Now the Jerusalem Baptist Church, this church was built in 1864, according to the inscription on the front. The Pittsburgh History and Landmarks Foundation identifies the architects as Dahner and Dear.
It is not possible to get a straightforward picture of this inscription without intrusive utility cables. Old Pa Pitt resorted to taking three different pictures from slightly different angles and welding them together, which was probably more work than it was worth. But here is a complete picture of the German inscription, and if drivers on Steuben Street were confused by the sight of a gentleman in eighteenth-century garb lying on the sidewalk pointing a long lens across the street, at least they had something to tell their families when they got home. “Deutsche Vereinigte Evangelische Kirche” is German for “German United Evangelical Church.”
As with many Pittsburgh buildings, the question “How tall is it?” cannot be answered without a paragraph of disquisition on topography. The precipitous Belgian-block street along this side of the church is Sanctus Street.
How should we describe the style of this church? The rounded arches might say Romanesque or classical, although a presentable Gothic building could be made simply by swapping them for pointed arches. We’ll call it classically Victorian.
In 2002, the Water and Sewer Authority installed a microfiltration system to purify the water while keeping the Highland Park Reservoir open. This picture from 2001 shows the previous water-purification technology.
An unusually simple cast-iron front adorns this five-storey commercial building, which is actually the tallest thing on its block of Market Street. It is possible that the building has lost a cornice, but otherwise it probably looks not much different from the way it looked when it was first put up around 1900 or so.
No neighborhood has changed more than Lawrenceville in the past two decades—but only demographically. In 2001, Lawrenceville was a cheap working-class neighborhood whose long business district was full of abandoned storefronts, except at the still-thriving core around the intersection of Butler and Main Streets. (Butler, of course, is the main street; the Pittsburgh area is full of Main Streets that aren’t the main street of anything.) Then the artsy types discovered it and briefly made it into the artists’ colony of Pittsburgh; then their rediscovery of the neighborhood caused rents and real-estate values to rocket upward, sending the artists scurrying to Garfield and other cheaper places while people with money moved in.
But through those rapid changes, the back streets of Lawrenceville have hardly changed at all. The artists and their moneyed successors moved in because they liked the neighborhood the way it was, and they have been careful to maintain it that way. The houses are better kept on average now, but they were never badly kept, as we can see in this picture from about 2001. Except for some more fashionable polychrome paint schemes on a few of the houses, this view is almost exactly the same today.
It is a narrow trail along a precipitous wooded hillside, but Fox Chapel is still the kind of neighborhood where you have to specify “NO GOLF.” This is the south entrance to the Trillium Trail, which can be found on Hemlock Hollow Road, which used to bear the slightly embarrassing name of Squaw Run Road.
“I bestride the narrow street like a colossus,” said the East Mall Apartments. They were put up literally on top of Penn Avenue, with a narrow passage for a trickle of traffic, in 1970. The architect was Tasso Katselas, early in his decades-long reign as the leading architect of giant public works in Pittsburgh, and to be fair to him he gave the city just what it thought it wanted: a skyscraper warehouse for poor people. In fact Katselas didn’t like what the city was doing to East Liberty at all, according to this interesting article about his career. But it was good money for an architect.
“Urban renewal” was all the rage in the 1960s and into the 1970s, and it was pushed with evangelical ardor. But it was never quite clear what “urban renewal” was supposed to be. Often it was a combination of suburbanization and Bauhausization. The things that were distinctive about city neighborhoods—concentrated commercial districts, rowhouses, churches and schools and backstreet groceries just down the street—had to give way to shopping centers, suburban-style tract homes, and modernist towers-in-a-park. One after another, these projects crippled or killed the neighborhoods they were inflicted on, but the urban-renewal evangelists were sure that the next one would be a howling success.
East Liberty was subjected to a particularly strong dose of urban renewal. Penn Avenue, the commercial spine of the neighborhood that had been known as the “second downtown” of Pittsburgh, was closed to vehicles and made into a pedestrian mall. Traffic was diverted to “Penn Circle,” an orbital boulevard made by widening and consolidating peripheral streets and blowing up whatever didn’t fit with the new vision of East Liberty. And apartment towers like this one went up to house people displaced from their neighborhoods by urban renewal. Three of them were designed by Tasso Katselas—this one and the even taller Penn Circle and Liberty Park apartments. Of the three, this was the one that sealed the urban-renewal project, because this was the one that defiantly went up right on top of Penn Avenue, as a guarantee that the main boulevard of the business district would never again carry substantial vehicular traffic. (An artist friend of Father Pitt’s, noting the odd flared buttresses that flanked the narrow passage for vehicles, described the building as “lifting its skirts for cars to go under.”)
Pedestrianization projects in the United States have seldom succeeded. Old Pa Pitt would love to see most of Pittsburgh closed to automobile traffic, but he recognizes that the rest of the world does not share his prejudices against motor vehicles. Keeping them away keeps their drivers away, and businesses flounder. Urban planners figured that out after a few decades’ worth of failures, and modern urban planning—finally—tends in the direction of emphasizing rather than destroying what is unique about city neighborhoods. Not coincidentally, suburbanites are moving back into the city.
Father Pitt took this picture in about 2001. The East Mall Apartments were blown to bits in 2005 in a controlled demolition, and traffic was allowed to flow on Penn Avenue once more without going through somebody’s basement. That same year, Tasso Katselas retired from active architecture, although he still served his firm as a consultant. As of this writing, Mr. Katselas is still alive at the age of 94 or 95, having survived a good bit longer than several of his buildings.
Do we miss those buildings? Not much; they represent an embarrassing failure in the history of our urban planning. But in his modernist idiom, Tasso Katselas did develop a distinctive style. The classic modernists like Mies van der Rohe insisted on simple lines and flat slabs of identical windows. But Katselas from the beginning preferred a much more cluttered aesthetic. He sometimes seemed like a child playing with blocks, deliberately misaligning them just to see what would happen, as we see here in the staggered façade of the East Mall Apartments. We should also mention that he had a strong understanding of what was practical in a public building. His terminal for the Pittsburgh International Airport is a masterpiece of practical design: everything was thought through with the paramount object of making the functions of an airport work as well as they possibly could. That kind of practical thinking was rare among modernist architects, and Father Pitt praises Katselas unreservedly for it, even if the buildings give old Pa Pitt the visual impression of dance music that you can’t dance to.
Probably the most popular style of synagogue architecture in Pittsburgh a century ago was what we might call Jewish Romanesque, with the round arches typical of Romanesque architecture along with some elements taken from traditional European Jewish architecture to make it clear that this is not a Christian church. Here is a good but endangered example of that style.
It was built in 1923 or 1924 on Margaretta Street, now East Liberty Boulevard, and its members knew it familiarly as the Margaretta Street Shul. (Addendum: The architect was Ralph Friedberg.1) The congregation sold the building in 1996 and moved to Monroeville, where it withered away a few years later. For a while after that this was a Baptist church; but it seems to be vacant now. That is the danger. Even in the most prosperous neighborhood, it can be hard to find a use for an old church or synagogue. This part of East Liberty is far from the worst neighborhood, but it has not reached the prosperity of Highland Park to the north or the newly lively core of East Liberty to the south. If the neighborhood stays as it is, this building will probably simply decay and eventually have to be demolished. If the neighborhood prospers, it will probably be demolished to make way for something else.
Structurally, the building seems quite sound. But the details are suffering, notably the crumbling parapet, which is one of the distinctive and remarkable features of the façade.
Assuming the name was reported correctly in the American Contractor for October 13, 1923: “Synagogue: $120,000. 1 sty. & bas. 70×95. Margarotta [sic] & St. Clair sts. Archt. Ralph Friedberg, Farmers Bank bldg. Owner The Congregation of the Adah, Jeshurum Hausman, chrmn. of comm., 720 N. Negley av. Brk. Gen. contr. let to Harry Rubenstein, 601 N. Euclid av. Carp. by gen contr. by day work. Htg. to Reliance Htg. Co., 3610 5th av. Plmg. to Moss & Blakeley, Climax & Beltzhoover st., South Side. On 1st sty. brk. wk.” Considering how garbled the rest of the entry is, we have less than complete confidence in the architect’s name. ↩︎
When he took pictures of two halves of the skyline on Ektachrome film in 1994, old Pa Pitt had no notion of stitching them together. But it was an easy thing to do with our fancy 21st-century technology.
Several prominent buildings have gone up since this picture was taken almost three decades ago, but the only one that makes a great difference in the appearance of the skyline is the Tower at PNC Plaza, which fills in a gap in the skyline just where a gap needed filling.
Now the Jerusalem Baptist Church, this church was built in 1864, according to the inscription on the front. The Pittsburgh History and Landmarks Foundation identifies the architects as Dahner and Dear.
