When Harvard Medical School opened its doors in 1906 at its new Longwood campus in Boston, students were forced to live in private dormitories or travel long distances to the sparsely developed neighborhood near the Fens. Hospitals at the time had private dormitories for nurses and other employees, but Harvard did not fill this need until 1928 when Vanderbilt Hall opened. The building is Renaissance Revival in style, which mimics the style of the Boston Lying-In Hospital which was built in 1922 across from Vanderbilt, and the famous Gardner Museum. Vanderbilt Hall is unique in the neighborhood as a dormitory, recreation, and athletic center built to house 250 students of the Medical School. As part of its funding campaign, subscriptions from 1,519 doctors and 618 “non-medical friends” were obtained, along with a gift of $100,000 from New York Central Railroad President Harold S. Vanderbilt, for whom the building was named. The stunning building has a curved concave corner which mimics the Boston Lying-In Hospital and elegantly frames the small circular park in the street.
Replacing a vacant lot bordering I-93 at Kneeland Street, the One Greenway development provides much needed housing and design as one of the gateways into the Chinatown neighborhood of Boston. A result of community engagement, One Greenway is one of the largest new affordable housing projects in recent memory. The project restores the urban fabric that was lost half a century ago to the construction of major highways, which cut through the community and provides much-needed affordable housing in one of the nation’s oldest and largest immigrant communities. When the elevated highway was moved underground and the Rose Kennedy Greenway was laid out, parcels adjacent were available for reuse, and this was one of the last to be redeveloped. The building mixes 217 market-rate apartments and 95 affordable apartments, to create a mixed-income development, hopefully the future, as to not segregate affordable housing to less-desirable parts of cities. Designed by the firm Stantec, the building creates a solid street wall at the corner, and provides amazing open space at the rear in the form of a well-designed park designed by Crosby, Schlessinger, and Smallridge. The use of beige terracotta panels makes the large building more inviting, compared to the cold and sterile new apartment buildings going up all over the city and region.
A part of any large public beach in Massachusetts is the public bathhouse, where visitors can go to the bathroom, change, and store belongings in lockers. Ever since the Massachusetts Parks System of Boston acquired land at Nantasket Beach, a bathhouse was here for visitors. The earlier building by Stickney & Austin burned down and was soon replaced. This amazing Art Moderne bathhouse features a central mass with wings adorned by glass block. The architects Putnam & Cox created a whimsical 1935 Moderne design that blends into the sandy beach. The building suffered from the salt air and cold winters and went through a massive restoration in the late 1990s, it was then re-opened and re-named after Mary Jeanette Murray, a state representative.
St. Paul’s Church in Burlington, Vermont, was organized in 1830, when Burlington’s population was about 3,500. About 55 Episcopalians met at a local hotel and laid the groundwork for the parish. In 1832, the fledgling parish dedicated its new building, a neo-Gothic limestone structure, which was enlarged multiple times as the congregation grew as the city did. In 1965, the Diocesan Convention voted that St. Paul’s Church be designated a Cathedral Church of the Diocese (one of two in the state). Just six years later, it was destroyed by fire, sparked by an electrical malfunction in the basement, leading to a new evolution of the church. At the time of the fire, the City of Burlington was engaged in massive urban renewal projects. As a part of this program, the City offered to swap the land on which Old St. Paul’s had stood for a spacious new tract overlooking Lake Champlain and the Adirondacks. Although the decision to change locations was a contentious one, the parish did accept the offer. When discussing designs for a new cathedral, there was a strong desire to make a new statement in architecture, diverging from the traditional Gothic or Colonial designs seen all over the country. An international competition was held to determine the architect of the new Cathedral. The winner was the local firm Burlington Associates, now Truex, Cullins & Partners. Completed in 1973, the Cathedral is made of stressed concrete. The structure stands strong and firm, yet is welcoming. Windows provide sweeping views of Lake Champlain and the distant Adirondacks.
One of the largest, most grand buildings in Downtown Burlington, Vermont is its City Hall building, constructed in 1928, just before the Great Depression. The brick facade with extensive carved marble trim is Neo-classical in style, with virtually all the finish materials – brick, marble, roofing slate, and granite produced in Vermont. The building replaced the 1850s City Hall, which was poorly constructed and suffered from deterioration, exacerbated by an earthquake in 1925. Architect William M. Kendall was hired to complete the designs of the large, bold Classical building. Kendall spent his career with the New York firm of McKim, Mead & White, the leading American architectural practice at the turn of the century, and showcased the best of that firm with the design of this building.
This stunning house was built in 1694, possibly with structural members from an earlier parsonage, by Beverly’s first minister, Rev. John Hale (1636–1700). Hale is now best remembered for playing a significant part in the infamous Salem witch trials in 1692. Hale’s theory was that demons impersonated the accused and appeared in their forms to the afflicted. He probably most likely changed his views about those executed for “being witches” due to the fact that his own wife (the second one) was accused as being a witch, though never prosecuted. Hale served as the minister of the First Parish Church of Beverly (last post) until his death. This home, just a short walk to his church, was the finest in town at the time. The house featured numerous additions and alterations over its time including the gambrel section added in 1745. The Hale House remained in the family for 12 generations, and was eventually gifted to the local historical society, now known as Historic Beverly in 1935. It now operates as a house museum.
Norman Rockwell‘s ‘Home for Christmas’ painting in 1967 depicts the Main Street scene in Stockbridge, Massachusetts, and epitomizes the essence of Christmas in small towns across the country. In the iconic painting, you can find many landmarks (including the Town Offices building) that make up the quaint main street, that typifies many small New England towns. At the center of his painting, the Guerrieri Block can be seen with a Christmas tree lit up in the window on the second floor. The Guerrieri Block was built in 1921 by Antonio Guerrieri, a skilled woodworker who sold and repaired antiques in one of three street level shops in the block. He and his family lived in an apartment on the second floor. The next year he completed construction of a shop behind the block where he worked out of. In 1953, Norman Rockwell moved to Stockbridge and spoke with Antonio about using the second floor of his building as a studio. Antonio constructed a large central bay window with plate glass to flood the space with light and allow Rockwell to work while observing the street below. Rockwell used the space as his studio until 1957. The building has since been occupied as a general store.
For the small population living in the farming village of Waban in Newton, MA, every Sunday, they had to take a horse and carriage or walk to church in a nearby village. The Waban Christian Union was the first religious organization to be established in Waban, 1894-1895 after seeing a suburbanization of the village. The church was to be for services of the Protestant Episcopal Faith, though the group claimed no allegiance to the Diocese, nor was it organized according to the laws of the church. It was independently owned by a corporation that felt the need for a religious association in the community. This church structure was constructed in the
summer of 1896 at a cost of $5000 with William F. Goodwin, a charter member of the group (and resident nearby), donating his services as the architect. The organization leased the space to a pastor for $200 a year, later selling it to the congregation, known now as the Church of the Good Shepherd.
The Congregational Church of Chelsea is an outstanding structure in its own right, but also an important component in the village of a well-preserved Vermont hill town. Constructed as the Chelsea Congregational Church in the years 1811-1813, the church’s plan is derived from plates published in Asher Benjamin’s “The American Builder’s Companion”. Notable original Federal style elements include the central pavilion and the steeple, a fine vernacular version of Benjamin’s design. In the 1840s, the interior was reconfigured and the exterior given Greek Revival elements including the wide entablature and corner pilasters. In 1929, the Chelsea Congregational Church merged with Methodist Church to form the United Church of Chelsea. It is now known as Living Water UPCI. The church has remained an important part of the village and region for over 200 years.
Located at the heart of Oak Bluffs, this modest, wood-frame building has held some of the most important civic and cultural uses on the island. Built in 1882, the growing town of Cottage City (later renamed Oak Bluffs), which separated from Edgartown, needed a new town hall and fire station with the rapid development caused by summer visitors and increased year-round residents. After WWII, the property was renovated and expanded to allow space for a small police department in the building as well. In 1966, a new town hall was built across from the ferry pier at the waterfront, and the town soon after sold the former, outdated building, and two years later, it was purchased by The Cottagers, Inc. The Cottagers, Inc., is a philanthropic organization founded in 1955 by a group of African-American women who owned cottages or homes on Martha’s Vineyard. The social group provided a safe space for the growing Black community who lived on and visited Martha’s Vineyard. The building remains as an iconic landmark not only for its historical use and architecture, but as a symbol of the diversity and the black community in the small island town.