The area which became the town of Boxborough, Massachusetts, was first inhabited by the Native Americans of the Nipmuc and Pennacook tribes. Land in Boxborough was not settled by colonists until the beginning of the eighteenth century by farmers looking for fertile land to establish farms, who branched out from nearby Acton. Boxborough was formed from Harvard, Littleton, and Stow in 1783 and was incorporated as its own town. With the exception of small local industries including gristmills, sawmills, and cooperages as well as some minor boot and shoemaking, comb-making, and a lime quarry and kiln, Boxborough’s economy remained almost entirely agricultural through the 19th century. The town grew steadily and a Town Hall building was funded by the turn of the 20th century. This Queen Anne/Colonial Revival Town Hall building was constructed in 1901, atop the foundation which was constructed of locally gathered cobblestone by local volunteer farmers. Today, the town retains much of its agricultural heritage, but it is definitely under threat by subdivisions and Neo-Colonial mansions further contributing to Bostons suburban sprawl.
George Otis Draper (1867-1923) was born in Hopedale and attended MIT to prepare to help run the extremely busy Draper Corporation in town, a family business (featured previously). With his position at the company, he had the money in the late 19th century to build a massive country estate known as The Larches. The shingled Colonial Revival style home featured a massive castellated tower and appeared like a castle in the countryside. George O. Draper sold this home to his aunt Hannah Thwing Draper Osgood in 1909, and within a month, the home burned to the ground. Around the time her husband died, she rebuilt the Larches and lived here with her daughter until they both died in 1929. The “new Larches” is a stunning blending of Colonial Revival and Craftsman styles. The home was likely designed by Robert Allen Cook, who was based out of nearby Milford, MA. The property today is run by Crossroads Clubhouse, an employment and recovery center that offers people with mental health conditions opportunities to achieve their full potential.
Located on “Millionaires Row” in Hopedale, MA, a street of homes formerly owned by factory owners and managers, sits “Urncrest” a stunning Queen Anne mansion. The home was built around 1875 for William Lapworth (1844-1937) an English-born weaving expert, who worked at Hopedale Elastics Co. and patented certain weaving processes for suspenders, boot webbing, and garters. Hopedale Elastics was absorbed by the Draper Corporation in 1890, and Lapworth was given a large pay increase. With his new salary, he “modernized” his home to what we see today, adding a corner tower, wrap-around porch, and many Colonial Revival details. Additionally, he had the detached 1870s carriage house updated with a full basement, heating, four horse stalls, and a coachman’s apartment with a bedroom and bathroom. The owners today maintain the home and carriage house beautifully! I can’t even imagine how gorgeous the interior is!
Hopedale in the 1920s oversaw a civic building campaign led by George A. Draper (1855-1923), then treasurer of the Draper Corporation. Draper often talked about the need for a community center in Hopedale for his workers, and in 1919 decided to build one at his own expense. He commissioned architect Edwin J. Lewis, Jr. of Boston to design the Hopedale Community House which was intended to serve as a social and civic center for all Hopedale residents, as well as Draper Corporation employees residing in other towns. The building was opened in 1923, but sadly George Draper died before he could see it used. The Community House included an assembly hall, a banquet hall that doubled as a gymnasium, a kitchen, rooms for smoking and cards and billiards, a ladies’ social room, the Knights of Pythias club room, and candlepin bowling lanes in the basement, all of which exist to this day.
Buildings of New England travels! Welcome to Schenectady, a great city in upstate New York, with an hard to spell and pronounce name! The name “Schenectady” is derived from the Mohawk word skahnéhtati, meaning “beyond the pines”. Schenectady was founded on the south side of the Mohawk River by Dutch colonists in the 17th century, many of whom were from the Albany area. In 1664 the English seized the Dutch New Netherland colony and renamed it New York. They established a monopoly on the fur trade around Albany, and issued orders to prohibit Schenectady from the trade through 1670 and later. The town grew mostly as an inland agricultural town until the Erie Canal was built in 1825, creating a navigable water route from New York City and the Atlantic Ocean to the Great Lakes, cutting through Schenectady. The town grew and became an industrial center, attracting a very diverse population of immigrants in the 19th century and African Americans as part of the Great Migration out of the rural South to northern cities for work. The community struggled (like many) in the mid 19th century but has seen a large resurgence as of late!
This building is the Schenectady City Hall, a massive architectural landmark which made my jaw drop when I saw it! The City of Schenectedy outgrew their old City Hall, and in the late 1920s, held a nationwide contest to select designs for a new City Hall. The contest was won by the prominent architectural firm McKim, Mead, and White. It appears that the designs were furnished by James Kellum Smith of the firm, the often overlooked genius of the MMW practice. The exorbitant cost of the project, which was undertaken during the Great Depression, caused the building to be dubbed “Fagal’s Folly” after Mayor Henry C. Fagal, who allowed all the cost increases while the city’s future was uncertain. He was not re-elected after this building was completed. The building is a pleasing mixture of Colonial and Classical Revival styles and features bold pilasters and a towering cupola
This magnificent coastal mansion embodies historical elegance in Rye Beach, NH. Built in 1914-15 for Clement Studebaker Jr., the Studebaker Estate is one of the most elegant and most recognized residences on the New Hampshire coast, and among the best preserved. The Colonial Revival home is clad with shingle siding with two strong brick end walls. A solarium runs along the ocean-facing facade with ample glazing and delicate woodwork which presents a welcoming presence to passing motorists. Clement Studebaker Jr. was an American businessman and the son of wagon, carriage and automobile manufacturer Clement Studebaker. He held executive positions in the family’s automobile business, Studebaker Corporation. The Studebaker summer residence was recently sold, and the interior photographs are amazing!
Built at the same time as his summer residence in Rye Beach (last post), George Allen had this gorgeous carriage house built to store his horses and carriage to get around his summertime town. The carriage house is a blending of the Colonial Revival and Shingle styles that mimics much of the main home’s design including the gambrel roof and columned entry. Sometime in the 20th century, with no more use of a carriage house, the property was sold off by heirs of Mr. Allen and converted to a private residence. The new owners have preserved the essence of the original use and made the home stand out among the adjacent mansions.
This massive summer “cottage” in Rye Beach, NH, was built around 1895 for St. Louis businessman George L. Allen. The massive Colonial Revival home features a gambrel roof with a series of gabled, hipped and shed dormers to break it up. A circular driveway would have allowed visitors for Great Gatsby-esque parties to get dropped off by their driver and enter right into the home’s large stair-hall. The most stunning facade is the rear, which faces a lawn with views out to the Atlantic Ocean. A full-length porch on the first floor sits recessed under the floor above to provide shelter from the harsh summer sun. Sadly, the mansion has seen better days and appears to be a shadow of its former self. Luckily, almost all of the historic windows remain and the home can definitely be saved. Fingers and toes are crossed to see this beauty preserved.
Located adjacent to the Administration Building at the Tewksbury State Hospital, the Superintendent’s Residence, built in 1894, combines elements of the Craftsman and Colonial Revival styles wonderfully. The home is two-stories, and built of red brick laid in Flemish bond, capped with a slate hipped roof with exposed rafters. A massive uncovered porch wraps around the home and sits atop a rubblestone foundation. Like the adjacent Administration Building, the Superintendent’s Residence was also designed by Boston architect John A. Fox. From this residence, the massive almshouse and asylum would be run by the superintendent, who oversaw day to day activities and made sure everything was running smoothly. The house appears vacant now.
Located across the Town Green from the Tewksbury Town Hall (1920), this Colonial Revival style church with Classical elements, perfectly compliments the design motif seen here. The Tewksbury Congregational Church was established in 1734 by some 34 resident families who, after leaving the church in Billerica, established the new town of Tewksbury. Their first church was erected in 1736, and was replaced in 1824. The second church edifice (and much of the town center) suffered a catastrophic fire in 1918, destroying both structures, and resulting in a rebuilding campaign. Architect Curtis W. Bixby of Watertown, furnished designs for the church, which stands boldly beyond a large front lawn.