The glass front with a semicircular end was very popular in the era of streamlined midcentury modernity. This storefront, which has been vacant since Anthon’s moved out, preserves its moderne look almost perfectly, and we hope the next tenants will appreciate it.
Like a great European cathedral, East Liberty Presbyterian Church, which Ralph Adams Cram considered his masterpiece, is too huge and complex to take in all at once. We can only appreciate some of the details, and then come back later for more. Here are some views from various spots in East Liberty.
Carpenter & Crocker designed this rich-looking building for a real-estate man named S. H. Lloyd. It was built in 1905 or 1906, and a photograph published in 1907 shows it looking little different from the way it looks today.
Once the building was finished, the architects moved their own office into it,1 thus making a favorable impression on potential clients even before they walked in the door.
Vrydaugh & Wolfe, famous for churches and millionaires’ mansions, were the architects of this tiny bank, built in 1904. Newspaper stories of the time seem to tell a tale of contracted ambition, and it is probable that the building as it stands was meant to have more floors added as the bank prospered. (Instead, in the late 1920s, the bank built a much larger building across the street and down the block a bit, and then shortly after that failed in the great bank massacre of the early Depression.)
In January of 1904, we read that the Franklin Savings and Trust Company was planning a $30,000 four-story building on its newly purchased lot1. But just four and a half months later, in the middle of May, we read that the bank had occupied its new building, which had cost $20,000 and had only one floor.2 It was fairly common in those days to plan a building so that it would support additional floors when they were needed, and old Pa Pitt suspects that is what happened here: the bank decided it would be prudent to save some money for the moment. Perhaps the luxurious interior appointments of mahogany and marble had cost more than the directors had anticipated.
The result was a little bank that looks almost as if it could be towed away by a large truck. But the pediment over the entrance and the arched windows (now filled in and muraled over, except for the shrunken one in front) would have given it a prosperously bankish look.
Columbia Hospital merged with Pittsburgh Hospital and East Suburban General in Monroeville to form Forbes Health System. The location in Wilkinsburg closed some years ago, but unlike some other large buildings in Wilkinsburg, this complex found new uses. The largest part is a nursing home, and several other businesses and services occupy smaller sections.
The original hospital buildings were designed by John Lewis Beatty, whom we have met before mostly as a designer of Protestant churches. They are faced with a very attractive cinnamon brick that is actually made up of randomly assorted but related shades.
If we walk around to the forgotten back alley behind the hospital, we discover the old abandoned emergency entrance. We can also see some more of the older buildings in the complex.
In 1956, the hospital announced a big new addition and planned to raise a million and a half to pay for it. The architects were Prack & Prack, longtime specialists in large industrial and institutional buildings.
A banking palace from the 1890s, with the ground floor still in use as a bank. The style is classical on the ground floor but Romanesque above; we suspect the ground floor may be a later alteration. Father Pitt does not know the architect yet. L. A. Raisig, a successful architect and builder who designed many buildings in Wilkinsburg, kept his office here, so it is possible that he designed the building.
A commercial building on Penn Avenue with a well-preserved terra-cotta front whose distinctive Art Deco decorations were worth picking out with a long lens.
Thomas D. Evans was the architect of this towering warehouse, built just as the age of skyscrapers was dawning in 1896. It has kept its Romanesque decorative details, and the ground floor has been restored and lightly modernized with sympathy for the original lines of the building.
The picture above was taken in September of 2023; we append it to show the strong impression the building makes from half a block away.
The front of green terra cotta is unique in Pittsburgh. Frederick C. Sauer designed this building, and when it was done he moved his office into it. It is the only one of Sauer’s buildings, as far as old Pa Pitt knows, that bore his name on the building itself, though at some point some workman, doubtless thinking he was doing a splendid job of renovating the building, did his best to obliterate the letters:
Addendum: As we might have guessed from looking at the front, the building rose in two stages. Three floors were added in 1909.1
Doubtless built for very pedestrian commercial uses—with huge windows that provided bright light from the south all day—these two buildings nevertheless could not be seen in public until they were dressed in the proper Beaux-Arts fashion. Other more recent buildings grew up around them and then were torn down, but these have survived, and seemed to be getting some work when Father Pitt walked past them recently.
Both buildings pull from the same repertory of classical ornaments in terra cotta, but mix them up in different ways.
No. 819 is more heavily ornamented—both in the sense of the abundance of ornaments and in the sense that the individual ornaments seem weightier:
No. 821, on the other hand, is decorated with a lighter and more Baroque touch:
