Bowdoin Square has gone through many phases, including rapid development, growing population, changing fortunes, urban renewal, and attempts at revitalization. Today the name survives mainly in the name of an MBTA station, but examination of Bowdoin Square provides insight into two and a half centuries of Boston history. This article, the second part of two, covers the history of the square in the twentieth and twenty-first centuries.
The story of urban renewal in the West End is a complex one, marked by both ambitious plans and challenging realities when it comes to affordable housing. Over the past seventy years, the West End has served as a cautionary tale, full of broken promises and ongoing struggles for income-restricted housing. More recent efforts, such as the affordable housing initiative that is part of the redevelopment of the West End branch of the Boston Public Library, look to address this past.
Taken Away Film Screening, featuring an introduction and Q&A with filmmaker, Christopher Brown.
Below is a memory letter from the Museum’s archives, originally submitted by Joseph LoPiccolo to the West Ender Newsletter in 1988. In it, we follow Joseph and his grandfather (an Italian immigrant) through their daily lives in Boston’s West End, prior to its demolition.
In the 20th century, the superblock concept emerged from modernist planning principles as an alternative to the traditional grid. These superblocks, while theoretically promising a more ordered and healthy urban environment, proved destructive when implemented through America’s urban renewal programs, including in Boston’s West End.
From 1958 to 1960, Claudia Kelty and Stephen Edgell systematically photographed the demolition of the West End neighborhood, street by street. The Edgells continued their involvement in post-demolition West End activities, creating an (unpublished) book on the West End and becoming members of the West End Historical Committee, and later its successor, the West End Historical Association. In March of 2023, their son, Stephen Edgell Jr., donated their extensive collection to The West End Museum, including records, art, ephemera, and, most significantly, the 1,700 photographs that his parents took during the West End Project.
Charles J. “Frani” Zanfani (1922-2001), born in Boston to Italian immigrant parents, first moved to the West End with his family in the 1950s. Displaced by the West End urban renewal project to the North Slope of Beacon Hill, Frani devoted the 1960s to meticulously photographing the destruction of the neighborhood. His photographic collection, preserved at The West End Museum, offers a poignant view into Urban Renewal and its devastating effects on the community.
Scollay Square was a vibrant entertainment hub in Boston from the mid-19th century to the early 1960s, known for its burlesque theaters, comedy shows, boisterous bars, and eclectic mix of businesses. Located directly next to the West End at the intersection of Cambridge, Court, and Tremont streets, it attracted both locals and out-of-town visitors, including sailors, with its lively nightlife and commercial offerings. The area was demolished in 1962 as part of an urban renewal project, to be replaced by Government Center.
