
An old postcard from Father Pitt’s accumulation of Pittsburgh miscellanea; we do not know the date, but it must be before 1952, since the back of the card specifies “PLACE ONE CENT STAMP HERE.”
An old postcard from Father Pitt’s accumulation of Pittsburgh miscellanea; we do not know the date, but it must be before 1952, since the back of the card specifies “PLACE ONE CENT STAMP HERE.”
If you see a student of architecture suddenly stop in the middle of the Diamond and burst out laughing, this building is the subject of the mirth.
When it was announced that a gigantic complex to be designed by Philip Johnson was going to take over one corner of the Diamond, the owners of the Nicholas Coffee building, who happened to be ready for a renovation, decided to welcome their new neighbor with a parody of what was then Johnson’s most famous work. At that time, Johnson was notorious everywhere for his AT&T Building (now called just 550 Madison Avenue), which was a deliberate poke in the eye of orthodox modernism; and you have only to see it to get the Nicholas Building’s joke.
In the 1960s, Mellon Bank built a number of modernist bank branches that reinterpreted traditional bank architecture in modern forms. Here the classical colonnade is simplified to a schematic.
When Dormont was founded in 1909, its founders wanted to call it “Mount Lebanon,” the historical name of that part of the South Hills. There was some friction, however, with residents to the south of the new borough, who of course later adopted that name themselves. The result was that borough founders picked the nonsensical inside-out-French name “Dormont,” which as far as old Pa Pitt knows is unique in the world. Several institutions in Dormont, however, kept the name “Mount Lebanon,” among them two churches. This one closed in 2013, the same year Dormont’s Presbyterians and Methodists threw in the towel. The building, however, has been kept in good shape. Built in 1930, it is a fine example of the streamlined Gothic influenced by Art Deco that was popular in the 1920s and 1930s.
Vine decorations under the entrance arches.
The sign along West Liberty Avenue matched the stone and style of the building.
This building on the Diamond has lost its cornice, but the rest of it is intact, and the details are worth a closer look.
The interior of a 4200-series Siemens car. These were the “LRVs” (for “light-rail vehicles,” which is better than “trolleys” or “streetcars” because it has three more syllables) that were ordered in the 1980s when the subway was built, and then refurbished to match the new 4300-series cars from CAF.
Lou Astorino’s firm designed this building with an unusual sensitivity to context. Father Pitt will point out two obvious details. First and more obvious is the curve along the river face of the building: it echoes the curves of the adjacent Parkway ramps. Next, note how the materials and the shapes harmonize with the Try Street Terminal in the rear—so much so that, at first glance, you might suppose that the Try Street Terminal was part of the same complex.
Now Calvary United Methodist Church, this church is known for its stained glass by the Tiffany Studios. It was built in 1892–1895; the architects were Vrydaugh & Shepherd and T. B. Wolfe. The exterior is a feast of elaborate and often playful Gothic detail.