This handsome two-story brick stable on Byron Street in Boston’s Beacon Hill neighborhood was built around 1865 for the Sigourney family, and its front façade retains a distinctive appearance associated with that period. The brick façade sits on a granite base, and the first story contains two entrances characteristic of its stable use: a vehicle door providing access to ground floor and a domestic entrance connecting to stairs leading to upper levels including stableman’s quarters on the top floor. Around the time of WWI, the property was owned by James F. Burke, who added the painted sign over the carriage entry. The stable was converted to a residence in about 1964 for owner, Jay Schrochet by architect, Benjamin S. Fishstein and remains a single-family home today.
This handsome vernacular building on Byron Street on the Flat of Beacon Hill is one of a row of 19th century stables converted to residences. The building typifies the scale and appearance of many private stables in Boston of teh period and is built of brick with stone lintels over the openings. Due to its form and lack of ornamentation and sans mansard roof, the stable was likely built in the mid-19th century for an owner who resided in a mansion along Beacon Street. By 1874, the stable was run by Alsom Garcelon (1815-1881), a stable keeper who was born in New Brunswick, Canada and arrived in Boston by 1860 quickly making a business operating stables for wealthy Boston residents. He ran at least a half-dozen stables on the Flat of Beacon Hill and became a fixture in the community until his death in 1881. The building operated as a stable and later as a blacksmith shop until 1925, when owner, Andrew N. Winslow, bought the building and hired the firm of Putnam & Cox, to convert the building into a clubhouse. The site became home to the Byron Street Hall, a small public hall. It was later known as the Byron Street House and was connected to the Community Church in Boston. In 1940, the former stable was converted to the Bishop-Lee School, founded by stage actress Emily Perry Bishop, as a school for speech and acting. The school relocated by 1960, and after successive business uses, the building was converted to a residence, which it has remained ever-since.
The early ownership is murky, but by the 1870s, this two-story with mansard roof stable was owned by a “Nathan Thayer”, either Nathaniel Thayer Jr. or Nathaniel Thayer III of Lancaster, who also retained city residences in Boston. The building features two portals on the first-floor that originated as doorways, the wider on the left for horses and a carriage, and the smaller for access to residential space for the stable-keeper and likely a hay loft over the carriage door. After the turn of the 20th century, the Flat of Beacon Hill gentrified into an exclusive enclave of residences, antiques shops, and artist studios and the former Thayer Stable was purchased by Frederick Oakes Houghton, an agent for transatlantic steamers. Houghton rented the building to an amateur theatrical group who organized as the Toy Theatre, that was founded in 1911 to present plays that had not been presented professionally in Boston. The founding group consisted of the usual, artistic, high society types, and had seating for 129 with no standing room. Houghton hired architect, Harold Symmes Graves, to convert the building into its theater use, enclosing the former carriage door and hay loft with multi-light windows, and creating a larger space inside for productions. The Toy Theatre did very well (due in part to its membership of upper-class Boston residents) and a new, purpose-built Toy Theatre was built in the Back Bay by 1914. In 1917, the former stable and theatre was purchased by Richard B. Platt, a musician and music teacher, and converted to a residence, a use that has remained ever since.
Originally built in 1915 as a two-car garage, this fanciful and diminutive residence was created atop the former garage in 1981 to become one of Boston’s best examples of Post-Modern architecture. Located at the corner of Beaver Place and Beaver Street on the Flat of Beacon Hill, the one-story brick garage was constructed behind 91 Beacon Street for Helen and Robert Emmons to store their personal automobiles. By 1981, the garage parcel was separated from the Beacon Street address and owners, Ira and Margaret Deutsch filed to build a one-story addition to the garage to create a residence. The couple worked with architect, Graham Gund, who designed a vertical, second-story addition to the brick garage, creating one of the most whimsical and unique buildings in Boston. The stuccoed walls with gables are covered with a projecting trellis which is set behind the framing of the windows to create a three-dimensional facade element.
An early example of the Romanesque Revival style, the former Central Congregational Church on Benefit Street in Providence’s East Side is architecturally significant as one of the remaining designs by architect, Thomas Tefft and built from 1853-1856. Thomas A. Tefft (1826-1859) was one of the nation’s first professionally trained architects and was a master ofRundbogenstil, a German-branch of the Romanesque style until his untimely death in Italy when he was just 33. When this church was completed in 1856, Tefft was just thirty years old. The brownstone facade is adorned by triple-arched entrances and corbelling. The congregation grew and decades later, acquired a site in the neighborhood for a larger, Carrere and Hastings-designed church, vacating this building in 1893. The Rhode Island School of Design (RISD) purchased this former church in 1902 following a donation by Eliza Radeke and her brothers who named the building Memorial Hall. The firm of Hoppin and Ely was hired to update the former church for use by the college, which primarily took place on the interior. The original pair of tall bell towers were damaged during the 1938 hurricane and later were removed in 1950, truncating the verticality of this great Tefft-designed building, but she still shines! Memorial Hall has been incorporated into the RISD campus and houses studio spaces.
Built in 1872, this Victorian Gothic style church on Greene Street in the Wooster Square area of New Haven, Connecticut, has had a varied history that tells the full story of its neighborhood. The church was originally constructed as the Davenport Congregational Church and was designed by New Haven architect, Rufus G. Russell, who formerly worked many years for Henry Austin, the city’s leading architect, before opening his own firm. In the early 20th century, the neighborhood demographics shifted to a more diverse area of recently arriving immigrants who worked in nearby industry and the edifice was occupied by an Italian Baptist church. 1927, the church was purchased by a local Lithuanian congregation, who re-established the building as the St. Casimir Catholic Church. For nearly 100 years, the church remained an active use anchoring the iconic Wooster Square park until the congregation closed, leaving the building’s fate unclear. Luckily, developers purchased the property, which is located within a local historic district, and converted the church into residential units.
The Strouse, Adler Company Corset Factory is a historic factory complex at 78-84 Olive Street in New Haven, Connecticut that has been adaptively reused into apartments, serving an important second life. Developed between 1876 and 1923, the complex was the largest and oldest of New Haven’s several corset manufacturers, and remained in continuous operation for that purpose until 1998. The company was originally founded in 1861 as J.H. Smith and Company, and was the nation’s first manufacturer of corsets. The business was purchased the following year by Isaac Strouse, who took on Max Adler, a local dry goods retailer, as a partner. The company adopted the name Strouse, Adler in 1899 and was incorporated in 1927. The complex eventually closed and was converted to apartments, serving an important need for housing in the region.
The Fisher-Mason Mansion on South Street in Wrentham, Massachusetts, is among the town’s finest and well-preserved Victorian-era homes. The house is said to have been funded and built in 1868 by Thomas Proctor (who lived in a large Mansard house overlooking the town common) for his daughter, Emma Proctor as a wedding gift upon her marriage to husband, Henry Kollock Fisher, a shoe manufacturer. The couple lived in the home, raising four children here until 1910, when the Proctors sold the property to Otis N. Mason of Providence. Today, the Fisher-Mason Mansion is known as the R. J. Ross Funeral Home, who have operated a funeral home from the residence since before WWII. The mansion features a mansard roof with unique mansard gable at the side sheltering an ocular window.
Only in New England will you find a historic 19th century house converted into a bank! The Plimpton-Winter House is located at 127 South Street in Wrentham, Massachusetts, and is among the finest Italianate style houses in the community. The residence was built in 1868 for Francis Newton Plimpton (1828-1913), who worked as a cashier and town treasurer, later becoming President of the National Bank of Wrentham. Two years after Plimpton’s death, in 1915, the house was bought by Murray Winter, who moved to Wrentham with his two brothers and established the Winter Brothers Tap and Dye Factory. The company manufactured gauges and valves during the early 20th century, quickly becoming the town’s largest employer until WWII. In the 1980s, the home was purchased and rehabilitated by the Foxboro Savings Bank to serve as its Wrentham Branch location. Today, the Plimpton-Winter House stands as a TD Bank Branch, where the exterior of the Italianate style residence is preserved, down to its bracketed cornice, ornate trim, bay window, and entry with paired wooden doors. How cool is that?
Adaptive reuse of old churches in New England is fairly common; with most conversions into housing or community centers, but have you seen a church turned into a library? Located in the charming town of Richmond, Vermont, this Victorian Gothic landmark was constructed in 1880 after Universalists in the community decided to leave the Round Church where they shared meeting space with other congregations in town. After WWII, the dwindling congregation sold the church to a resident who then offered the property to the Richmond School District, which had its large school next door. Voters accepted the gift at Town Meeting and passed a bond to convert the building into a cafeteria and gymnasium for the school next door. In the mid-1980s, with a new school built elsewhere in town, the school building was abandoned and converted to the Town Hall, with this former church, which served for years as the school gymnasium and cafeteria, eyed for demolition. It was explored to raze the former church and build a new, modern library building in its place. Preservationists petitioned to save the building, acquiring funds to restore the exterior and convert it to a library, and succeeded. Now the town of Richmond is home to one of the greatest examples of adaptive reuse in the state of Vermont.
This handsome brick building is located in the historic downtown of Richmond, Vermont, and was built at a time of rapid growth of the small community. Pupils in the town of Richmond originally went to school in small, one-room rural schoolhouses, with the Richmond Academy serving the main village. The old academy building was constructed in 1868 and taught classes from elementary through high school. The building was outgrown as the town grew in the first decade of the 20th century, necessitating a new, larger schoolhouse for the main village. This new school was constructed in 1907, apparently just as the right side and tower, which was expanded with the left half four years later in 1911. Blending Craftsman and Romanesque styles, plans for the school were drawn up by Vermont architect, Frank Lyman Austin. Another rear addition in the 1950s was constructed to meet increased demand until the 1980s when a new elementary school was built in town. Since 1989, the former Richmond School has been home to Richmond town offices. The building, while altered, is an important landmark of the town, showcasing a blending of architectural styles popular in the early 20th century.
The former Dutcher Street Grammar School in Hopedale, Massachusetts, is a great example of a Tudor Revival/Chateauesque style public school building that has been adaptively reused. Built in 1897, the Dutcher Street School was designed by Charles Howard Walker of the firm, Walker & Kimball, at a cost of $40,000. The school is built of red brick with granite trimmings and is one of the finest late-19th century school buildings in the state. The school closed in the late 20th century after the Draper Factory, the largest employer in town, closed in 1980. Instead of being demolished, the Dutcher Street School was renovated and given an addition to convert the building into condominiums, a great example of adaptive reuse!
The old Carriage Shop on Water Street in Warren, Rhode Island, is an early and surviving industrial building from the late 18th century that adds to the charm and history of the great waterfront town. The two-story building has a three-bay facade with a center entrance and 48-pane fixed sash windows on the first floor and 12-over-12 sash windows on the second floor. The stepped parapet masks the low gable roof of the building behind that extends far back in the lot. The building was a workshop and paint shop for Gardner & Hoar, builders and carpenters, in the mid-19th century, and later as a blacksmithing shop and carriage shop before the turn of the 20th century. Luckily for us, the building has been preserved and while not finding a place in architectural journals, the building is an important remaining building that strongly contributes to the character of the town.
Buildings of New England 