architects - The Cambridge Historical Commission Blog

Cambridge Designers: R. Clipston Sturgis

Posted on December 30, 2022December 30, 2022 by cambridgehistoricalcommission

In part two of our Cambridge Designers series, we are highlighting a Boston-born architect who had a lasting impact on architecture and the arts in the Boston area, R. Clipston Sturgis (1860-1951).

R. (Richard) Clipston Sturgis was born in Boston on Christmas Eve in 1860, the son of Russell and Susan Codman Welles Sturgis. As he was born into a wealthy family, Richard was schooled at the prestigious George Washington Copp Noble School (now known as the Noble and Greenough School) in Boston and at St. Paul’s in Concord, New Hampshire to prepare for college. He entered Harvard University in 1877, graduating in 1881 with a degree in architecture.

*1881 Harvard Class photo of R. Clipston Sturgis. Courtesy of Harvard University Archives.*

From 1881 to 1883 to worked in the office of his uncle, John Hubbard Sturgis (1834-1888), a partner in the firm Sturgis & Brigham, the designers of the original Museum of Fine Arts building in Boston and the Arthur Astor Carey house on Fayerweather Street in Cambridge. The Carey House in Cambridge was one of the earliest and high-style examples of Colonial Revival architecture in the region. It was during this time at his uncle’s firm that R. C. Sturgis married Esther Mary Ogden of Troy, New York in 1882.

The young couple then sailed to England, where Sturgis worked until late 1884 for London architect Robert William Edis, who worked on an extension to Sandringham House in Norfolk, England, one of the royal residences of King Charles III. It was during this period that Richard and Esther had their first child, Richard Clipston Sturgis, Jr. in Canterbury, England in March of 1884. Sturgis Jr. (1884-1913), closely followed in his father’s footsteps, attending the same schools and majoring in architecture at Harvard. Tragically, he died at 30 years old, possibly due to life-long illness as the family had a live-in nurse at their home in Boston. They had two other children, George Ogden Sturgis (1889), who died in infancy, and Dorothy Mary (Sturgis) Harding (1891-1978).

^{Richard Clipston Sturgis with newborn son Richard Clipston Sturgis, Jr. c.1884. Photo courtesy of F.S. Watt, Ancestry.com}

^{Esther Mary Ogden Sturgis and son Richard Clipston Sturgis, Jr.
c.1890, courtesy of F.S. Watt, Ancestry.com}

After leaving Edis’ employ, Sturgis spent two years touring Europe, studying and sketching in France, Italy, Germany and Holland until he returned to the United States in September 1886, when he took charge of his uncle’s firm after the partnership between Sturgis and Brigham dissolved. His uncle, John Hubbard Sturgis retired in May of 1887 and died in February of 1888.

The project that perhaps launched the career of ‘Young Clip’ was the Church of the Advent in Beacon Hill. While working with his uncle, he assisted in the design and took over the project when his uncle died. He is credited with overseeing the completion of the project, designing the spire, lectern and the west porch. After his uncle’s death, Clip partnered with William Robinson Cabot forming Sturgis & Cabot from 1888 to 1893. From 1902 to 1907 Sturgis practiced with George E. Barton as Sturgis & Barton. From 1907 until his retirement in 1932 he practiced independently.

Church of the Advent, Beacon Hill, Boston. The project that helped start R. Clipston Sturgis’ career in the United States.

Clip’s career really took off in the first two decades of the twentieth century. In 1900, he was commissioned by John A. Little, the owner of two large private dormitories for Harvard students in Harvard Square to furnish designs for a new athletic building for his properties. The cramped site on Holyoke Street, just steps from Harvard Yard, featured a large tree at the middle, which Sturgis hoped to incorporate into his design. The Big Tree Swimming Pool as designed by Sturgis, was an excellent example of Collegiate Gothic architecture in the English tradition, typical for his work. The U-shaped brick building was sited around the preserved tree and also included two squash courts with limited windows for the interior programming. The building was razed in 1962 for the Holyoke Center.

Big Tree Swimming Pool. Brick Builder (1901)

Sturgis’ only residential project in Cambridge was during his partnership with George Barton. The firm was hired by James D. Prindle, who sought to develop the lot at the corner of Bates and Raymond streets. Sturgis and Barton designed a three-unit row that turns the corner lot. The 2 1/2-story homes are Queen Anne/Tudor in style and constructed of brick on the first floor and shingle siding above. The buildings were constructed in 1905.

In 1902, Sturgis was appointed by the Mayor of Boston to the newly established Boston Schoolhouse Commission, a three-person independent board that would oversee the process of building schools for the City of Boston including the hiring of architects and shaping of the plans. From this expertise, Sturgis was called in to various cities all over the region to share how municipalities can provide high-quality and cost-effective new school buildings. In 1909, Sturgis spoke before the Cambridge Public School Association on this matter, explaining how that Boston commission set design standards and a standard cost structure for new buildings as to keep projects from ballooning in value. Sturgis would also serve as a consultant as the designated architect for the Museum of Fine Arts, providing a study and recommendations on the new building in the Fenway.

_{The Cambridge Chronicle, 23 October 1909}

Sturgis was highly influential in school building construction and design in the Boston area (Cambridge included) and always advocated for English-inspired design, a personal favorite of his as he was an anglophile. He specialized in large civic buildings including schools, but also designed clubhouses, stately manors, banks, and churches. Early school buildings designed by Sturgis include the Winsor School in Boston (1908) and designing the new Perkins School for the Blind campus in Watertown in the Neo-Gothic and Colonial Revival styles. A few years after he oversaw the design and construction of the Perkins School campus, the institution hired him again to design the Woolson House Shop building (1914) on Inman Street in Cambridge. The brick building was constructed at the rear of the Woolson House at 277 Harvard Street and served as a workshop for blind women to learn a trade and sell their creations to the public. The modest Colonial Revival building was cost-effective and provided three floors of workspaces inside.

Woolson House, 48 Inman Street, Cambridge. CHC photograph, 2022.

The same year he was commissioned to design the Woolson House on Inman Street, Clip was hired to design a new clubhouse for the Delta Upsilon Fraternity at Harvard, on Harvard Street, a short walk to campus. Sturgis designed the Colonial Revival style building elevated on the site, reusing the existing topography and adding a new stone retaining wall. Inside, the main feature was the hall, somewhat like an English college hall, which extended two stories high opening on the east to a lounge and to the west as a dining room. Above was the library with an opening looking down to the great hall and modest chambers for graduate members visiting. The building was purchased by the Cambridge Lodge of Elks in 1943 and is now home to the Ikeda Center, a non-profit whose mission is to “build cultures of peace through learning and dialogue“.

396 Harvard Street, Cambridge. Former D.U. Clubhouse.

Early sketches of D.U. Club. Richard Clipston Sturgis Special Collection of sketchbooks and notebooks, Boston Athenaeum.

Besides his career as an architect, Clip was involved in many social and professional organizations. Sturgis maintained a strong interest in promoting the arts and in serving community endeavors in the Boston area. In his early years, he was president of the Draughtsmen’s Club, later known as the Boston Architectural Club (now the Boston Architectural College). He was on the organizing committee for the Society of Arts and Crafts Boston and served as its president from 1917 to 1920.
He was a member of the Tavern Club for more than 60 years and a Fellow of the Academy of Arts and Sciences. He also was a member of the Harvard Clubs of Boston and New York, the Union Boat Club, the Colonial Society, and more. Most notably, he as President of the Boston Society of Architects and as President of the American Institute of Architects for the years 1914-15.

Sturgis was also a prolific writer and critic. He gave many speeches on architecture and planning and wrote articles that appeared in various publications. He was a popular advocate for more thoughtfully designed suburbs, writing in the 1890s that “our suburbs for the most part, are composed of frame houses, looking unsubstantial and temporary. They convey no suggestion of
dignity and retirement.” He thought that high quality design of houses and landscapes would make for better neighborhoods, no matter their scale. From this, he sought commissions for working class housing, designing high-quality buildings for the South Bay Union and the Elizabeth Peabody Settlement House in Boston, and Federally funded neighborhoods in Bridgeport, Connecticut and Bath, Maine.

Site plan designed by R. Clipston Sturgis and Arthur A. Shurcliff. University of Michigan Art & Architecture Library collections.

Sturgis would retire in 1932, moving full-time to Portsmouth, New Hampshire, where he had maintained his summer residence since 1890. His summer and later permanent residence, “Martine Cottage”, made Sturgis a neighbor to friend Arthur Astor Carey, who also summered and retired in Portsmouth. The two were likely friends since Richard Clipston Sturgis’ time at his uncle’s firm, when Arthur Astor Carey’s home in Cambridge was designed by them in the early 1880s. The firm was then reorganized as Sturgis Associates Inc., led by William Stanley Parker and Alanson Hall Sturgis, his nephew. Clip would remain associated with the firm as a consultant. One of the first projects of this new firm with Clip as a consultant would be the new Central Fire Station at Broadway and Cambridge streets. It is clear that the firm utilized a timeless Colonial Revival design due to the adjacency of the site to Harvard Yard, an area where Sturgis spent much of his time. This would be his last commission in Cambridge.

Cambridge Central Fire Station, 489-491 Broadway, CHC photograph, 2015.

Like many members of the “old guard” in the Society of Arts and Crafts, Sturgis was a life-long advocate for high-quality design with handcrafted features, which was in stark contrast to the emerging Modernist/Bauhaus movement that arrived in the United States in the 1930s. In New Hampshire, an entire state away from Harvard, Sturgis was troubled by the new modern design framework of Harvard’s building program under Walter Gropius. In 1950, an 89-year-old Sturgis would pen an open letter to his alma mater in the Harvard Alumni Bulletin, with great disdain for the shift in design and craftsmanship the University had taken.

He wrote, “Time Magazine published a cut of the brutally ugly buildings designed by Gropius for Harvard and [they] actually had the temerity to say ‘the buildings are true to an old Harvard tradition…From Colonial to Bulfinch Federal, to Victorian Gothic, to nineteenth century Romanesque, Harvard has moved with the tides of U.S. architecture… these new buildings show not a gleam of interest in Harvard’s past not any sense of value of beauty.” These strong words were the result of the new Graduate Commons and also the new Allston Burr Lecture Hall, the latter would be sited adjacent to the Yard and his firm’s Central Fire Station.

Allston Burr Lecture Hall, 1951, Shepley, Bulfinch, Richardson, and Abbott, architects. Photo by Daniel Reiff, CHC Collections.

In response to the letter penned by Sturgis, Gropius’s students responded to the 90-year-old retired architect in 1951, attacking his traditional position: “must we take the word of our older alumni that ivory tower is the only true architecture? An ivory tower… is a beautiful thing… but Harvard prides herself, not on her ivory tower, but rather on her free marketplace of ideas.”

Sturgis died in 1951 in his beloved Portsmouth cottage. Local papers would write, “R. Clipston Sturgis, 91, national architectural authority for more than 60 years, who almost single-handedly set Boston area’s architectural fashions…died in his home in Portsmouth, N.H. yesterday”. He is remembered for his nearly seventy years of designs, consultations and critiques with witty remarks and a staunch commitment to traditional architecture. He is buried at the Forest Hills Cemetery in Boston.

Photograph courtesy of Find a Grave, by user pstott.

Architect Spotlight: Happy Birthday Benjamin Thompson

Posted on July 3, 2020August 17, 2020 by Brittany F.

Today marks the birthday of a locally influential architect, Benjamin Thompson (1918-2002) who was a founding member of The Architects Collaborative (TAC). In operation from 1945 to 1995, TAC was an architectural firm of eight architects who specialized in post-war modernism design. Thompson left TAC in 1966 due to creative differences and he established Benjamin Thompson and Associates (BTA) a year later. He also embarked on an interior design company, Design Research (D/R), which he owned from 1953 to 1970 when it then changed ownership. Thompson’s original store was located at 57 Brattle Street.

thompson image — Thompson, Benjamin. “Let’s Make it Real.” *Architectural Record.* January 1966.

To celebrate Thompson’s birthday, we want to highlight one of his many projects. We’ve chosen his renovation work on a historic building here in Cambridge since it marks his efforts to combine his modernist sentiments with a conscious effort to retain older architectural design. The choice was further bolstered by Thompson’s personal connection with his client, Harvard University. Thompson was an instructor for the Harvard Graduate School of Design and from 1964 to 1968 he presided as Chair of the Architectural Department. Furthermore, the CHC possesses the Benjamin Thompson Associates Collection (CHC051), which contains booklets, images, and other formats concerning the work of the architecture firm and Thompson’s designs.

So what is the building? Boylston Hall, located at the southwest side of the Harvard Yard. But before we get into Thompson’s renovation, we’d like to give some historical background of the building.

Boylston Hall_HU_ca.1870_No source - small — CHC digital image. Ca. 1870

Boylston Hall was designed and built by Paul Schulze (1828-1897) in 1858. Schulze was a German immigrant who moved to America in 1849. He had previously planned and constructed Appleton Chapel (built 1858) for Harvard University and the success of that venture motivated members of the Harvard faculty to advocate for his continued employment. One spokesperson was Erving Professor Josiah P. Cooke, Jr. who wrote a letter of encouragement to Harvard’s President Rev. James Walker. As part of the Chemistry Department, Cooke’s letter explained how his department was being inadequately serviced in the University Hall.

Items from CHC051 collection. Featuring Boylston Hall and Design Research building

For some time, the Chemistry Department was held in University Hall’s basement. Conversations had begun the spring and summer of 1856 to search for alternative accommodations and it was decided that a purpose-built chemistry laboratory facility was the solution. It would be the first building of its kind in America whose construction was specifically dedicated to chemistry. Schulze completed and submitted his description of Boylston Hall on January 15, 1857.

Boylston Hall received financial patronage from Ward Nicholas Boylston (1747-1828) who posthumously donated a large sum to the University under the agreement that the new construction would adhere to his stipulations. Boylston required that the building would house an Anatomical Museum, a Mineralogical Cabinet, a Cabinet of Apparatus, lecture rooms, and a chemistry lab — the final component aligning smoothly with the University’s needs. To speed up the construction process, a subscription was raised to increase the building fund to $40,000.

Schulze, as part of Schulze & Schoen, constructed the 117’ x 70’ Boylston Hall. Designed in the Renaissance style, Boylston Hall has been labeled as part of the Boston Granite Style and this style became highly influential in Boston’s mercantile buildings and wharf structures, such as Mercantile Wharf, the Custom House Block, and Quincy Market. Boylston Hall has likewise been equated to Schulze’s contemporary and prolific Bostonian architect, Gridley J.F. Bryant, by architectural historians due to their similar material use.

Items from CHC051 collection. Featuring Benjamin Thompson’s interior designs

Nonetheless, Boylston Hall exterior was of Rockport granite set in rough large blocks almost 2 feet thick. The building held curved windows with Italianate tracery and its entrance was centered. Contracted skilled workers included Ebenezer Johnson, master mason; Jonas Fitch, carpentry; Smith and Felton, ironwork; Thomas Haviland, plastering; and John Bates, painting and glazing. The interior was lined with brick and plaster and it was split into two stories of 17ft and 23ft tall. The first floor held the Public Laboratory, the library, the Anatomical Laboratory, and lecture and recitation rooms, which were connected by a central hall. The Anatomical Museum, the Mineralogical Cabinet, the Cabinet of Apparatus, and more lecture rooms were located on the second floor. At the time, the items in these exhibits were under the stewardship of Professor Jeffries Wyman but presently some are now housed at the Peabody Museum of Archaeology and Ethnology.

Boylston Hall was part of a Harvard trend where buildings were situated in relation to the Yard. The front facade faced inwardly instead of toward Massachusetts Avenue or even University Hall, which was once the center of a campus design plan. Douglas Shand-Tucci states in Harvard University: An Architectural Tour, “Boylston Hall’s original role as one of the heralds of the New Yard” helped bolster this variant campus nucleus that countered the Old Yard” (151). It also became the site of great expansion to the Chemistry Department under the direction of Erving Professor Josiah P. Cooke, Jr., Professor Charles Loring Jackson, and Professor Henry Barker Hill.

Boylston Hall_HU_1874_Notman & Son Photo — Notman & Son image. 1874

By 1870, the Chemistry Department required more space, and so a mansard roof, incorporating a new third story, was added to accommodate a new laboratory. Peabody and Stearns facilitated the extension and the work was completed in 1871. However, after another twenty years, in 1895 there were again remarks about the space being too cramped for the department’s growing needs. In 1902, a 85’ x 35’ laboratory was adjoined to the basement. According to a Harvard Crimson article, the addition included 8 double benches, 2 single benches, and 14 sinks. Boylston Hall served the Chemistry Department for another twenty years.

In 1929, the Hall was remodeled to house the Harvard-Yenching Institute, an independent public charitable trust founded in 1928 by the Charles M. Hall estate. Still active today, the institute is committed to advancing higher education in Asia in the humanities and social sciences. However, it is no longer headquartered in Boylston Hall; the Institute left in 1958 before another renovation.

Boylston Hall 1976-002 — CHC survey image. 1976

boylston interiors — 1959 Renovation. Interior views. Image from CHC Thompson collection

1959 interior- CHC collection item — 1959 Renovation. Interior Elevation. Image from CHC Thompson collection.

The 1959 renovation to Boylston Hall has been lauded repeatedly. It was the work of the TAC with Benjamin Thompson as principal-in-charge. As mentioned earlier, Thompson was concerned with “adapting spaces to conserve the best qualities of traditional architecture,” as quoted from a booklet available in our CHC051 collection. Coined as “recycling” and cited as the first of its kind in the area, Thompson’s design took great pains to retain the original Boylston Hall. For instance, the new arrangement placed fixed glass sheets in the curved windows. This was intended to improve the visual appeal priorly inhibited by wooden mullions. The new version of glass set in bronze would offset the granite and impose fewer interruptions. Additionally, Bainbridge Bunting stated in Harvard : an architectural history that “the detailing of other new elements, such as the arched metal vestibule at the main entrance, enhances the sense of strength conveyed by the granite masonry” (51). However, the fixity of the windows would prove to be a problem in the future.

Nevertheless, Thompson’s main task for the renovation was to accommodate more office spaces. Over the course of the project, Boylston Hall went from 39,206 sq ft to 53,300 sq ft, allotting 40% more floor space. This was achieved by remodeling the interior by adding a mezzanine between the first and second floors and another floor, making 5 levels total. The project cost about $880,000. Additional interior images can be seen in the items of the CHC051 collection.

Years later, in 1992 upgrades were issued to the exterior granite and six years after, a major renovation occurred. The 1998 project cost $8.3 million and was completed by Robert Olson and Associates, who were tasked with updating Boylston Hall for its current inhabitants.

Boylston Hall_HU_Dan Reiff Image (3) - small — Dan Reiff photo. CHC files

The space was now occupied by humanities departments as part of a larger strategic plan that made a Humanities Arc from Quincy Street to the Yard. Departments included Classics, Literature, Comparative Literature, Linguistics, and Romance Languages. Robert Olson and Associates addressed many of their particular concerns, including making the windows functional to improve air quality.

Boylston Hall_HU_Hollis Image Current — Hollis image. Exterior. *North Side [Ralph Lieberman photograph, 2012)*. Photographer: Ralph Lieberman, 2012. Image ID: olvsurrogate991681

hollis-interior view of lecture hall (2013) — Hollis image. Interior view of lecture hall (2013). Photographer: Ralph Lieberman, 2013. Image ID: olvsurrogate1032227

hollis- interior view of reading room — Hollis image. Interior view of reading room (2013). Photographer: Ralph Lieberman, 2013. Image ID: olvsurrogate1032221

The firm also achieved brighter, more open corridors by installing glass partitions. One of the most notable themes of the renovation was the emphasis on social spaces. Boylston Hall now sported a mezzanine cafeteria (C’est Bon cafe), common spaces and meeting rooms (Ticknor Lounge), and a 144 seat stadium-style auditorium (Fong Auditorium).

On the first floor, two prior large classrooms were split into three more usable classroom sizes. Although the redesign was applauded by most, not everyone praised the changes. News articles quoted people remarking on inferior workmanship and the loss of office space– it seems Ebenezer Johnson and the other contracted skilled workers of the first build were greatly missed! Additionally, as we’ve moved to the twenty-first century, the glass partitions between classrooms have caused logistical problems with audiovisual equipment due to the presence of glare. Nonetheless, Boylston Hall’s exterior has retained most of its visual integrity. Today, the building still serves the Departments of Classics and Linguistics but also Women, Gender & Sexuality.

Sources:

Bunting, Bainbridge. Harvard: An Architectural History. Cambridge, Mass.: Belknap Press of Harvard University Press, 1985.
Cambridge Chronicle. 24 August 1895.
Eliot, Charles W. Harvard Memories. Cambridge, 1923.
Harvard Crimson. 25 September 1902.
Harvard University. “About: Boylston Hall.” https://rll.fas.harvard.edu/pages/boylston-hall
Harvard University Gazette. 12 March 1998.
Henry, Stephen G. “A Brand New Boylston.” Harvard Crimson. 30 October 1998.
Powell, Alvin. “Boylston Hall Gets a Facelift.” Harvard University Gazette. 17 September 1998.
Shand-Tucci, Douglas. Harvard University: An Architectural Tour (The Campus Guide). Princeton Architectural Press, 2001.
Thirty-Second Annual Report of the President of Harvard College to the Overseers, Exhibiting the State of the Institution for the Academical Year 1856-1857. “Letter of Professor Cooke to Rev. James Walker. December 24, 1857.” Cambridge: Metcalf and Co, 1856.
Image from Thompson, Benjamin. “Let’s Make it Real.” Available in CHC051 Collection.

Torn Down Tuesday: 17 Frost Street

Posted on June 9, 2020 by Meta Partenheimer

Welcome back to Torn Down Tuesday! Today’s feature is the house that once stood at 17 Frost Street in Mid Cambridge. Known as the Ward-Lovell house, the 2½-story home was built in 1886 by Sylvester L. Ward, a Roxbury oil merchant, for his daughter Mary when she married Frederick Lovell, a North Cambridge grocer.

Frost St 17_survey — 17 Frost Street, CHC survey photo (1965)

The house was designed by architectural firm Rand and Taylor in the Queen Anne Style. In contrast to East Cambridge, where the buildings of the nineteenth century had to be crowded between and behind older structures, there was room in Mid Cambridge for large buildings and for new streets and subdivisions. Sixty percent of the area’s houses were built after 1873. While there are larger and more important Queen Anne houses in other parts of Cambridge, nowhere in the city is there such a range in scale and importance, in type and development, as in Mid Cambridge.

PanasonicMECH=KV-S7075C SIDE=F — 17 Frost Street, B. Orr photograph (ca. 1967)

As described in the CHC’s Survey of Architectural History in Cambridge, Vol. 2: Mid Cambridge, “The most exuberant manifestations of Queen Anne style were dying down by the end of the 1880’s, and in the last decade of the nineteenth century two trends appeared. One, the shingle style, with its continuous surfaces and curvilinear shapes, had originated a decade earlier in the work of H. H. Richardson and other architects but made its first appearance in Mid Cambridge at this time.” A late shingle style house, 17 Frost exhibits a continuous surface of shingles sweeps lightly over the house, and the shapes melt into each other, emphasizing the generous ornament on the porch gable.

1930Bromley — Detail of 1930 Cambridge Bromley Atlas

By 1906, the home was owned by Ferdinand Schuyler Mathews (1854-1938), artist and author of several field books describing the flowers, trees, and wildlife of the eastern United States.

Biblio — Familiar Flowers of Field and Garden by F. Schuyler Mathews, biblio.com (1897 edition)

In 1913, the Cambridge Tribune described Schuyler as follows:

“…the artist, is equally well known as an ornithologist, although he insists that the latter study is merely a hobby. Mr. Mathews, however, has become an authority on birds and their music. His stories of the feathered tribe and his imitations of their notes are always a source of much delight to his hearers. He interprets the bird’s songs and is responsible for the assertion that the oriole is a first-rate ragtime whistler.–Globe”

fieldbookofwildb00math_0057_BobWhite — Page from *Field Book of Wild Birds and Their Music* by F. Schuyler Mathews, Biodiversity Heritage Library (© 1904, 1921)

For decades, Mathews worked to transpose bird songs into notes, and published his work in a guide titled Field Book of Wild Birds and Their Music, A Description of the Character and Music of Birds, Intended to Assist in the Identification of Species Common in the United States East of the Rocky Mountains (1904; expanded and reprinted in 1921). Ferdinand was not the only person in his family pursuing the sciences. After receiving her A.B. from Radcliffe in 1912, Mathews’s daughter, Genevieve, worked at the Harvard College Observatory as a computer where she studied new and variable stars.

457622027 — Harvard University Archives: Harvard College Observatory. [Observatory Data Analysis by Women Computers], 1890.

The house remained in the Mathews family until the late 1930s, and was later purchased by Harry P. Frost, who rented out the home. Known as “Doc Frost”, he was a well-known trainer of boxers and worked with such greats as Harry Wills and Maxie Rosenbloom. In the 1940s, Frost worked for the City of Cambridge park department running a youth boxing program and trained the youths at the Rindge Field Playground. Frost’s widow, Sally, owned 17 Frost until the late 1960s. The home was demolished in November 1967 for a parking lot, and in 1988 a series of five pastel-colored houses were built on the lot. These homes stand today.

7-17_Frost_March2016_Googleims — 7-17 Frost Street, Google Street View (March 2016)

Never want to miss a Torn Down Tuesday or our other historical posts? Make sure to follow us here and on Instagram!

Sources:
Cambridge Chronicle, 19 February 1942
Cambridge Tribune, 20 December 1913
Maycock, Susan E., and Charles Sullivan. Building Old Cambridge: Architecture and Development. Cambridge, MA: The MIT Press, 2016.
Cambridge Historical Commission, Survey of Architectural History in Cambridge, Vol. 2: Mid Cambridge. Cambridge, MA: Charles River Press, 1967.

Torn Down Tuesday: 280 Harvard Street

Posted on April 21, 2020April 21, 2020 by Meta Partenheimer

Happy Torn Down Tuesday! As a follow up to our Modern Monday Instagram post yesterday, today we are featuring the house that once stood at 280 Harvard Street in Mid-Cambridge.

The February 19^th, 1887 edition of the Cambridge Tribune stated that the home was commissioned by Mrs. Caroline Marshall, wife of Boston merchant Moses M. Marshall for their son, Moses Sylvester. The article included a detailed description of the house and it’s building materials:

The house is set slightly back from Harvard Street and the exterior is very handsome; a piazza extends around two sides with a tower at the corner. The brick chimney is outside and is decorated with terra cotta panels. The house is clapboard, with the exception of the tower, which is singled, and the roof is covered with Brownville slate. The windows are of plate glass, while the front door has stained glass. This front door is of cherry, which is the main material used for finish the other outside doors, however, being of pine, with five panels and raised mouldings. From the vestibule one enters a hall measuring 16×9. On the right of this hall is the parlor, finished in cherry, with a large bay window formed by the tower. Back of the parlor is the library, also finished in cherry, from which opens a well arranged conservatory.

On the left of the ball, through an arch, one enters the reception hall, with stairs, the latter of cherry, with a find landing measuring 11×9. Back of the reception hall is the dining-room, while in the rear of the house are the kitchen and pantries. A pleasing feature of this house is that almost every room in it contains a bay window. On the second floor are five chambers, bath-rooms, cedar closer for furs, and on the third story two chambers, a store-room and large billiard room, measuring 32×23. The house will be tastefully furnished and will have elaborate mantels.

It will be completed about the end of March. The architect is Mr. G. J. Williams of Boston, and the builders, Messrs. Mead, Mason & Co. of Boston.

280 Harvard was the first residence in Cambridge designed by architect. G.J. Williams. This was one of Williams’s only single-family projects in the city, and is more stylized compared to his simpler multiple-occupancy dwellings at 86-88 Webster Ave or 62-68 Plymouth Street, designed the same year as 280 Harvard. However, the house’s design was echoed in others built in the following years on Harvard Street, such as those at 284 and 298.

According to a piece highlighting Boston markets and their proprietors, Moses S. Marshall began working for his father’s meat market in 1878 at age 18 and by 1893 was a senior member of the firm. The company, Marshall and Taylor, operated from 28 North Faneuil Hall Market in Boston.

commonwealth_xp68kn03q_accessFull — Faneuil Hall, ca. 1860s (Boston Pictorial Archive, Boston Public Library)

Moses S. Married Grace Clark on June 18, 1884 and the couple had a daughter, Dorothy Frances, on February 8, 1889. The family attended the Austin Street Unitarian Church (demolished in 1949), and Mrs. Marshall held church sewing meetings at the family residence. After a long illness, Grace Marshall died June 26, 1903 at 42 years old. Moses Sylvester Marshall died of a cerebral hemorrhage on October 24, 1909, at 49 years old. Caroline Marshall became head of the family after the death of her son, and continued to live at 280 Harvard Street with her daughter, Ella Stimson, and three granddaughters, including Dorothy.

1888_Sanborn — Detail, 1888 Sanborn Atlas (mapjunction.com)

The house was later occupied by Suffragette Mabel A. Jones, and for many years was home to members of the Manning family. The house continued as a single-occupant dwelling, and for decades saw many residents come and go. The house was demolished in 1971 to make way for the 18-story apartment building that stands a 280 Harvard Street today. For more information on the current building, see our Instagram post from Monday, April 20^th.

Torn Down Tuesday: 18 Old Dee Road

Posted on August 6, 2019May 13, 2020 by cambridgehistoricalcommission

Old Dee Road 18_001 — The house at 18 Old Dee Road was set back from the road and nestled into the landscape. (CHC Collection)

Constructed in 1947 for Harold and Anna Ryan, 18 Old Dee Road typified the mid-century International Style residence. Located on a cul-de-sac off Larchwood Drive, the house was a one-story, shed roof, frame structure with vertical wood tongue and groove siding. Fenestration consisted of single glazed wood frame casement and fixed glass units, with a horizontal emphasis. A large brick chimney was positioned near the back of the house. The main entrance was recessed at the center of the façade, and a side entry door was covered by a small shed roof. The house had an unusual trapezoidal footprint that widened from the front façade to the back, in response to the irregular shape of the lot.

map old dee road — The site’s shape, outlined in red, informed the layout of the house. Note the address numbers are different on this plan dated 1952. (City of Cambridge Public Works)

18 old dee road_Page_3 — View of the back of the house just prior to demolition. (CHC Collection, gift of Peter Wasserman)

18 old dee road_Page_5 — Floor plan as documented in 2005. The footprint is original except for an addition on the north wall which dates from 2001. (Dingman Allison Architects)

18 old dee road_Page_1 — View of main living area with fireplace. (CHC Collection, gift of Peter Wasserman)

The house was the first design by The Architects Collaborative (TAC) in Cambridge. The firm was headed by Walter Gropius, founder of the famed Bauhaus design school in Germany. In 1934, Gropius moved to England as Hitler rose to power. He eventually came to the United States in 1937 with his family to chair the architecture department at Harvard Graduate School of Design. Other TAC partners included Norman and Jean Fletcher, John and Sarah Harkness, Robert MacMillan, and Benjamin Thompson. As the name of the firm implied, there was an emphasis on a team approach to design and a modernist aesthetic that involved clean lines, functionality, and a rejection of superfluous ornamentation. Several partners designed their own homes at Six Moon Hill in Lexington which are still extant today. The firm’s only other residential commission in Cambridge was at 15 Hemlock Road in 1952.

tac 02 — Portrait of partners of TAC, 1952. Left to right, Sarah Harkness, Jean Fletcher, Robert McMillan, Norman Fletcher, Walter Gropius, John Harkness, Benjamin Thompson, and Louis McMillen . (*The Architects Collaborative*, Arthur Niggli, Ltd.)

TAC went on to design a range of projects around the world including the University of Baghdad, the Rosenthal Porcelain Factory in Bavaria, and the United States Embassy in Greece. In Massachusetts, the firm designed the Harvard Graduate Center, Wayland High School, and the John F. Kennedy Office Building in Boston, among others. Gropius was a part of TAC until his death in 1969. The firm closed in 1995.

The house was demolished in 2005.

Sources

http://architectuul.com/architects/view_image/the-architects-collaborative/27096

Jean Bodman Fletcher

http://wiedler.ch/felix/books/story/182

Modern Monday: Hayden Memorial Library at MIT

Posted on December 31, 2018May 14, 2020 by cambridgehistoricalcommission

For today’s #ModernMonday posting, we are highlighting the Hayden Memorial Library at MIT.

Hayden Library PHoto

Located on Memorial Drive, the library is named after Charles Hayden (1870-1937) an MIT alum (1890) who studied “mining investment.” Hayden was a philanthropist who donated vast sums of money for the construction of buildings including; the Hayden Planetarium in New York, the Charles Hayden Planetarium at the Boston Museum of Science, and the Hayden Memorial Library at MIT to name a few. Hayden was involved with philanthropy most of his life. During World War I, he donated $100,000 per year to the American Red Cross. Hayden’s largest philanthropic effort came following his death in 1937 when his will directed roughly $50,000,000 ($853 million in today’s dollars) from his estate be used to create a foundation to advance the education and “moral, mental, and physical well-being” of boys and young men. The organization, known today as “The Charles Hayden Foundation”, distributes grants of between $10,000,000 and $20,000,000 annually to support programs for children in the Boston and New York metropolitan areas.

Charles Hayden Photo — Charles Hayden in 1934, from the American Museum of Natural History Digital Special Collections.

Exterior original drawings_Tech. Review — Architectural drawing included in Architectural Record, Nov. 1946.

Interior drawings_Tech. Review — Architectural drawing included in Architectural Record, Nov. 1946.

Interior drawings_Tech. Review (2) — Architectural drawing included in Architectural Record, Nov. 1946.

The Hayden Memorial Library at MIT was unveiled beginning in 1946 when the Architectural Record highlighted the design of the building. The building was designed by Ralph Walker (MIT Class of 1911) of Voorhees, Walker, Foley and Smith Architects and was completed in 1951 in a Post-WWII Art Moderne Style. Walker was called “The only other honest architect in America” by Frank Lloyd Wright, and “Architect of the Century” by The New York Times when he received the Centennial Medal of Honor from the American Institute of Architects. He was most well known for his Art Deco buildings in New York. “Three years after accepting his award from the New York Times, he resigned from the AIA amid controversy surrounding a member of his firm who was accused of stealing another firm’s contract. Though he was later cleared of all wrongdoing and reinstated, he was apparently never the same afterwards. Ten years later, in 1973, Walker shot himself with a silver bullet, only after destroying his AIA award. His original firm still exists under the name HLW International, but as Walker and his wife had no children, all that remains of his great legacy are the buildings he created” (Ralph Walker: Architect of the Century).

MIT Hayden Memorial Library_Exterior010 — Hayden Library in 1968, photo part of CHC Survey files.

MIT Hayden Memorial Library_Interior012 — Hayden Library in 1968, photo part of CHC Survey files.

The Hayden Library inaugurated the expansion and modernization of MIT’s academic facilities and was one of the first truly Modern buildings on the campus. At the time, vast amounts of technical literature – generated largely by the war – had to be housed, and facilities had to be updated to accommodate recent advances in conservation, storage, and photographic reproduction. The Hayden Library would have to meet those demands. The protruding two-story glass bays allow ample natural light into the library and the limestone façade serves as a nod to the older Beaux Arts MIT buildings nearby.

MIT Hayden Memorial Library_UMichigan Archives — Photo of Hayden Library courtesy of University of Michigan Digital Archives.

Utilizing the Hayden Library’s initial design goal of “flexibility”, Shepley Bulfinch re-imagined the building as the hub of the MIT Library System in 2012 and it now houses collections for science, engineering, humanities, music, and archives.

The 1951 building remains as a great example of Modern architecture in Cambridge and shows how good architectural design can be timeless and adapted to meet future needs.

MIT Hayden Memorial Library_Color Slide CHC017 — CHC Color slide of Hayden Library in 1990s.

Now Open: Cogswell Collection

Posted on April 30, 2018May 14, 2020 by cambridgehistoricalcommission

This post was authored by our Simmons 438 Archives intern, Elise Riley.

At the turn of the 19^th century Cambridge’s built environment entered into a period of flux. New buildings and streets were added as the city developed. Neighborhoods expanded as houses were built into the burgeoning urban landscape. Beginning in 1910, the neighborhood of Shady Hill saw the addition of several streets including Irving Street, Bryant Street, and Francis Avenue.

Charles N. Cogswell Scrapbook Page #23 — Top Left: “E” – Bryant St. from corner of Irving St., May 3, 1912. Top Right: View from Irving Street. Bottom Left: View from same point as above, September 1920. Bottom Right: View from same point as above, September 2, 1916.

The Charles N. Cogswell Collection (P014) consists of a scrapbook and loose photographs that depict these changes to the built environment in Cambridge, as well as daily life, in the late 19th century. Charles N. Cogswell, a Cambridge resident and Boston architect, lived at 61 Kirkland Street from 1882 until his death in 1941, aged 76.

Charles N. Cogswell Scrapbook Page #2 — Charles’s brother George Cogswell on a penny-farthing.

Cogswell attended Harvard University and went on to study architecture at M.I.T. and at the Ecole de Beaux Arts, Paris. While the bulk of his professional work took place in Boston, Cogswell dedicated his free time to capturing the changing architectural landscape of his Cambridge neighborhood.

Charles N. Cogswell Miscellaneous #17 — Top right: April 30, 1910. The beginning of the extension of Francis Avenue through to Museum Street, before the Andover Seminary Building was constructed. Bottom left: 61 Kirkland Street. Bottom right: [Francis Ave.] View from same point on September 2, 1916 [Professor Chas H. Haskins-House in distance]

Shady Hill is located east of Harvard Yard, right next to what is now the Harvard Divinity School. The Cogswell Collection is unique because it captures the in-between moments of growth in Cambridge and shows what the city looked like as construction was happening.

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Cogswell’s neighborhood was also home to several notable Cambridge residents. While Cogswell lived on Kirkland Street, around the block on Irving Street lived Harvard professors William James and Josiah Royce.

Charles N. Cogswell Scrapbook Page #10 — Views from Irving Street, 1891.

Charles N. Cogswell Scrapbook Page #3 — Aerial view of Irving Street, 1888.

E.E. Cummings and Julia Child would later live on this same block of Irving Street, the Childs in Royce’s former home at 103 Irving Street (above).

In his scrapbook, Cogswell also included snapshots of daily life and events in and around Cambridge.

Charles N. Cogswell Scrapbook Page #5 — Cyanotype photographs of a regatta on the Charles River, 1887 or 1888.

Charles N. Cogswell Scrapbook Page #20 — Family dog, Kinch, on the Cambridge Common.

Charles N. Cogswell Scrapbook Page #15 — Top: View of Holmes Field, 1886 or 1887. Bottom: Shaw Barn on Kirkland Road after the fire, April 7, 1886 (owned by Prof. G.M. Lane).

The finding aid will soon be available on our website. To view photographs from the collection, check out our Flickr page, or email histcomm@cambridgema.gov to make an in-person research appointment. The Cambridge Historical Commission also holds files on 61 Kirkland Street and the other addresses mentioned in this scrapbook.

Frederick Hastings Rindge Collection

Posted on June 20, 2017November 14, 2018 by Meta Partenheimer

In the late 1990s, Ronald R. Rindge donated a collection of materials that had belonged to his grandfather, the philanthropist Frederick Hastings Rindge (1857-1905). Earlier this month, Frederick Hastings Rindge’s great-great-granddaughter, Melissa Rindge, came to visit the commission. CHC Executive Director Charles Sullivan showed Melissa a selection of Rindge items. This collection is comprised of materials relating to the Rindge family’s business interests in New England and Frederick Hastings Rindge’s donations to the city of Cambridge, including the Cambridge Public Library (1887), Cambridge Manual Training School (1888), and City Hall (1889).

rindge1 — Charlie showing Melissa the Cambridge Manual Training School Yearbook from the class of 1897.

Born to a wealthy textile merchant family in Cambridge, Massachusetts on December 21, 1857, Frederick Hastings Ridge grew up to become a successful businessman. Rindge was privately tutored before continuing his education at Harvard. The passing of his parents in the late 1880s left him with an inherited estate of approximately 2 million dollars.

F_Rindge001 — Portrait of Frederick Hastings Rindge from his book *Happy Days in Southern California*.

The Cambridge Historical Commission is proud to house the Frederick Hastings Rindge Collection, which contains materials from 1852-2001. Included are correspondence, photographs, financial records, family papers, and architectural drawings, among other items.

ledger — Ledger page detailing real estate and property inventory, 1 July 1893.

Rindge’s business interests in New England comprised a number of textile mills and manufacturing companies and he owned a large number of real estate properties, mostly inherited from his father. Many of our records represent the family business as well as Rindge’s philanthropic efforts.

Monadnock_Mills001 — Photograph of Monadnock Mills, located in Claremont, New Hampshire c. 1890s.

Monadnock_corresp001 — Monadnock Mills comparison financial statement, 31 May and 30 November 1897. Francis J. Parker was one of Frederick Hastings Rindge’s business managers.

Happy_days001 — *Happy Days in Southern California* was published in 1898. The book begins with a history of this region and follows with descriptions of animals, flora, and scenery.

In 1888 Rindge relocated to California, where he purchased large tracts in Los Angeles and a 17,000-acre Spanish land grant north of Santa Monica that is now occupied by the town of Malibu. Between 1888 and 1890, Rindge’s old schoolmate, William E. Russell, then Mayor of Cambridge, urged him to fund the construction of a number of projects in Cambridge, including the Cambridge Manual Training School (later renamed the Rindge Manual Training School and now the Cambridge Rindge and Latin High School). Rindge hired the architects, superintended the construction, hired the faculty, reviewed applications from students, and supported the school for five years before turning it over to the city. Because Rindge was living in California, all these matters were the subject of extensive correspondence with his agents in Boston.

RMTS001 — Rindge Manual Training School Register, March 1903.

RMTS002 — Photograph of the Rindge Manual Training School baseball team, 1925.

Many records held in the collection relate to the Cambridge Manual Training School and Camp Rindge, a summer camp program for the CMTS students at Lake Winnipesaukee, NH.

Camp_Rindge001 — A tent erected at Camp Rindge, c. 1893.

This collection is open for viewing and research at the Cambridge Historical Commission. Stop by during our research hours: Monday: 4:00-7:00PM, and Tuesday/Thursday: 9:30-11:30AM and 2:00-4:00PM, or feel free to call and make an appointment with our archivist!