Mark A. Nordenberg Hall, built in 2011, is a perfect example of what old Pa Pitt calls the neoneoclasssical style: it uses the shapes and symmetry of classical architecture without the embarrassing ornamentation. In this building, some of the effect of that missing classical ornamentation is simulated by a pleasing variation in the materials. The architects were the St. Louis firm of Mackey Mitchell Architects, with our own MCF Architecture (the successors to Edward Stotz) coming along for the ride.
This building replaced the 1926 University Place Office Building by Edward B. Lee, a much smaller building that, in its sparse detailing, almost anticipated the neoneoclassical style.
An inbound two-car Red Line train stops at the Fallowfield station in Beechview. The leading car is in the new chain-of-circles livery; the trailing car is in the older checkerboard livery.
This was built in 1914 as the Kaufmann & Baer Department Store, the Kaufmanns in the name being brothers of the Morris Kaufmann who owned the Big Store two blocks away. It was bought out by the Gimbel Brothers eleven years later, and for generations of Pittsburghers this was the Gimbels Building. Its name is now officially Heinz 57 Center, but most people still call it the Gimbels Building. The architects, Starrett & van Vleck, were specialists in department stores from New York.
Acres of terra cotta went into decorating the Smithfield Street and Sixth Avenue faces of this building.
And of course there was the clock. It was not as famous or elaborate as the Kaufmann’s clock, but it was another good place to meet someone downtown. This is obviously a good bit more recent than the building itself: it has a streamlined Art Deco look.
The border between McKees Rocks and Stowe Township is whimsical. It cuts diagonally across the Bottoms, bisecting several buildings, so that this firehouse in the shadow of the McKees Rocks Bridge is actually in Stowe Township. In fact, the hypotenuse of this triangular building is the McKees Rocks border.
The architect, whoever it was, responded to an odd-shaped site with an Art Deco building that emphasizes its own triangularity. Since, as old Pa Pitt has remarked before, firehouses are basically men’s clubs, and men’s clubs always block in their windows, this building has lost several of its ground-floor windows. Otherwise it appears to be in close to original shape. It is still in use as a firehouse; it appears on Google Maps both as “Preston Volunteer Fire Department,” which is marked as a fire station, and “Independent Hose Co #5,” which is marked as a bar.
Charles M. Bartberger’s perspective renderings were featured more than once in the American Architect and Building News. From December 29, 1900—two days before the end of the nineteenth century—comes this very pleasant mansion for a wealthy Pittsburgher. Mr. Bartberger, whose father was the successful architect Charles F. Bartberger (and the two of them are mixed up all over the Internet), had established himself as a reliable designer of houses for the fairly-well-off, and this Dutch-colonial house is a variation on a very common style in the East End neighborhoods: not an adventurous design, but a respectable one. Father Pitt does not know where it was built or whether it still stands, but he will be looking out for a house with those distinctive dormers. (Update: Mr. Edward Kneeland is shown at 5660 Irwin Avenue in Polk’s Pittsburgh Directory for 1905. Irwin Avenue is now Aylesboro Avenue; the house seems to have been replaced with a store and apartment building at some time in the 1920s.)
Not the one with the Christmas tree, but the one before that. Horne’s was Pittsburgh’s first department store, and in 1880 the already-well-established Joseph Horne Company built this grand mercantile palace. It was Horne’s for only about seventeen years: in 1897, the department store moved to its much larger location at Penn Avenue and Stanwix Street, where it would stay for almost a century. After that, the Pittsburgh Post moved into this building, and later the Sun as well, when they were under the same ownership.
The Wikipedia article on the Joseph Horne Company is a mess, and old Pa Pitt ought to work on rewriting it, except that it would require extensive research. Among other things, it tells us (without citing a source) that this building was built in 1881 (which may be when it opened) and was designed by Charles Tattersall Ingham, who would have been four years old when he designed it. Decent work for a four-year-old. However…
The lower floors got a complete makeover in 1920, when the building was a newspaper headquarters, and that part of the building is in the trademark Ingham & Boyd style: rigorously symmetrical, with meticulously correct classical detailing. Charles Tattersall Ingham would have been 44 years old then, right in the middle of a prosperous career. Old Pa Pitt will therefore tentatively attribute that 1920 remodeling to Ingham & Boyd.
Do you have plans for a luxury-apartment project downtown? Here is your opportunity. Everyone else is doing it.
Possibly more famous people, and especially musicians, have gone to Westinghouse than to any other high school in Pittsburgh. We might compare it to the famous Austin High in Chicago for the number of great jazz lights who came out of it—and arguably the ones from Westinghouse have been more influential. So far only Billy Strayhorn has a historical marker outside the school, but there’s room for a forest of markers, or—since this is an Ingham & Boyd school—an orderly orchard of markers.
Ingham & Boyd designed the building in their usual severely classical and ruthlessly symmetrical style. When you walk in these doors, you know you are entering something important, and even the Bulldog banners cannot diminish the formality of it.
The two mottoes inscribed on the front of the school fit perfectly with the architecture. Mottoes and style convey the same message: there is one standard of absolute truth, and you will enter into the truth here.
With the aid of a very wide-angle lens, we can see the whole face of the tallest building in Pittsburgh from Grant Street. This was a very tall building when it was put up: it was the eighth-tallest in the world, and the tallest outside New York and Chicago. Now it doesn’t crack the top two hundred, but it is still record-breakingly massive in one way: no other building has a roof that big that high. Other tall buildings taper; this one goes straight up.
If you have ever come up the Ohio or across the McKees Rocks Bridge, chances are you have noticed this gold-domed tower rising from the McKees Rocks Bottoms. You would not have had time to appreciate the details, but appreciate them now. Just the tower is a remarkable piece of work. But the whole church is something extraordinary, and worth a visit to the Bottoms to see. Since the Bottoms is a neighborhood of surprising architectural riches, you will probably find yourself distracted by a dozen other wonders before you leave.
Holy Ghost Greek (now Byzantine) Catholic Church is a startling outcropping of Art Nouveau in a neighborhood where we never expected to find it. The design was the work of McKees Rocks’ own John H. Phillips, as we know from the cornerstone.
Here we have the date, the name of the architect, and the name of the contractor, along with the name of the pastor. There was one other church architect in Pittsburgh who routinely put his own name and the name of the contractor on cornerstones in florid Art Nouveau lettering, and that was Titus de Bobula. Looking at the style of this church, with its radical and constantly surprising Art Nouveau ornamentation, Father Pitt forms the hypothesis that Phillips knew of Titus de Bobula’s work and was strongly influenced by the eccentric Hungarian.
The corner cross picked out in bricks is wildly different from anything you have seen before. To the right of it we also see a variant of the square above a downward-pointing triangle that seems to have been a kind of signature for Phillips, appearing on at least three of the four buildings of his that Father Pitt has so far identified.
The church behind the front is more conventional—which is also true of Titus de Bobula’s churches. Both de Bobula and Phillips relied on elaborate fronts to make their grand impression.
Certainly this tower makes a strong impression. There is nothing else quite like it in Pittsburgh. The variation of detail in the bricks is remarkable. But the forms are harmonized very cleverly, with each level echoing shapes from the other two.
Phillips also designed the Ukrainian National Home around the corner, and Father Pitt hopes to identify more buildings by him in McKees Rocks. He has joined Pittsburgh’s exclusive little club of early modernists, and old Pa Pitt is delighted to make his acquaintance.
