In 1956, twenty years after Charles Z. Klauder’s Cathedral of Learning opened, Clapp Hall opened its doors. It was designed by Trautwein & Howard, the successors to Mr. Klauder, but it was no longer possible to make an academic building in the ornate Gothic style that had been Klauder’s specialty. Instead, the architects gave us a restrained late-Art-Deco modernist Gothic that fits well with Klauder’s buildings but doesn’t embarrass postwar sensibilities too badly. The entrance is at an angle to the rest of the building so that the Cathedral of Learning is perfectly framed in the doorway as you walk out.
Henry Hornbostel’s drawing of the south façade of the School of Mines Building, later State Hall. It was demolished in 1973 to make way for the Chevron Science Center, and perhaps someone thinks that was an improvement.
This drawing was published in 1909 in The Brickbuilder, an architectural magazine from which we’ll harvest more illustrations in the future.
Designed by Bertram Goodhue in the Perpendicular Gothic style, this church emphasizes verticality. We also have pictures of the interior of First Baptist.
Brutalism is the school of modernist architecture that uses raw building materials, especially concrete, as its main aesthetic statement. Father Pitt is not a great lover of the style, but some Brutalist buildings work better than others. The Hillman Library at the University of Pittsburgh has a cool elegance lacking in many other Brutalist buildings. The vertical window bays give us shading that keeps the wall from becoming monotonous, and they also flood the interior with natural light.
It is very hard to explain who designed this building. Wikipedia says, “Design of Hillman Library was led by Celli-Flynn and Associates who served as coordinating architects. Kuhn, Newcomer & Valentour served as associated architects with Harrison & Abramovitz acting as consulting architects to the university. Dolores Miller and Associates consulted on the interior design, and Keyes Metcalf served as a library consultant.”
An architect might be able to sort out the nuances of coordinating, associated, and consulting. Harrison & Abramovitz gave us numerous skyscrapers downtown, but Wikipedia adds that “In 1996, architect Celli-Flynn and Associates and Kuhn, Newcomer & Valentour won the Timeless Award for Enduring Design from the Pittsburgh chapter of the American Institute of Architects for its design of Hillman Library.” This suggests that Harrison & Abramovitz really were consultants rather than responsible for the design; perhaps their role was to say, “No, you can’t do that, or it will fall down.”
Kuhn, Newcomer & Valentour still exists as “DRAW Collective,” based in Mt. Lebanon. Celli-Flynn and Associates was absorbed into Buchart Horn Architects, based in York, but maintaining the staff and office of the Pittsburgh company. It is an interesting commentary on architectural trends that both firms’ recent projects, as displayed on their Web sites, lean toward a timid neoneoclassicism. It does not have the courage to break completely with modernist dogmas and go back to Vitruvius, but neither does it have the daring to invent its own forms and make something new. We get the impression that the clients will be satisfied—but satisfied as in “Yeah, it’s okay,” not satisfied as in “They gave me a masterpiece.”
This is one of the few designs by Edward Mellon that amounted to anything. In spite of boosting by his absurdly rich and powerful Mellon uncles, architect Edward Mellon played mostly second-banana roles in the architecture business. He was local architect of record on the Gulf Building, but the designing was done by Trowbridge & Livingston. He was paid for designs for the massive Mellon-financed Pitt construction that would ultimately become the Cathedral of Learning, but Pitt’s chancellor just tossed the drawings in a filing cabinet and hired Charles Z. Klauder to do something different.
This 1930 bank, however, is all Mellon’s, and it would be hard to fault it. As an architectural message it is unambiguous: your money will be safe here. As an ornament to the streetscape it is welcome: it holds down a prominent corner and seems to cap off the block. If Edward Mellon had never accomplished anything else, he could still have been proud to point to this bank and say, “I imagined that into being.”
According to a city architectural inventory (PDF), Hampton Hall was built in 1928, and the architect was H. G. Hodgkins, who seems to have been based in Chicago, to judge by listings in Chicago trade magazines that show up in a Google Books search.
The interior includes quite a bit of Nemadji tile, and old Pa Pitt had never heard of Nemadji tile until he found this page on Hampton Hall from a site of Historic U. S. Tile Installations. The exterior is fairy-tale Tudor, designed to make apartment dwellers feel as though they were great lords of Queen Elizabeth’s time.
The entrance is flanked by bears holding shields, as bears are wont to do.
To old Pa Pitt’s eyes, International Style architecture always looks best in black and white. Indeed, he has sometimes wondered how much the architects were subconsciously influenced by the desire to make a building that looked good in a photograph.
Originally the Schenley Apartments, but now Schenley High School has been turned into apartments as the Schenley Apartments, so using the original name would be confusing. This huge complex was built in 1922 as luxury apartments to go with the Hotel Schenley. The architect was Henry Hornbostel, with the collaboration of Rutan & Russell, the original architects of the hotel. In 1955 the University of Pittsburgh bought the Schenley Apartments (for less than they had cost to build in 1922), and since then the buildings have been Pitt dormitories. Above, we see the complex from the grounds of Soldiers and Sailors Hall; below, the steps up from Forbes Avenue.
Since we have a large number of pictures, we’ll put most of them behind a “Read more” link to avoid weighing down the main page of the site.
