This window by the celebrated stained-glass master John La Farge looks out over the lobby of the Frick Building. The metaphor of Fortune’s wheel is an odd one for a self-made gazillionaire to choose: Henry Frick was not known for his modesty, and yet the message seems to be that he was just lucky rather than clever.
Everything in the Frick Building is gleaming white marble, with just enough accents to keep the interior from becoming entirely invisible. Above, the staircase at the Grant Street entrance. Below, the revolving doors and clock at the Grant Street entrance.
The lobby is shaped like a T, with a hall from the Grant Street entrance ending at the long hall from Forbes Avenue to Fifth Avenue, seen here from the Forbes Avenue entrance.
Even Henry Frick himself is gleaming white marble, rendered by the well-known sculptor Malvina Hoffman in 1923.
One Oxford Centre is a cluster of octagons put up during the 1980s construction boom downtown. In fact it was to have an even taller partner next to it, but that never materialized before the boom went bust. The architects were the firm of Hellmuth, Obata + Kassabaum, now known as HOK, currently the biggest architectural firm in the United States.
Louis Sullivan was of the opinion that Daniel Burnham’s success in the classical style was a great blow to American architecture. But what could be more American than a Burnham skyscraper? Like America, it melds its Old World influences into an entirely new form, in its way as harmonious and dignified as a Roman basilica, but without qualification distinctly American.
On the left, the arms of Allegheny County; on the right, the arms of the City of Pittsburgh.
Allegheny County.
Pittsburgh.
Addendum: The sculptures are by Charles Keck, who also worked with architect Henry Hornbostel on numerous other buildings, including Soldiers and Sailors Hall.
The Frick Building was designed by Daniel Burnham to convey one message, and with its austere classical dignity it succeeds perfectly. The message was “Henry Frick is more important than Andrew Carnegie.” The Frick Building dwarfed the Carnegie Building next door, which had once been the tallest in the city; by the time Frick had surrounded Carnegie’s building with taller buildings, the Carnegie Building was no longer an attractive place to be, and it was demolished to make way for the Kaufmann’s annex.
The only way to get a complete view of the Grant Street front of the Union Trust Building is with a composite of several photos. There are stitching errors, including a spooky phantom wheel rolling down Grant Street, but at least the picture gives us a better idea than we usually get of the face of this massive building, which was intended by Henry Frick to be the best shopping arcade in the country. It was designed in the Flemish Gothic style by Frederick Osterling.
The Gulf Building, an Art Deco tower with a top modeled after the Mausoleum at Halicarnassus, is rendered here in old-postcard colors through the marvel of modern digital technology.
