Four houses at the southern end of the Uptown business district in Mount Lebanon. First is what we might call a center-hall foursquare—the basic foursquare design, but widened to place the reception hall in the center and add a library or second parlor to one side.
It is fairly unusual to find a brick-and-shingle house with the wood shingles still intact, even in a rich neighborhood. Here is one with its original roof, its original shingles, and either its original shutters or good replacements.
Here is a kind of Tudor or English Manor design with a very vertical idea of half-timbering.
Finally, a house of a later generation, probably the late 1920s. Father Pitt does not know the architect, but the second-floor oriel in a front-facing gable was a favorite device of Lamont Button.
Two grand Presbyterian churches stand at the two ends of Uptown Mount Lebanon. But they are different kinds of Presbyterians. The one to the north was the United Presbyterian church, but it has now become Evangelical Presbyterian. This one is now Presbyterian Church (USA).
“In these days of mergers,” James Macqueen (himself one of our notable architects) wrote in the Charette in 1930, “one wonders why theological differences stood in the way of unity, and that these Presbyterians did not build one great building in this community instead of two with their attendant extra overhead involved. However, both of these two churches are worthy of a visit, as they show the great advance that has been made in Church work during the past few years…”
Southminster was designed by Thomas Pringle and built in 1928.
These quatrefoil ornaments at the top of the tower can be properly appreciated with a very long lens.
The office and education wing is done in a complementary Jacobean style. The arcade makes both a visual and a practical link to the main church.
Appropriately for a building dedicated to Christian education, the Reformation slogan VDMA—Verbum Domini Manet in Aeternum (“The word of God endureth for ever,” 1 Peter 1:25)—is engraved in an open book.
On Florida Avenue, a street that runs behind the Uptown business district in Mount Lebanon, two apartment buildings in a toned-down version of Moderne streamlining face each other. The most striking feature of number 666 is the stairwell set into a tall groove with a two-floor window of glass blocks.
The decorative brickwork at the corners suggests quoins, but in a modernistic manner.
Across the street is a pair of identical buildings with less streamlining and no abstract quoins.
Both buildings would probably have had windows with more character when they were new.
Academy Avenue in Mount Lebanon has a mixture of single-family homes and small to medium-sized apartment buildings. We have seen some of the apartment buildings before; here are a few more.
We saw the building above once before; here it is in a different light at a different time of year. The architect was probably Charles Geisler, and buildings in variations of this same basic plan are all over Mount Lebanon and Dormont.
This is a tidy double duplex in very close to original condition. The little details make all the difference in its appearance: the tile roof overhangs, the proper windows for the era, and the little German-art-magazine ornaments in the brickwork.
Charles Geisler designed numerous apartment buildings in Mount Lebanon, Dormont, and Squirrel Hill, among other places. This one he also owned, at least when it first went up.
A picture of the building when it was new in 1929 (taken from a blurry microfilm copy of the Pittsburgh Press) shows us what has changed: the roof overhangs, some of which have been removed, were originally tile; the roof was flat (replaced now with a hipped roof, doubtless to solve persistent leaking problems); and the apartment windows matched the ones in the central stairwell.
The entrance and stairwell are the least-changed parts of the building, and we can see how Geisler used tastefully simple arrangements of brick and tile to create apparent ornamental richness.
Le Corbusier introduced the world to the idea of the cruciform apartment building. He regarded the form as so perfect, in fact, that he proposed demolishing Paris and replacing it with a sea of cross-shaped towers.
In Pittsburgh, cruciform buildings were a bit of a fad in the late 1940s and early 1950s, probably encouraged by the national attention lavished on Gateway Center. They do have certain advantages. A cross-shaped building can give every apartment cross-ventilation and a view of open spaces, while still putting quite a bit of building on a small lot.
Tennyson and Van Wart were among the architects who picked up on the idea. Alfred Tennyson was a Mount Lebanon architect who would continue with a very prosperous career in the second half of the twentieth century. John Van Wart, as half of the partnership of Van Wart & Wein, had been responsible for some big projects in New York in the 1920s and early 1930s; in the middle 1930s, he moved to Pittsburgh to work for Westinghouse, and then formed a promising partnership with Tennyson. His unexpected death in 1950, probably while this building was under construction, put an end to the partnership, and Tennyson went on alone.
The style is typical postwar modernism, but not pure modernism. A few little decorative details, like the subtle quoins, give the modernism a slight Georgian flavor.
The scalloped woodwork, if it is not a later addition, must have been one of those details added to persuade prospective tenants that this building was, after all, respectably Colonial enough not to embarrass them.
As with many Pittsburgh buildings, the question of how many floors this one has is a complicated one. The answer varies between three and six, depending on how you look at it.
This is a building you walk right past without even noticing it. One of old Pa Pitt’s favorite things to do is to show people how interesting the things they walk right past can be. This building was the subject of an article in the Charette, the magazine of the Pittsburgh Architectural Club, so we know quite a bit about it, including that it looked like this when it was just finished in 1952:
The architect was Vincent Schoeneman, known as “Shooey,” who had a flourishing practice in the middle of the twentieth century. He was “given carte blanche” on the design, the article tells us, but put some effort into making the building fit with its prewar neighbors. Thus the curious combination of modernist and Colonial elements.
Some things have changed. The windows have been replaced, trading the twelve horizontal panes on each side for three vertical sheets of glass, which is not an improvement. The signboard that once displayed the address in letters that managed to be both modest and large has been covered with aluminum (with a dark stripe that would be perfect for the words “633 WASHINGTON ROAD” spelled out in white letters). The wooden planters are no longer there, but they have been replaced by stone benches or shelves that match the side walls. The Colonial doors have been replaced with more ordinary stock doors. Still, a good bit of the original detail remains.
We have seen the Berkshire before, but those pictures weren’t very good, so old Pa Pitt went back and got better ones. It’s a courtyard apartment building in the Mount Lebanon Historic District; as Father Pitt said the first time he visited, this building is in a simple but attractive Jacobean style, where a few effective details carry all the thematic weight.
A two-car train enters Mount Lebanon station from the subway tunnel that goes under part of Dormont and Uptown Mount Lebanon. Part of the platform is under reconstruction at the moment, so only the front car will open its doors.
The Red Line is partly closed for the next two months as Pittsburgh Regional Transit sorts out an accumulated backlog of construction projects. The section from Potomac south to Overbrook Junction is still open.
First of all, old Pa Pitt hopes these aluminum letters are insured at replacement value, because it would be a crime against design to lose their cool perfection.
Arthur Tennyson, a Mt. Lebanon native, was an architect who flourished in postwar Pittsburgh, when “modern” was the buzzword and simplicity was in demand. This building was designed in 1956 for medical offices. It opened in 1958, and although its population has diversified a little and a few minor alterations have been made, it remains, sixty-six years later, mostly unaltered and mostly in use for its original purpose.
From his preliminary sketch, we can see that the building grew a bit from Mr. Tennyson’s original conception. Because of the sloping lot, it would be hard to say exactly how much it grew; it would be safest to say that roughly a floor was added.
Pittsburgh Press, September 23, 1956.
The most eye-catching feature is the facing of mint-green glazed brick laid in a stack bond (that is, gridwise) rather than the usual running bond. The stack bond adds to the impression of horizontality and stability on a site where the lot plummets diagonally two floors.
The building was a bit unusual in that the doctors who originally had their offices here were shareholders in the building as well as tenants. “The idea of constructing the building,” said the Press article, “originated with the doctors themselves, who are share owners in Mt. Lebanon Professional Building, Inc., the backer of the project.”
