THE1 CHARETTE PLTTSBUROH'ARCHN'ECNJEAL'CLUB - .' INCORPORATED1 - CARNEGIE MELLON UNIVERSITY
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THE1 CHARETTE
PlTTSBUROH'ARCHn'ECnjEAL'CLUB
1 • ® • .' incorporated
JUDGE WILKINS H O U S E
Carriage Entrance.
Phoro by T . \V. L u d l o w .
Vol. VI. February, ig26J. H. MCCLELLAND HOUSE NATHANIEL HOLMES HOUSE
• THE-CHARETTE •
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(J^uBTis^ed' 'By? I7ie
PITTSBURGHrAl^HTECTUEAL? CLUB
• • • ,' incorporated' •®•
VOL. VI. : FEBRUARY, 1926. No. 2
A Study of Domestic Architecture in
Pittsburgh
Stanley L. Roush, A. I. A.
What of the houses in this town of ours! Are they good? Are they improving?
To arrive at some conclusion, we are going to review the subject with the thought
that such a study will be of interest, both to the architect and the layman reader of the
"Charette". We will show how to think about a hous^e, studying the types and ex-
amples that have endured through periods of changing styles and fashions, which are
approved by architects as being unquestionably good work. T o do this, we will start
with the beginning of the town and its history.
Unlike other American cities, Pittsburgh lacks a strong and virile historical back-
ground of good domestic architecture. In cities such as Boston, Philadelphia and their
environs, are many houses built in the early colonial days, which still stand in a good
state of preservation, some used as fiomes today. Among these houses are some of
great architectural distinction which are preserved as historic monuments. They are
greatly prized and admired by the communities in which they stand, forming the pub-
lic taste and stimulating the development of domestic architecture along similar lines
on a sound architectural foundation. Pittsburgh did not have such buildings, but what
was good in the early wbrk here was brought about by Pittsburgh people traveling in
the East and South who, seeing some of this work, copied it as closely as they could
with local builders and materials, resulting in details tfiat were not accurately copied
but simply resembled the originals. Pittsburgh was provincial and primitive in its early
building development and while construction in other parts of America showed taste
and form, the buildings erected here were of the crudest type. This seems to have
been true of all our pioneer cities and towns. Life was so full of danger, privation, and
hardship, that there was not time for the finer things of life. This city, at first a fort-
settlement, a stopping and provisioning point on the main route to the West, saw very
little of the elegant side of life. The first house development was naturally around
the Fort, for protection, later developing into a gridiron street plan based on Penn
Avenue, the main traveled road to Philadelphia; at this period, the important houses
were on Duquesne Way and Water Street, facing the rivers. Duquesne Way was prob-
ably our oldest residential street and continued as a residence street until about 1890.
The houses built there were houses of officers, officials of the Post and the wealthier
traders, who traded with the Indians. None of these houses are now in existence. The
next period was the finding of coal and iron deposits, the beginning of Pittsburgh's
basic industry, followed by boat building and the manufacture of glass. As the town
grew and expanded with the increase of population necessary as workers, a new street
plan was started, based on Fifth Avenue and the complete city developed in the tri-
angle bounded by Eleventh Street and Grant Street. A t this time, there were a great
many brick houses built; in the designing of which, the hand of the architect began to
appear, especially in the entrance doorways. Some of these houses can be seen on
lower Penn Avenue and one on Third Street. Undoubtedly many of the best were de-
stroyed in the great fire of 1846, but there is no indication that any of them were of
exceptional quality or design. In general, the house plans seemed to grow from a2 THE CHARETTE twenty or twenty-five foot lot layout; if a man could only afford one lot, he built a party wall house, depending on light from the front and rear—this house would have a side hall with stairs to the second floor—if he could afford two lots, it would have a center hall with rooms on both sides; if he could afford more than two lots, probably five, it would become an individual house with yard on one, or possibly both sides. A good example of the more pretentious type is the Shoenberger house on Penn Avenue, now occupied by the Pittsburgh Club, while not good in detail, the general mass and proportion of this house is dignified and impressive. There was some Manor house development on estates around the city, consisting chiefly of the Schenley, O'Hara and Wilkins estates. The most interesting of these houses was the Wilkins house, which was torn down several years ago. The type of architecture used was on similar lines to those built in the South and in their day they were the most pretentious houses of the district. In the exterior view of the Wilkins house, which a great many of us re- member very well, you could see what was very likely the first home built in or near Pittsburgh of any particular architectural quality. It followed the Southern idea of a central mansion; a kitchen wing and an office wing, connected to the main building with passages and minor porches, the front of the main building having a two storied portico of Neo Grec architecture. The architecture of the building, while not equal to the best work in the East and South, was a very creditable house, especially when we consider its appearance as a complete group with trees and garden, slave quarters, stables, etc. We know it was much better than a great many houses erected later and undoubtedly influenced the taste of the community. This brings us to the period of improved transportation. Travelers to the West came first by stage from Philadelphia and with the development of the steamboat took this means of transportation to points west. Later the canals were built and finally the railroads. This has little bearing on the subject, except that it shows how difficult it was for Pittsburgh to secure anything except its native products for building materials until the railroads came. Seaport cities were able to import materials from European countries by filling the holds of returning vessles that would otherwise have been empty. Rough blue stone for foun- dation walls, handmade shale brick for walls above grade, wood joists, partitions and sheathing were all to be found locally. Mill work was all done by hand. Lime and river sand for plaster were easily obtainable; practically all other materials had to be brought over the mountains by wagon, later by canal and finally by railroad, and, as this cost of shipment became cheaper, building became more elegant. When the canal from the East was completed, it paralleled the Allegheny River from Saltsburg and crossed the river on an aqueduct at Eleventh Streets to a receiving basin on the present Union Station site with a canal tunnel to the Monongahela River under Grant's Hill —this is the present Railroad tunnel. Some of the oldest residences of the city were built along this canal on the north side of the river along present Canal Street. A few of these are still standing. This was the beginning of the development of the City of Alle- gheny as a fine residence section, which it continued to be until 1900. The town grew out Penn Avenue, Fifth Avenue and Wylie Avenue, as well as the North Side and South Side This development continued through the time of the Civil War and did not change much until means of local transportation developed. First the horse cars, which ex- tended the houses along the lines of the main streets until they finally reached to East Liberty and other similar points. My first recollection, twenty-eight years ago, was the cable cars out Fifth Avenue, down Shady Lane, looping in East Liberty and back to the City; double decked like busses; everybody riding them on Sunday to see the town. The house most spoken of at that time being the Gusky Mansion on Fifth Avenue near Bellefont Street. I believe it can be said that real, honest to goodness architecture in residences did not appear in Pittsburgh until the Richardson influence started in America, as soon as this Architect began to make himself known in the eastern part of the Country. This was reflected in Pittsburgh by Pittsburgh architects designing buildings in the Romanesque style, instead of the Eastlake development, which preceded and paralleled it and from which we still suffer, although every year now sees one or more of these houses torn down. Last year one on Fifth Avenue and this year two on Ellsworth Avenue—relics of departed glory. The Eastlake period was an attempt at Picturesque originality and in the residence work resembled, in a
3 THE CHARETTE slight degree, English and French work of the same period. It is characterized by many bay windows, elaborate dormer windows, ridge crestings, high porches with much fancy scroll work, barge wood gables. All ornament had a machine made quality; and on the inside, were black marbleized mantels, jeweled leaded glass, and so on. The Richardson influence was showing up the falsity of this style, and people of discrimi- nating taste were taking note of its superior artistic quality and simplicity, compared to the fussiness of the Eastlake style. Romanesque architecture was not a good style for American conditions, if interpreted too close to precedent, but it was a romantic picturesque, and forceful architecture and, when handled by an architect of ability, produced a house of quality, which, previous to that, Pittsburgh never had; some of these houses are still standing—the Dr. McClelland house at Fifth Avenue and Wil- kins Avenue, which, I understand, was noted and commented on favorably by some visiting foreign architects recently, and others on the North Side are the outstanding examples. In outlining these milestones of our residential growth, the next was the period of 1893 and the Columbian Exposition in Chicago, which so stimulated the pub- lic to the use of classical architecture. Also, the street cars and suburban train service encouraged the building of houses farther from the center of the city, and the cheap- ness of land, resulting from this decentralization, made it possible for home builders to build on several acres where formerly they had built on lots. This created a new type of home. A t first it was either the house in the center of town, or the country manor. This new condition gave us the development of Fifth Avenue from Craft Avenue to Penn and along Penn Avenue to Wilkinsburg, and also the suburban town development. We have now a background on which to discuss our subject, which gives us the following: We do not have any old historical houses which have survived changing conditions and which we know to be good architecture. We have only a few houses built in the earlier part of the nineteenth century, which are still standing and which we might say were fairly good. Of these, I would say the Moorhead mansion on Fifth Avenue, soon to be torn down for construction of a hospital, is the best. The principal reason for this seems to have been the rapid growth of transportation facili- ties in that period, changing districts from residence to business so fast that anything built that was good has been destroyed; also, because this period of development was the worst artistically that the country will probably ever witness. A s already stated, other cities had their older work, which was much better. But Pittsburgh was built during the raw stages of a new country's development, in which art did not have suffi- cient attention. W e can say then that there were no houses planned by trained archi- tects until the latter part of the nineteenth century, when there were built several houses, already mentioned, in the Romanesque style which were good, and which started the present era of modern house architecture. The architects of Pittsburgh faced a very difficult problem and, as I see it, it is still confronting them. And this is, what should be the general character of a good city house in a city that is neither metropolitan nor suburban, where large houses must be dignified, but still provide porches for the family to sit out on in the summer, where the lots are too large for party wall—city houses, but not large enough to create much of a separation between the houses, resulting in rows of houses with a few feet between, consisting of all types of architecture. But to show that it was possible to meet all of these conditions and at the same time create a house of good taste, good proportion, good detail, American in every sense of the word, practical in its planning so as to give rooms well lighted, for a town of not too much sunshine, and dignity which a city house should have, I want to mention the house of Nathaniel Holmes at the corner of Morewood and Fifth Avenues, as being one of the best houses we have in Pittsburgh and, also, to state that if it is properly maintained, and the section in which it is built is not smothered completely with apartment and frat houses, it will be a good house one hun- dred years from now. That's what we hope the zoning laws are going to give us, pro- tection of good houses after they are built. In considering house architecture in Pitts- burgh, I have this house in mind as a standard to follow, realizing, of course, that there must be variety and that clients' wishes have to be given some consideration. This house was built in about 1895 by Peabody and Stearns, Architects of Boston, who built several very fine houses here, but this one, I think, is the best. The construction
4 THE CHARETTE
of this house began an era known to local architects as the "Boston Era". The Carne-
gie Institute work had just been given to Longfellow, Alden & Harlow, Boston Archi-
tects, who then moved to Pittsburgh and have practiced here since. Their coming
brought several other firms and started the best work done here during the last
twenty-five years. Now, we have mentioned one good house, but to my mind it is not
so easy to mention another, at least one which has so many good points. Why, you
say? Well it is not easy to maintain dignity with domestic character and charm, with-
out vulgarity and unsuitability to our present conditions of life or just straining for
some kind of different effect. The reason, I would say, is that after leaving the simple
colonial Georgian center hall type of plan and exterior, we try to put our conditions
into an impossible type such as a French chateau, English Manor houses, or cottage
and farm house types of these same periods. In other words, we try to get all the
features of a house two hundred feet long with sixteen foot ceilings into one of sixty
foot length with nine foot ceilings or the low cut up rooms in low roofed cottages with
narrow slits of windows, unadapted to our climate. Such work will not endure; it will
go the way of the Eastlake period. People soon begin to see its unsuitability and forced
character. It is curious, but also true, that at the same street corner as the Holmes
house there is one other very good house on entirely different lines and that is the
Mudge house, a three story limestone house. The extreme simplicity, dignity and suit-
ability of the house will endure for many years. Again of equal merit are the twin
houses at the entrance of Colonial Place, built of grey brick with two story stone
porticos, iron fences and brick and stone corner posts. There is nothing finer than
these in any city. A smaller house, but equally as good, is the Black house at the cor-
ner of Denniston and Fifth Avenues, built of red sand finished brick with white wood
cornices, porches and trim. The way this house is placed on the lot, together with its
general proportions, silhouette and the accessories of fence, corner and entrance
posts, and planting, make a charming picture and also a simple, practical, American
house. In considering houses designed in a more picturesque style of architecture, I do
not believe there are any which are the equal of those already mentioned, for the rea-
son that they are more forced. Interiors are either sacrificed for exterior effect, or vice
versa. The best of these houses is the Worthington House at the corner of Forbes and
Murdock Streets, but there is still lots of room for good architecture of this type. The
tendency has been to run to extremes of picturesqueness, which would possibly give
good movie or theatrical effects, but not practical homes in a city like Pittsburgh. In
surveying the residences of Pittsburgh, it is very evident that before many years pass
it will be necessary to develop a new high class residence district superior to any we
now have. A t present, I do not know of a more difficult problem than that of a man
desiring to build a house costing between fifty and one hundred thousand dollars and
deciding which district would be the best to build in, at least with any confidence that
twenty years from now it would still be desirable. There are a few small sections
where the strength of the property owners, plus the new zoning law, will remain in
their present state for many years, such as Woodland Road, Beechwood Boulevard
from Fifth Ave. to Hastings Street, part of Ridge Avenue on the North Side, but the
smaller property owner has no such protection. A iot of this has been caused by the
lack of a housing policy by the two large universities of Pitt and Tech, which have
scattered Frat houses and boarding houses through what should be good residence
districts. Before long, it will be necessary to develop a new district on modern lines
similar to Roland Park in Baltimore and Shaker Heights in Cleveland.
Place yourself in the position of a man wishing to build. You would certainly
like to have an attractive piece of property, not too large, good elevation, attractive
approach, houses of similar character, all wires underground, convenient to good
schools, churches and small stores, good water and sewage disposal, fire and police
protection, country clubs, not too far from street car lines and so forth. In addition,
you would like to feel sure that conditions were going to remain permanent and that
the character of the people in that neighborhood would be satisfactory. This is, of
course, a sort of Utopia, and may be practical or not, but it has been done.
If you were looking for a place to build in Pittsburgh, there is no place that com-
plies with these specifications.5 THE CHARETTE
The Little Piece of Paper.
In all lines of business, preliminary to service a contract is considered necessary
except in architecture—Excuse me, I forgot that was a profession. But anyway, archi-
tects, particularly those whose new and glossy shingles proclaim inexperience, are
prone to make preliminary sketches without a signed memorandum of agreement. The
Institute has for fifty years hammered at this business phase of the profession and
still we hear constantly of abandoned projects, in which the architect with high
hopes and many sketches had been left with only the paper rolls upon which his afore-
said hopes and energies had been expended to show for his labors. We are now in the
midst of the greatest building boom—according to the published building permits, not
from reports of progress from architect's offices perhaps,—that has ever come up the
National pike. The wave of prosperity is large and powerfully sweeping, but on its top
is the foam of "projects" that range from "developments" in the everglades of Florida
to office building or apartment lay-out; made with the sole purpose of ascertaining the
cost, and estimating from that its paying ability. And it is this class of work that
catches the architect, particularly the young architect. And he had better watch his
step when "appointed architect". Even if he is a good gambler, it would be well to ask
his wife, look up the responsible parties and see if they are responsible—and see that
a contract is signed covering preliminary sketches, before that new davenport is or-
dered or the coupe bought on the installment plan. It pays. Can give an instance. If
you would like the story 111 tell it as briefly as possible to make the point. Let im-
magination fill in the humor, of which it is full.
Ever hear of E. E. Myers of Detroit, Architect? Greatest artist—in his line—the
country ever saw. Oh yes, he is dead these fifteen years, there were quite a few who
competed with him in his peculiar artistry, but he was king of them all; King of the
"Court-house Architects". From Macoupin County, Illinois, for which he erected a
court-house that was to cost two hundred thousand but cost two million and wrecked
the county, it is said, to the Texas State Capitol that J. V . Farwell, et al built in ex-
change for the Pan Handle, Myers ranged and usually prospered. He cared nothing
for "commissions". He would design and superintend as a "contribution", with an
added amount in dollars, if he could get the job,—for what was a paltry five percent
when he could stand in on a private arrangement with the "Commissioners" and han-
dle the contracts for them? For he always had a contract, signed and sealed by these
same officials representing the county or state; a contract that he saw was as good as
the wheat. A Pennsylvania town—Was it Scranton?—advertised for plans for a court-
house. Myers was on the ground by the next train, as was his usual practice. He
"'came", "saw"—the commissioners—and conquered, and in a few months—when he
had time—he appeared with a full set of plans. And it might be mentioned that his
plans always were as well drawn and correct—if anyone not an architect inspected
them,—as would come from few offices. He was quickly and bruskly informed that the
"old" board of Commissioners were "out" and no court-house would be built. Not from
his plans anyhow. Too bad, was'nt it? and he with that elegant set of plans that he'd
paid good draftsmens wages for and incidental expenses, and his fare home? Was he
downhearted? He'd tell the cockeyed world he was in fact hilarious. He had a C O N -
T R A C T , and it was so good and so well covered that and all other contingencies, that
the County Attorney said "Pay it". And the County treasurer handed over the ten
thousand dollars that in the contract was mentioned as payable "when the plans were
prepared". Mr. Myers put the ten thousand in his pouch—that's Scotch, ask Scotty—
and went home; to repeat the transaction on many other similar occasions. The moral
of his pathetic tale is; that when offered a "commission", and "appointed architect",
before going home "full of high hopes and—enthusiasm", as the actor said Nance
O'Neil comes upon the stage, let him remember that all the hold-up men are not going
round in stolen automobiles, and the architect who puts pencil to paper, or even "con-
sults" without a W R I T T E N and duly signed contract when a commission is offered
him, is likely to share the fate of the innocent wayfarer without a gun—and if he does
he is only "getting what is coming to him" for his childlike faith in the client's honesty.
Robert Craik McLean.6 THE CHARETTE
KENNETH R. CRUMPTON E. C. STILES,
President. Vice-President.
WILLIAM H . H A R R O L D , T H O M A S PRINGLE,
Treasurer. Director.
LEO A . McMULLEN M . NIRDLINGER,
Director Director.
M. E. HENRY, Secretary.
THE EXECUTIVE COMMITTEE
Charette
E D W A R D B. LEE, Editor, 1210 Chamber of Commerce Building, Pittsburgh, Pa.
T HIS Magazine is published by the Pittsburgh ^Architectural Club, Inc., for the purpose of
spreading interest in beautiful Architecture, Honest Building and Good Taste for all those
interested in the fine arts in the Pittsburgh District. The pages of The Charette are open to
anyone affiliated with the building profession and contributions are earnestly solicited. Photo-
graphs, Sketches and Drawings are also desired.
Many Are Cold—But Few Are Frozen.
The Pittsburgh Forward Movement, which is now the most important project be-
fore the Community, springs from a sense common to our Leaders of thought and ac-
tion that there is need of a standing together of all the people in preparation for a
massed march forward to better business, better opportunity and better living in our
great City at the forks of the Ohio. By some it is pointed out that past prosperity has
dulled the efforts of our leaders. The architects should join with this movement to the
full extent of their individual and organized strength. There has not been an oppor-
tunity equal in potentiality of accomplishment in the last twenty-five years.
It has been pointed out by the leaders of the Pittsburgh Forward Movement of
the Chamber of Commerce, that leadership in the manufacture of steel once in the
possession of Pittsburgh is slipping or has slipped to other and more progressive cities.
It is also said this is more or less true of the glass, coal, transportation and other in-
dustries. But the main point made is that of the new industries such as the great auto-
mobile manufacturing industry, which is really related and specially fitted to the na-
tural advantages of Pittsburgh. Not a single one of the automobile plants were ac-
quired in the Pittsburgh district. This was due to lack of action and publicly organized
solicitation of the manufacturers at the opportune time. Many other opportunities have
appeared and faded for lack of interest in their need and in failure to welcome and hold
their attention.
A t the risk of being mistaken in our policy we call attention herewith to a particu-
lar "Slipping" Movement now active in Pittsburgh in the second largest industry in
the City. This industry is the Building Industry. Pittsburgh money is not available to
build the buildings in which Pittsburghers live, work and enjoy themselves. The out-
side investor sees the opportunity and comes to Pittsburgh with the money to build
her buildings. It is natural that he brings with him his outside Architects and De-
signers.
The list we print below of building design awarded to Architects of other cities
is amazing in its volume. Such a list can be made in no other city in America. Most of
the buildings to be built that are included in the list are financed with outside capital.
There is no excuse for the award of the Allegheny Hospital to New York Architcts
or of the Shriners* Hospital.
The Pittsburgh Press is now a foreign owned newspaper of which nothing can be
expected from Pittsburgh, but to pay profits to outside owners. In common with chain
newspapers the other building projects are almost entirely promoted and worked out
by capital from other cities that see clearly opportunity to make a profit in a city,
where opportunity for so doing is greater than in their own. The list follows:
OUTSIDE ARCHITECTS
1. Allegheny General Hospital, York & Sawyer, New York $5,000,000.00
2. Insurance Exchange, 4th Avenue, Jno. N. Donn, Wash., D. C 1,760,000.00
3. 5th Ave. Apartment Hotel, Philip Julian, Wash., D. C 1,250,000.00
4. General Forbes Hotel, Weber 8c Wurster, Phila., Pa 3,250,000.007 THE CHARETTE
5. Loews Theatre, Thos. Lamb, New York 3,000,000.00
6. Rowland & Clark Theatre, Rapp & Rapp, Chicago, 111., Victor
Rigaumont, Pittsburgh 3,000,000.00
7. Pittsburgh Penna Hotel, Ballinger, Phila., Post, New York 6,000,000.00
8. Post Office (projected) Graham, Anderson, Probst & White, Chicago 2,250,000.00
9. Office Building, 3rd Ave., Grant St., Outside Archt., Selected 3,000,000.00
10. Hiland Avenue Hotel, Thomas, Martin & Kirkpatrick, Philadelphia .. 1,500,000.00
11. Pittsburgh Press, Thomas & Howies, Cleveland 1,000,000.00
12. Office Building, 6th Ave. near Fifth, Jardine, Hill & Murdock, N. Y. .. 1,000,000.00
13. Shriners' Hospital for Crippled Children, Hentz, Reid & Adler,
Atlanta, Ga 1,250,000.00
TOTAL $33,260,000.00
CLUB NOTES.
N E X T M E E T I N G Thursday, February 25, 1926.
Place and program will be given by special announcement. Come out for this
midwinter meeting. Your presence is needed. The Pittsburgh Forward Movement will
be discussed and action taken.
The January Meeting of The Pittsburgh Architectural Club was held at The
Terminal Restaurant, Webster Avenue on January 28th. This meeting (which was
attended by only 20 members and one visitor) was unusually peppy. Jos. B. Shaw
talked about the Pittsburgh Forward Movement and why N O W is the psychological
time for the Pittsburgh Architects to get together on all matters relating to the selec-
tion of local Architects for local projects. He spoke particularly on The Pittsburgh
Post office—"Oh Pshaw", as he is familiarly known, was in fine fettle and it was noted,
during his talk, that he coined several new words. He also gave to the club twenty-
five ways to destroy the club, which we list below.
1. Don't come to the meetings. If you do—come late.
2. If the weather doesn't suit you, don't think of coming.
3. If you do attend a meeting, find fault with the work of the officers, and other
members.
4. Never accept an office, as it is easier to criticize than to do things.
5. Get sore if you are not appointed on a committee, but if you are, do not at-
tend committee meetings.
6. If asked by the chairman to give your opinion regarding some important
matters, tell him that you have nothing to say. After the meeting, tell everyone how
things ought to be done.
7. Do nothing more than is absolutely necessary but when other members roll
up their sleeves and willingly and unselfishly use their ability to help matters along,
howl that the Club is run by a clique.
8. Hold back your dues as long as possible or don't pay at all.
9. Don't bother about getting new members. Let the membership committee do
it. That's their job. They have nothing else to do anyhow.
10. When an entertainment or dinner is given, tell every body that money is
being wasted on blowouts which make a big noise and accomplish nothing.
11. When no dinners or entertainments are given, say the association is dead and
needs a can tied to it.
12. Don't make a reservation for a banquet ticket or any other of our functions,
until all are sold. Then swear that you've been cheated out of yours.
13. If asked to sit at the speakers table, modestly refuse. If you are not asked,
resign from the Club.
14. Don't mention to anyone how the Club can help or benefit you, but if you
can't see the benefit at once,—resign.
15. If you receive service without joining, don't think of joining.
16. If the Club does not correct abuses in your neighbor's business, howl that
nothing is done.
17. If it calls attention to abuses in your own—resign.8 THE CHARETTE
18. Keep your eyes open for something wrong. If you find it, resign. Don't at-
tempt to help work out or suggest a solution to this evil.
19. A t every opportunity threaten to resign and then get your friends to.
20. When you attend a meeting, vote to do something and then go home and do
the opposite.
21. Agree with everything at the meetings and disagree with it on the outside.
22. When asked for information don't give it. Curse the committee for the incom-
pleteness of its information.
23. Get all the Club can give you but don't give it anything in return.
24. Talk cooperation for the other fellow with you, but never cooperate with him.
25. When everything else fails—cuss the officers.
PRIZE LIST—BEAUX ARTS BALL.
T H E BEST COSTUMED COUPLES
1st Prize, Mr. & Mrs. Fahnestock, a Bridge Lamp donated by the Beaux Arts Studios.
2nd Prize, Miss Margaret Hess & Mr. Verner Purnell, Pair of Candelabra, donated by
Mrs. C. J. Palmgreen.
3rd Prize, Mr. & Mrs. Sidney F. Heckert, Jr., Oil Sketch, donated by Mrs. Mabel
K. Day.
4th Prize, Miss Marion Frank & Mr. G. O. Schoonover, Lady's Purse and case of
Cigarettes, donated by Sidney F. Heckert, Jr.
5th Prize, Miss R. Scott & Mr. Victor O'Brien, Art Glass Medallion, donated by Henry
Hunt. Sketches, donated by Edward B. Lee.
6th Prize, Miss Mary S. Ludlow & Mr. John Wells, Candy jar, donated by John G.
Yergan, Marble Ornament, donated by Major Henry Hornbostel.
BEST COSTUMED W O M E N
1st Prize, Miss Ruth-Evans Fulton, A dorine, donated by W . W. Zieg.
2nd Prize, Miss Pittsburgh, A lady's purse, donated by Mr. J. H. Fetterman.
3rd Prize, Miss Hitson, A scarf, donated by Mr. C. J. Palmgreen.
4th Prize, Miss Nichols, Oil Sketch, donated by Mr. Kilroy.
5th Prize, Mrs. Collins, A box of candy, donated by McCullough Drug Company.
6th Prize, Miss Connell, Venetian Glass, donated by Wunderly Bros.
BEST COSTUMED GENTLEMEN
1st Prize, Mr. Brandt, Twenty-five Dollars in merchandise, donated by B. K. Elliott
Company.
2nd Prize, Mr. Ganter, An Oil Sketch, donated by Mr. Christ Walter.
3rd Prize, Mr. Messier, A gold Pencil, donated by Mr. J. H. Fetterman.
4th Prize, Mr. Gray, water color sketch, donated by Wm. Boyd.
5th Prize, Mr. Knudsen, A statuette, donated by Mr. J. B. Ellis.
6th Prize, Mr. Webster, candy, donated by McCullough Drug Store.
SPECIAL PRIZES
Historic Costume, Couple, Mr. & Mrs. Thomas B. Messier, A bottle of perfume,
donated by McCullough Drug Company. A Barometer, donated by A. & B.
Smith Company.
The Best costume worn by an Architect, An Original Pugin Book, donated by Mr.
Henry Hunt and awarded to Mr. Charles J. Palmgreen.
SUBJECTS O F L E N T E N M U S I C A L L E C T U R E S ANNOUNCED
Dr. Heinroth has announced the subjects of the series of lectures which he will
give in Carnegie Music Hall on Saturday evenings during Lent. These lectures deal
with music and its composers. Dr. Heinroth will illustrate each lecture with musical
selections. These lectures start at 8:15 o'clock.
"Music; a Guide to Inner Values" is the subject of the first talk, to be given on
Saturday evening, February 20th.
The schedule of subjects and dates follows:—February 20, Music; a Guide to Inner
Values; February 27, Italy; a Cradle of Music; March 6, Brahms, the Last of the
Classicists; March 13, Dances, Ancient and Modern; March 20, Russian Folksongs;
March 27, Tristan and Isolde; an Emotional Music Drama. These lectures are free and
the public is invited. John O'Connor, Jr., Business Manager.9 THE CHARETTE
R . M A U R I C E TRIMBLE, S T A N L E Y L. R O U S H ,
President. Vice-President.
CHARLES J. PALMGREEN, T H O M A S PRINGLE,
Treasurer. Director, 1928.
FREDERICK BIGGER, H O W A R D K . JONES,
Director, 1927. Director, 1929.
T . W . L U D L O W , Secretary.
^CCCtf^
C H A P T E R NOTES
The Annual Meeting of the Pittsburgh Chapter A. I. A. was held on the evening
of January 19th. Although the attendance was not as large as expected, the meeting
itself was a most successful one, as all of the Committees had worked hard during the
past year and their reports were interesting and in some cases evoked lively discus-
sion.
The Committee on Fellowships reported four nominees for this honor in the In-
stitute, namely, Messrs. Trimble, Jones, William Boyd and Stevens, and the nomina-
tions have been forwarded to Washington in accordance with instructions received
from the Jury of Fellows.
Officers for the year 1926 were elected, as follows: President, R. Maurice Trimble,
Vice-President, Stanley L. Roush, Secretary, Thomas W. Ludlow, Treasurer, Charles
J. Palmgreen and Director 1929, Howard K. Jones. Frederick Bigger and Thomas
Pringle the other Directors holding over.
The following delegates to attend the 59th Annual Convention of the Institute that
will be held this year in Washington on May 5th to 7th were also elected. R. Maurice
Trimble, Thomas W . Ludlow, Stanley L. Roush, Frederick Bigger, Lawrence Wolfe,
Howard K. Jones and Thomas Pringle tied for sixth delegate. Alternate delegates, E.
B. Lee, Charles J. Palmgreen and Harvey A. Schwab.
The newly elected President has inaugurated a regular weekly luncheon of the
Board of Directors that will be held in the Chamber of Commerce dining room at
12:30 o'clock on each Tuesday. Chapter business will be transacted at this luncheon.
It is the intention to have this gathering take the place of the formal monthly Meet-
ings of the board of directors that have been held in the past. The two meetings of
the new Board which have been held since the election have been most successful, all
members being present on both occasions. It is hoped that a full attendance may be
maintained at future gatherings.
President Trimble has invited the Directors to hold a meeting at his home in the
near future, this meeting to be preceded by a dinner given by Mrs. Trimble. The mem-
bers of the Board are deeply grateful for this opportunity of meeting Mr. and Mrs.
Trimble, and are looking forward to a most enjoyable evening.
The Chapter has inauguarted a new policy in an effort to stimulate the interest
of members and increase the attendance at meetings. This policy consists of appoint-
ing a Chapter Member to talk at each meeting and to designate three or four other
members to lead the discussion on the paper. The first meeting to be held under this
arrangement will be on Tuesday evening, February 16th, when Mr. Sidney F. Heckert,
Jr., will lecture on the Associated Architects of Los Angeles and the discussion will
be conducted by Messrs. Stotz, Wolfe, Harrold and Bigger. Mr. Heckert has just re-
turned from a trip to the Coast, and he spent considerable time with the Associated
Architects in Los Angeles gathering first hand information respecting their methods
of procedure, results accomplished and other pertinent facts. A paper on the As-
sociated Architects of Los Angeles presented before the Convention of the Institute in
Washington two years ago aroused considerable interest and a lively discussion, and
it is hoped that the same enthusiasm will be evident at the Chapter meeting.
The Secretary wishes to take this opportunity of thanking all members of the
Beaux Arts Ball Committee, from the Club, the Associated Artists and the Chapter,
for their untiring efforts which made the 1926 Ball the most successful of any of the
balls yet held.10 THE CHARETTE
DATES OF F U T U R E MEETINGS:
February 16th, 1926—Los Angeles Associated Architects as outlined above, at Schenley
Hotel, followed by visit to exhibition of the Associated Artists of
Pittsburgh.
March 16th, 1926—Report of the Committee appointed to investigate the activities
of the Small House Service Bureau. Report by Thomas Pringle.
The names of those who will lead the discussion will be an-
nounced in the March issue of the Charette. Place to be an-
nounced later.
April 20th, 1926—Subject not announced.
May 18th, 1926—Report of the delegates to the 59th Annual Convention A. I. A.
tentative.
June 15th, 1926—Meeting at C. I. T.—tentative.
Thomas W. Ludlow, Secretary.
Membership in the American Institute of ^Architects
INSTITUTE MEMBERSHIP:
O B J E C T S : The objects of the American Institute of Architects are to organize
and unite in fellowship the Architects of the United States, to combine their efforts so
as to promote the aesthetic, scientific, and practical efficiency of the profession, and
to make the profession of ever-increasing service to society.
The American Institute of Architects desires and invites the membership of every
practicing architect, or architectural draughtsman, who is willing to join with his pro-
fessional brothers in upholding and promoting the principals and ideals of service for
which the American Institute stands.
C O N D I T I O N S OF M E M B E R S H I P : Any resident of the United States, who is
a practicing architect, or an architect engaged in professional education, or an archi-
tectural draughtsman, is eligible to membership if able to submit the required proofs
of his or her professional capacity and honorable personal and professional standing.
ASSOCIATE MEMBERSHIP GENERAL REQUIREMENTS:
Candidates for Associateship shall be residents of the United States who are prac-
ticing architects, architects engaged in professional education, or architectural
draughtsmen.
They shall be required to submit proofs of personal standing and of professional
ability as described below.
They shall have, or shall show promise of attaining within five years, those quali-
fications which will make them eligible to membership in the American Institute of
Architects at the end of their period of Associateship.
C L A S S I F I C A T I O N OF C A N D I D A T E S A N D P R O O F O F PROFESSIONAL
ABILITY
All applications for Associateship with a Chapter of the American Institute of
Architects shall be made under one of the two classes indicated below. These classes
imply no distinction after election to the Chapter, and are only designed as a matter
of information and guidance.
C L A S S "A"—Graduates in architecture shall be considered to show promise of
eligibility to Membership in the Institute, but must show indications of that personal
standing which is required for such admission.
C L A S S "B"—Practicing Architects and Draughtsmen of good personal and pro-
fessional standing, who cannot qualify under Class "A", shall be required to submit
exhibits of drawings or photographs of executed work, which shall indicate their
eligibility or their promise of eligibility to Institute Membership by the expiration of
the period of Associateship. Thomas W. Ludlow,
Secretary, Pittsburgh Chapter.11 THE CHARETTE
Architectural Books Added to Carnegie Library in
January, 1926.
ARCHITECTURE
The books designated by the letter b at the beginning of the call number were pur-
chased from the fund left to the Library by J. D. Bernd and devoted to Architecture
and Decoration.
Allegheny County, Pa.—Public works department. qr 725-1 A422
Removal of present county jail and rebuilding of same in conjunction with new
county office building and power plant (Pittsburgh) 1925.
Capra, Alessandro.12 THE CHARETTE
When Knighthood was in Flower
"French for the Church architect."
The modern ecclesiastical architect should be proficient in the use of the French
language, should be able to read French perfectly. W h y should he be able to read
French perfectly? Principally for the reason that living or dead the greatest authority
on European Ecclesiastical Architecture and Art from the Eleventh to the Sixteenth
Centuries when the grandest Edifices of all time were built, is Violet le Due, archi-
tect and archaelogist, a native of France.
The most stupendous of all his written works, viz: the "Dictionnaire Raisonne de
L'Architecture" composed of ten great volumes and the "Dictionnaire Raisonne de
Meubles" composed of six great volumes have never been translated into English.
It is because of this that the Ecclesiastical architect should be proficient in French.
One small portion, i. e., the article on "Construction" in the "Dictionnaire Raisonne
de L'Architecture" has been translated (C. G. M. Huss, N e w Y o r k 1896) although it
is very difficult to procure a copy of it, but otherwise none that I am aware of m either
of the two Dictionaries, as written, can be read in the English tongue, except
perhaps parts of the article on "Stained Glass". This intellectual giant, Violet le Due,
had possession of one of the most brilliant and rational minds that serve to irradiate
the epoch in which he lived. That he remains a potency of inconceivable magnitude
in disseminating valuable information to all and especially Ecclesiastical Architects
is a matter of universal agreement among authorities in matters of art today. A l l con-
noisseurs in Europe and America look upon this man's books as the greatest and final
authority in regard to questions pertaining to the Medieval Church Art and Decoration.
It is evident from this that an architect familiar with and able to read these works
is in a far better position to erect a beautiful church and design good furnishings and
decorations for it than one who cannot,—other things being equal.
Of these two great dictionaries, the first treats of the architecture of the Medieval
period and the second of the furnishings of that epoch. In them are many noteworthy
chapters profuse with valuable illustrative drawings on all things pertaining to the
design and construction of these buildings and among them are included, articles on
altars, altar vessels, candlesticks, vestments, tabernacles, stained glass, painting,
statuary and everything else that enters into the liturgically correct furnishings of the
church. The illustrations by the thousands are drawn, with very few exceptions, by the
author's own hand.
Violet le Due knew Medieval Architecture and Decoration better than any other
architect since the 16th or 17th Century because he worked on many of the restorations
of and additions to buildings that were built in Medieval times, all of it wrought in a
beautiful character commensurate with the nobility of the original work. He is re-
sponsible for the restoration of the entire Cathedral Church of Notre Dame de Paris,
the stunning fleche over the crossing of the church being entirely the child of his
brain. The Sainte Chapelle, Paris, originally built for Saint Louis of France by the
great architect Pierre de Monteraux was restored by him. Among other things the "Re-
liquary" containing, The Crown of Thorns, brought from the Holy Land by St. Louis
of France and now in the treasury of the Cathedral of Notre Dame de Paris was
fabricated after the design of the author of these books. T o his creative genius is also
to be attributed the beautiful new sacristy belonging to this Cathedral Church in Paris.
An architect today who can read these great French volumes has obviously a distinct
advantage, as the Medieval Ecclesiastical Architecture reached a more noble and beau-
tiful development in France than anywhere else in the world.
Violet le Due's Dictionaries are the most valuable and complete works ever
written on the subject and although his demise took place a half century ago, no one
since has performed a hundredth part of what he did to inform us of the design, con-
struction and beauty of these Middle A g e Monuments.
Of course, there are besides, many other books treating of Medieval Architecture
in the French Language that have not been translated into English, but attention is
called principally to Violet le Due's Dictionaries because the author has eclipsed all
other men of all times in knowledge of the Art and Architecture of the epoch, and be-
cause of the stupendous volumn of valuable illustrations that these books contain.
Edward J. Weber.13 THE CHARETTE
Carnegie Tech fl^Sp Activities
SEVEN CARNEGIE SENIORS H O N O R E D IN "SYNAGOGUE" PROJET
In the second Class A judgment of the year seven senior students in the Depart-
ment of Architecture at Carnegie Tech were awarded special honors by the Beaux Arts
Institute of Design, New York City, for their "Synagogue" projets. William Simboli
and Adrian Ham, both of Pittsburgh, received second medals, and Donald Hamilton
of Pittsburgh, Earl Wheeler of Marquette, Iowa, Raymond Winters of Mansfield, O.,
Hensel Fink of Huntington, W. Va., and Elmer Love of Corry, Pa., received first men-
tions.
JUNIORS W I N T W O O F N I N E A W A R D S M A D E IN N A T I O N A L
COMPETITION
The second Junior Projet of the year, in which two Carnegie students, Hyman
Rosenberg of Pittsburgh and Earl Bailey of Oil City, Pa., received first mentions, was
"A Tennis Court Building". In this competition more than 350 projets from schools
and ateliers all over the country were submitted to the Beaux Arts Society. Of this
number nine were given first mentions; the Licht Atelier of New York receiving three,
Carnegie two, Yale two, Los Angeles one, and Cleveland one.
OPEN COMPETITION FOR FONTAINEBLEAU SCHOLARSHIPS
ANNOUNCED
Two scholarships of $500 each to the Fontainebleau School of Fine Arts will be
awarded to the two best designs submitted for the fourth Class " A " projet by the
Beaux Arts Insitute of Design. Anyone wishing to compete must register in Class " A "
for this year and will take the esquisse February 6, 1926. Further information may be
obtained from the Department of Architecture at Carnegie Tech.
A L P H A RHO CHI ELECTS E L E V E N MEMBERS
Alpha Rho Chi, an architectural professional fraternity at the Carnegie Institute
of Technology, has pledged eleven students from the Departments of Decoration and
Architecture of the College of Fine Arts as members of the organization. The men who
were chosen are: Stanley Stark of Duquesne, Pa,; Rex Keener of Brave, Pa.; Merdon
Busier of Williamsport, Pa.; J. Arthur Ropp of Titusville, Pa.; Fulton Magill and
Thuse Leivo of New Castle, Pa.; Harold Shuttles of Asheville, N. C.; Chester Wise-
man of Proctorville, O.; Paul Bott of Alliance, O.; John Eckert of Joliet, 111.; and
Lewis Altenhof of Donora, Pa. Membership in this fraternity is based on a student's
ability and interest in his work, as well as his interest in campus activities.
MAGILL AND BUSLER WIN INTERIOR DECORATING HONORS
Carnegie students of Interior Decorating who won honors in the last Beaux Arts
Institute of Design competition for an archaeology of a Baptistry in Byzantine style
are Fulton Magill of New Castle, Pa., who received a first medal, and Merdon Busier
of Williamsport, Pa., who received a first mention.
Beginning Friday evening, February 12, and continuing through Friday evening,
February 19, freshman students of the Department of Drama of the Carnegie Institute
of Technology will present the Greek tragedy, "Oedipus" by Sophocles in the theatre
of the College of Fine Arts. Chester M. Wallace, professor in the Drama Department,
is directing the production.
CULTIVATION OF HOME TALENT
We notice in the American papers that the Australian Architects in the United
States have been invited to enter a competition for the design of a War Memorial in
Australia. There are ten prizes offered. The first and second awards are $2,500.00 each;
the other diminish as usual. The cost of construction is $1,250,000. The wisdom of cul-
tivating Australian architectural talent wherever it may be working is a wise bit of
statemanship. A building built in Australia from native talent designs will be a more
popular building and more worthy of local commendation. M. N.14 THE CHARETTE
W CHARETTE
The member, subscription and general mailing list includes all Architects West of
Altoona in Pennsylvania, East of Columbus in Ohio, and all Architects in the State
of West Virginia.
Advertising rates. All spaces uniform. Two dollars fifty cents per issue, for space
apply to any member of the Pittsburgh Architectural Club or The Charette, 1210
Chamber of Commerce Building, Pittsburgh.
The Charette is the official publication of the Architects in the district covered by
the Pittsburgh Chapter of the American Institute of Architects. The Charette is owned,
edited and published by the Architect members of the Pittsburgh Architectural Club.
The paper is not now, and will not be run for profit.
The Architects believe The Charette to be the best vehicle for the adver-
tiser in the Pittsburgh district. The purpose of the magazine is for the promotion and
development of public knowledge and interest in good architecture and the ability of
Pittsburgh Architects, Engineers and Contractors to produce it.
ADVERTISERS' INDEX
American Laundry Mach'y Co., Hlowe Scale Co., Patrizio Art Mosaic Co.,
616 Fulton Bldg., Pgh. 110 Wood St., Pgh., Pa. 2 0 2 2 5th Ave.
American Marble Co., Houston Bros. Co. Permanent Waterproofing Co.,
4 3 2 W o o d St., Pgh., Pa. C. of C. Bldg. 1213 C. of C. Bldg.
Atlantic Terra Cotta Co., Hunt, Henry Pitcairn, J. R.,
350 Madison Ave., New York 114 Wabash Ave. Century Bldg.
City
Jacobs-Thompson Co., Pittsburgh Plate Glass Co.,
Bailey-Farrell Mfg. Co., 1127 Park Bldg. 632 Duquesne W a y
Second Ave., and Wood St..
Pittsburgh, Pa. Johns - Manville Co., Pittsburgh Testing Laboratory.
Westinghouse Bldg. Stevenson & Locust Sts.
Bald, John M. Hardwood Floor Co.
Ross St. and Third Ave., Keasby-Mattison Co.. Robertson, James.
1,4 Isabella St., N. S., Pgh., Pa. 2 0 7 Thomas St., Wilkinsburg,
Pittsburgh, Pa.
Barrett Machine Co., Kernerator Co.. Pa.
9 1 2 - 9 1 6 Behan St., N. S. Pgh. 1522 Oliver Bldg. Rogers Sand Co.,
Pa. W o o d & Water Sts.
Knox, Strouss & Bragdon,
Beaux Arts, Lighting Fixtures, 1725 Juniata St., N. S., Pgh., Pa. Ruud M f g . Co.,
210 Stanwix St., Pgh., Pa. 3 9th & Smallman
Larsen, Brown Co.,
Boggs & Buhl, 506 Ferguson Bldg.
North Side, Pittsburgh, Pa. Shaw, W . J.,
0. B. Lovatt, 1 1 4 Dunbar St., Bellevue, Pa.
Bostwick Steel Lath. Co.. 1203 Federal St., N. S., Pgh., Pa.
Niles, 0 . Simplex Pile Foundation Co..
Lupton CDavid) Sons Co.. Keystone Bldg.,
Carlem Engineering Co., Oliver Bldg. Pittsburgh, Pa.
6 9 4 4 Lynn W a y
Marbleloid Co., Smith, A. W . Co.,
Ciarle Lumber Co., 2 4 1 4 W . Liberty Ave., Pgh.. Pa. Keenan Bldg.
6 2 1 E . North Ave.
Marks, H . E. Corporation, Star Tiling Co.,
Cluley, E. R. 1 1 5 - 1 2 1 Federal St., N. S. 1 9 1 5 Blvd. of Allies
106 Marion St., Pgh., Pa.
Martin Brick Co., Stedman Products Co..
Dreyer Metal Products Co.,
710 C. of C. Bldg. 1 5 2 2 Oliver Bldg.
56th & Butler Sts.
Duff. S. E. and L. B. McGinness, Smith, McGinness, Suydam. M . B.,
Magee Bldg., 435 Water St., Pgh., Pa. Island Ave. & Preble St.
Pittsburgh, Pa. Mathias, A. H . Co., Toledo Lumber & Mill W o r k Co
Edebura Cooper Co. 446 Wood St., Pgh., Pa.. 1 0 2 4 Park Bldg.,
1201 Berger Bldg. McLaughlin & McLaughlin, Pittsburgh, Pa.
Elliott B. K . Co. 7309 Finance St.. Truscon Steel Co.,
1 2 6 - 6 t h St. Oliver Bldg.
McNulty Brothers Co.,
Fetterman, J. H . Frick Bldg.
Park Bldg., Universal Portland Cement Co.,
Pittsburgh, Pa. Mellon-Stuart Co.. 518 Frick Bldg.
Fireproof Materials Co.. Oliver Bldg.
V a n Rang^e Co., John
1015 Peralta St.. Pgh., Pa. Moore. Hubert, Pittsburgh Life Bldg.
Ft. Pitt Hardware Co.. 245 Fourth Ave.
Wadsworth Stone & Paving Co.,
807 Liberty Ave. Morganstern Electric Co.. Lambert & P. R . R.
Garland Mfg. Co., 334 Second Ave.,
Pittsburgh, Pa. W a t t M f g . Co.,
Pittsburgh, Pa.
Dasher St.
Givens, Austin National Fireproofing Co.,
Sandusky & Isabella Sts. Bessemer Bldg., Weldon-Kelly Co..
Harris Pump & Supply Co., Pittsburgh, Pa. 4 2 7 Fourth Ave.
3 2 1 Second
Henderson Ave.
Structural Units Co. Otis Elevator Co., White, Scott A e .
McKees Rocks C. Qf C. Bldg. Renshaw Bldg.15 THE CHARETTE
Material and Detail Advertisers' Index
Alterations of Building J. H. Fetterman Lumber and Mill Work Clark Lumber Co.
Architectural Terra Cotta Atlantic T. C. Co. Metal Lath Bostwick Metal Lath Co.
Artists' Materials B. K . Elliott Manufacturers o f —
Asphalt Paving McLaughlin & McLaughlin Reinforcing Steel Truscon Steel Co.
Alberene, Stone American Marble Co. Metal Lath Truscon Steel Co.
Furring Fireproof Materials Co.
Art Objects Beaux Arts Paint M. B. Suydam
Asbestos Products Keasby Mattison Mill W o r k Contractors Toledo Lmbr. & Millwork
Accoustics Johns-Manville Co. Miscellaneous Steel & Iron Watt Mfg. Co.
Ammonia Machines Barrett Mfg. Co. Metal Trim Jos. R. Pitcairn
Building Materials. . . .Knox, Strouss & Bragdon Marble American Marble Co.
Brick Face Martin Brick Co. Marbleloid Floors Marbleloid Co.
Brickwork C. B. Lovatt Co. Mirrors Pittsburgh Plate Glass Co.
Blue Prints A. H. Mathias & Co. Nailing Cement Scott A. White
Boilers W . J. Shaw Ornamental Iron Watt Mfg. Co.
Building Contractors Mellon, Stuart Co. Ornamental Iron & Bronze. .Larsen Brown & Co.
Cabinet Work—Cont. Toledo Lmbr. & Millwork Ornamental Plastering McNulty Bros.
Casement Windows. . . . David Luptons Sons Co. Paint—Structural Steel M. B. Suydam
Cement Universal Portland Cement Co. Painting Contractors E. R. Cluley
Cement Paving McLaughlin & McLaughlin Paving—Asphalt—Cement
Civil Engineers Edeburn, Cooper & Co. McLaughlin & McLaughlin
Concrete Piling—Contractors Piling Concrete Contractors
The Simplex Pile Foundation Co. The Simplex Pile Foundation Co.
Concrete Blocks— Plant Installation Elec. Morganstern Electric Co.
Henderson Structural Units Co. Plastering McNalty Bros. Co.
Conduit— Garland Mfg. Co. Plastic Floors Marbleloid Co.
Contractor Alteration Specialist .J. H . Fetterman Plumbing Contractors Weldon, Kelly Co.
Contractors—-Building Mellon, Stuart Co. Plumbing Fixtures Manufacturer. .Bailey-Farrell
Contractors Electric Work. Morganstern Elec. Co. Power Plants. . McGinness, Smith, McGinness Co.
Contractors for Hardwood floors Pumps—Bilge Harris Pump & Supply Co.
John M. Bald Co. Pumps—Cellar Drainers
Harris Pump & Supply Co.
Cut Stone James Robertson
Reinforcing Steel Carlem Eigineering Co.
Dampproofmg Permanent Waterproofing Co. Reinforced Concrete
Designing Engineers S. E. & L. B. Duff Wadsworth Stone & Paving Co.
Drafting Materials B. K . Elliott Roofing Scott A. White
Doors—Fire Resisting, (Revolving.J. R. Pitcairn Roofing Slate Jacobs, Thompson Co.
Electrical Conduit Garland Mfg. Co. Remodelling J. H. Fetterman
Electrical Contractors. .Morganstern Electric Co. Revolving Doors Jas. R. Pitcairn
Elevators Otis Elevator Co. Rubber Floors Walter Boswell
Refinishing Floors John M. Bald Co.
Engineers—Structural Design. S. E. & L. B. Duff
Refrigeration—All Kinds. .Barrett Machine Co.
Face Brick Martin Brick Co.
Fire Doors .James R. Pitcairn Stonework Jas. R. Robertson
Floor Tile Star Tiling Co. Sand Rogers Sand Co.
Fireplace Goods Beaux Arts Safes Howe Scale Co.
Floors—Soft Rubber Walter Boswell Screens Hubert Moore
Foundation Design S. E. & L. B. Duff Sculptors—Architectural.... McNulty Bros. Co.
Foundations Piling Sheet M e t a l — S k y Lights Dreyer Metal Prod. Co.
The Simplex Pile Foundation Co. Slate Jacobs, Thompson Co.
Galvaduct Conduit Garland Mfg. Co. Sound Absorption—Scientific Johns-Mansville Co
Gravel Rogers Sand Co. Special Doors—Windows
Glass Pittsburgh Plate Glass Co. David Lupton's Sons Co.
Glass—Stained Henry Hunt Sprinkler Systems McGinness Smith
Gypsum Construction H. E. Marks Corp. Stained Glass Henry Hunt
Steel Engineering Design S. E. & L. B. Duff
Hardware Fort Pitt Hardware Co.
Steel Sash Truscon Steel Co.
Hardwood Flooring John M. Bald Co.
Steel Joists Truscon Steel Co.
HJangers—Ball Bearing. . . . Larson, Brown & Co.
Terra Cotta Atlantic T. C. Co.
Heating McGinness, Smith, McGinness Co.
Terrazzo— Patrizio Art Mosaic Co.
Heating Supplies Bailey-Farrell Testing Laboratories . .Pittsburgh Testing Lab.
House Furnishings Bpggs & Buhl T i l e — W a l l , Floor Star Tilling Co.
Incinerators Walter Boswell Ventilation.. .McGinness, Smith. McGinness Co.
Interior Decorating Boggs & Buhl Vault Doors Howe Scale Co.
Inspection.—Materials. . .Ph. Testing Laboratory Water Heaters Rudd Mfg. Co.
Insulation Keasby. Mattison Co. Water Supply Systems .Harris Pump & Supply C
Lathing McNulty Bros. Co. Water Supply Systems Bailey-Farrell
Lighting Fixtures Beaux Arts Waterproofing. . . .Permanent Waterproofing Co.
Laundry Machinery. .Amer. Laundry Machy. Co. Weather Strips Hubert Moore
Landscape Architects A. W . Smith Co. Windows—Fire Resisting Jas. R. Pitcairn
Landscape Contractors A. W . Smith Co. Wiring Morganstern Electric Co.
Lath—Metal Bostwick Metal Lath Co. Wrecking Austin Givens
Loricated Conduit Garland Mfg. Co. Wood Work Toledo Lumber & MillworkYou can also read
