This small apartment building on Centre Avenue is named for its most obvious and distinctive feature: a two-storey Doric colonnade that has just been freshly painted.
Addendum: According to the city architectural inventory (PDF), the Colonnade was built in 1907.
This Art Deco apartment block was built in 1928 or shortly after. At first glance it looks like a simple rectangular modernist box, but a second glance reveals some rich decorative details.
The building is on Centre Avenue, which is a neighborhood border on city planning maps; thus it is technically in Bloomfield, but most Pittsburghers would probably say Shadyside.
Addendum: The architects were Marks & Kann, according to the Charette, the magazine of the Pittsburgh Architectural Club.
Addendum: This was originally called Haddon Hall, and it was built as a hotel, or at least it was a hotel early in its history. We now have a picture of Haddon Hall in 1929, before the modernist growth on the front.
This is a distinctive building, and old Pa Pitt searched almost fifteen minutes for the architect without success. He would be delighted if someone could tell him who designed this little outcropping of dignified Art Nouveau. Father Pitt might suspect Kiehnel and Elliott as the architects most likely to be working in this style in Pittsburgh, but that is nothing more than a wild speculation.
The glass-block windows in the front stairwell were probably stained glass when the building opened, and we can hope that those windows are preserved in a private collection somewhere.
The modernist addition on the front is not as delightful as its architect probably hoped it would be. It was probably put there in about 1961: a newspaper ad from December 22, 1961, promotes the Walt Harper Quintet’s appearance at the “newly remodeled Haddon Hall Lounge.” (In an earlier version of this article, Father Pitt wrote, “It appears to be a glass enclosure for what was once an elegant verandah.” That was wrong: old photos from before the remodeling show no verandah.)
With the Lower Hill demolished and replaced with a modernist wasteland, this church became the gateway to the Hill District. There may be no more effective religious statue in all of Pittsburgh than the statue of St. Benedict the Moor (by Frederick Charles Shrady) on top of the tower, his arms spread wide to welcome us to his neighborhood. The Gothic church, built in 1894, was designed by Moeser & Bippus. They had their offices downtown on Liberty Avenue, so there must be other buildings by them in the area, but old Pa Pitt does not know of any; he would be delighted if someone could name a few, or even one. It originally belonged to Holy Trinity, a German Catholic parish.
And now let us say something for a moment about the ethnic diversity of the Hill a hundred years ago. If you stayed within six blocks of this German church, you could have visited two African Methodist Episcopal churches and one “colored” Presbyterian church, an Irish Catholic church, a Greek Catholic (that is, Byzantine Catholic) church, a Black Baptist church, and every kind of synagogue:
Congregation Machsike Hadas
Beth Jacob Congregation
B’nai Israel Congregation
Gates of Wisdom Synagogue
Congregation Tent of Jacob
Tiphereth Israel Congregation
Paolo Zaoec Synagogue (Austro-Hungarian)
Congregation Shaare Tefilla
Congregation Kanascis Israel
And doubtless some others; we have just been glancing at the 1923 maps at the Pittsburgh Historic Maps site and have not made any scientific survey. This was not the whole Hill, of course; we have kept within a short walk of today’s St. Benedict the Moor. People of all sorts lived side by side in a crowded but lively neighborhood. Over at Pittsburgh Cemeteries, Father Pitt has noticed the ethnic diversity of the Hill reflected in the Minersville Cemetery on the Upper Hill, a German Lutheran cemetery that nevertheless found space for people whose tombstones are written in Slovak, Greek, and Arabic.
That the Hill became an almost exclusively Black neighborhood was the result of deliberate public policy. A neighborhood where races mixed was defined as a slum, and slums had to be cleared. Of the streets we were just walking in our imagination, half were simply demolished. The rest was marked out as a Black neighborhood; other residents had every incentive to move to areas from which Blacks were excluded by invisible red lines, though many businesses continued to be owned by former residents who had moved away, until the 1968 riots discouraged them.
The human spirit triumphs over inhumanity, however, and today’s Hill is a neighborly neighborhood. It is not prosperous; it has lost far too many buildings and gained too many vacant lots. But it is a place where people practice the neighborly virtues, and we hope that from that precious resource will come a revival of the lesser assets as well.
We continue our visits to car dealers of the mythic past with one that catered to the very highest class of motorist. The Painter-Dunn Company sold Pierce-Arrow cars, a luxury brand that lasted until 1938. This dealership is the architectural equivalent of the Pierce-Arrow advertisements, which concentrated on elegant design without trying to tell us how good the car was. The design conveyed the message.
Father Pitt does not know the whole history of this building. The elaborate cornice at the top of the second floor suggests that the third floor was a tastefully managed later addition.
Addendum: The Construction Record in 1915 confirms that this building was put up as two floors, and names the architects: “Architects Hunting & Davis Company, Century building, awarded to Henry Shenk Company, Century Building, the contract for constructing a two-story brick and terra cotta garage and assembly shop on Center avenue, Shadyside, for the Painter-Dunn Company. Cost $100,000.”
Note how Millvale Avenue runs right into the garage entrance.
The apartment building above, which faces Centre Avenue, is arranged as a kind of Tudor Renaissance palace. In defiance of its sloping site, it is a perfect rectangle arranged around an open courtyard. One can imagine Queen Elizabeth building herself a palace on this pattern.
Almost adjacent—in fact, directly adjacent in the rear parts—is the Schenley Arms, which sits in the narrow angle between Centre Avenue and Bigelow Boulevard.
Where the (unnamed, at least on its face) apartment building above is in the style of a Tudor palace, this is deliberately arranged in the ramshackle fashion of an old English inn. The deliberately haphazard shape takes advantage of a very irregular lot and gives the building an entirely different appearance from different angles.
Neither one of these buildings is a very accurate representation of real Tudor architecture: they are mostly put together from standard parts with Tudor accents added. But the Tudor accents are valuable. Especially in the Schenley Arms, they give the building an architectural reason for being an absurd mishmash of odd angles: it looks as though the building was supposed to be that way, rather than forced into its absurd shape by the constraints of an absurd property.
Update: Note the comment below identifying Edward Crump, Jr., as having designed and built the Schenley Arms. The other building, which was named the Pennsylvanian, was designed, constructed, financed, and managed by architect Daniel A. Crone, according to his biography in Pittsburgh of Today (1931).
An apartment building whose elaborately decorated upper floors make it look a bit top-heavy.
Addendum: According to the city architectural inventory (PDF), the Bellefield Dwellings apartment house was built in 1904. It is listed with the State Historic Preservation Office.
The Pittsburgh History & Landmarks Foundation identifies the architect as New Yorker Thomas Carlton Strong, who later moved to Pittsburgh, converted to Catholicism, and designed Sacred Heart Church in Shadyside. Now apartments for senior citizens, it was built as luxury urban housing where each apartment included servants’ quarters.
