The Schenley Farms section of Oakland was crusty with clubs a century ago, but few were as influential as this one.
Charles Bickel designed this elegant clubhouse for a Jewish gentlemen’s club made up mostly of members of the Rodef Shalom congregation. To call it a gentlemen’s club brings up images of well-dressed men sitting inert with newspapers in their hands, but these gentlemen were far from inert. These were gentlemen who got things done. This club was the incubator of Reform Judaism; it was at the club (when it lived on the North Side) that the Pittsburgh Platform was signed.
This clubhouse was built in 1913, and the club continued to use it for almost a century. It finally fell to the same forces that evicted most of the other clubs in this section: declining membership in our antisocial age, and the bottomless well of money that the University of Pittsburgh can draw on. It was sold to Pitt in 2009, and is now known as the O’Hara Student Center.
The Mellon Institute of Industrial Research was founded as part of the University of Pittsburgh, and this was its home for the first two decades of its life. When the Mellon Institute declared its independence, it moved to its palatial quarters out Fifth Avenue, and the old Mellon Institute building became Allen Hall at the University of Pittsburgh.
The building, which opened in 1915, was designed by J. H. Giesy, and it was properly classical to match Henry Hornbostel’s slightly mad plan of making the University a new Athenian Acropolis in Pittsburgh. (The plan was later abandoned in favor of Charles Z. Klauder’̑s much madder plan of a skyscraper university.)
The richly detailed bronze doors are unique.
The building is precisely located for the best vista up Thackeray Street.
Here is a picture of the building when it was new in 1915:
And old Pa Pitt has duplicated that picture for you in 2022, because that is the kind of effort he puts into serving his readers:
Nothing about the exterior has changed except the plantings, and even those have been reduced to show off the building: a few years ago much of the front was obscured by trees.
Old Engineering Hall at the University of Pittsburgh is a fairly successful marriage of modernism and classicism. It is almost postmodern avant la lettre, with classically inspired details but a shape that owes nothing to the classical world. It was built in 1955, when it was still common for modernist buildings to apologize for themselves by including a few dentils and a suggestion of a Greek-key frieze. This was Engineering Hall for only about fifteen years; the School of Engineering moved out in 1971 (into the uncompromisingly modern Benedum Hall), and since then this building has been put to such miscellaneous uses that the university has never been able to come up with a better name for it than “that building that used to be Engineering Hall.”
These skyscraper dormitories were built in 1963 to designs by Dahlen Richey of Deeter & Richey. They were poetically named A, B, and C, but students immediately renamed them Ajax, Bab-O, and Comet.
The restored entrance looks like a scene from the modernist paradise that existed mostly in architects’ imaginations. But the original architect certainly did not specify the weirdly incongruous faux-antique lanterns.
A Turnverein (German for “gymnastics association”) was a German athletic club, many of which were scattered through the city. This was doubtless the most luxurious of the lot. It is now the Gardner Steel Conference Center of the University of Pittsburgh.
Art Nouveau is rare in Pittsburgh, but here is a building that crosses Jugendstil with Prairie Style to produce a distinctive classical modernism. (The picture above is big: enlarge it to appreciate the delightful abstract decorative details.) It was finished in 1912, when Jugendstil was perhaps past its peak in Germany but was still adventurously modern here. The architects were Kiehnel and Elliott, who were more experimental in spirit than most Pittsburgh architects of the time. Richard Kiehnel was born in Germany and had absorbed Jugendstil at the source. The firm is actually more famous for its buildings in Florida; Kiehnel designed a Miami mansion for the president of Pittsburgh Steel, and it apparently made such an impression down there that Kiehnel and Elliott moved to Miami in 1922.
About seven years ago old Pa Pitt published this big composite picture of the old Strand Theatre on Forbes Avenue across from Oakland. A little while ago Father Pitt came across this item in The Moving Picture World for August 14, 1915.
New House in Oakland, Pa.
Natatorium Building Being Remodeled—Will Be Made Into Up-to-Date Picture Theater—Located Between Atwood and Meyran Avenues—Designed to Seat 750 People—Those Who Are Interested in the New Project.
Special to Moving Picture World from Pittsburgh News Service.
OAKLAND is to have a new moving picture theater in the Natatorium building. The lower floors, being remodeled, show careful attention to details and give promise of a thoroughly up-to-date and practical theater. The building, between Atwood and Meyran avenues, runs to a paved alley way in the rear, and with this private alley complies fully with the city laws on the subject of exits. The plans call for the abandonment of the present swimming pool and the lowering of the auditorium floor to the Forbes street level. The present stone steps leading to the entrance will be done away with. The auditorium ceiling will be 24 feet high. The floors above the auditorium will not be disturbed by the alterations, although the stairs will be moved to the left of the entrance, and a new elevator lobby constructed. It will seat 750 persons.
The owners of the Oakland Natatorium building are the Oakland Amusement Company; George H. Schwan is the architect; C. H. Keer Construction Company are the contractors, and the lessee is James B. Clark. The operation company will be the Rowland and Clark theaters, which also operates the Regent, in East Liberty, the Belmar in Homewood, the Arsenal in Lawrenceville, the Bellevue and the Oakland and the Schenley Photo play in Oakland, which latter house will be discontinued on the completion of the new house. Construction starts July 26, and the date set for the opening is November 1.
Was this the building? None of Father Pitt’s sources had mentioned that it was a converted bathhouse, but once he had the name “Natatorium” it took only a short time to find this picture:
This is from the Historic Pittsburgh site, which has an incredible collection of treasures. Unfortunately they are served up by a fiendishly complicated system that builds each picture from a mosaic of tiny pieces, so the high-resolution versions are impossible to get with any reasonable amount of work. Librarians often restrict access to public-domain works, either out of proprietary feeling or, more likely, out of a hope that it will make them less likely to get sued if they make a mistake about the copyright status. It is also true that “There may be a fee to acquire hi-res files,” according to the site FAQ, which adds a profit motive.
At any rate, here’s our building, with a sign out front advertising “Turkish Bath—Swimming Pool,” and a huge painted sign on the side probably advertising the same (we can see only the bottom of the sign in this picture). We can also see the Iroquois Building across the street, and the Schenley Hotel in the distance. So, yes, the Strand Theatre was originally a high-class bathhouse.
The architect of the original Natatorium Building was R. B. Melvin. The remodeling into a theater was supervised by George Schwan and Harry S. Bair.1
This is a revision. Originally Father Pitt had written that he had not sorted out who the original architect was. ↩︎
This severely classical building was built in about 1925 to a design by architect Abram Garfield, the son of martyred president James A. Garfield, and it looks as though nothing could possibly set fire to it. It passed into the hands of the University of Pittsburgh in 1968, and is now known as Thackeray Hall.
This was built in 1896 as the First United Presbyterian Church; the architect was William Boyd, who gave the congregation the most fashionably Richardsonian interpretation of Romanesque he could manage. It was more or less in competition with the original Bellefield Presbyterian, of which only the tower now remains. But in 1967 the two congregations merged. They kept this building, renamed it Bellefield Presbyterian, and abandoned the old Bellefield Presbyterian up the street, which was later demolished for an office block.
The elaborately carved reredos does its part to focus attention on the altar before it. The four wooden figures are Peter and John on the left, Paul and James the Greater on the right. The carving was done by the Irving & Casson—A. H. Davenport Co. of Boston
That is the claim made for the transept windows in Heinz Chapel, and old Pa Pitt accepts it until someone proves otherwise. They were created by the studio of Charles Z. Connick.
The windows trace Christian history down from Christ to American heroes like Abraham Lincoln, shown here freeing slaves with his Emancipation Proclamation.
Father Pitt’s very favorite detail in these windows is in the Lincoln pane. In fact it is one of his favorite details in any stained glass anywhere. You probably won’t even notice it as you look at the heroic figure of Lincoln, but here it is:
This scowling cartoon-villain plantation owner, furious that some Northern abolitionist scum has the temerity to interfere with his right to whip his own property, is the perfect background for Lincoln. One feels that the whole Civil War was worth the trouble just to make this man frown.
