Father Pitt

Tag: Art Nouveau

Holy Ghost Greek Catholic Church, McKees Rocks Bottoms

If you have ever come up the Ohio or across the McKees Rocks Bridge, chances are you have noticed this gold-domed tower rising from the McKees Rocks Bottoms. You would not have had time to appreciate the details, but appreciate them now. Just the tower is a remarkable piece of work. But the whole church is something extraordinary, and worth a visit to the Bottoms to see. Since the Bottoms is a neighborhood of surprising architectural riches, you will probably find yourself distracted by a dozen other wonders before you leave.

Holy Ghost Greek (now Byzantine) Catholic Church is a startling outcropping of Art Nouveau in a neighborhood where we never expected to find it. The design was the work of McKees Rocks’ own John H. Phillips, as we know from the cornerstone.

Here we have the date, the name of the architect, and the name of the contractor, along with the name of the pastor. There was one other church architect in Pittsburgh who routinely put his own name and the name of the contractor on cornerstones in florid Art Nouveau lettering, and that was Titus de Bobula. Looking at the style of this church, with its radical and constantly surprising Art Nouveau ornamentation, Father Pitt forms the hypothesis that Phillips knew of Titus de Bobula’s work and was strongly influenced by the eccentric Hungarian.

The corner cross picked out in bricks is wildly different from anything you have seen before. To the right of it we also see a variant of the square above a downward-pointing triangle that seems to have been a kind of signature for Phillips, appearing on at least three of the four buildings of his that Father Pitt has so far identified.

The church behind the front is more conventional—which is also true of Titus de Bobula’s churches. Both de Bobula and Phillips relied on elaborate fronts to make their grand impression.

Certainly this tower makes a strong impression. There is nothing else quite like it in Pittsburgh. The variation of detail in the bricks is remarkable. But the forms are harmonized very cleverly, with each level echoing shapes from the other two.

Phillips also designed the Ukrainian National Home around the corner, and Father Pitt hopes to identify more buildings by him in McKees Rocks. He has joined Pittsburgh’s exclusive little club of early modernists, and old Pa Pitt is delighted to make his acquaintance.

November 27, 2023
Ukrainian National Home, McKees Rocks Bottoms

Father Pitt would like to introduce you to an architect you’ve never heard of, but one who merits your attention: John H. Phillips, who kept his office in McKees Rocks, and about whose personal life old Pa Pitt knows absolutely nothing.

When we speak of the early modernists in Pittsburgh—the architects before 1920 or so who adopted the idioms of Art Nouveau and related movements—we generally have a very short list: Frederick Scheibler, Kiehnel & Elliott, and the incomparable Titus de Bobula, the man who gave up his promising career as an architect because he would rather be a millionaire playboy Nazi dictator. Now Father Pitt proposes to add the name of John H. Phillips to that list. Here is the Ukrainian National Home, built in 1913 in a shockingly unconventional style.

We have to use our imagination to see the building with the colossal windows the architect designed to flood the building with light, because men’s clubs in Pittsburgh always block in their windows. But the outlines of the building are unaltered, and the ornamental brickwork is remarkable. Note in particular those squares above downward-pointing triangles at the entrance: they will reappear on other Phillips buildings, almost like a signature.

Where did this obscure architect get his Art Nouveau style? There could be any number of explanations, but Father Pitt suspects that Phillips took a lot of inspiration from Titus de Bobula. We will see some evidence for that speculation when we come to Phillips’ most prominent work in the McKees Rocks Bottoms, Holy Ghost Church. Meanwhile, this extraordinary building may serve as John H. Phillips’ initiation into the exclusive little club of early modernists in Pittsburgh.

November 19, 2023
St. Josaphat’s Church, South Side Slopes

St. Josaphat’s is one of the most unusual of John T. Comès’ works. It has some of his trademarks, notably the stripes—he loved stripes. But it also takes more inspiration from Art Nouveau than most of his churches, which are usually more firmly rooted in historical models. It is now having some renovation work done to fit it for its post-church life.

November 15, 2023
Holy Innocents School, Sheraden

John T. Comès designed the older Holy Innocents Church, which was replaced by the cathedral-sized church that stands today, and it is likely that he designed this school as well. The style is a kind of Art Nouveau Jacobean. It is vacant right now, which puts it in danger, since large vacant buildings are attractive nuisances both for arson and for blue “Condemnation” stickers.

Painting the stone accents grey may have been someone’s solution to the soot problem. It was not a good idea.

November 8, 2023
McKinney Manufacturing Company Warehouse, Chateau

The Hunting-Davis Company was a versatile firm, but its specialty was industrial architecture. The McKinney Manufacturing Company warehouse was noted as an innovation in reinforced-concrete construction when it went up in 1914, and it still stands in very close to its original form, giving us a good look at the ultra-modern industrial architecture of the early twentieth century. We note that even such a utilitarian structure as a warehouse was not allowed to go up without some elegant Art Nouveau ornamentation:

Here is the architects’ Liverpool Street elevation as it appeared in an article in the Construction Record for February 7, 1914:

And here is the same building today:

This is the Preble Avenue side, which is shorter by one bay but otherwise similar. Old Pa Pitt would have preferred to duplicate the architects’ drawing as closely as possible, but Liverpool Street no longer exists in that block: it has been filled in with lower buildings.

Here is the text of the article, which will be of interest to students of architecture and construction:

Last week the contract for building the warehouse for the McKinney Manufacturing Company, Northside, Pittsburgh, was placed with the Henry Shenk Company, Pittsburgh. The building as designed by the Hunting-Davis Company, Century building, Pittsburgh, will be approximately 105×120 feet, six stories high with basement. It will be of reinforced concrete throughout. There will be no steel beams or girders used in the construction work except those for the outside lintels and elevator framing.

In order that the reinforced concrete work may be properly constructed, thus eliminating any possibility of poor workmanship and accidents, it is agreed that superintendent of five years experience on reinforced concrete building must remain on the work at all times. The mixture of the concrete will be one part cement, two parts sand and four parts gravel. All columns will have a one to two cement and sand mortar placed to a depth of three inches before the concrete is placed. The columns will be cast a day ahead of the beams and slabs. Care is to be exercised in removing the forms so that no board marks or imperfections on the exterior of the building are noticeable.

The building will be one of the heaviest loaded flat slab buildings ever designed in the country. A four-way diagonal reinforcement will be used in the slab construction. The columns will have hoop-reinforced concrete. All ceilings will be flat. The floor loads per square foot will be as follows: First floor, 800 pounds; second floor, 1,200 pounds; third floor, 650 pounds; fourth floor, 450 pounds; fifth and sixth floors, 300 pounds. The basement floor and walls will be reinforced to take care of flood water pressure with flood gates on basement windows.

The design carries with the proposed work the building of a tunnel to connect with the present plant and the construction of a bridge to connect up with the second floor. Solid steel sash will be used on all windows. A sprinkler system will be installed. All floors in the basement tunnel and pent houses will have a granolithic finish.

For the connecting bridge the walls and roof will be constructed of self-centering material plastered with cement mortar. The walls will be two inches thick and finished smooth on both sides. The roof will be two and one-half inches thick and finished with a smooth under coat. Composition roofing will be used throughout all the work.

November 7, 2023
St. Martin’s Rectory, West End

Our great ecclesiastical architect John T. Comès designed a fine church for St. Martin’s parish in the West End, but the church was demolished long ago. The rectory, however, remains, and it is a remarkable piece of work itself. We might call it Romanesque, or Art Nouveau, or Arts-and-Crafts, or perhaps even Rundbogenstil. Father Pitt is tempted, however, to call it Pre-Raphaelite. It reminds him of Pre-Raphaelite paintings; we can imagine it as a backdrop for figures by Burne-Jones.

The rich colors and deliberately handmade look of these ornamental tiles add considerably to the effect of the façade.

October 8, 2023
Kiehnel and Elliott on the Bluff

It is a general principle of research that you can find anything as long as you’re not looking for it. Old Pa Pitt was leafing through a magazine from 1915 called The Construction Record, which has already given him dozens of entries for the Great Big List of Buildings and Architects, when he came across this little item:

Architects Kiehnel & Elliott, Keenan building, have plans for a three-story brick and hollow tile apartment building, to be built on Van Braam and Tustin streets for a private party.

Kiehnel and Elliott were among our most interesting early modernists, but Father Pitt had never heard this building mentioned. Surely it must be long gone—the Bluff has had some tough times. But still, one might take a look, especially since modern technology makes it possible to look at that intersection without leaving one’s comfortable chair. And there it was. Father Pitt leaped out of his chair and ran to the Bluff to get pictures:

Not only is it there and well preserved (except for the cornice, of course), but it has just recently been cleaned up and made to look almost like new. The Kiehnel-and-Elliott style is unmistakable. Look at the pilaster capitals at the entrance:

How much more Kiehnel-and-Elliott can you get?

Kiehnel and Elliott would later move to Florida and become the Art Deco kings of Miami, but in their Pittsburgh years they were heavily influenced by the Jugendstil architecture of Germany, where Richard Kiehnel grew up and studied. Ornamentation and decorative brickwork like this can be found in all the German architectural magazines of the early twentieth century.

October 1, 2023
Art Nouveau Apartment Building in Allentown

You walk up Walter Street past the usual Hilltop cacophony of vernacular houses with aluminum and vinyl siding, and then suddenly you come upon this explosion of Art Nouveau. The building has lost its balconies (a long time ago, to judge by that tattered aluminum awning) and its cornice, but it retains its utter uniqueness, right down to the balcony doors to nowhere on the second and third floors, which appear to be original and designed specifically for this building rather than ordered from a catalogue.

This strange and wonderful little building is obviously the work of a strange and wonderful architect. But which one? It was built after 1903 but before 1910, and we are sorely tempted to attribute it to Titus de Bobula, whose entire Pittsburgh career blossomed and faded in that period. The treatment of the decorations strongly reminds old Pa Pitt of the Everett Apartments in Shadyside—in fact the decorations are so similar that Father Pitt is nearly convinced they have to be by the same architect. He is not the only one to notice the similarity. A city architecture inventory (PDF) also points it out: “Its similarity to another apartment building in the East End (at Ellsworth Avenue and Copeland Street in Shadyside) further sets the design of 404 Walter apart from the local vernacular found throughout the rest of Allentown.”

To see what both Father Pitt and the city’s architecture experts are talking about, consider these decorations:

Now compare this decoration from the Everett in Shadyside:

The similarity is certainly marked; many of the pieces are identical. Since the Everett is attributed to Titus de Bobula, we are justified in saying that he is a strong possibility for this one, too.

Another De Bobulesque feature is the lack of a main entrance: instead there is a small door off to one side that appears to lead into a stairwell. This is also the case with his Glen Tenement House in Hazelwood and with the Everett. The narrow verticals with asymmetrically staggered windows remind us of St. Michael’s School in Braddock, another De Bobula design (Father Pitt promises to make a pilgrimage to Braddock soon and come back with pictures).

Father Pitt will regard this as a De Bobula building until someone proves otherwise. But he would be delighted to have someone prove otherwise, because then he would be introduced to another eccentric but talented architect.

September 27, 2023
Emerson Apartments, Shadyside

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.

August 31, 2023
Decorations on the Central Turnverein

Now the Gardner Steel Conference Center, the Central Turnverein was German Pittsburgh’s most elegant athletic club. The building is an extraordinary early-modern design by Kiehnel and Elliott, and they trimmed it with geometric decorations inspired by the latest Jugendstil architecture overseas.

June 4, 2023