This Renaissance house in Shadyside is now a residence for first-year students at Carnegie Mellon. The round dormer is unusual, but there was a brief fad for them around the turn of the twentieth century: see also the J. J. Matthews House.
Addendum: The architect was Frederick Osterling. This is the sole survivor of a row of three houses Osterling designed; this one was for James H. Hammond. See Works of F. J. Osterling by J. Franklin Nelson, 1904.
By a splendid exercise of bureaucratic irony, the old morgue now houses offices of the county health department. It was designed by Frederick Osterling and built—on Forbes Avenue—in 1901. In 1929, it was moved to its current location on Fourth Avenue.
Frederick Osterling’s Romanesque buildings nearly always give us a monster or two to admire.
The top of the Arrott Building, rendered in old-postcard colors by the Two-Strip Technicolor script for the GIMP.
Frederick Osterling designed this school for the mushrooming borough in 1912. The building itself grew rapidly, with additions in 1914, 1916, and 1918, all in a matching style. According to the book Dormont by the Dormont Historical Society (one of the Images of America series by Arcadia Publishing), at some point in the second half of the twentieth century, high winds destroyed the original roof, and the building was given an up-to-date flat roof and a new front entrance with this fine late-Art-Deco sign.
In 1996, the school closed, and in 1999 the borough government moved in, so that this is now the William & Muriel Moreland Dormont Municipal Center. The Dormont Historical Society has a small museum here, open one day a week.
Broken windows, graffiti, piles of rubbish, trees growing from the roof—this is how the Armstrong Cork Factory looked two decades ago, when architectural historians wondered whether it could be saved. It’s a fine piece of industrial architecture by Frederick Osterling, and it was turned into luxury riverfront apartments in 2007. The success of that venture proved that there was a market for loft apartments in vacant landmarks, with the result that dozens of substantial buildings in the city have been similarly adapted since then.
This picture was taken with a Lomo Smena 8M.
The wonderfully elaborate top of the Arrott Building reflected in the Patterson Building.
In his earlier career, Frederick Osterling carved out a niche for himself providing Richardsonian Romanesque buildings for people who couldn’t get Richardson (because Richardson was dead). The Allegheny County Courthouse created a mania for the style in Pittsburgh, and Osterling seems to have had all the work he could handle. In this building from 1892, we see the hallmarks of Osterling’s own variation on the style. He was more florid than Richardson, but he was always aware of the overall composition, never allowing the numerous individual details to break up the carefully orchestrated rhythm of the façade.
Below, we see the Times Building in context, with One Oxford Centre looming in the middle distance.
After much expensive restoration and renovation, the Arrott Building (designed by Frederick Osterling) has reopened as a hotel called “The Industrialist.” The exquisite lobby has been carefully preserved. The picture above is huge, stitched together from several photographs to make what may be the only complete head-on picture of the Wood Street façade of the building on the internet.
This Second Empire mansion had a narrow escape: the third floor burned out in 1987, and the owner died the next year, leaving the house a derelict hulk. It was rescued from demolition at the last minute by serial restorationist Joedda Sampson, who painted it in her trademark polychrome style; it has since passed to other owners, whose pristine white also works well with the design. The house was built in 1871; Frederick Osterling worked on early-twentieth-century renovations and additions.
This building began its life as the First Methodist Protestant Church; it later passed into the hands of the Seventh Day Adventists, and now belongs to a nondenominational Korean congregation. It is a work of Frederick Osterling in his typically florid Romanesque style. Obviously the spire has had a bit of bad luck, but the rest of the exterior is in pretty good shape.
This modest but tasteful house seems to be the parsonage for the church, and Father Pitt can easily imagine that it was designed by Osterling as well. He would be happy to have his speculation corrected or confirmed. Update: Father Pitt’s speculation was wrong. The architect of the parish house, built in 1914 or so, was H. E. Kennedy.1
