Press C. Dowler was almost certainly the architect of this classic Art Deco telephone exchange, since he designed most of the buildings for Bell Telephone in our area during the Art Deco era.
The blankness of the first floor is probably original. As much of the switching equipment as possible was on the ground floor, because copper was expensive, and anything that shortened the distance that had to be cabled saved a lot of money.
The polychrome frieze is an unexpected flash of color on what is otherwise a monochrome building that makes its decorative statements with cleverly patterned brick, a few stone accents, and small terra-cotta ornaments.
It used to be usual for corner buildings to carry the names of the streets in lieu of street signs. It was already old-fashioned when this building went up, but who could resist those elegant Art Deco letters?
This feast of deco-Gothic terra cotta on the Boulevard of the Allies was designed by Joseph F. Kuntz, who worked for the Wm. G. Wilkins Company. It opened in 1925. Several of Kuntz’s buildings are notable for their terra-cotta fronts: see, for example, the Maul Building and the Hunt Armory.
The rotunda of Penn Station is such a remarkable structure that it has its own separate listing with the Pittsburgh History and Landmarks Foundation. The skylight is a fine example of abstract geometry in metalwork.
The current owners of the Pennsylvanian hate photographers and tourists who come up to see the rotunda, and post signs on the walk up to the rotunda warning that this is private property and no access beyond this point and, with dogged specificity, NO PROM PHOTOS. But old Pa Pitt walked up through the parking lot, taking pictures all the way, and therefore saw the signs only on the way back. Sorry about that, all ye fanatical upholders of the rights of private property, but these pictures have already been donated to Wikimedia Commons, so good luck getting them taken off line.
The four corners of the earth, or at least the four corners of the Pennsylvania Railroad, are represented on the four pillars of the rotunda.
“Pittsburg” was the official spelling, according to the United States Post Office, when the rotunda was built in 1900.
The front of Union Station, which was the official name of what we usually call Penn Station in Pittsburgh, was completely illuminated by winter sun the other day, so old Pa Pitt took the opportunity to pick out some of the multitude of terra-cotta decorations with a long lens.
This splendid building is well preserved two-thirds of the way down from the top; the ground floor has been replaced, but with a very neutral remodeling that does not clash offensively with the floors above it. Below, one of the elaborate terra-cotta brackets under the cornice.
Of all the buildings on the Carnegie Mellon campus, Margaret Morrison Carnegie Hall (named for Andrew Carnegie’s mother) probably makes the most jaw-dropping first impression. It was originally built in 1907 as a separate but related school, the Margaret Morrison Carnegie School for Women, where women would learn the skills women were fitted to learn. When it was discovered that women were fitted to learn everything, the school dissolved into the larger university.
Henry Hornbostel’s design makes its opening statement with a grand and stripey rotunda that is impressive and welcoming at the same time.
The polychrome ornament found throughout the campus is laid on lavishly here.
One of the sconces in the rotunda.
A side porch with some unusually intricate decoration that nevertheless does not look at all fussy.
This was built in 1914 as the Kaufmann & Baer Department Store, the Kaufmanns in the name being brothers of the Morris Kaufmann who owned the Big Store two blocks away. It was bought out by the Gimbel Brothers eleven years later, and for generations of Pittsburghers this was the Gimbels Building. Its name is now officially Heinz 57 Center, but most people still call it the Gimbels Building. The architects, Starrett & van Vleck, were specialists in department stores from New York.
Acres of terra cotta went into decorating the Smithfield Street and Sixth Avenue faces of this building.
And of course there was the clock. It was not as famous or elaborate as the Kaufmann’s clock, but it was another good place to meet someone downtown. This is obviously a good bit more recent than the building itself: it has a streamlined Art Deco look.
This Art Deco building probably dates from the 1930s. The sharply rectangular forms are softened and enriched by textures in terra cotta, making a composition that should please both classicists and modernists.
This apartment building has a few details worth appreciating, though it appears to have lost its cornice. This building also has the biggest art store in Pittsburgh on the ground floor. You walk in the Hobart Street entrance and find yourself in a fairly big art-supplies store. Then you walk back and realize there’s another whole room that size. Then you walk back and realize there’s another whole room that size. Then you walk back and realize there’s another whole room that size. In fact the whole ground floor of this building is given over to art supplies.
This floral ornament presides over the light well.
Addendum: The building was put up in about 1924; the architect was Charles R. Geisler. Source: The American Contractor, October 27, 1923: “Apt. Bldg. (36 suites): Hobart & Wightman sts. Archt. C. R. Geisler, Ferguson bldg. Owner & Bldr. L. L. Noffah, 5843 Forbes st. Sketches.”
You walk up Walter Street past the usual Hilltop cacophony of vernacular houses with aluminum and vinyl siding, and then suddenly you come upon this explosion of Art Nouveau. The building has lost its balconies (a long time ago, to judge by that tattered aluminum awning) and its cornice, but it retains its utter uniqueness, right down to the balcony doors to nowhere on the second and third floors, which appear to be original and designed specifically for this building rather than ordered from a catalogue.
This strange and wonderful little building is obviously the work of a strange and wonderful architect. But which one? It was built after 1903 but before 1910, and we are sorely tempted to attribute it to Titus de Bobula, whose entire Pittsburgh career blossomed and faded in that period. The treatment of the decorations strongly reminds old Pa Pitt of the Everett Apartments in Shadyside—in fact the decorations are so similar that Father Pitt is nearly convinced they have to be by the same architect. He is not the only one to notice the similarity. A city architecture inventory (PDF) also points it out: “Its similarity to another apartment building in the East End (at Ellsworth Avenue and Copeland Street in Shadyside) further sets the design of 404 Walter apart from the local vernacular found throughout the rest of Allentown.”
To see what both Father Pitt and the city’s architecture experts are talking about, consider these decorations:
Now compare this decoration from the Everett in Shadyside:
The similarity is certainly marked; many of the pieces are identical. Since the Everett is attributed to Titus de Bobula, we are justified in saying that he is a strong possibility for this one, too.
Another De Bobulesque feature is the lack of a main entrance: instead there is a small door off to one side that appears to lead into a stairwell. This is also the case with his Glen Tenement House in Hazelwood and with the Everett. The narrow verticals with asymmetrically staggered windows remind us of St. Michael’s School in Braddock, another De Bobula design (Father Pitt promises to make a pilgrimage to Braddock soon and come back with pictures).
Father Pitt will regard this as a De Bobula building until someone proves otherwise. But he would be delighted to have someone prove otherwise, because then he would be introduced to another eccentric but talented architect.
