Topic: Urban Renewal
Urban renewal, the West End Project, the North Station Project, the Government Center Project, City Hall, renewal projects in other cities
In the late 1950s, the Committee to Save the West End brought residents and political leaders together to vigorously oppose the Boston Redevelopment Authority’s plan to raze 50 acres of the neighborhood.
In 2015, Brian Golden, director of the BPDA, gave the City of Boston’s formal apology for the destruction of the old West End. He delivered the apology in a speech at The West End Museum, and his words continue to hold meaning for current debates about urban renewal powers in the city.
The history of urban renewal in the West End is well-known, and locals are familiar with names of the “last West Enders” who refused to leave their neighborhood. As the aftermath of urban renewal lives with us today, there are a few ways to look at “the last” of the old neighborhood.
Augustus Mantia and his family owned the West End parking lot Staniford Street during the 1960s. Cars parked on an unpaved field where vibrant tenements once stood before their demolition by the Boston Redevelopment Authority in the late 1950s. Public backlash against the Mantias’ monopoly over the lot – with high profits, abnormally low rent, and no competitive bidding process – led the City to close the parking lot in January 1971.
Our Lady of Ostrobrama, the Polish Catholic Church on Chambers St. in the West End, was founded in 1920 and demolished in 1958 on account of the Boston Redevelopment Authority’s urban renewal plan.
As director of the Boston Redevelopment Authority in the 1960s, Ed Logue was the highly visible face of urban renewal in the period following the destructive and controversial redevelopment of the West End.
Jane Jacobs was a journalist, author, and activist who argued for the prioritization of people in urban planning projects.
Victor Gruen was the Austrian-born architect whom Jerome Rappaport, Sr. hired to design Charles River Park, the development that replaced the demolished West End in the 1960s. But Gruen’s work also had national significance as “the father of the shopping mall.”
