St. Richard’s parish was founded in 1894 and immediately put up a temporary frame church. Two years later, a rectory—obviously meant to be permanent—was designed by J. A. Jacobs in a restrained version of the Queen Anne style.
In 1907, the parish started building a school, which would also have temporary facilities on the ground floor for the church until a new church building could be built. It was partly financed by “euchre and dance” nights.
Father Pitt has not yet succeeded in finding the name of the architect, but he has found a lot of newspaper announcements of euchre and dance nights.
The permanent church was not yet built in 1915 when this convent, designed by Albert F. Link, was put up. Although the second-floor windows have been filled in with much smaller windows, and the art glass has been replaced with glass block, the proportions of the building are still very pleasing.
We note a pair of stained-glass windows in one of the filled-in spaces on the second floor. If Father Pitt had to guess, he would guess that they came from one of the central windows that are now filled in with glass block.
It turns out that the permanent church was never built. The dwindling congregation continued to meet for Mass on the ground floor of the school until the parish was suppressed in 1977. The school became St. Benedict the Moor School, and the ground floor was finally converted into the classrooms it had been designed for. Later the school moved to larger facilities at the former Watt Public School, but the parish kept up the old building as an events center.
Do you know what happens if you walk into the projects with a camera?
Well, people walking past smile and say “good morning,” because this is Pittsburgh, and that’s what we do.
At Wikimedia Commons, where Father Pitt donates all his pictures, another Commons user asked him as a favor to get some pictures of the Bedford Dwellings, because they are scheduled to be demolished when their replacements are finished, and there were no current pictures of them in Commons. So of course old Pa Pitt was out there the very next morning, because these are historic buildings whose memory should not be lost.
Suburbanites seem to be terrified of the “projects”—the public-housing developments for poor people in the city. Old Pa Pitt is not going to tell you that the projects are dens of luxurious living, or that it is always an easy thing to raise a family there. But these buildings are better maintained than many suburban apartment complexes, and they are filled with people who care about their community and try to be good neighbors to one another.
The Bedford Dwellings, built in 1939, were one of several New Deal housing projects in Pittsburgh. The architects were an all-star cast (and Father Pitt has no idea how they sorted out the work among themselves): Raymond Marlier, who designed Western Psych and several buildings at Kennywood; Bernard Prack, an expert in large industrial projects and worker housing; Edward B. Lee, architect of several tony clubs and the Chamber of Commerce Building downtown; and the venerable William Boyd, who was already architecting when the others were in kneepants. For this project they adopted a modernist simplicity that, in Father Pitt’s opinion, makes the development look like a barracks. But many expensive suburban apartment complexes adopted the same look at the same time.
The idea behind the projects was to get poor people out of the awful “slums” and into decent housing, which would give them an opportunity to improve themselves.
Now, in old Pa Pitt’s opinion, much of the thought behind the projects was misguided. The slums they replaced might have been unsanitary and crowded, but they were alive. They had corner stores and bars and synagogues and churches and all the things that make a neighborhood a neighborhood. In contrast, the projects were just warehouses for people. They did have a community center and a recreation area, but they organized the life out of the community.
Before we think bad thoughts about the planners, the architects, and everyone else involved, let us recall that this was the modernist ideal for everyone. It was not just that the poor should be warehoused in barracks. Le Corbusier proposed leveling the whole city of Paris and installing everybody in identical apartment towers—and Le Corbusier was and still is the idol of the modernists. These housing projects, as we mentioned, are hard to distinguish from many profit-making suburban apartment complexes of the same era.
In other words, the people who planned the Bedford Dwellings were trying, in good faith, to give people who were otherwise too poor to afford decent housing the best modern thought could offer them. The poor were to be upgraded to the living standards of the modern middle class.
Most of the buildings are apartments; a few are rows of small townhouses like these.
Nor were the housing projects built to weed out undesirable races. In fact, the projects were integrated from the beginning.
In The Negro Ghetto, a 1967 book by Robert Clifton (New York: Russell & Russell), the Housing Authority of Pittsburgh was singled out as an organization with enlightened ideas.
Whenever there is an activity sponsored by the Authority, it must be open to all ethnic groups, and whenever an activity is sponsored by a municipal or community agency, the Authority also insists that there be no racial segregation. [Page 184.]
Public-housing projects in Pittsburgh were never segregated deliberately. The administrator of the Housing Authority (quoted in that same book) explained the policy thus:
The general policy concerning occupancy is that the Housing Authority of the city of Pittsburgh will not, except for extremely compelling reasons, or reasons outside its own control, change the racial proportions of the large community in which any project may be built. However, the radius of such a community, and, therefore, the number of inhabitants that should be considered have never been precisely defined. [Page 185.]
By 1967 the Hill was mostly Black, and therefore the population of the Bedford Dwellings was also mostly Black—but not exclusively. Other projects in the city had populations that reflected the neighborhoods around them, so that some were majority Black and others majority White, and at least one almost precisely fifty-fifty. Not one of the eight major projects in the city was racially monolithic.
But what of the Bedford Dwellings’ effect on the neighborhood? Well, they killed it. The Engineering News-Record for October 25, 1951, reported that more than 7,800 buildings had been demolished in Pittsburgh in the previous fifteen years. “The peak year was 1939, when 1,208 buildings were torn down, 670 of them to make way for the first three public housing projects, Bedford Dwellings and Terrace Village Nos. 1 and 2.”
In the National Association of Housing Officials’ Housing Yearbook for 1939, we read, “Some three months were required to relocate the families from the Bedford site. Of the 160 families removed, 83 per cent were Negroes.” So 160 families—which could easily add up to a thousand people—had three months to pack up their entire lives and get out of their vanishing neighborhood.
Ideas have changed, and Father Pitt thinks they have changed for the better. These days, planners try to integrate their low-income housing projects into the neighborhoods by creating urban streetscapes, by fitting the architecture with the buildings around it, and by breaking down the barriers that isolate and define the “projects.”
One thing hasn’t changed. The decisions are still being made by middle-class bureaucrats who know what’s good for poor people. They probably have better ideas than they had in the 1930s, but no one says, “Let’s ask the residents what they think we should do, and then do that.” There will be community meetings and surveys and all that kind of thing, and residents will spend hours making their views heard, and in the end the people who know best will do what they know is best.
But let us remember the Bedford Dwellings with an honest appreciation of their faults and their virtues. They made an urban neighborhood into a sterile suburb. But they also formed a community. They kept their promise of decent, sanitary housing for people who needed it. In spite of their historic importance, Father Pitt is willing to agree that it is time to let them go. But if they were not all good, they were not all bad, either. Let these pictures remain as a memorial to the Bedford Dwellings as they were when they were in good shape and still inhabited, and to the generations of people who lived their lives there, and even to the middle-class bureaucrats who honestly wanted everybody to have a chance at a decent home and worked hard to make that possible.
In 1889, William Smith Fraser, one of our top architects in those days, supervised a whole long block of fifty elegant stone-fronted houses lining both sides of Dinwiddie Street.1
A majority of the houses disappeared over the years; the street came to look like a battle zone, three-quarters abandoned.
But the wheel turned again. About fifteen years ago, Rothschild Doyno Collaborative designed infill housing and refurbished the Fraser houses. The new houses were built at the same scale and setback as the old, and with some of the same massing; the old houses were refurbished with inexpensive materials that matched the new houses.
It’s still not a rich neighborhood. But it’s a beautiful and welcoming streetscape again, and it’s an inspiring example of how an interrupted streetscape can be made whole. The new houses are definitely of our century, but they belong on the street. Without duplicating the Fraser designs, they make themselves at home in the neighborhood.
In this picture, the houses with stone bays in front are some of the original Fraser houses. Their more colorful neighbors are the “infill” houses.
Source: Philadelphia Real Estate Record and Builders’ Guide, May 29, 1889, p. 246. “The contract for the fifty modern dwellings, previously reported, to be erected on Dinwiddie street by Mr. Lockhart, has been given to Henry Shenck. W. S. Fraser, Seventh street and Penn avenue is the architect. These dwellings will be of brick, with stone fronts, bay windows and porches, and all modern conveniences.” ↩︎
The patchwork-quilt style of architecture has been popular in the last decade, but this is by far the most colorful implementation of it old Pa Pitt has seen. The whole block that includes the New Granada has been redeveloped, and these cheerful apartments, with ground-floor storefronts, make this section of the Hill seem lively and inviting again.
You can read the history of Lutz’s Meat Market at the Hill District Digital History site, where you’ll also see a picture by Teenie Harris, who, as usual, snapped the shutter at exactly the moment that captured everyone in the scene in the most characteristic pose.
The building has been beautifully restored, including the elaborate woodwork of the cornice and storefront.
William Arthur Thomas, who was very active in the Hill District, was the architect of this building, which is famous in jazz lore as the location of the second Crawford Grill.
The Crawford Grill lingered on into our current century, the last and most famous of the Wylie Avenue jazz clubs. (Father Pitt took the picture above in 2000.) It was in some ways a victim of its own success: it moved to the Freighthouse Shops at Station Square just when shopping arcades in general were beginning to decline, and closed there after a few years.
Today the building has been stabilized (though the fine Queen Anne house next to it could not be saved), and there is some hope that it can be an asset to the community again. We may yet hear the wail of a saxophone coming through that front door.
This is the most important remaining work of Louis Bellinger, who for his entire career was the only Black architect in Western Pennsylvania. It was built as the Pythian Temple, an exceptionally grand lodge house. It opened in 1928; but after less than ten years it was sold and became a movie theater, the New Granada, with the ground floor redesigned in streamlined Art Deco by Marks & Kann. Both as a lodge and as a theater it was one of the great jazz venues of all time, and the roster of stars who performed here is long and dazzling—Cab Calloway, Louis Armstrong, Duke Ellington, and our own Lena Horne, just to name four.
After half a century of vacancy and multiple schemes for restoration, the New Granada is finally getting the love it deserves. It will have performance spaces and offices, and the whole block has been redeveloped with colorful new apartments and restored older buildings.
Except for the ground floor, the building still stands very much as Bellinger designed it. Shields and helmets in terra cotta remind us of the building’s Knights of Pythias origins.
In seventeen and a half years of writing about Pittsburgh, few things have made old Pa Pitt happier than seeing the progress on this building. It will stand for years as a tribute to a neglected architect, to the history of the Hill, and to the great legacy of jazz in Pittsburgh.
Our newest skyscraper, with a bonus bus coming toward you and a reflection of the Gulf Building. Opened just last year in 2024, this is the sixteenth-tallest skyscraper in Pittsburgh and the second-tallest outside downtown, after the Cathedral of Learning. It was designed by Gensler, the world’s largest architecture factory, which was also responsible for the Tower at PNC Plaza. Old Pa Pitt cannot help feeling that the Tower at PNC Plaza got the A unit at Gensler, whereas this one got the C unit. But it is an attempt, after sixty years, to fulfill the promises of redevelopment that were made when the Lower Hill was cleared.
Edward Stotz was the architect of this auditorium, built in 1928. It was the centerpiece of the Irene Kaufmann Settlement, which was founded by the Kaufmanns of Kaufmann’s department store to memorialize a daughter who died young; its purpose was to serve the poor immigrants of the Hill.
A striking modernist Gothic church whose clean lines are lovingly preserved by the congregation. Below, we add some bonus utility cables to prove that this is Pittsburgh.
