Built in 1881, this is the only remaining downtown work of Joseph Stillburg—as far as old Pa Pitt knows, but he still hopes for surprises. Stillburg was a very big deal in Pittsburgh in the nineteenth century and into the early twentieth, but most of his buildings have disappeared. They were prominent buildings in their time—the Pittsburgh Exposition buildings, for example, and the Bissell Block—but they were replaced by other even grander projects as the land they were built on became even more valuable (or, in the case of the Exposition buildings, they were taken down for Point Park).
This building is a symphonic fugue of perfectly balanced themes and rhythms woven into a composition that must have been strikingly modern in 1881. It has been restored and renovated with good taste, and it is ready for another century and a half of use.
Originally a building with five floors, built in 1886; a sixth floor was added in 1892 with considerable skill. We have more pictures of the building from two years ago; the picture above is a composite of six different photographs, so it is very big if you enlarge it.
Old Pa Pitt recommends wandering in back alleys as a hobby. You never know what you might find, from antique sculpture to ghost signs. Dimling’s hasn’t had a candy shop here for more than fifty years, but this sign still sits on the back of the building the shop once occupied, facing Exchange Way at the intersection with Tito Way.
When it was prospering, Dimling’s Liberty Avenue shop occupied two buildings and covered them with tiles that made the entire Liberty Avenue façade a giant billboard. The picture above is a detail of a much larger photograph taken by the Pittsburgh City Photographer in 1965: it may still be encumbered by copyright (although probably not, unless the copyright was renewed), but if the city of Pittsburgh wants a fee for using it Father Pitt can probably afford a quarter or so.
By the 1970s, the buildings were still a billboard for Dimling’s, but a photo from 1973 shows that the tenants were Arthur Treacher’s, an adult theater, and a massage parlor.
The wheel of history kept turning, however, and the restoration of Liberty Avenue brought these buildings back to respectable use. Peeling away the tiles revealed the old Victorian fronts, which have been lovingly restored and now make up part of the extraordinary Victorian streetscape of Liberty Avenue in the Cultural District.
Pennsylvania streetcars do not run on standard-gauge track. This is not just a local quirk: it was a law of the Commonwealth. Streetcar companies must not lay standard-gauge track. Why did we have such a law? Well…
This is Liberty Avenue in 1889, where a railroad ran down the middle to serve the wholesalers. Now imagine one backroom deal with the streetcar company, one little switch, a few extra feet of track, and suddenly the Pennsylvania Railroad has access to every major street in the city.
But that can’t happen, because the streetcar tracks are a different gauge.
That is why, to this day, streetcars in Pittsburgh and Philadelphia use Pennsylvania Broad Gauge or Pennsylvania Trolley Gauge, 5 feet 2½ inches, instead of the standard American rail gauge of 4 feet 8½ inches. (Actually, Philadelphia is off by a quarter-inch at 5 feet 2¼ inches.) Most other American transit systems use standard gauge, although New Orleans streetcars use Pennsylvania Broad Gauge, too.
Carson Street on the South Side is reputed to be one of the best-preserved Victorian streetscapes in America. Liberty Avenue in Bloomfield may not come quite up to that standard, but it is probably second in Pittsburgh. The commercial district was built up in the 1880s and 1890s. Like Carson Street, it preserves many Victorian commercial buildings, along with a peppering of later styles. These pictures are all of the northeast side, because the sun was behind the southwest side.
A good example of the most basic form of Pittsburgh Rundbogenstil, the German hybrid of classical and Romanesque architecture that old Pa Pitt mentions every chance he gets because he likes to say “Rundbogenstil.” In the 1800s, before it became the most Italian of our Italian neighborhoods, Bloomfield was mostly German.
A Second Empire building from the 1880s.
This building dates from the 1890s. It probably had a date and inscription in that crest at the top of the façade, but later owners obliterated the evidence.
We saw this 1924 building before at dusk; here it is in bright sunlight. The bright light gives us a chance to appreciate the decorative details with a long lens.
This fine new building opened in 1926, and the bank got to enjoy it for five years before it was liquidated in the dark days of the Depression. After that, it sat vacant for a while. Just after Prohibition ended, the Liquor Control Board picked it for a liquor store, but bids for the conversion came in too high, and the board went looking for another location. Later, at some point, it became a bank again. Now the bank has moved out, and it’s ready for its next life.
As you can see from the picture above, the streets do not intersect at a right angle at this corner, so the building is a trapezoid. The upper floors were built as apartments to gain some extra income to pay for the building.
This was a warehouse, with offices and showrooms, built in 1907 for a company that sold a wide variety of products, from ball-bearing grinders to home appliances. (Note, by the way, that its owners were among the many stubborn Pittsburghers who kept the H at the end of the city’s name through the dark days when it was officially banned.) Its 1913 catalogue is more than two thousand pages, and the title page shows us why so much effort went into making this industrial building attractive: because it had to look good in the engraving.
This picture—which is probably the architects’ rendering, since the same picture shows up in other sources even before the building was completed—shows the building before it was expanded. The architects were the William G. Wilkins Co., designers of numerous warehouses and industrial buildings in Pittsburgh, including the Frick & Lindsey Co. warehouse, now the Andy Warhol Museum. The addition to the left of the building was built in 1919 or 1920; the same architects supervised it, so it matches the rest very neatly. William Glyde Wilkins was an engineer; to do the architecting in his firm, he had the very capable Joseph F. Kuntz, who loved terra-cotta decoration.
One important line the company sold was the Gainaday brand of home appliances. In the early part of the twentieth century, middle-class families were learning to live without servants. It meant the housewife had to do the work previously done by maids and housekeepers. But this was the mechanical age: a machine could take the place of a servant. It was so efficient, in fact, that you could gain a day over the course of your week of housewifely duties.
The building was promoted as a “model warehouse,” a shining example of what could be done with this sort of building, and Pittsburgh’s Standard Sanitary Manufacturing Company, the biggest name in toilets (which later merged with American Radiator to form American-Standard), took out a full-page ad in a journal of the toilet trade to boast that the plumbing fixtures were all Standard brand.
The magazine Rock Products for November 22, 1907, gave a detailed description of the building as it was going up, with—once again—the same illustration.
Pittsburg Gage and Supply Company.
The immense building now being erected by the Pittsburg Gage and Supply Company at Thirtieth Street and Liberty Avenue, Pittsburg, Pa., is constructed of steel, brick and concrete fireproofing, equipped with automatic sprinklers throughout, and when completed will be the largest, most modern and thoroughly equipped supply house in the world.
For the concrete work Lehigh Portland cement was used throughout. The W. G. Wilkins Company, Westinghouse Building, were the architects, and the George Hogg Company the contractors.
The first floor will be used as a general salesroom; the second floor will be taken up by the offices and shipping departments of the company. All the other floors and the basement will be used as storage space for their mammoth stock. A notable feature of the main building is the central_tower rising more than forty feet above the roof. In this tower will be located water tanks holding 65,000 gallons, which will be used for the house supply and the automatic sprinkler system.
In connection with the building there is being erected a six-story fireproof building, in which will be manufactured the Pittsburg steam specialties. It will also contain a thoroughly modern brass foundry and pipe shop. Electric cranes are to be used throughout, and all machinery, elevators, etc., will be electric-motor-driven.
A joint siding of the Pennsylvania, Baltimore and Ohio and Pittsburg Junction railroads will afford excellent shipping facilities. Adjoining this siding they are constructing a large iron, steel and pipe warehouse, in which will be carried the largest stock in Pittsburg, if not in the Central States. Adjoining this building there is a vacant frontage of almost 100 feet, which will be used for storage and switching purposes.
The present stores and warehouses of the Pittsburg Gage and Supply Company are located at 309-321 Water Street, and its manufacturing plant at Thirty-first Street. The officers are: W. L. Rodgers, president; J. Lee Rodgers, secretary; R. F. Ramsey, treasurer; A. F. Maxwell, assistant treasurer; M. R. Porter, sales manager, and H. E. Haller, superintendent.
Old Pa Pitt’s New Year’s resolution is to bring you more of the same, and to try to get better at it.
The May Building was designed by Charles Bickel, probably the most prolific architect Pittsburgh ever had, and a versatile one as well.
The famous Sicilian Greek mathematician and philosopher and inventor and scientist Archimedes was nicknamed “Beta” in his lifetime, because he was second-best at everything. That was Charles Bickel. If you wanted a Beaux Arts skyscraper like this one, he would give you a splendid one; it might not be the most artistic in the whole city, but it would be admired, and it would hold up for well over a century. If you wanted Richardsonian Romanesque, he could give it to you in spades; it might not be as sophisticated as Richardson, but it would be very good and would make you proud. If you wanted the largest commercial building in the world, why, sure, he was up to that, and he would make it look so good that a century later people would go out of their way to find a use for it just because they liked it so much.
The modernist addition on the right-hand side of the building was designed by Tasso Katselas.
