As we mentioned before, we are attempting to photograph every house in the residential part of Schenley Farms. Here is a big album of houses on Bigelow Boulevard, which becomes a residential street as it winds through the neighborhood. Above, Ledge House, the strikingly different home of A. A. Hamerschlag, the first director of Carnegie Tech (now Carnegie Mellon University). It was designed by Henry Hornbostel, who designed the Carnegie Tech campus and taught at Carnegie Tech. It has recently been cleaned of a century’s worth of industrial soot and restored to its original appearance.
Above and below, the D. Herbert Hostetter, Jr., house, architects Janssen and Abbott. Benno Janssen and his partner abstracted the salient details of the Tudor or “English half-timber” style and reduced it to the essentials, creating a richly Tudory design with no wasted lines.
Because we have so many pictures, we’ll put the rest below the metaphorical fold to avoid weighing down the front page here.
We’ll be seeing quite a bit of Schenley Farms in the coming weeks, because old Pa Pitt has taken it upon himself to photograph every house in Schenley Farms. The neighborhood has perhaps the most concentrated collection of superb domestic architecture in a city known for its superb domestic architecture. Here we have an interesting composition by Charles W. Bier, an architect who paid more attention than most Pittsburghers to the breezes of modernism blowing from Germany and Austria on the one side and Chicago on the other. This house compares favorably with the Kiehnel & Elliott house we saw recently: it also fits well with its neighbors while adopting modern Art Nouveau details. This one, unfortunately, has lost its front porch, which would have been a showcase for some interesting woodwork. We get a hint of what it might have been from the porte cochere:
This duplex in Beechview is one of a pair right beside the Westfield stop on the Red Line. It looked very familiar. Where had we seen it before?
This duplex is on Ellsworth Avenue in Shadyside, part of a group of duplexes on St. James Place and the adjacent side of Ellsworth Avenue. It is not identical to the one in Beechview, but so many of their parts are identical that the Beechview and Shadyside duplexes were obviously drawn by the same pen.
Above, a perspective view of one of the pair in Beechview, which is marked “Woodside Dwellings” on a 1923 map. It stands on Westfield Street, which was briefly called Woodside Avenue; the other of the pair was called “Suburban Dwellings” after the cross street, Suburban Avenue. Except for the loss of the Tudor half-timbering in the front gable, this one is very well preserved. (Suburban Dwellings has lost more details.)
Below, a perspective view of one of the duplexes in Shadyside.
One of the details they share is a “No Outlet” sign. But we can see that the Shadyside duplexes are narrower and deeper than the Beechview ones. The same architect adapted as much of the same design as possible to the different dimensions of different lots.
Four more of these duplexes stand on St. James Place, a little one-block side street running back to the cliff overlooking the railroad and busway.
This one has kept its original tile roof.
A detail preserved by the one in Beechview is the Art Nouveau art glass with Jugendstil tulips.
Old Pa Pitt does not yet know the architect of these Tudor duplexes. But if he had to make a wild guess, he would guess Charles Bier. The wide arches with strong verticals above, and the filtering of Tudor detailing through a German-art-magazine Art Nouveau sensibility, strongly remind us of Bier’s other works. There are other known works of Bier both in Shadyside and in the South Hills.
Charles W. Bier was a fairly successful Pittsburgh architect, especially busy with medium-sized churches, who flirted with Art Nouveau in the days before the First World War, but retreated into a more traditional style in the 1920s (see, for example, his 1923 Mount Lebanon Methodist Episcopal Church). Here we find him at his most radically modern in a line of three identical double duplexes, built in about 1915 or 1916.1
These broad entrance arches with strong vertical lines show up on Mr. Bier’s churches of the period as well.
The geometrical brickwork ornaments remind us of the decorations in German art and architecture magazines of the period, and they may be where our architect got his ideas. (According to Martin Aurand, Frederick Scheibler took much inspiration from those German magazines, so they were available here.)
The building at the right end of the row seems to be stuck in the middle of a refurbishing project, with new windows installed and new wood framing inside. We hope the work can continue, because these three striking buildings really are unusual in Pittsburgh and ought to be preserved.
Source: The Construction Record, September 11, 1915: “Bids are in for the erection of three two-story brick veneered and hollow tile double duplex residences, on Murtland avenue and Idlewild street, for Mrs. W . J. Burkhard, Mrs. Josephine Friday and Mrs. Mary A. Saupp, Blackadore Avenue Extension. Cost $45,000. Plans by Architect Crarles [sic] Bier, Pittsburgh Life building.” ↩︎
One of three fine Gothic churches in a row, this one is actually in Dormont—but not by much. The Mount Lebanon border runs down Scott Road to the right of the building, then jogs behind the building to take in the St. Clair Cemetery.
Addendum: The church was built in 1923 or after; the architect was Charles W. Bier. Source: The American Contractor, October 13, 1923: “Church: Approx. $150,000. 2 sty. & bas. 100×100. W. Liberty av., Mt. Lebanon. Archt. C. Bier, Pittsburgh Life bldg., Pittsburgh, Pa. Owner Mt. Lebanon M. E. Congr., G. W. Beams, 1225 Peermont, Dormont, Pa. Stone. Gen. contr. let to H. Busse Co., Main & Wabash av., Pittsburgh, Pa. Plmg. to Reynold Gusse, 130 Wabash av., Pittsburgh. Rfg. to Crafton Rfg. & Furnace Co., 7 Crafton av., Crafton, Pa.”
