Frederick Sauer was probably the architect of these rather German-looking houses. They were built as rental properties on land that belonged to developer John Dimling, and in every case where we have found an architect listed for a Dimling project, it is always Frederick Sauer.
It is a little hard to tell how the right end of the row looked originally. Alterations that look as though they were made in the 1970s have obscured the original design, which—with its curved corner—would have been something interesting.
That sounds like the title for a very complicated farce, but these are actually the names of six apartment buildings in Oakland, all of which share a common style. First, on Oakland Avenue, we have Harry, George, Matilda, and Laura, which look like four buildings but are really two identical buildings, each divided in two parts. The romantic battlemented fronts give tenants the chance to imagine themselves as medieval lords and ladies fresh out of a Walter Scott novel. These fantasies were effective in selling apartments, and probably still are.
Around the corner on Dawson Street are two other buildings that share many of the same details. They had the same owner—John Dimling (note the sign for the private alley Dimling Way in the picture above)—and we can guess that they were probably drawn by the same pencil. These are called Hilda and Herbert.
Here the architect has responded to the challenge of a lot that is not rectangular with a pair of asymmetrical designs that resemble but do not repeat Harry, George, Matilda, and Laura.
John Dimling was also the owner of the rainbow terrace on Dawson Street, and it is a good guess that the same architect was responsible for that as well. That architect was almost certainly Frederick Sauer, who is best remembered for his churches (like St. Stanislaus Kostka and St. Stephen Proto-Martyr) and his backyard whimsies, but who was very busy with all kinds of work. Father Pitt has not found these particular buildings in construction listings yet; but John Dimling was responsible for quite a bit of development in this part of Oakland, and in looking through the trade magazines for Mr. Dimling’s name, we find that, whenever an architect is mentioned, it is always and without exception F. C. Sauer during the period when these buildings went up (around the turn of the twentieth century). We therefore attribute them to Sauer until someone proves otherwise.
Perhaps the best way to describe the architect Frederick Sauer is to say that he was a high-functioning mad genius. He produced some very respectable church designs—St. Stephen Proto-Martyr, St. Stanislaus Kostka, and St. Mary of the Mount, to name three. Meanwhile, he went home every evening and started pulling rocks out of his back woods and piling them up into whimsical buildings with his own hands.
When he designed a private residence, Sauer sometimes pushed the limits of current styles. Here is a big stony house built from his design in 1893. It hits some of the fashionable Romanesque notes, but that immense crowstepped Flemish gable makes a big impression on the neighbors. (The high-pitched roof and big gables also give the house a roomy third floor.)
A year and a half ago, old Pa Pitt published pictures of St. Stephen Proto-Martyr, but he was unable to get a picture of the front, because the leaves were on the trees, and the front looked like this:
On a gloomy afternoon recently, however, he happened to be in Hazelwood, and the trees were only beginning to leaf, so it was possible to make out the building through the bare branches.
The church was built in 1902; it is one of the most important works of Frederick Sauer, and it is hanging by a thread. The building is not in regular use, but not precisely abandoned. We will describe it as Endangered on our six-point scale of Least Concern, Near Threatened, Vulnerable, Endangered, Critically Endangered, and Demolished.
To cut through the clutter of branches and bring out the building, Father Pitt tried several exposures with two different cameras and different kinds of processing afterward. He did not come up with any outstanding pictures, but at least the outlines of the design are clear now.
Designed by Frederick Sauer, this school was called the Latimer School after Allegheny was conquered by Pittsburgh. It was built in 1898.
In the 1980s it was converted to apartments under the name “The School House.” As far as old Pa Pitt knows, this was the first major conversion of a disused school to apartments in the city, and it showed that the idea was viable.
The school was converted to apartments in the age of Postmodernism, and the designer of this canopy cleverly made it a kind of abstracted projection of the original entrance. Father Pitt caught the fabric part of the canopy on a bad hair day.
Frederick Sauer designed St. Stanislaus Kostka, which was built in 1891. The church presides dramatically over the broad plaza of Smallman Street. It used to look out on a sea of railroad tracks, but its view improved considerably when the Pennsylvania Railroad built its colossal Produce Terminal.
It is probable that the rectory, done in a matching style, was also designed by Sauer. The glass blocks are not an improvement, but they have kept the building standing and in use.
This beautiful Romanesque church was built ad majorem Dei gloriam (“to the greater glory of God”) in 1891. The architect was Frederick Sauer, who gave us many distinguished churches, as well as comfortable houses, practical commercial buildings, and the whimsical Sauer Buildings built with his own hands in his back yard. This is the mother church for Polish Catholics in Pittsburgh, and it has one of the most spectacular sites for a church in the city, sitting at the end of the long broad plaza of Smallman Street along the Pennsylvania Railroad produce terminal.
The rectory is also a remarkable building, and still manages to convey much of its original impression in spite of the unfortunate glass-block infestation.
Frederick Sauer was the architect who designed some of our distinguished churches—St. Stanislaus Kostka, St. Mary of the Mount, and St. Stephen’s in Hazelwood, to name three. They are all excellent designs within the conventions of late-Victorian style. The same can be said for the houses and commercial buildings Sauer built.
But in his old age, Sauer settled down on his big hillside property above the town of Aspinwall and started tinkering. Eventually, with his own hands, he built a group of whimsies that are not quite like anything else in the world. None of his clients ever got anything like these: Sauer was a reliable provider of the expected in architecture. But left to himself, he built a landscape from a fairy tale.
This is one of the houses he built, and the hand-crafted chimney above is emblematic of Sauer’s fairy-tale approach to building. The current owner was kind enough to spend a few minutes passing on the latest gossip on the Sauer Buildings. Most were held as rental properties, but they have now been sold off individually, and the new owners are for the most part reversing decades of neglect.
What do St. Stanislaus Kostka, St. Mary of the Mount, St. Stephen’s in Hazelwood, a chicken coop turned into an apartment building in Aspinwall, and an empty restaurant on the South Side have in common? The buildings were all designed by Frederick Sauer, who was a genius at ecclesiastical architecture but had to make most of his living designing houses and small commercial buildings for the middle classes. This building was put up in about 1911,1 and we can’t say that it’s a work of towering genius. But Sauer does manage to filter the expected Pittsburghish details through an angular modernism that gives the building a distinctive style. This is how a good architect makes a good living: by taking small jobs as well as big ones, and doing good work for all his clients.
From the Construction Record, September 24, 1910: “Architect F. C. Sauer, 804 Penn avenue is taking bids on constructing a three-story brick store and office building on Nineteenth and Carson streets Southside, for Henry F. Hager, 144 Twenty-fourth street, Southside.” Hager is shown as the owner on a 1923 map. ↩︎
The Baroque style is unusual, but St. Stephen’s is a Frederick Sauer church through and through, starting with that yellow Kittanning brick he favored. We’ll have to wait till the leaves drop to get a view of the front, but since the building is slowly crumbling, it’s good to get the details as soon as we can.
Main entrance.
Update: An Iranian correspondent who does not seem to be a spammer has left a remark that Google Translate renders as “We have a similar example in Iran from Sar Setun.” Although it would not have occurred to him before, Father Pitt now notices how much this ornate entrance porch resembles certain examples of Islamic architecture.
Left entrance.Right entrance.The Evangelists Mark and John.The Evangelists Luke and Matthew.One of the side windows.
