The range of properties within the program is diverse, spanning Massachusetts’ history and various architectural styles. “About half the properties are residential and have residential uses,” Allen says. “The rest are used by non-profits and for-profit businesses.” For example, Bascom Lodge is a for-profit business, providing food, lodging and programs at the top of Mt. Greylock in the Berkshires. Another project, the former office building for the Baker Chocolate Factory, which during the early 20th century was the largest factory in the world, has been converted into artists’ lofts by a for-profit real-estate management company. The program’s most recent lease is for a 30- by 20-foot 1880s life-saving station on Massachusetts’ south coast; a non-profit will be restoring and preserving it.
The fact that the Historic Curatorship Program’s 20th lease was signed only recently is an indication of how intense the search and vetting process can be to identify the right curator. And it’s for good reason. “Buildings located in state parks with hundreds of acres of undeveloped property around them can be a draw or a deterrent,” Allen says. “The downside is being on state property brings with it things that don’t happen in other places. Digging a foundation has to be cleared through an archaeologist to ensure you’re not digging into anything significant. If something is found, sometimes you have to stop digging so the archaeologist can examine the area.”
That’s only the beginning. DCR often has no trouble finding interested parties when it releases its request for proposals about a building in the program. “We initially get a huge wave of interest, but it’s amazing how quickly that narrows when people start to see not only what is involved with the rehab, but that they’re also under the auspices of the state for the next 30 years for changes they can make on the property,” Allen adds. “It’s really miraculous we’ve found the curators we have.”
In fact, there have been buildings that don’t receive any legitimate proposals, but DCR doesn’t lose hope. For example, the 2-story Georgian-style Lamson House, also in Bradley Palmer State Park, needed a new septic system and experienced up to 4 feet of water in the basement every time it rained. “That scared most people away,” Allen says. “We put out an RFP on that home two previous times starting in the ’90s with no response. We did a little work over the years to keep it on life support until we could find the perfect partner. We put out an RFP again five years ago and found the perfect curator. The husband owns a construction company and is a licensed septic installer and drainage specialist. He has the equipment that would have been cost prohibitive for us or anyone else to hire. We had given that building up for lost because it was in such bad condition, but it is now becoming a beautiful home again.”
Before putting out an RFP, DCR completes a thorough conditions assessment of the property with the help of engineers and architects to identify baseline preservation requirements. “We incorporate into the lease a work plan that includes all the things that need to be done to the property,” Allen remarks. “You can never identify everything; things will come up as time goes on and changes will happen. We try to know at least the major issues and set some thresholds.”
In addition, the curator’s work plan is guided by the Secretary of the Interior’s Standards for Rehabilitation. “We also work closely with the Massachusetts Historical Commission, which reviews the final plans from a preservation standpoint,” Allen adds. “We can find creative ways to retain as much of the historic character as possible; there’s an understanding that changes are going to happen.”
Chosen Curators
After the RFP goes out, DCR accepts responses for eight to 12 weeks, depending on the type of property. During that time, open houses are held so interested parties can inspect the building(s) and ask questions. Then, a team of five or six people, including park staff and managers, cultural resources staff and engineers who ultimately will be the staff working with the curators through the rehabilitation process, decides on a short list of potential curators based on the proposals. The members of the short list are brought in for individual interviews.
“Usually, it comes down to one or two proposals who are invited in for interviews,” Allen notes. “It’s amazing how the person or group with the vision shines through early in the process. It’s usually a really unique story— someone who has grown up playing Frisbee in the park or a couple who has walked by this house and is heartbroken it’s falling apart. Or it’s a business that knows the unique location and setting is one in a million and can capitalize on it and make their business plan thrive.”