A long stretch of Shady Drive is lined on the southwest side with two rows of double houses, identical except that one row is built of sand-colored brick and the other of sooty dark red brick. Individually the buildings are attractive examples of the typical small Pittsburgh terrace with Mission-style details; as a whole row, they add up to something more impressive. Light snow was falling when we took these pictures a few days ago.
Some of the houses have had their front yards scooped out to make driveways, and a few have added garages in the basement.
We may take it as admitted that the overhangs that decorate the upstairs windows have no practical use at all, since in half the buildings they hang over the bedroom windows and in the other half those are left naked, with an overhang over the small windows that probably look out from the bathrooms. The decorative crests similarly alternate.
The alternating placement of the overhangs and the crests of the buildings actually creates a more regular rhythm in the row, taking into account the spaces between the buildings.
The honest Depression-era simplicity of this building, dated 1931 by the stone beside the front steps, is very attractive. The windows have been replaced; but they have not been blocked in, which sets this apart from almost every other men’s club in southwestern Pennsylvania. Perhaps the explanation lies in the fact that there is a large and mostly windowless basement with separate entrances.
This row of houses on Alder Street in Shadyside has been attributed to Frederick Scheibler, Pittsburgh’s most famous home-grown modernist, by the guesswork of certain architectural historians. But Martin Aurand, Scheibler’s biographer, could find no evidence that Scheibler designed them. Then who was responsible for this strikingly modern early-twentieth-century terrace?
Old Pa Pitt is confident that he has the answer. The architect was T. Ed. Cornelius, who lived all his life in Coraopolis but was busy throughout the Pittsburgh area. We can be almost certain of that attribution because the houses in the middle of the row are identical to the ones in the Kleber row in Brighton Heights:
And the Brighton Heights houses were the subject of a photo feature in the Daily Post of March 5, 1916, in which T. Ed. Cornelius is named as the architect.
The Alder Street houses are bookended by larger double houses, one of which—this being Pittsburgh, of course—is an odd shape to fit the odd lot.
So remember the name of T. Ed. (which stands for Thomas Edward) Cornelius when you think of distinctive Pittsburgh architecture. It is quite a compliment to have your work mistaken for Frederick Scheibler’s.
Except for the replaced and filled-in porch, this house is in remarkably good shape, with most of its characteristic details intact. By chance the Pittsburgh City Photographer happened to capture it on May 27, 1910, while it was still under construction, so we can compare its current state to what it looked like when it was new.
Craftsman meets Colonial in an attractive double duplex whose details are exceptionally well preserved—notably the showy carved brackets and the windows.
An attractive and well-maintained building that would have been even more attractive when that overhang had green or red tiles. The style seems to hover somewhere between Renaissance and Arts and Crafts.
After the originally tiled overhang and its showy wooden brackets, the most eye-catching feature is the balconies with their bulging iron railings.
Benno Janssen was one of the titans of Pittsburgh architecture, but even titans take on small projects once in a while. This is a fairly ordinary house on an ordinary street in Brookline, but it was designed by the firm of Janssen & Abbott.1 In spite of revisions that have changed some of the original character, it seems to retain some of the elegant simplicity of Janssen, who never wasted a line.
The front door is set back on the side of the house, which allows a broad front living room opening out on the porch, without dropping visitors right into the living room when they arrive—a clever way of making a narrow lot seem less restrictive.
A good example of the kind of arts-and-crafts Gothic that was popular for churches in the first quarter of the twentieth century, usually defined by broad Perpendicular Gothic windows, corner towers, and simple but elegantly crafted woodwork. The architect was S. A. Hamel, about whom old Pa Pitt knows little so far other than that he designed some churches south of the rivers and lived on Giffin Avenue, just two blocks away from this church. Mr. Hamel was associated with a real-estate broker named James A. Griffith, who sold this lot to the church and probably recommended the architect. It seems the congregation was not disappointed: the same congregation still owns the building, and a picture published when the church was dedicated in early 1919, though the scan is poor, is clear enough to show us that almost nothing has been altered.
The congregation was originally German Baptist. The earlier home of the congregation, when it was known as the First German Baptist Church, is also still standing on the South Side; it now belongs to the Holy Assumption of St. Mary Orthodox congregation.
When ground was broken for this building, an article in the Press related the history of the congregation.
Ground Broken for New Temple Baptist Church
Ground has been broken for the new Temple Baptist church, to be erected at Brownsville rd. and Onyx st., Mt. Oliver, at a cost of $50,000. The plans, drawn by Architect S. A. Hamel, call for a handsome structure of rough brick of odd coloring, creating a beautiful effect, and the congregation, which now is holding services at Birmingham and Hays aves., Carrick, anticipates being in its new home before the end of the year.
The Temple Baptist congregation is the oldest German Baptist congregation in Pittsburg and vicinity, and formerly was known as the First German Baptist, the word German now having been dropped from its title.
Formerly services were held in the old church at South Nineteenth st. and Carey ay., where, for 60 years the congregation worshiped, but recently the property was sold to the Greek Orthodox congregation. A chapel that had been maintained by the Baptist congregation at Hays and Phillips aves., Carrick, also has been disposed of and now is being used by the Carrick Red Cross. Since Rev. A. P. Mihm, the pastor, assumed charge three years ago, the membership has enjoyed a steady and substantial growth.
William Arthur Thomas designed this First-World-War-era duplex,1 which is typical of the better class of Pittsburgh duplexes: it offers two spacious apartments (plus attic and basement), each with more square footage than many city houses. Thomas was very fond of white Kittanning brick, to judge by the number of his buildings that made use of it.
Update: Thanks to our correspondent David Schwing, we know the story of this church better. It was a Shingle-style frame church dedicated at the end of 1896.1 In 1953, it was “Perma-Stoned,”2 so that the end result is an odd mixture of Shingle-style forms—like the flared roof—and 1950s aesthetics.
The original text of the article follows.
Father Pitt is not quite sure what to call this style: maybe arts-and-crafts Mediterranean.
The corner-tower entrance is typical of Pittsburgh churches, but the stone porch is not.
The arches and spindly columns of the belfry are the touch that says “Mediterranean” to old Pa Pitt.
From this angle we can see that the building has the usual Pittsburgh problems to solve: the lot gains almost two floors’ worth of height from lower to upper corner.
