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Showing posts with label Architecture. Show all posts
Showing posts with label Architecture. Show all posts

Monday, 2 November 2020

ARCHITECTURE

Preserving Philadelphia
International House

By David Traub
I can still remember the excitement in the architectural community in 1970 when the International House building by architects Bower and Fradley was finished. Skillfully constructed of poured-in-place concrete in the modern style of the day (we did not say “modernist” then), and clearly influenced by the French architect, Le Corbusier.

Today, we say the International House is in the Brutalist style, but fifty years ago it would not have occurred to us to identify it that way. The terms Brutalist or Brutalism derives from the French word “brut,” which means “raw.” What originally was meant by the term as applied to architecture was that it was built of raw, exposed concrete. 

In 1970, no thought came to mind that a building constructed with that material was “brutal” in the ordinary sense of the English word. The term Brutalist, however, has unfortunately come to mean actually brutal in appearance, and is applied to a broad range of buildings of the 1950s and 60s whether the buildings had any architectural distinction or not. 

Friday, 14 September 2018

Philly's Scott Brown gets London Architecture Award

17 October | £10, £5 students
The Sainsbury Wing, National Gallery
Denise Scott Brown has been awarded the 2018 Soane Medal for her contributions to architecture. 

Architect, educator and author of Learning from Las Vegas, Denise Scott Brown's work has had an enormous influence across architecture and urban design.

Join us for a special lecture at the Sainsbury Wing of the National Gallery, which she designed with Robert Venturi. Hear Denise Scott Brown’s lecture, pre-recorded at her home in Philadelphia, accompanied by a selection of her rarely-seen, stunning architectural photographs, followed by a live response by Sir David Chipperfield and a drinks reception.

The PJ depends on reader support. Please help us by contributing directly via PayPal, or by contributing editorial content via PhiladelphiaJunto@ymail.com. Empowered by WritersClearinghouse | S.P.Q.R. 1976 Richard Carreño, Editor Copyright MMXVIII. All Rights Reserved.

Friday, 28 October 2016

A QUEBEC KISS?

QUEBEC'S CHÂTEAU DISNEY
By RICHARD CARREÑO
[WC News Service]
Quebec
Gare du Palais
Château Frontenac
Every visitor to this historic city, founded in 1608 and one of the oldest in North America, can't miss the monumental, turreted structure that looms over St. Lawrence River. In fact, the Château Frontenac almost swallows whole the city's legendary Haut-Ville, dominating the skyscape as the iconic symbol of this capital of Quebec Province and the indisputable heart of French Canada. 
 
Iconic. Also ironic.
 
First, the Frontenac, despite its vague architectural conceit to Loire Valley antecedents, isn't really a château. (It's a hotel). In addition, the building's founding was rooted in a very American  instinct -- capital and economic growth. Its owner, the Canadian Pacific Railway, wanted to expand and centre tourism and commerce in what still a riparian backwater, and hired American staritect Bruce Price, who was then making the rounds in Anglo-Canadian business circles, to do the job. Historic? Hardly. Most telling of all, at least by local standards, the edifice isn't really that old. Construction began only in 1893.

Thursday, 26 May 2016

Watch it Go Up

Construction photostream of 'CVS" Building 20th and 19th streets 2015-2016

The PJ depends exclusively on reader support. Please help us continue by contributing directly via PayPal, or by contributing editorial content via PhiladelphiaJunto@ymail.com. Empowered by WritersClearinghouse | S.P.Q.R. 1976 Richard Carreño, Editor Copyright MMXVI. All Rights Reserved

Thursday, 30 July 2015

COFFEE MONEY


By RICHARD CARREÑO
[WC News Service]
Le Corbusier (1887-1965), the professional name of the Swiss-French architect, who was born Charles-Edouard Jeanneret, is arguably Switzerland's most famous architect, and, along with Alberto Giacometti, the Swiss-Italian sculptor, one of that country's marque-brand artists.
 
Interestingly, Le Corbusier's profile is not as high in the United States, as in other parts of the world. His only building in North America is the Carpenter Center for the Visual Arts, built in 1963 at Harvard. It's not very inspiring -- just a layered mass of rough-hewn, poured concrete that's equal parts Brutalism and boring.
 
There might be another reason for the architect's lacklustre popularity on this side of the Atlantic, namely Le Corbusier's little-known penchant as an admirer of the Soviet social order (one of his grandest commissions was in Russia during the 1930s) and fascist states (Mussolini's Italy and Marshal Pétain's Vichy). Also there's simply the work -- a non-humanist approach in aesthetics and scale. Like I said, mostly Brutalism and boring.

Sunday, 15 March 2015

Fondation Louis Vuitton

'Anchors Away!'
Photo: WC News Service/Richard Carreño
ALL HAT, NO CATTLE
By RICHARD CARREÑO
PARIS [WC News Service] -- The super rich and powerful get all sorts things named for them; their fabulous wealth underwriting  ego-centric municipal projects from hospitals and sports stadiums to theatres and, increasingly for those billionaire one-per-centers who also fancy themselves as art connoisseurs, eponymous museums that showcase their putative, ahem, 'connoisseurship.'
 
Step forward, please, France's richest man, one Bernard Arnault, chairman of the luxury goods conglomerate, LVMH Moët Hennessy Louis Vuitton, who has also created what may be one of the the world's worst contemporary art museums, the newly-minted Fondation Louis Vuitton, a Frank Gehry-designed behemoth that rises up in Paris' principal park, the Bois de Boulogne.

The mega-million-euro museum, resembling an ocean-going ark with a very large prow, opened in late 2014. I got around to it earlier this month.

True, the museum doesn't bear Arnault's name. Never mind. Arnault is Vuitton, and, in the tony precincts of the 16th, Mayfair, and the Upper East Side, everyone knows it. That, seemingly, is enough for the vainglorious Arnault.

Wednesday, 10 December 2014

16eme

VILLA MONTMORENCY


It was created when buying in 1853 by the Company of Paris railway in Saint-Germain -led Pereire brothers , Boufflers Castle and its grounds (the work of Jules Hardouin-Mansart ) to the Montmorency family , to achieve the Gare d'Auteuil . The villa consists of fifty houses was built in 1860 according to the plans of architect Théodore Charpentier.  This private area of "single family homes campaign and accreditation" has rules condominium strict and binding defined in the context of a trade association that manages all since 1853 . A guard at the entrance controls access by checking the permissions to enter. The architectural style recalls the General seaside villas of Deauville or Arcachon late XIX th  century .

Monday, 8 September 2014

Nashville's Parthenon

 
After
Photo: WritersClearinghouse News Service
IT'S ALL GREEK TO ME.
By RICHARD CARREÑO
[WritersClearinghouse News Service] Posted 9 September 2014
Nashville
Yes, Nashville is a whole lot of country. And, yes, a whole lot of Greek.
 
Move over Greek frats, Greek coffee cups, and Greek yogurt, Nashville also has its own version of what is indisputably the most important and most widely recognized monument to embody that other Greek culture, the 5th century BCE Parthenon temple.
 
Nashville's Parthenon is a little-known, life-sized replica, and it's the kind of iconic symbol that puts the Western (that is, Western as in Classical Greek) in this otherwise country tunes mecca of 600,000.  Legendary chapeau-wearing songstress Minnie Pearl might still be more widely worshipped in that other 'temple' of culture here, the Grand Ol' Opry. But just minutes from downtown, near the Vanderbilt University campus, another godly figure, Athena, yes, even a more powerful yet than Minnie, is given tribute in her Parthenon temple.
 
Still surprisingly, Nashville's Athena, ancient Greece's goddess of wisdom, hardly gets her due. Just as recently as in last Sunday's New York Times' travel section, a '36 Hour in Nashville's' feature ignored what's surely the second-most important house of worship here. Just after, of course, Dolly's 'Partonon,' as the Opry's original venue at the Ryman Auditorium is referred to by some more classically-trained fans of the country-western megastar Dolly Parton.
 
This, too, in a nation that likes to 'import' Europe to her shores (Randolph Heart's castle in California is Exhibit A) to just recreating it (Venice and Paris venues in Las Vegas).
Before

Thursday, 4 September 2014

Frist Center for the Visual Arts

Main Hall, interior
Photo: WritersClearinghouse News Service
 Frist First
Nashville
The Frist Center for the Visual Arts embodies one of the best examples of architectural repurposing that I've ever witnessed. Thankfully, Americans in the last decade or so have come realize, after the annum horribli debacles of the '60s, '70s, and the even into the '80s, that architectural preservation is preferable to the wholesale destruction of the urban vernacular that was rampant in those decades. Witness the destruction of Centre City Philadelphia by Edward Bacon as Exhibit A.  I suspect, given the boom in recent highrises monsters in downtown Nashville, that this city also has undergone its share of urban gutting.

Fortunately that urban 'renewal,' as it may have occurred, did not extend to several city jewels, including Nashville's old downtown high school (now the city's main branch library), its main Victorian-styled railroad station (now a fancy hotel), and adjacent on Broadway, the old main U.S. Post Office (now the Frist).

The conversion of the post office, constructed in 1934 as an Art Deco gem, was completed in 2001, when the Frist occupied the premises. (The building is similar to Philadelphia's Art Deco post office branch on Market East. But more decorative and pristine). The conversion was undertaken with loving detail. It's a marvel.

Saturday, 9 August 2014

Bechtler Museum of Modern Art


Photo: WritersClearinghouse News Service
Mario Botta: Architecture and Memory
Mario Botto

Location: Fourth-floor gallery On View: January 31, 2014 - September 1, 2014 (extended)                

Charlotte, North Carolina
Mario Botta: Architecture and Memory is an exhibition spanning the 50-year career of internationally acclaimed architect Mario Botta, the designer of the Bechtler Museum of Modern Art building and one of the century's most fundamental contributors to postmodern architecture. Featured are sketches, original wood models and photographs exemplifying Botta’s use of geometric shapes that juxtapose lightness and weight. The run of the exhibition has been extended through September 1, 2014.

Friday, 27 June 2014

UNDERGROUND ART

A Church Archway? A Street Loggia?
PMA'S HIDDEN VAULTS
Groin vaults, that is.

Since 1962, the northside arched entrance to the Philadelphia Museum of Art has been closed. That's about to change.

At least it will, if the multi-million-dollar Frank Gehry-inspired design plan to expand interior contemporary art gallery space gets done anytime soon.

Museum officials have their fingers crossed. It's one of those run-it-up-the-flagpole,- see-if-anyone-salutes plan.
Photos:
 WritersClearinghouse News Service

Starchitech Gehry was in town yesterday (26 June) to do a bit of flag waving.

Instrumental in the plan, which
will principally involve new gallery space under the Rocky steps, will be the reopening of the north-south groin vaulted loggia-like corridor that cuts across the building. The north end will be re-introduced as a new museum entrance.

The corridor, or walkway, the museum calls it, is a mammoth, imposing space -- a delight to behold.

Fortunately, progress on building and repurposing the building -- already in the works for more than five years -- will proceed as the cash rolls in, according to museum officials. A good thing! As of now, they don't think the project will be completed until 2028. Ouch!
--Richard Carreño

The Rocky Statue? Look Closely Below

Tuesday, 15 April 2014

Spicey Saffron

Inga Saffron
Y'all, Come On Down
Inga Saffron, The Inquirer's prolific and prolix urbanista architecture critic, won a Pulitzer Prize yesterday. Finally, after many trips down the ailse as a bridesmaid, she got it. She deserved it. Our correspondent, a loyal Old City resident, here takes issue with Saffron's latest critique, on Old City, which appeared last Friday and which is reprinted below.
 
By Liliane Clever
[WritersClearinghouse News Service]
Inga Saffron has won a Pulitzer, and I suppose that it is good for The Inquirer and Philadelphia.
 
It would also seem that last week's fire that destroyed the Suit Corner at 3rd and Market, got her to come down to my neck of the woods. It is obvious from what she says that she is not a usual visitor to the hood.
 
I also think that she is quite unfair in describing 3rd and 2nd Streets. While it is true that there is still a lot to be done, a lot has already been accomplished. But unfortunately, Old City suffers from its so called historical status with all of its guidelines and restrictions which make any project more complicated and more costly than in other parts of the city.
 
That could explain why some developers have been staying away. And by the way, the projected CVS at 3rd and Market that Saffron mentions would have been impossible just a few years ago when big commercial stores when not allowed. This restriction has now been lifted to some degree. Hence the CVS announcement.
 
Maybe Saffron could have done a little bit more homework on the subject instead of shaking her head and wondering what could possibly be wrong with building owners and businesses in Old City.

Thursday, 21 November 2013

Berlin's Arts Mojo Returns


Museum Berggruen, Berlin

'RE-GENERATED' ART
BY RICHARD CARRENO
[WRITERSCLEARINGHOUSE NEWS SERVICE]
BERLIN
The 'boys' are back in town.
 
Welcome Matisse, Picasso, Klee. And dozens of other Modernist artists, who, as in the pre-World War II era, are again the talk of town.
 
These mostly 20th-century artists, notoriously labelled by Nazi censors for their advocacy of 'degenerate' art (read Modernism, or 'Jewishness') and who Adolf Hitler personally dismissed as not upholding the Aryan 'ideal' of National Socialism, have found a new, ever-widening berth in Berlin. Once purged and confiscated from then-existing museums and stolen from private collectors, masterworks by these formerly banished artists are now an increasing force within Berlin's ambitiously expanding museum community. This particularly in the last decade as Berlin brims again with Expressionists, Impressionists, and Surrealists in exhibits at the Museum of Design; the Museum of Modern Art, Photography and Architecture; and the Brüke (Bridge) Museum; and even in old venues such as pre-war Old National Gallery. Also add a new exhibit of 450 works by Salvador Dali, each of which would have made Hitler gag.
 

Thursday, 22 August 2013

Miami Nice



 ART RETRO
BY RICHARD CARRENO
[WRITERSCLEARINGHOUSE NEWS SERVICE]
Miami Beach, Florida

When Henry Flager brought the railroad to South Florida in the early part of the last century, this place was going to be his El Dorado -- with an gilded architectural style to match. Viz the work of his handyman builder Addison Mizner in Palm Beach.

This town had other ideas as it evolved from Flager's original vision of Mediterranean Revival, a kind of Old World Spanish kitsch that also became California's high style. The periods are rough. Each decade brought new architectural standards that mirrored the growth -- and the ultimate division of this southern portion of Miami Beach island  (known as South Beach) and its northern modern upscale bit, the land of mammoth hotel complexes with the Fountainbleau Hotel as its signature edifice.

In the south, the island took a more commercial and civic turn, also retaining, for the most part, in its core along Collins Avenue and Ocean Drive a human-sized building scale. Hotels top off at about twenty floors. Restaurants and cafes flourish. Even a museum or two -- given this is Florida, 'a museum of two' is saying a lot -- are tourist destinations. And the luminous beach, opening to the Atlantic from Ocean Drive, remains an unbuilt landscape, open to the public, and free.

Monday, 22 July 2013

War Memorial

YES, ATLANTIC CITY


A Memorial to World War I dead in Atlantic City. It's the only thing memorable there.
Photos Richard Carreño/WritersClearinghouse News Service

Friday, 5 July 2013

Two Philadelphians Cited


Philadelphia architect Laurie Olin
Obama to Award 2012 National Medal of Arts and National Humanities Medal

On Wednesday, July 10, 2013 President Obama will award the 2012 National Medal of Arts and National Humanities Medal in the East Room of the White House.  The First Lady will also attend.  Further details will be released closer to the event.

The National Endowment for the Arts was established by the Congress in 1965 as an independent agency of the Federal Government. To date, the NEA has awarded more than $4 billion to support artistic excellence, creativity, and innovation for the benefit of individuals and communities. The NEA extends its work through partnerships with State arts agencies, local leaders, other Federal agencies, and the philanthropic sector. The National Endowment for the Humanities was created in 1965 as an independent Federal agency, the National Endowment for the Humanities supports research and learning in history, literature, philosophy, and other areas of the humanities by funding selected, peer-reviewed proposals from around the Nation. The Endowment brings high-quality historical and cultural experiences to large and diverse audiences in all states, the District of Columbia, and five territories.

Friday, 8 February 2013

Frank Furness Lecture


The J U N T O depends exclusively on reader support. Please help us continue by contributing directly via PayPal, or by contributing editorial content via WritersClearinghouse@yahoo.com. Empowered by Writers Clearinghouse | S.P.Q.R. 1976 Richard Carreño, Editor Copyright MMXIII

Monday, 5 November 2012

Mind the Gap

Image of Proposed Bridge from Windsor to Detroit
Canada Wants to Bridge the Gap
By Gary Doer
[Special to Writers Clearinghouse News Service]
Washington.
On June 15, Prime Minister Harper and Governor Snyder agreed to build a publicly owned bridge between Windsor and Detroit, the New International Trade Crossing.
 
The rationale for this bridge is clear. Over Eight million jobs in the US, including 237,100 jobs in Michigan, depend on trade and investment with Canada. Much of this relies on the Ambassador Bridge, which saw more than $120 billion worth of trade cross over it in 2011. This is fully one quarter of Canada-US trade in goods, making it the most important bridge crossing in the world.
 
However, the Ambassador Bridge is 83 years old, is too narrow for today's needs and lacks adequate customs plazas. In addition, access to the bridge is located in downtown Windsor, which requires trucks to travel through residential streets and 16 traffic lights to reach the on-ramp. Any plans to expand the current bridge do not therefore solve the larger congestion and delay problems.
 
With truck traffic conservatively predicted to increase 128% over the next 30 years, it is imperative that a solution is found. The New International Trade Crossing is that solution. It will be six lanes wide, with dedicated lanes for pre-screened cargo, and a direct freeway-to-freeway connection that avoids downtown Windsor and Detroit, thereby reducing delays and the massive costs associated with them.
There have been a number of misleading advertisements about the bridge and its costs -- here are the facts:

Thursday, 6 October 2011

Letters to the Editor

My Pal, the Gangsta Scion Walter Annenberg
Oh Yeah, the Author?
That Would Be Me
In response to my article on the Musee Matisse and the Barnes Foundation museum, posted yesterday at the BroadStreetReview.com, BSR received today the following letter from Nick Tinari, a Philadelphia lawyer. The Junto's version of same story is below. -- The Editor.

On Oct 5, 2011,
So rife with inaccuracies and unattributed statements as to be a complete fiction.

First sentence: a first year art student would know that Matisse was not an Impressionist.

Next, the Merion gallery is not a "villa", it was purpose built as a gallery for a school (not a museum) from day one. The author must want to impress readers with his knowledge of touristy sounding words like "villa" and his worldliness at having visited some, but he is completely ignorant of the history of the Barnes Foundation and of architecture in general.

Next, the author cites no source for the statement that Barnes disliked the mural and for the conclusion that the two men parted association. The evidence is to the contrary, since there are Matisse works in the Barnes Foundation that postdate the mural.

I could go on, but I think this is evidence enough that the author is working in the realm of fantasy. Maybe it makes a nice story, but it's not a true story. A true story would be how know-nothings like the author are now running the Foundation and how, thanks to them and the ancient animosity against the foundation of gangster scion Walter Annenberg, the mural will end up in a place the painter and his patron never intended it to be.

nick tinari
jenkintown

The BSR's Editor's Response:
Thanks for your letter. We'll post it soon.

That reference in the blurb to Matisse as an Impressionist was my error; I've corrected it.

Sincerely,
Dan Rottenberg
Editor

Thursday, 15 September 2011

Save Our Sites


2011 List of Endangered Sites

[Special to Writers Clearinghouse News Service]

The Philadelphia preservation organization Save Our Sites (SOS) has issued its 2011 list of endangered sites that its members nominated at its Spring General Membership meeting on March 29, 2011. Save Our Sites defines endangered buildings as those that are neglected, unmaintained, vacant, unknown or uncelebrated. They may not necessarily be subject to imminent demolition. They might be worth recognizing because of either their architectural, aesthetic or historic value. The 2011 list includes twenty sites throughout different neighborhoods of Philadelphia such as Francisville, West Philadelphia, South Philadelphia, North Philadelphia, East Oak Lane, Germantown, and Center City.
Unfortunately, just before the announcement of the 2011 Endangered Sites List, the Monastery of St. Clare, formerly number one on the list, was demolished. Although the convent, located at the corner of West Girard and Corinthian Avenues in Francisville, was listed on the Girard National Register Historic District, it was not on the Philadelphia Register of Historic Places, therefore it was not protected against demolition. The Romanesque, stone chapel of St. Clare was designed in 1919 by the architectural firm Ballinger and Perot. It is flanked by two late-nineteenth century brownstones that housed cloistered nuns from 1918 until May 21, 1977, when they relocated to Langhorne.
Credits for Preparation of Following List:
Alanna C. Stewart, M.S. Historic Preservation, University of Pennsylvania
Zoe Draper, B.A., Moore College of Art & Design
David S. Traub, AIA, Co-Founder, Save Our Sites
Save Our Sites, 2005 Cambridge Street. Philadelphia, PA 19130
(215) 232-2344




FRANCISVILLE
1. Northwestern National Bank – 1828 W. Girard Avenue (W. Girard and Ridge Avenues)
The Northwestern National Bank was designed in 1886 by Philadelphia architect, Otto Wolf. Wolf served as the vice president of the bank, as well as specializing in the design of breweries (one of his clients being Christian Schmidt). The bank is on the Philadelphia Register of Historic Places, and is currently being used as the Smith Baptist Chapel. The building is in poor condition, mutilated by placement of glass block in existing windows.
2. U.S. Post Office - 900 N. 19th Street, Philadelphia, PA 19130 (N. 19th and Poplar Streets)
The United States Post Office was designed in 1936 by architect Victor D. Abel, during the administration of President Franklin D. Roosevelt as a part of his Works Progress Administration, WPA. Abel was joined by supervising architect Louis A. Simon, and Neal A. Melick, supervising engineer. Some alterations have been made, but the Federal government has neglected the building, and it is in need of an overall renovation.
The PNC Bank: 700 - 702 N. Broad Street (N. Broad Street and Ridge Avenue)
3. The PNC Bank, pictured at left, formerly the Northwestern National Bank, was designed by Philip Merz in 1917, of the New York firm, McKim, Mead & White. In 1929, additions were made by Clarence Edmond Wunder. Though it is currently a PNC bank, it is minimally maintained. This grand building is in a key location at this important intersection, which includes the Divine Loraine Hotel. The full restoration of this building could spark further restorations of this North Philadelphia neighborhood.
NORTH PHILADELPHIA
4. The Macedonia Free Will Baptist Church: 2036-2040 Cecil B. Moore Avenue (21st and Cecil B. Moore Avenue).
The Macedonia Free Will Baptist Church, previously known as Columbia Avenue Presbyterian Church, was built between 1891 and 1893 by architect J.W. Shaw. The chapel was constructed in 1870 by architect Henry Sims. The Romanesque style building contains stained-glass windows that were manufactured by Tiffany Studios. The church is in a serious state of disrepair, as the group who rents the property does not maintain it. Like many other churches in North Philadelphia, it is not receiving the attention it deserves.
5. Reformed Episcopal Church: 2229 N. 29th Street (29th and Fletcher)
The Reformed Episcopal Church was built in 1916. It was designed by architects Stackhouse and Street and was built by the Raymond A. Raff Company. It is currently known as Dauphin Street Baptist Church. This building is extremely unique, with fascinating architectural details such as the immense stone fanlight on the front façade. It has been altered with doors of an inappropriate style, and boarded up windows. It is located in a struggling area of North Philadelphia, and faces serious neglect.
WEST PHILADELPHIA
6. House at 3619 Baring Street
The Victorian stone house at 3619 was built around 1874 for William C. Eliason. In 1905, a colonial revival porch was built, and a garage was added to the residence during the 1920s. This was also the residence of the Tetlows, the first producers of Talcum Powder. The house was added to the Philadelphia Register of Historic Places in March of 1963. Although this building is in a serious state of disrepair, complete restoration would serve as a building block for more renovations in this deteriorating neighborhood.
7. Woodland Mansion: 4000 Woodland Avenue
Woodland Mansion was built in 1770, although the land was first purchased in 1735 by Philadelphia lawyer Andrew Hamilton. The house was rebuilt into a neoclassical style mansion between 1786 and 1792 by Hamilton’s grandson, William. In 1840, the landscape was transformed into a cemetery. Though this building is not completely under preservationists’ radar screen, it deserves more public awareness, and increased funding to completely restore this historic monument.
8. The Belmont Academy Charter School: 907 N. 41st Street (N. 41st Street and Westminster Avenue.)
The Belmont Academy Charter School opened in 1998 in the Mantua neighborhood of West Philadelphia. Its first use was as a dormitory and recreation center for train conductors traveling through the area, and then later used as a church. Although the school has great architectural details, the basement is condemned. The building should be recognized for its historic fabric and context.
9.West Philadelphia Title and Trust Building: 4000 Lancaster Avenue (N. 40th Street and Lancaster Avenue)
The West Philadelphia Title and Trust Co. was designed in 1897 by Walter Smedley. The brick and terra cotta building is not listed on the Philadelphia Register of Historic Places. Although the massive billboards were removed from the façade of this historic landmark, it is in an extremely dilapidated state, with several convenient stores crammed inside of it. This building is in a key location that should be used as a rallying point to spark preservation further west on Lancaster Avenue.
SOUTH PHILADELPHIA
10. Girard Farm House at Girard Estates (Near 22nd and Ritner Streets)
Stephen Girard purchased a small farmhouse located on 500 acres in Passyunk Township in South Philadelphia in 1797. He created additions to the building in 1800 and 1825. Although he never lived in the house, he worked on the farm daily, growing fruits and vegetables, and housing livestock. Girard left his estate to the city of Philadelphia, and the money was to be used to start Girard College, a school for orphan boys. The building is still maintained by the city of Philadelphia on a very small budget. However, with greater public interest, this historic site could be brought to its full potential as an important Philadelphia landmark.
11. St. Matthew Baptist Church: 2319-2321 Fitzwater Street (Grays Ferry Avenue and Fitzwater Street)
St. Matthew’s Baptist Church, formerly St. Anthony De Padua Catholic Church, was designed in 1892 by architect Frank Watson. The Romanesque, granite church contains at least thirty stained-glass windows and a striking tall campanile gracing the corner of Grays Ferry and Fitzwater. The owners of the church have put the building up for sale. Given its location in a rapidly redeveloping neighborhood, and in particular being across from the very successful Toll Brothers Naval Home development, it is vulnerable to being purchased by developers who might want to demolish it to make room for new townhouses.
12. Vare Elementary School: 1621 East Moyamensing Avenue (Morris Street and E. Moyamensing Avenue)
Abigail Vare Elementary School is a stone, vaguely colonial revival building. It was designed between 1903 and 1904 by James Gaw, who later added to the school in 1927. It was placed on the National Register of Historic Places on December 4, 1986. This building stands as a model for what school buildings in Philadelphia were at the turn of the century. It is in fairly good condition, but mechanical systems are in need of repair, necessitating it receiving heat from a building across the street.
EAST OAK LANE
13. Harry Asbury House: 970 W. Cheltenham Avenue (70th and W. Cheltenham Avenues)
The Harry Asbury House was designed by Amos J. Boyden in 1892. T. Henry Asbury had this colonial revival house built for his son, Harry. It was formerly one of the King’s View houses, and is now owned by a Korean Church. It is in extremely poor condition. The historic context should be recognized, and full restoration is in order to maintain the value of this historic neighborhood.
Oak Lane Reform Church : W. 66th Avenue and N. 7th Street, 19126
14. The Oak Lane Reform Church complex has one remaining building, a Gothic style sanctuary that was designed in 1905 by architect Valentine B. Lee. It is made of salvaged stone from the Fifth Street Reservoir. The church later became the Oak Lane United Church of Christ, which closed in 1984. Although the 1905 addition remains, the earlier structure was demolished, and the building is now neglected and in extremely poor condition.
GERMANTOWN
15. Caroline Elizabeth Cope Farmer’s Cottage at Awbury Arboretum
The Caroline Elizabeth Cope Farmer’s Cottage, built in 1793, is one of twenty-four buildings at Awbury Arboretum. In the 1920s, the cottage was deeded to the City, who in turn sold the buildings to New Covenant Church. The Awbury Arboretum is now in a battle to buy back the building, since it is currently neglected and in very poor condition. There is an old Spring House in the back, which has also been neglected. These structures are in deteriorating condition, and located in a context in which otherwise the houses are well maintained.
16. Industrial Buildings at Wayne Junction
Wayne Junction constitutes an ensemble of various 19th century buildings gathered around the train station designed by famed Frank Furness, and serves as an important transportation node in Germantown. The group of buildings, mostly in deteriorated condition, has great potential for being turned into residential structures, given their close proximity to public transportation amenities. Among the buildings is the Wayne Junction Trust Company, at 4405 Germantown Avenue, designed by Thomas B. Lippincott.
CENTER CITY/WASHINGTON SQUARE WEST
17. 2023-2025 Rittenhouse Square Street (South 20th and Rittenhouse Square Streets)
This charming building was a former stable, now used as a car garage. The architect, if any, is unknown. It was placed on the Philadelphia Register of Historic Places on January 6, 1972. Note the relief sculpture of a horse’s head under the blind arch at the top center of the building. The stable is in deplorable condition, with spalling terra cotta, loose brick and broken windows.
East End of Irving Street (Washington Square West)
18. The east extension of Irving Street comes to a dead end between 11th and 12th streets. When the Philadelphia City Plan was created in the 19th century, this section of the street was not included. The adjacent neighbors have attempted to privatize it, which Save Our Sites opposes. Privatizing this little piece of street will make it more difficult for the public to use and enjoy.
19. Philadelphia, Wilmington & Baltimore (PWB) Railroad (S. 15th and Carpenter Streets)
The Philadelphia, Wilmington & Baltimore (PWB) Railroad buildings were constructed during the Civil War Era. The station, along with an adjacent hospital, made the intersection of Broad and Washington a major military transport center during the Civil War. The head house was demolished, but the remaining service building pictured here faces possible demolition by neglect. The building needs to be recognized for its potential for furthering development at this important intersection, as well as a landmark commemorating the Civil War.

FAIRMOUNT PARK
20. Hermitage Mansion: 700 Hermit Lane (Fairmount Park)
Hermitage Mansion is located in the Wissahickon area of Fairmount Park. The Rosicrucians, or Hermits, emigrated from Germany in 1694 and were given 175 acres in Wissahickon Valley. After their leader Kelpius died few people remained, including Righter family. The Righters sold the property to Evan Prowattain in 1848, who built the mansion that still exists today. Currently, the Delaware Valley Opera Company is using the mansion, while maintaining the land and the house. The Opera Company continually attempts to raise money, but there is still a lack of funding needed to make repairs to this historic mansion.
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