Three similar houses in a row, Pittsburgh Foursquares with dignified classical detailing, and all three in beautiful shape. Father Pitt has was told by the owner of one of them, an architect and community activist, that they were designed by Ulysses J. L. Peoples.
Although the houses clearly go together, window placements and other details vary.
“Modern Ionic” capitals—the kind where the volutes (the spiral things) stick out at the four corners, as opposed to classical Ionic capitals, which are meant to be seen from the front and have pairs of volutes rolled up like a scroll.
This is a big apartment complex, but it is not nearly as big as it was meant to be.
In the beginning of 1939, an apartment complex was proposed for this land. it would require zoning changes in an area that was mostly single-family houses and mansions, and when residents saw the designs by architect Clifford Lake, there was much loud protest.
“Mercer Plans Big Apartment,” Pittsburgh Press, January 12, 1939, p. 5.
It would be a huge complex of interlinked towers, nine storeys high, that would completely change the character of Negley Avenue. “It will be necessary for City Council to change the district from a Class A to a Class C zone before work can be started,” the Press reported.
It was obvious from the reaction that the plans had been far too ambitious. By May, the plans had shrunk. “Original plans for the structure have been scaled down from a nine-story 623-family apartment to the present six-story building, Mr. Lake said.”
But many of the residents nearby were still not satisfied. Give them an inch, they thought, and who knows how many ells they might take?
“You well understand,” said an attorney for the opposing property owners, “that it is impossible under the law to negotiate what kind of structure will be built after the zoning ordinance is passed.
“They propose to change the law so that hotels, educational and charitable institutions, jails and commercial businesses can be placed in a district where these people have built homes.”
It was not until a year later, in 1940, that a building permit was applied for. But the fight wasn’t over. When the zoning law was changed, residents went to court, and they won. Then came the Second World War, which was an even bigger fight than the zoning battle.
Finally, in 1946, the zoning law was changed to permit three-storey apartments in the area, and construction of the reduced complex begin in 1947, finishing in 1948.
Perhaps because of the long fight, the complex makes a surprisingly modest impression from the street. The landscaping is lush and park-like: this complex, like Gateway Center, makes good on the promise of “towers in a park,” although “towers” is a bit generous for buildings with three floors and a high basement.
The buildings themselves are fairly ordinary, not the dream towers Mr. Lake envisioned in 1939. The entrances, however, are decorated in late-Art-Deco fashion to maintain the impression that you are approaching something special.
The sides of the buildings facing the garden court have been given ridiculously narrow cartoon paste-on shutters, which do them no favors. The sides facing the side streets have no shutters and look the way Mr. Lake meant them to look.
We have seen pictures of the outside of this church before—here, for example, is a picture from May of 2021:
The other day the current inhabitants, the Union Project, were kind enough to turn old Pa Pitt loose in the sanctuary to take as many pictures as he wanted.
The architect was John L. Beatty, who designed the building in about 1900. A newspaper picture from 1905 (taken from microfilm, so the quality is poor) shows the exterior looking more or less the way it does now.
Pittsburg Press, April 29, 1905.
After a disastrous fire, much was rebuilt in 1915, again under Beatty’s supervision.1 Another fire in 1933 would necessitate rebuilding part of the tower.
The church was built for the Second United Presbyterian congregation, which had moved out to the eastern suburbs from its former location downtown at Sixth Avenue and Cherry Way (now William Penn Place)—exactly one block from the First United Presbyterian Church, which moved to Oakland at about the same time. Later it became the East End Baptist Church, and then was renamed the Union Baptist Church. When that congregation folded, the church was bought by a Mennonite group that founded the Union Project. It is now a community center for pottery, because “everyone should have access to clay.” The sanctuary—which has been preserved mostly unaltered, except for the removal of pews and other furnishings—is available for large events.
The sanctuary is roughly square, which is typical of many non-liturgical Protestant churches in Pittsburgh at the turn of the twentieth century. Above, looking up at the center of the ceiling.
The stained glass was restored as part of a remarkable community effort in which people in the neighborhood learned the art of stained-glass restoration themselves. It would have cost more than a million dollars to have the work done professionally, but volunteers learned priceless skills, and the glass is beautiful.
The vestibule includes some of the original furniture from the church, and some smaller stained-glass windows.
Source: The Construction Record, January 16, 1915: “The Second United Presbyterian Congregation has selected Architect J. L. Beatty, 146 Sixth street, to prepare plans for repairing the church on Stanton and Negley avenues.” ↩︎
Old Pa Pitt knows nothing about this apartment building, and it is probably not one of the masterpieces of modernism. But it was different enough from the ordinary brick boxes to be worth a couple of quick pictures with the phone camera. It was probably not worth the effort Father Pitt later put into adjusting the perspective of the picture above by slicing it down the corner and adjusting it on two planes, but the “violent perspective” (as photography critics used to call it) of the wide-angle lens on the phone offended him.
Enlarge the picture and you can see that one of the corner apartments is infested with plastic coyotes.
An abstract pattern of shaped glass blocks over the entrance creates interesting patterns of light inside.
This phone-camera picture is soupy with noise reduction if you enlarge it, but it gives us a good idea of how the Flash Gordon glass-block window in the stairwell looks at night.
The Negley was probably built in about 1909; the architects were the firm of Janssen & Abbott. Some of the original details have vanished over the years, but Benno Janssen’s spare version of Georgian style still leaves an impression of dignity and elegance.
An unusual choice: the doorway frames are cast iron.
Several synagogues in Pittsburgh have been adapted from private houses—one of them half a block away from here. This one seems no longer to be a synagogue, so it has gone from residential to institutional to residential again. The inscription is mostly in Hebrew, which old Pa Pitt regrets that he does not read, so perhaps a reader can inform us which congregation was here. The English part of the inscription memorializes Mr. & Mrs. Bennie Fineberg, perhaps the donors.
We could try to imagine what the front of this house looked like before its conversion. But we needn’t put in the effort, because a nearly identical house is right next door:
This one has been converted to apartments, and it has suffered some alterations, but nothing that takes very much imagination to remove in our mind’s eye and restore the original look of the house.
A particularly grand version of the Pittsburgh Foursquare house, this house on Negley Avenue at Jackson Street was one of four in a row built in the early 1900s for James Parker, who had a small real-estate empire in the nearby streets.
This church has an unusually eclectic history. It began as the Second United Presbyterian Church. Father Pitt does not know the original architect, but in 1915 there was a devastating fire, and a large reconstruction project was supervised by the architect John Louis Beatty. In 1933 the Presbyterians moved out, and this became the East End Baptist Church. Now it is the Union Project (an arts venue) and the meeting-place of the Jonah’s Call Anglican congregation.
About two and a half years ago, old Pa Pitt published some pictures of this church, but something seemed different about it. It took a moment to realize: the decorative details on the tower have been cleaned. Back in 2021, all the stone had been cleaned except for the very top of the tower:
But now the tower is clean to its very tip:
This little pinnacle is still the color the whole church used to be.
This row of Queen Anne houses on Negley Avenue in Shadyside surely strikes every passer-by, if for nothing other than their turrets with witches’ caps. The other details are also worth noticing: the ornamental woodwork and the roof slates, for example. The houses are just detached enough that we can see that the sides are made of cheaper brick rather than the stone that faces the street.
The last one in the row lost its cap many years ago, but in compensation has been ultra-Victorianized with extra polychrome woodwork, as we see on the dormer below.
