This charming little cottage in Oak Bluffs was built in 1876 for Charles N. Jones, a resident of Medford, MA who had a home built there in 1872. His family’s summer cottage on Martha’s Vineyard was designed by the Ripley Brothers, Alonzo and Walter, carpenters who lived in town and designed and built many of the charming little summer homes there. The home features a wrap-around porch, a covered balcony at the second floor, and pierced board balustrade and cornerboards. Oh, and the paint scheme is perfect!
Located on the iconic Circuit Street in Oak Bluffs, this Eclectic Victorian cottage has a storied past related to Black history on the island. Even though Oak Bluffs was a relatively safe place for African Americans to be, there were still limits on their rights. In some parts of Oak Bluffs there were laws that said that certain property could only be owned by whites. The island became a vacation spot for thousands every summer in the 19th century and seeing a lack of options for Black travelers, Mrs. Georgia O’Brien and Ms. Louisa Izett began to operate an inn for people of color. The inn was one of two such residences in Oak Bluffs and has since been listed on the African American Heritage Trail of Martha’s Vineyard. The home has since been named the Tivoli Inn and retains much of the original gingerbread trim. In recent years, Martha’s Vineyard was given the nickname, “The Black Hamptons,” due to its popularity as a place for wealthy African-Americans to vacation, it remains a very diverse island in summer months.
Tall Timbers is one of the more unique cottages in the Wesleyan Grove development, a religiously oriented summer community in Oak Bluffs on Martha’s Vineyard. The cottage was actually built in two phases. The small two story cottage was built first before 1870 and features gothic bargeboard, lancet windows, and paired doors. It was purchased around 1870 by William Newell, of Rhode Island, who had a three-story wing added to serve as a summer cottage. The addition is notable for the full-length vertical boards that rise through the entire three stories without a break like trees after harvesting, likely the inspiration for the name of the cottage. William Newell was a manufacturer of brass fixtures and ran a foundry in Central Falls in Rhode Island. Mr. Newell was active in politics and early in his career joined the cause of the anti-slavery party, which was likely solidified in his experiences in the ethnically diverse Martha’s Vineyard.
This stunning Victorian home in Oak Bluffs on Martha’s Vineyard was built in 1878 as a summer home for Oliver Ames (1831-1895), a businessman, investor and Governor of Massachusetts. Oliver Ames was the son of Oakes Ames, who is credited by many historians as being the single most important influence in the building of the Union Pacific portion of the transcontinental railroad. After his father’s death in 1873, Oliver Ames became the executor of his father’s vast estate and business dealings, and spent vast sums of money on properties in the places he lived including North Easton, MA, Boston and Martha’s Vineyard. He summered at this large home fronting the ocean in Cottage City, then a part of Edgartown. He decided to run for state senate in 1879, after he was unsuccessful in securing passage for the separation of the Martha’s Vineyard community of Cottage City, where he owned a summer house, from Edgartown. Winning election, he saw through the incorporation of the town (now known as Oak Bluffs). Ames served as the Governor of Massachusetts between 1887 and 1890, and continued to summer in his beachfront home during that time. The eclectic Victorian home blends many popular styles at the time from the Shingle style with the continuous shingle siding, the Stick style with the delicate stick-work at the veranda, to Queen Anne with its asymmetric massing and square tower.
On a last-minute trip to the Berkshires, I couldn’t help but stop at the recently re-opened Massachusetts Museum of Contemporary Art (Mass MoCA) in North Adams. Being a huge nerd for industrial history and repurposed mills and factories, it was an absolute treat to walk through the large brick and steel buildings and wings lined with steel casement windows providing the perfect scenery for some amazing artworks. What is now known as Mass MoCA, – one of the premier art museums in New England – was once Arnold Print Works, a one time world leader in textile manufacturing with offices in New York City and Paris.
The Arnold Print Works were built on the Hoosac River near the center of North Adams. The company was the town’s largest industry during the city’s economic heyday from the Civil War until the early 20th century. The company was founded in 1861 by the John, Oliver, and Harvey Arnold, who began production of printed cloth at an existing cotton mill. At the dawn of the American Civil War, the newly formed company became flush with money due to government contracts for manufacturing Union Army uniforms. The company expanded after the war until a fire destroyed nearly all of the wooden buildings on the site. After the fire, a majority share of the company was purchased by Albert Charles Houghton, who became the first mayor of North Adams, and he oversaw the expansion and prosperity of the company, starting with new buildings of fire-proof construction.
By the early 20th century, many textile and cotton manufacturing shifted to the American South severely crippling the mill’s profits. In 1929, Sprague Electric Company moved to North Adams from Quincy, Massachusetts, and began buying the Arnold Print Works buildings. The print works moved much of its operation to nearby Adams and concentrated on a few particular products in its North Adams plant. The print works was finally sold in 1942 for just $1.9 million dollars, a far departure from its once prosperous past. The plant was shortly thereafter acquired by Sprague Electric Company.
While largely leaving the building exteriors as they were, Sprague made extensive modifications to the interiors to convert the former textile mill into an electronics plant. Sprague physicists, chemists, electrical engineers, and skilled technicians were called upon by the U.S. government during World War II to design and manufacture crucial components of some of its most advanced high-tech weapons systems, including the atomic bomb.
[Outfitted with state-of-the-art equipment, Sprague was a major research and development center, conducting studies on the nature of electricity and semi-conducting materials. After the war, Sprague’s products were used in the launch systems for Gemini moon missions, and by 1966 Sprague employed 4,137 workers in a community of 18,000, existing almost as a city within a city. From the post-war years to the mid-1980s Sprague produced electrical components for the booming consumer electronics market, but competition from lower-priced components produced abroad led to declining sales and, in 1985, the company closed its operations on Marshall Street.] (Mass MoCA History)
The complex sat vacant briefly before the Williams College Museum of Art, led by its director, Thomas Krens—who would later become Director of the Solomon R. Guggenheim Museum—advocated for a museum space for contemporary art that would not fit in traditional art galleries. The nearby Arnold Mills seemed like a perfect, yet daunting task to repurpose. Bruner/Cott Architects of Cambridge were hired to repurpose the mills and oversee the massive adaptive reuse project which today totals nearly 300,000 square feet of galleries and art venues.
One of my favorite buildings in Downtown Boston is the Richards Building on State Street for its rare and lavish cast-iron facade. Built in about 1859, the building was developed by Quincy A. Shaw and Gardiner H. Shaw (uncles of Robert Gould Shaw, who led the famed African American regiment that is the subject of St. Gaudens’ and Charles McKim’s Boston Common monument), merchants who then leased out commercial space in the building. The architect of the building is unknown; however, the sheet metal was supplied by E.B. Badger & Sons. The original design was a five-story, eight-bay cast iron front structure, in the Northern Italian mode of the Renaissance Revival style. The facade is only a screen attached to the front of the building. It is made of pieces of cast iron that were fabricated in Italy and bolted together in Boston. In 1889, the building was sold to Calvin A. Richards, a wealthy street railway tycoon and it is presumed that the two upper stories and corner oriels were added at that time. The building features one of a handful of extant cast-iron facades in Boston, which was restored in the 1980s.
The Massachusetts Normal Art School was one of the many Richardsonian Romanesque buildings constructed in the Back Bay, but it did not survive like so many others did. The building’s history goes back to the 1860s, when wealthy Bostonians petitioned for the Commonwealth of Massachusetts (State Government) to assist with the founding of new institutions to enhance the quality of life in the state. Due to this, the legislature funded three major institutions including the Massachusetts Institute of Technology (1860) and the Museum of Fine Arts (1870), and founded in 1873, the Massachusetts Normal Art School. The Normal Arts School was tasked with training future teachers for public schools and budding professional artists in the arts, with courses ranging from drawing to architecture. The Commonwealth of Massachusetts rented space in various buildings in Downtown Boston before they appropriated $85,000 and hired the firm of Hartwell & Richardson to design and oversee construction of the new school at the corner of Newbury and Exeter Streets. The Richardsonian Romanesque building was constructed of red brick and brown freestone, featured entrances on both street facades, and held gallery spaces inside for members of the public to view the work created at the school. The school outgrew the original building, which could comfortably fit just 100 students, and in 1929, a new building was constructed at Brookline and Longwood Avenues. Before moving one more time to its current location in 1983, the school was renamed to the Massachusetts College of Art and is best known as MassArt today. The original school in Back Bay was demolished in 1967 and was home to a surface parking lot before the existing building was constructed.
One of my favorite commercial buildings in Downtown Boston is the former Yankee Publishing Building on Union Street, for its architecture and the fact its surrounded by some great pubs! The building was constructed in 1874 for Cyrus Carpenter (1821-1893), a prominent manufacturer and dealer of furnaces and stoves in Boston. He owned the building, but ended up leasing the space to a competing furnace company, Walker & Pratt Manufacturing Company. Carpenter owned the building until his unexpected death in 1893 when he was run over by a Back Bay horse car, when it was conveyed to his wife until her death. The building was later purchased by the long-time tenants who continued to sell furnaces and other goods out of the store with offices above.
The business by which the building is currently known is Yankee Publishing. It is an independent family-owned business that was founded in 1935 and based out of Dublin, New Hampshire. It publishes Yankee Magazine ten times a year (the magazine has a paid circulation of 500,000; subscribers primarily residing in the Northeast) as numerous travel guides and other publications in print and online to guide locals and tourists of New England alike.
Located in the Blackstone Block of Downtown Boston, this flatiron building encloses Marshall Street on the Freedom Trail, creating a tight, pedestrian-oriented street that once covered old Boston. The Union Block (c.1842) is a Greek Revival commercial block which typifies this network of short, narrow streets which somehow survived Urban Renewal and the coming of the highway in Boston. The longest running occupant of the building was Ward & Waldron Paper Hangings, which from my understanding, made wallpaper for the estates of Beacon Hill which were being built on the other side of town. After successive ownership, atlas maps show the ownership of the building in 1888 conveyed to Massachusetts General Hospital, which still held title to it past 1938. The building is now home to Bell in Hand, an iconic local pub that was founded in 1795 at another location.
Standing just 24 years, the Hotel Boylston at the corner of Boylston and Tremont Streets, evoked the Victorian-era grandeur of Boston. Built in 1870, the Victorian Gothic hotel (what we consider apartment building today) was designed by the architectural team of Cummings and Sears, who were very busy at the time in Boston and beyond. The 5 1/2-story building was constructed of sandstone and featured Gothic arches, dormers of varied sizes and shapes, and a mansard roof with iron cresting. The building (and the three others on Tremont Street) was razed in 1894 and replaced with the Hotel Touraine a few years later.
Buildings of New England 