One of the larger mercantile buildings in the Leather District of Boston is this turn-of-the-century block, historically known as the South Street Building. Bounded by three streets, this eight-story building was constructed in 1899 from plans by Winslow, Wetherill & Bigelow and is a great example of a Classical Revival style commercial block with Beaux Arts motifs to further decorate the facades. In 1901, as expected, the city directories list many leather and soft goods-related occupants in the building, including: The American Calfskin Leather Company, John F. Moore Co., leather dealer, and Charles D. French, leather remnants dealer. The building was renovated in 1990 and rebranded as Lincoln Plaza, becoming a major space for non-profit offices.
One of the last major 19th century buildings erected in Boston’s Leather District is also one of the finest examples of Beaux Arts architecture in the city. This is the Albany Building, built in 1899, and fills an entire city block. The Albany Building was designed by Peabody and Stearns and built by Norcross Brothers as the offices for the United Shoe Machinery Corporation. Its two-story base is adorned with swags and cartouches and its fifth floor is topped with a complex cornice. The use of beveled corners and ornate detailing break up the massing of the building which otherwise, would read like a box. The building today serves as an important visual gateway into the Leather District and its context of late 19th century commercial blocks centered around the leather and shoe manufacturing businesses.
The construction of a new South Station Terminal in 1899, prompted a development boom for the nearby area, which had for the previous decades been almost entirely mercantile and centered around the leather and woolen industries. Due to increased land values and an influx of travelers to the area, developers saw an opportunity to erect this building to serve as a hotel for visitors to Boston via South Station. Boston architect, Arthur H. Bowditch, furnished plans for this building in the Beaux Arts/Renaissance Revival style, with use of brick and limestone construction, ornate finishes at the façade including the fluted pilasters, arches and cartouches in the spandrels. The building was completed in 1900 and known as Hotel Essex and featured a long, storied history as a hotel until it closed in the second half of the 20th century. After years of deteriorating conditions, the building was adapted as the corporate offices for Plymouth Rock Assurance Corporation in 1982. The building was restored and has been known as the Plymouth Rock Building ever since.
The Byron Thomas Potter House is located at 8 Stimson Avenue in Providence, Rhode Island, and is one of the city’s few examples of the Beaux Arts architectural style in a single-family residence. The Beaux Arts style uses an Italian Renaissance form and materials (Roman bricks), classical Greek and Roman decorative elements like columns and balustrades, and a steep mansard roof punctuated by large dormers, to create a grand and imposing architectural statement. The house was designed by 1896 by local architect, Edward I. Nickerson, who was known for his use of traditional forms in an unconventional manner, with emphasis on ornament and differing materials; with this house being a great example of his work in his later years. The residence was built for newlyweds Helen Sheldon Potter and Byron Thomas Potter, a real estate and insurance broker. The residence is now occupied by the International House of Rhode Island, a non-profit that provides a “home away from home” for international students, scholars, professors, researchers, and their families by providing a venue for folks of different backgrounds, ethnicities, and life experiences to celebrate our similarities and differences and envision a world in which friendship and understanding beat anonymity, isolation, and ignorance. The world needs more of this.
The Rockland Public Library in Rockland, Maine, is an architecturally significant civic building that showcases the coastal town’s prosperity at the turn of the 20th century. The library was built in 1903–04, and was funded in part by a $20,000 grant from Andrew Carnegie. It is the city’s only major example of Beaux Arts architecture, a style that is also uncommon in the state. The library was designed by Maine native George Clough, who used granite quarried from nearby Vinalhaven in its construction. The building was later expanded by an addition at the rear, but from the street, the handsome Beaux Arts library looks near-identical as to when it was built over 120 years ago!
As Newton Centre’s new railroad station and following development boom transformed the once sleepy village into the main commercial center for the city, landowners capitalized on the opportunity by developing commercial blocks to serve the community and line their own pockets. Mellen Newton Bray (1856-1946) became a major landholder in Newton Centre and would develop the areas directly surrounding the new train station there. On a curving site, he built Bray’s Hall, this three-story commercial block renting out spaces to local banks and stores with a large assembly hall and bowling alley in the building as well. Initially, Bray planned for an eight-story structure, having contracted a solid foundation that could support such a structure, pending the success of the initial construction. That is mixed use before it was “cool”. The building was designed by the firm of Kendall & Stevens, likely led by Henry H. Kendall, who resided in Newton Centre. Kendall would also design the apartment block across the street for Mr. Bray. The building is constructed of light Tuscan bricks and is notable for the bracketed cornice and dormers all in copper. The building was restored in the 1970s by owner David Zussman, and rebranded as Piccadilly Square, following his recent trip to London being impressed with by the atmosphere of Piccadilly Circus.
In 1844, Hiram Ricker (1809-1893) of Poland, Maine, drank spring water on his property and found that his chronic dyspepsia was cured. As a result, he began touting the medicinal qualities of the water and in 1859 started selling the water commercially. While the first water was bottled and sold in 1859, it was not until after the Civil War that Hiram Ricker and his sons began heavily promoting the spring as a destination for medical cures – and at the same time promoted the inn and resort that they were building in association with the spring. From this, the Poland Springs Resort (and Poland Springs bottled water) was born. The development saw swarms of tourists looking to escape the polluted cities for clean Maine air and natural spring water, therefore, the Ricker Family built the great Poland Spring House in 1876 to cater to resort visitors taking its waters. The original hotel was Second Empire in style and stood four-stories tall containing 100 rooms. Throughout the 1880s and 1890s, the resort building was expanded, quadrupling its size to 450 rooms as the demand for the resort increased every summer. An annex was also built nearby, named the Riccar Inn, providing even more hotel rooms for guests. By the early 20th century, the 1870s hotel was completely remodeled in the Beaux Arts style by architect Henry Wilkinson with domed roofs and sweeping verandas. After WWII, the resort saw diminishing visitors and would ultimately close in the 1960s. During a period in the 1960s, the hotel was operated as the country’s largest Women’s Job Corps Training Center, but deferred maintenance caught up to the building and it was ultimately shuttered, suffering a devastating fire in 1975, it was demolished soon after. While the large hotel no longer stands, there are many other amazing buildings on the grounds, stay tuned!
Similar to the Heywood Brothers & Wakefield Co. Building on Portland Street in the Bulfinch Triangle Historic District, the equally stunning building here was also designed by the same architect in a matching style. The building was constructed in 1896 by owner Catherine E. Tarbell , and the Boston branch of the National Casket Company moved in as tenants soon after its completion as part of its national expansion. The company would become the largest manufacturer and supplier of caskets in New England by 1906. The Tarbell building was designed by Stephen Codman in the Beaux-Arts style and is notable for its use of oxeye windows, rounded corners, and engaged pilastered facades. The company held its regional headquarters and sales offices from this building, which benefited from rail access for shipping caskets all over the region. The building is one of the finest examples of the Beaux Arts and Classical Revival styles in Boston.
Nearly a decade after the heirs of Peter Bent Brigham and his wealthy estate erected the Peter B. Brigham building in the Bulfinch Triangle Historic District of Boston, they would again develop more of the block the trust owned, building this stately commercial building. Much of the Peter Bent Brigham Building was rented to the Heywood Brothers & Company and Wakefield Company, both furniture makers. Heywood Brothers was established in 1826, Wakefield Company in 1855, with both firms producing wicker and rattan furniture. The companies merged in 1897 and moved into this building constructed by the Brigham estate that same year. The building was designed in a unique version of the Beaux Arts and Classical Revival styles by relatively unknown architect Stephen Russell Hurd Codman (1867-1944), a first cousin of more famous architect and interior designer, Ogden Codman. Stephen Codman opened a firm with the French-born architect, Constant Desire Despradelle, designing some landmark buildings in Boston together. The Heywood Brothers & Wakefield Company Building on Portland Street is a distinctive granite-faced building standing six-stories tall with engaged box columns spanning four floors and dividing the bays of the facade.
By the 1890s, many of the regional train lines in New England consolidated and as a result, union stations were built. All north-bound train lines including the Boston & Lowell and Boston & Maine railroads would consolidate into North Union Station with southbound trains consolidated into South Station. North Union Station, actually three adjoined buildings, was completed in 1893 and included the former Boston & Lowell Station, a Second Empire masterpiece which dated from 1873. The other sections of Union Station were designed by the firm, Shepley, Rutan & Coolidge, and comprised of an office tower at the rightmost section and a central building serving as the main entrance and concourse with waiting rooms and baggage holding. The central entrance exhibited an elaborate columned block of brick with stone trimmings. The station lasted until 1927 when the entire complex was razed for the new North Station (The Boston Garden), which itself was replaced. The demolition of the Old North Union Station was one of the biggest architectural losses in Boston’s history, a stain on its historical legacy only compounded by the sterile development we see there today.
Buildings of New England 