Author: Buildings of New England

Bayard Thayer House – Hampshire House // 1911

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This iconic building at 84 Beacon Street in Boston’s Beacon Hill neighborhood, is best-known for its bar, which in 1982, became world-famous as the locale for the bar in the television sitcom Cheers, one of the most-watched programs in television history; but its history begins earlier. This five-story building was constructed in 1911 as a mansion for Bayard Thayer (1862-1916), who split his time between Boston and his country estate in his home-town of Lancaster, Massachusetts. Thayer hired architect, Ogden Codman Jr., a favorite designer of Boston and New York high-society, to design his Boston mansion, which is an expressive and overscaled example of a Colonial Revival style townhouse. Bayard Thayer died in 1916 and his widow, Ruth Simpkins Thayer, lived here with her granddaughter, Ruth, and nine domestic servants. After Ruth Thayer’s death in 1941, the property was conveyed to the Colonial Properties Trust in 1944, operating the building as a small luxury apartment hotel. From this point on, the hotel became known as Hampshire House. In about 1969, the basement space in the Hampshire House opened as the Bull & Finch Pub, which later became the inspiration of the iconic sitcom Cheers. Pictures of the exterior of the building were used in the show’s credits and scene changes, and the interior was faithfully replicated from the set in Hollywood, where the show was actually filmed. The Bull & Finch Pub has permanently been renamed Cheers Pub and visited by many who wish to visit the place where “everybody knows your name”.

Brimmer Street Terrace // 1912

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An interesting ensemble of seven rowhouses running along Brimmer Street in Beacon Hill, the Brimmer Street Terrace development showcases the rebirth the “Flat” of Beacon Hill encountered in the early 20th century from livery stables and carpentry shops to high-end housing and artist’s studios. Built on the site of a large livery stable, Brimmer Street Terrace was developed in 1912 by Gerald G. E. Street and William C. Codman, developers who sought to enhance this section of Beacon Hill and protect it from unsympathetic development, and hired architect Richard Arnold Fisher to design the houses. The rowhouses were originally rented to upper-class families but later were sold off as individual properties. Colonial Revival in style, the row is built of the iconic Boston red brick, Federal Revival style fanlight transoms over the entrances, include shutters, and all sit atop a stone basement. The row is anchored on each end by residences facing north and south with large symmetrical facades with the five more narrow rowhouses connecting them along Brimmer Street. 

Chestnut Street Townhouse // 2016

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It is uncommon to see new construction in Boston’s historic Beacon Hill, but when it happens, hundreds of eyes closely scrutinize and analyze the design to belong in one of America’s most coveted neighborhoods. The rare opportunity for infill construction occurred on this site on Chestnut Street. An 1860s stable building that was later converted into a residence and art studio in the 1920s as Beacon Hill Flat gentrified as an artist enclave, was listed for sale in 2013. The townhouse featured leaded-glass windows and Tudor elements at the interior and on its rear facade and was purchased by a developer who, after inspection, noted structural deficiencies in the building. After inspections by the City and a request to the Beacon Hill Architectural Commission, it was approved for demolition, but the replacement design would be scrutinized. Hacin, architects, brought forward plans for a new townhouse, which employed similar materials, massing, and fenestration typical for this area of Beacon Hill, but with contemporary finishes that blends old with new in a way that the new structure does not stand out nor detract from the surrounding streetscape. Through hearings, details like the window types and color of the brick were analyzed to slightly deviate from the existing fabric of the neighborhood, distinguishing the new construction as contemporary. What do you think of this new townhouse on the Flat of Beacon Hill?

Carpenter’s Shop – Fishelson House and Store // c.1860

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A rare extant wood-frame building in Beacon Hill, this Second Empire style building at the corner of Chestnut and River streets is one of the neighborhood’s most charming. It is likely that some of the wood-frame structure was originally a rear ell to the 1830s Greek Revival house it adjoins at 34 Charles Street. By the 1860s, the building was renovated for use as a carpenter’s shop, with the mansard roof, quoins, and loft door added at that time. City records indicate that the house on Charles Street housed tradesmen and it was listed as “Temporary Home”, the predecessor to the city Overseers of the Poor Temporary Home, a charitable organization providing lodging and food to those in need. From the late 1920s, the property was owned by Max and Rebecca Fishelson, who resided in and operated their florist shop here. In 1936, the former carpenter’s shop was renovated to contain a retail store on the ground floor with a two-family dwelling above, one for the Fishelson’s and one for their daughter. for a renovation of the wood frame annex on
Chestnut Street, which involved changing the occupancy of that section from a store and carpenter shop to a store and two-family dwelling: one for the Fishelsons and one for their daughter.

Union Boat Club Building // 1910

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The three-story, masonry Union Boat Club facing Storrow Drive and the Charles River, was constructed in 1910 to replace a wood-frame boathouse the club had built in 1870. The western edge of Beacon Hill changed drastically when in 1910, the Charles River Dam regulated the water along the Charles River, removing its tidal nature. In the years before this, the Charles River Embankment was laid out as parkland along the riverfront, which in turn, made it so the original Union Boat Club site was no longer on the water’s edge. The original boathouse was moved to the Esplanade and this new clubhouse, with its high-fired brick exterior and cast stone trim, was designed in the Classical Revival style by the firm of Parker, Thomas & Rice on the original boat house site. The organization expanded its offerings, adding handball and squash to its members in the new, 1910 building. In 1928, a boxy rooftop addition was constructed adding two more squash courts which was later raised in height and covered in metal in 1996.

Hotel Lincolnshire // 1924

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The Hotel Lincolnshire is a stunning eight-story apartment building on the west side of Charles Street in Boston’s Beacon Hill neighborhood. The building was developed in 1924 by William Coombs Codman, a real estate developer and member of the Beacon Hill Associates, a group of preservationists who bought and resold properties in the neighborhood with the aim to limit unsympathetic development. The group helped the Beacon Hill Flat area, which was a higher concentration of former stables west of Charles Street, a gentrified artist and residential enclave. The Hotel Lincolnshire was marketed as a residential apartment hotel, with furnished and unfurnished apartments with greater amenities than a traditional apartment building. Beacon Hill resident and architect, Richard Arnold Fisher, was responsible for designing the building, where he employed the use of courtyards (similar to his design nearby at 101 Chestnut Street) and walls of brick with cast-stone details. Of special interest is the use of perforated terracotta panels laid in half-round forms and the stone pinnacles at the parapet.

Public Garden Apartments // 1917

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Located on the prominent corner of Beacon and Charles streets in Beacon Hill, the aptly named Public Garden Apartment Building overlooks one of the best shopping streets and public parks in the country. The handsome nine-story apartment building was constructed in 1917, replacing four townhouses previously on the site, and was developed by the legendary newspaper magnate, William Randolph Hearst (1863-1951), who had acquired three Boston-area newspapers in the early 20th century and for some reason, engaged in Boston real estate development, though he spent most of his time in New York and California. The building originally included a 15-room penthouse apartment on the top floor of the building, with the other floors divided into two apartments per-floor, suggests that Hearst may have thought to make it his Boston residence, though it is not clear if he ever did. Hearst hired architect, Harold Van Buren Magonigle, who apprenticed under Calvert Vaux, Rotch & Tilden, and McKim Mead & White, before opening his own practice in 1903, to design the Public Garden Apartments. The apartments inside were rented to upper-class residents, typically small, older families including widows and their unwed children almost all of whom, according to census records, employed between one and four live-in domestic servants to maintain their homes. The handsome multi-family building has walls of buff-colored brick masonry and sits upon a granite foundation with arched openings on the ground floor and bracketed cornice. Today, the building is a co-op and rents out space to the Friends of the Public Garden, one of the oldest public-private partnerships in the nation established in 1970, that takes care of, and advocate for the Boston Common, Public Garden, and Commonwealth Avenue Mall for everyone to enjoy. 

Studio Building, Beacon Hill // 1914

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The Studio Building on Charles Street in Boston’s historic Beacon Hill, is a unique, Arts and Crafts style building constructed of brick with stucco walls and a red tile roof. Built in 1914 by William Coombs Codman, a real estate developer and member of the Beacon Hill Associates, a group of preservationists who bought and resold properties in the neighborhood with the aim to limit unsympathetic development. The group helped the Beacon Hill Flat area, which was a higher concentration of former stables west of Charles Street, a gentrified artist and residential enclave. Codman hired the young architectural firm of Loring & Leland, to design the Studio Building, which in its original configuration, contained three stores at the ground-level, two dwellings, offices and artist studios with oversized windows. Just years after the building was completed, Charles Street was widened in 1920, chopping ten feet off the facades of all buildings on the west side of Charles Street, including this building. Charles G. Loring was retained by Codman to oversee the renovations to the new facade and storefront, likely replicating what was once there. After 1920, the building was largely occupied by apartments for single women of means and remains one of the neighborhood’s most iconic and enchanting buildings.

Fleur-De-Lys Studios // 1885

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The Fleur-de-Lys Studios is of the most architecturally significant and unique buildings in New England and can be found on Thomas Street in the College Hill section of Providence. Built in 1885 and a vivid expression of the Queen Anne style and showing the emergence of the Arts and Crafts movement movement in America, the handsome building blending is the result of a partnership between artist, Sydney Richmond Burleigh and architect, Edmund R. Willson as a dedicated creative hub for working artists, a purpose it still serves today under the stewardship of the Providence Art Club, who received the deed of the property in 1939 by Burleigh’s widow. Its design draws heavily on medieval English and Tudor Revival influences, with a striking half-timbered façade, stucco panels, carved heads as hanging pendants, and projecting casement windows that break dramatically from the surrounding colonial streetscape. What truly sets the structure apart, however, is its richly symbolic ornamentation—allegorical figures representing painting, sculpture, and architecture adorn the exterior. More than a century later, the Fleur-de-Lys Studios remains both a National Historic Landmark and a living workspace, preserving its original spirit as a place where art and architecture are inseparably intertwined.

Deacon Edward Taylor House // 1786

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The oldest building on the iconic Thomas Street in Providence, Rhode Island, is the Deacon Edward Taylor House, a stunning early Federal residence built into the sloping site. The property was developed in 1786 for Edward Taylor, a chaise maker who had a shop on Main Street, also serving as a Deacon of the nearby church. Edward had bought out his brother’s half of the property and had this home built for his family. With its three-story symmetrical, five-bay facade, the house features a stately pedimented entry and flared lintels all atop a brownstone foundation. The property passed through many hands in the 19th and early 20th centuries until 1961, when it was purchased by the Providence Art Club as part of their multi-building campus.

Seril Dodge House // 1791

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Years after Seril Dodge (1759-1802), a silversmith and clockmaker, built a house in 1786 on present-day Thomas Street in Providence’s East Side, he sold the property to the Brown Family and built this stately Federal period home next-door. Built in 1791, this three-story, side-hall brick house features belt courses above the first and second stories, a hipped roof, and flared lintels over the windows and doorway. After less than a decade, Seril Dodge moved back to his hometown of Pomfret, Connecticut, and sold this property to Moses Brown, who gifted the property to his son, Obadiah. Obadiah Brown (1771-1822) was a member of the Quaker faith and was a member of the Society of the Abolition of Slavery providing local jobs for free Blacks and sponsoring them in any legal disputes. Additionally, he helped secure the freedom of enslaved Africans who escaped to the north. This property was leased to the Providence Art Club in 1886 and acquired by the organization in 1906. Under the ownership of the Art Club, the side arcaded carriage entrance was added, likely designed by Stone, Carpenter and Willson, in conjunction with their 1906 renovation to the adjoining Dodge-Brown House. Today the building is known as the “Club House” and is home to the organization’s cafe, with an its intimate bar, and two exhibition spaces that are open to the public.

Dodge-Brown House // 1786

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The Dodge-Brown House on Thomas Street in Providence, Rhode Island, was built in 1786 by Seril Dodge (1759-1802), a silversmith and clockmaker. Seril Dodge was a middle-class resident who did well in Providence circles, as an artisan and shop keeper. The house was originally a two-story residence with central entrance that was raised up in the early 20th century to facilitate a new storefront. Seril Dodge and his family only lived here briefly before moving to a brick house next door. Dodge sold the property to Nicholas Brown II (1769-1841) who rented the home to his stepmother, Avis Binney Brown, who became the widow of one of Providence’s richest men, Nicholas Sr. It continued to stay in Brown family hands through the nineteenth century, but only as an investment. The house was raised one story above street level in 1906, when the handsome Colonial revival storefront was installed from plans by the firm of Stone, Carpenter and Willson. The original front door with elaborate pedimented and pilastered enframement is now a door to a small second floor balcony. Since 1919, the Providence Art Club has owned the building, who for years had the ground retail space occupied as an art store, but now contains a club gallery.

Dr. George W. Carr Mansion // 1885

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Perched on College Hill in Providence, Rhode Island, the Dr. George W. Carr Mansion at the corner of Benefit and Waterman streets, stands as one of the most attractive and interesting interpretations of the Queen Anne style in New England. The stately home was built in 1885 for George Wheaton Carr (1834-1907) a medical doctor who served as a surgeon during the Civil War and later as head surgeon for multiple Providence-area hospitals. For his Providence home, Dr. Carr hired architect, Edward I. Nickerson, to furnish plans, which resulted in this mansion with irregular plan, four-story corner corner capped with a conical roof, varied materials in stone, wood shingles, half-timbering, and copper bays. The Carr Mansion was purchased by the Rhode Island School of Design (RISD) in 1916, and has served a variety of roles for the school including as student housing and a cafe/lounge.

Pendleton House – RISD Museum // 1904

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Although the Pendleton House on Benefit Street in Providence, gives the appearance of a domestic residence, it was actually built for the purpose of displaying the once private collections of Charles L. Pendleton (1846-1904), which were given to the RISD Museum in 1904. Pendleton’s bequest, which included American and European furniture, silver, glass, ceramics, textiles, and paintings, came with the stipulation that the collection remain intact and on display in a suitable building for the benefit of the public. The stipulation occurred just before Mr. Pendleton’s death in 1904 and the Rhode Island School of Design immediately hired the local architect, Edmund Willson of the local firm of Stone, Carpenter and Willson, to furnish plans for a wing to the museum. Willson was an expert in the Colonial Revival style and sought to make the private collection of the Pendleton House befitting of a grand Providence mansion. It was Willson’s last major commission before his death. The building is crafted in a refined Colonial Revival style with symmetrical facade, traditional fenestration and Palladian motif, but is beefed up internally for is museum use with brick walls over a fireproof, reinforced concrete frame. The RISD museum has continually grown over the subsequent decades with wings connecting the Pendleton House with more contemporary buildings, all-the-while retaining the residential scale of Benefit Street in this iconic structure.

College Building, RISD // 1823 & 1936

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Spanning an entire city block on College Street between North Main and Benefit streets in Providence’s East Side, the College Building at the Rhode Island School of Design (RISD), is a valuable lesson in urban context and design. The building was constructed in 1936 from plans by the local architectural office of Jackson, Robertson & Adams, who had years prior, designed the Providence County Courthouse standing across the street. Designed in a plainer version of the Colonial/Georgian Revival style than the courthouse, the new College Building at RISD is broken up into multi-bay wings terracing up the slope of College Street, which breaks up the solid massing of the building in a pleasing way. Additionally, the designers incorporated the Federal period western wall of the 1823 Franklin House, an early 19th century hotel on the site. The result is possibly one of the first examples of a facadectomy in New England, if not the United States!