Hill’s vision, USD’s Office of University Design champions this unique style, upholds history and tradition and has a flexible focus for both the present and future. USD alumna Mary Whelan ’86 (BA) has been the office’s executive director since 2000. She began as a student worker for inaugural design director Therese (Terry) Whitcomb ’53 (BA), and assisted Ruth Stanton, who served in the role until her retirement. 

Whelan’s office is “responsible for the aesthetic integrity of the university.” She is in all discussions for needs of existing and new buildings, picks furniture and furnishings and approves public displays. She is also co-chair of USD’s Space Committee and interim director of University Galleries.

To coincide with its 75th anniversary in 2024, Whelan sat down to discuss USD’s distinct aesthetic, including its relevance to the past, current and future of the institution.

Can you provide insight into Mother Hill’s decision to construct USD wholly in a 16th century Spanish Renaissance style
Mother Hill was quoted often about how the architectural style was chosen; it was really to give students a sense of history. Although it was not specifically about our history, it is now. It was also a sense of permanence. We are such a young university, even at 75 years, but we feel like an older university because of a timeless architectural style. Choosing the 16th century Spanish Renaissance over the Italian Renaissance was because the Spanish Renaissance had Moorish and Arabic influences you didn’t necessarily find in Italy. But renaissance, a rebirth, is the age of discovery happening in Spain and the Catholic identity was emerging at that time, post-1492. There was an exuberance of this style that set the standard as a Catholic country. Mother Hill looking to the University of Alcalá, in Spain, as an influence is part of the Spanish Renaissance architectural style decision, but also it is the burial place for Saint Didacus, San Diego, for whom our city is named. It is a style used in some buildings in Balboa Park.

What USD building best exemplifies this style?
The best example on campus is The Immaculata's facade. It’s this shallow relief of plateresque style highlighting the entrance. It calls you to the entrance of the building. As you get around the sides and the back, it simplifies. You don’t see articulation, but you do see the windows and pediments, some of them repeating themselves, the deeper windows to create shadow, the sense of weight and the human scale of these buildings. The Immaculata is an exception in that you want the exuberance of reaching for the sky; a being closer-to-God feel.

How are these elements reflected in the original buildings?
The way I look at Founders and Camino [Halls] — the original College for Women buildings — is that you go in the two-story buildings that are a more personal scale. It’s what you want to attract the students, to have them feel a sense of home, a sense of learning, a sense of timelessness. Part of the Spanish style is these open courtyards, the arcades and all of the different elements. There are so many things that resonate with the Spanish Renaissance that go back to the consistency of the harmonious aesthetic our campus has.

How did your office come to be the stewards of maintaining this aesthetic?
Terry Whitcomb was given the role as the first director of University Design in the mid-1980s. After the Hahn School of Nursing and Health Science building was built, there wasn’t a lot of money, despite fundraising and donor names on the building. When Terry visited the space, she was aghast. The building had wicker furniture and things that were not Spanish. She wrote a long, handwritten memo to President Hughes to tell him this was against everything Mother Hill envisioned. 

We needed to maintain the design consistency of the campus. Hughes then appointed her director of design. The Manchester Executive Conference Center and Olin Hall were her first foray in the new role. She was also teaching art history. I was a student of hers. I remember being taken with the role she had. I recall, very distinctly, her coming in to give a lecture. She was all dressed up, carrying a basket with a bell that jingled. She threw down the basket, pulled out a tile and asked us, “Does this look blue to you?” She was holding up a teal-colored tile. ‘This is not blue.’ She had come from a meeting about Olin Hall. She had to give a lecture, but she was going on about this tile piece. I thought, “Wow, what a fascinating thing she does.”

What advice did Whitcomb pass along that still resonates with you?
Details matter. Looking at design, good design doesn’t have to break the bank. You can spend just as much money doing something poorly as something that is good design. Invest in materials that last. What is front and center is that what our students and faculty experience should be timeless. The other takeaway from Mother Hill — we don’t follow current trends. We really should be looking at timeless design. Trends age quickly. You look at other institutions and there are a lot of trends that come and go.

Describe USD’s design processes to maintain the same style across campus?
The 16th century Spanish Renaissance is a melding of styles — Gothic, classical and Moorish — and unique. Our buildings aren’t cookie cutter. If you go to Spain, they’re not cookie cutter, either. Each has unique qualities. Each building is unique because it speaks to whom it serves. The design consistency when working with architects we bring on board is one of the fun things for me. When we’re interviewing architects, we let them know these buildings have to be 16th century Spanish Renaissance on the exterior. We can play a little with the interior. If you look at our campus, there’s formal and informal and that really depends on the building’s use. Formal is the academic buildings, but Hahn University Center has a red tile roof, arcade in front and it is more of a stripped-down look than what Spanish Renaissance is. It was very purposeful because it is supposed to be the students’ living room. The Degheri Alumni Center is a hybrid. We put a tile roof on that, but you don’t see it on the west side of campus so much because that’s where our academic buildings are. The Donald P. Shiley Center for Science and Technology was one I worked on to infuse both a Moorish and Arabic sense of design.

Did Mother Hill ever consider another kind of architectural style?
I’ve never read anything that Mother Hill would have considered another architectural style. If you think about the timeframe, post-World War II, mid century modern was really the style. New building materials were coming out. Mother Hill convinced Bishop Buddy that the Spanish Renaissance was a timeless architectural style and she felt it gave the university a presence and a look that it was older than it really was.

How does USD’s architectural style contribute to its Catholic identity?
It really resonates with Mother Hill’s quote, “Beauty will attract them, goodness will lead them, but the truth will hold them.” I fall back on that. I have those words stenciled on the wall in my office because I think it is part of my job to maintain that, which leads into our mission, vision and values. The architectural style is part of who we are.

What does it mean to be preserving an educational institution founded 75 years ago?
This role has great responsibility. It is a chance to work for the greater good of the university. It’s about respecting where we’ve come from and understanding our mission and our vision. There are decisions we make today that will influence what comes tomorrow and I really do take that to heart. It is one of the most unique aspects of this position. So much of what we do is cross divisional. We touch on every aspect, one way or another, whether it is a chair, artwork for the library, something outdoors or a new building.

Have you been to Spain and brought back ideas for the campus?
I was very fortunate to have taken two separate trips to Spain. Each time, I’ve taken away something new that helps enrich me as I look at our campus. When you go to our Bishop Buddy Sala in SOLES, as you enter, that’s the dissertation room at Alcalá. I saw it and said, “this is what we’re going to do in this space.” I wouldn’t have known that without the opportunity to go to Spain and see it firsthand. You can look at travel books and see pictures, but to go through the buildings, look and go, “Oh my, look how they did this handrail, look at the tile on the floor,” those types of things. That’s really informative and helps me to inform the campus on our sense of aesthetic.

Do you have a favorite architectural place on campus?
My favorite is Founders Hall, not just because it is an original building, but the French Parlor and Founders Chapel, to me, are signature spaces.

Story by Ryan T. Blystone, photos by Barbara Ferguson