Built in 1822, the Allendale Mill on Woonasquatucket Avenue currently serves as apartment housing for the North Providence community. Although the building’s existing structure provides hints of its historic past, most simply ignore it as just another defunct mill, unaware that both its design and operation served as a model for later textile mills.

The man behind its construction was Providence luminary and civic leader, Zachariah Allen, born 1795. He was a founder of the Providence Athenaeum and the Rhode Island Historical Society, as well as a trustee of Butler Hospital. A successful legal professional and respected author, Allen constructed Allendale Mill out of a desire to return to his family’s roots in manufacturing woolen textiles.

Allen was as much innovator and inventor as academic and businessman. Learning from the failures and deficiencies of past and present textile mills, Allen’s design for Allendale was way ahead of its time.

The entire structure was designed from the ground up around a single key element: fire safety. Allendale’s double-thick floors, complex staggered-framing, general floorplan and original slate shingles all contributed to the plan for the “slow-burning mill,” a term attributed to Allendale and later applied to other mills that used such a design.

In addition to its safer construction, Allendale was at the forefront in terms of practical and accessible fire protection for workers. Among Allendale’s signature hallmarks was its own hydrant and sprinkler system, which complemented industrial-grade pumps and water-hoses situated at ‘hot-spot’ locations throughout the mill.

Allen believed that his commitment to providing a safer work environment would constitute lower insurance premiums for his mills, but his insurers disagreed. Thus, Allen decided he would need to form his own insurance company. Together with other like-minded business owners, Allen collaborated with the Boston Mutual Insurance Company to form the Allendale Insurance Company. This new firm would deal only with manufacturers that held their facilities to the highest standards in construction, maintenance, and quality, and would use the Mill at Allendale as a benchmark for further industry standards that would help to shape the development of modern workplace fire codes and regulations that continue to safeguard workers today.

Allen’s insurance enterprise continues to operate as FM Global, headquartered in Johnston, RI.

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In 1978, three women engaged in a conversation about the role women professionals could play in changing women’s lives. Within 16 months, they had started a business: the Women’s Development Corporation. Katrin Adam, Susan Aitcheson, and Joan Forrester Sprague were coordinators of the Third Session of the Women’s School of Planning and Architecture (WSPA), held in August 1978 at Roger Williams College (today Roger Williams University) in Bristol, RI, a program focused on design by and for women. They soon met and invited Alma Felix Green to join them, a former employee of the Providence mayor’s office with ties to the local community. The WDC exists today as one of the largest nonprofit housing developments in Rhode Island, developing scattered-site, low-income housing, with an emphasis on community investment and a participatory design process. Over nearly 40 years, they have provided housing for between 9,000 and 10,000 people.

In the early years, the WDC focused its efforts on Providence’s Elmwood, then “a multi-ethnic neighborhood in which more than half of the residents are single, widowed, or divorced women… [with] the state’s highest percentage of families receiving welfare payments.” At the outset, the organization also sought to help support and empower community women professionally, in addition to providing housing opportunities. They organized workshops to teach women how to go into business—how to get help from the Small Business Administration, plan a business, sell services to the government, and so forth—as well as training women to be eligible for employment as carpenters’ and painters’ apprentices in the construction industry. The WDC provided transportation and child care for these programs, as required. This emphasis on self-empowerment was and is critical to the mission of the WDC, originally serving a client group of marginalized women by offering “a chance for stable housing within a support system network that encourages independence and self-sufficiency.” Today, they also build alliances with elderly, disabled, veteran, and homeless communities.

The WDC addresses a number of social issues in their developments. First, they seek to tackle the stigma of low-income housing that leads many communities to resist such development initiatives. They rehabilitate triple-decker houses, transforming existing buildings into multiple apartments in scattered-site plans that blend into the neighborhood. The WDC manages the properties themselves to ensure that the housing will be taken care of, maintaining a good reputation for low-income housing. Second, according to Aitcheson, they “thought it was very important to try to be sure that the housing is responding to the people who live in it… So we spent quite a bit of time in participatory design process where families could tell us about where they live and why they live and how they live.” Taking direct input, they designed spaces intended for single mothers: a standard plan of three- and four-bedroom apartments has more, smaller bedrooms to allow for greater privacy alongside a shared open space, visible from the kitchen, to facilitate group play. Substantial storage spaces significantly ease quality of life, while parking directly in front of the unit and small, fenced-in backyards with lighting address security.

Finally, since opening their doors in 1979 the WDC has held a commitment to building environmentally conscious, energy efficient homes. In the 1990s, when it had become the largest producer of low-income housing in the state, the organization expanded this emphasis on environmental conservation to historical preservation. They joined forces with the Providence Preservation Society to address affordable housing and the preservation of endangered historic homes in the inner city. The high costs of preservation standards can make it prohibitive to maintain buildings in low-income neighborhoods, resulting in the destruction of turn-of-the-century structures. The WDC bought, renovated, and managed historical houses as low-income rental properties, protecting the buildings as well as the neighborhood itself, preventing gentrification and displacement.

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“Over ten years ago, two women, both lovers of antique Colonial furniture, decided to popularize its beauty by making artistically perfect, made-to-scale doll’s furniture. Equipped with a child’s circular saw, they opened a tiny shop in the tiniest State in the Union. “ Tynietoy Catalogue, c.1930

Responding to a halt in trade during World War I that saw an end to the importation of European toys, Marion Perkins made her first piece of miniature furniture, a ladderback rush chair, in 1917. Encouraged by fellow member of the Handicraft Club in Providence, Amey Vernon, the two set up a small workshop space at the Club, first in the basement of the John W. Mitchell House, and subsequently in the carriage house of the Truman Beckwith House, which allowed space for a showroom as well.  This was the beginning of the Toy Furniture Shop and their line of Tynietoy furniture. Perkins had studied in the department of Decorative Design at the Rhode Island School of Design, and after working briefly as secretary for Rhode Island’s Governor Lippitt she embarked on a career as an interior designer. Perkins used her practical knowledge and expertise to create high quality miniature furnishings, at a scale of one inch to one foot. Much of the furniture was modeled on the American colonial period, which Perkins would have been familiar with from the Pendleton House Collection of American and European decorative arts, donated to the RISD museum by Charles Pendleton in 1904.  Well-known Providence artist, Sydney Burleigh assisted in the design of the furniture and dollhouses, and as the company’s output expanded, the manufacturing moved to larger quarters on Market Square, where the RISD auditorium now stands. The company had around sixty employees by 1927 made up of RISD students and veterans from the First World War, who were responsible for hand painting the details and decoration of the pieces, as well as assisting with the construction of the dollhouses and furniture. Thus, Perkins can been seen as part of a wider national movement after the War, which saw a renewed interest in the socially beneficial impact of design, demonstrated locally by RISD’s rehabilitation program for wounded veterans, established in 1919. Tynietoy offered six different models of dollhouse, all based on traditional New England house styles, the most expensive of which was the Colonial Mansion, partly inspired by Pendleton’s residence in Providence at 72 Waterman Street, which was itself used in the design of the interiors of Pendleton House. The quality of the Tynietoy furniture, combined with the fact that it was made to scale, set it apart from other companies producing miniature furniture during the period. The company was at its most active in the 1920s, and was duly credited with enhancing appreciation for colonial style American furniture, both nationally and internationally, evidenced by the fact that the Metropolitan Museum of Art in New York acquired the first room of miniature furniture Perkins exhibited at the Handicraft Club. After the stock market crash in 1929, the business began to struggle, although it managed to stay afloat until the early 1950s.  From business records, it appears that the company was taken over by new management in 1940, the year in which Vernon died. Perkins died in December 1947. The story of Tynietoy offers a rare example of female entrepreneurship in a period when women were not encouraged to work, let alone run a company. Perkins, much like the founders of the Handicraft Club, aimed to promote an appreciation of hand-crafted design, both within the local community and further afield, offering her own form of historic preservation in miniature. 

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In 1904, ten women gathered together, led by former school teacher Julia Lippitt Mauran, to form a club in Providence devoted to “the promotion of interest in all kinds of handicraft and to provide a place where such work could be done.” This was, in part, a response to the growing interest in hand crafted design sweeping the country in the later decades of the 19th century, which saw the establishment of the first American arts and crafts society, founded in Boston in 1897.

In a report on the arts and crafts convention held in Boston in 1907, Mary Parsons, president of the Handicraft Club from 1904 – 1909, emphasized the crucial role of the Club in creating a center of activity for those interested in arts and crafts in Providence. Thus, the Club’s embattled search for a permanent home in the first ten years of its existence caused a great deal of alarm amongst its officers and members alike. Between 1904 and 1925 the Club had to move premises four times. This begun with informal meetings at the Froebal School, where Julia Mauran had been a teacher, and a brief period at Maxcy House at 7 Cushing Street, to a twelve year stint at the Truman Beckwith House, 42 College Street, from 1907 to 1919. They were forced to move again when the House was rented to another party, at which point they established what they thought would be their permanent home in Mitchell House, 227 Benefit Street, only to return to Beckwith House for good in 1925.

With the purchase of Beckwith House, the Club also took on the responsibility of preserving the historic building, designed by the architect John Holden Greene, and completed in 1826. Renovations included extensive redecoration, and the installation of a bow window in the south wall of the carriage house, the first floor of which was occupied by the workshop and showroom for the miniature furniture company, Tynietoy, established by Club members Marion Perkins and Amey Vernon in 1917.

Through providing the equipment required for crafts such as metalwork and book binding, among many others, and in encouraging the entrepreneurial activities of its members, the Club brought such endeavors out of the home and into a more public arena, endowing these women with a sense of pride and accomplishment in the skills they gained and the crafts they produced. In addition to offering classes and lectures by external practitioners from a wide range of geographic and disciplinary backgrounds, the Club served as a site in which women could exchange ideas and draw inspiration and knowledge from one another. The Club also staged exhibitions of members’ work, which were open to the public, and thus encouraged an interest in and support for handicrafts within the local community. During both first and second World Wars the Club devoted much energy to the war effort, knitting socks and scarves for the Red Cross and raising money for their Red Cross Unit by selling craft items.

The Club remains active in the community to this day, maintaining a strong sense of its heritage. In an effort to preserve the work of Perkins and Vernon, the Club acquired a Tynietoy dollhouse in 2013, and is still in the process of furnishing the Colonial style mansion with Tynietoy furniture. Thus, the Club continues its dual mission of promoting an interest in handicraft and historic preservation.

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