This glorious Renaissance palace was built in 1910; the architect was Thomas Hannah, who also gave us the Keenan Building. It is now a hotel.
Addendum: Here is a picture of the building when it was freshly built, from the June 1914 issue of The Builder, which is devoted to works of Thomas Hannah. The long side faced open space in those days.
This rich little Beaux-Arts bank on Carson Street at 18th Street was built in 1902. We have a daylight picture of the Peoples Trust Company of Pittsburgh building from the same angle.
Update: See the comment from David Schwing below identifying this as a 1906 design by Chicago architect Samuel N. Crowen. Father Pitt looked at some of Mr. Crowen’s other buildings, and the ones from this period certainly seem to bear a stylistic resemblance, although in his later works the architect turned more conservatively classical. Compare this apartment building on Google Street View, with its similar corner balconies, square windows, exaggerated cornice, top floor set off by a masonry stripe, and entrance surrounded by Art Nouveau curves. Imagine how much more that building might resemble this one if this one had not been painted.
Father Pitt keeps the original article, with all its speculations, below, so that his readers can see how his mind works.
Today this strange building that makes faces at you as you go by has no name; on Google Maps, it is called “Apartment Building.” But on a 1923 map it is marked as “Emerson,” belonging to a B. F. Newman. It first appears on the 1910 layer of the Pittsburgh Historic Maps site, where property owners are not marked. And with that, old Pa Pitt has exhausted all the information he has been able to gather about this building. Searching for information is made more difficult by the fact that there is a later apartment building in Shadyside also called “The Emerson,” a Frankenstein construction with a Fifth Avenue mansion at its core encrusted with modern growths of differing ages and styles.
At first sight this has the outlines of an ordinary early-modern apartment building, but when you look up at the balconies you find the building looking back at you.
We know that this building was put up before 1910. Father Pitt knows of only a few architects working in Pittsburgh at the time who were batty enough to do something like this.
Father Pitt’s first guess is Titus de Bobula, whose churches are strongly marked with Budapest Art Nouveau. He also did commercial and apartment buildings, and his career is obscure enough that a number of commissions have probably gone unrecognized. He is known to have done the Everett Apartments (1907) on Ellsworth Avenue at Copeland Street; it has similarly inset balconies flanked by decorated square pilasters, and it uses exactly the same terra-cotta cornice moldings as the ones on this building.
Frederick Scheibler, our most famous early modernist, is known to have designed about 150 buildings around here, of which Father Pitt has fewer than forty in his Great Big List as of this writing. His style varied over the years of his career, but the whimsically grotesque faces do not seem like his sort of thing.
Kiehnel and Elliott were also working here at that time. They were influenced by German modernism, and when they later moved to Miami they became famous for extravagantly decorated Art Deco designs. They are a possibility.
We might also mention Edward Keen, about whom Father Pitt knows nothing (even his name: in some sources it is Kern) except that he designed the D’Arlington in Oakland, a building teetering on the border of classicism and modernism whose lines strongly remind us of this building.
So there you have it: an enigma, and Father Pitt would certainly be grateful for any scraps of information about this building.
The curving lines of this entrance also strongly suggest Titus de Bobula.
Built in 1904 as the First Congregational Church, this building had a surprisingly short life with its original congregation; the Congregationalists left in 1921, and the Greek Orthodox congregation bought it in 1923. The church became a cathedral when Pittsburgh was elevated to a diocese. The architect was Thomas Hannah, who was at home in both classical and Gothic idioms. Here he went all in for classical, producing an ostentatiously Ionic front that looks like a Greek temple—which, oddly, is a style a Greek Orthodox congregation would never choose for its church if it were building one from scratch.
John T. Comès was probably Pittsburgh’s most prolific architect of Catholic churches—a record made all the more remarkable by the fact that he died at the age of 49. His favorite style was Romanesque, and in the out-of-the-way back streets of Etna we find this masterpiece, built in 1914, that shows him at the peak of his creative power. It has all of Comès’ quirks. Unlike many other American architects who worked in the Romanesque style, he enthusiastically embraced the almost gaudy polychrome stripes and patterns typical of medieval Romanesque masterpieces. The bells in their cutout arches also seem like a thoroughly Comès detail.
With the light from the wrong angle, this composite picture of the front was about the best old Pa Pitt could do.
Better known to Pittsburghers as Motor Square Garden: it opened as a market house in 1900, but failed a few years later and began a long association with the automobile business. The architects were Peabody and Stearns, who also designed Horne’s department store downtown and several prominent mansions in the East End neighborhoods.
This house has a sign in front identifying it as “Graswick” and telling us that it was built in 1873. This spares old Pa Pitt a lot of research, and he suggests that all owners of historic houses should imitate the owners of this one. It is perched on the side of a steep hill, and it has a magnificent view straight down High Street to the town and the Pine Creek valley below.
This beautiful building has a long and varied history. It seems to have been built a little before 1910 by a dry-cleaning company.1 After a while the East Liberty Chamber of Commerce moved in to preside over the slow decline of East Liberty. In 2001, when the East Liberty revival was barely beginning, the Werner Building became a performance-art space. Now, with East Liberty booming, it’s a profitable property.
The metalwork on top supported a billboard where artists spelled out messages, but in 2018 one artist posted a message so offensive that the building’s owner had it removed and shut down the billboard scheme. What was this offensive message? “THERE ARE BLACK PEOPLE IN THE FUTURE.” That was all. Father Pitt can only say that, if you are offended by the idea that there are Black people in the future, then you can go off and get yourself your own future, because old Pa Pitt does not want to be part of it.
The whole building is lavishly festooned with terra cotta and stained glass.
