▲ Mattress Factory
l Federa
PNC Park
ve re Dri
Contemporary art was given a leading role
Lib
hA
Pit
Fif th sA
ven
ven u
i xt hA
Ave n
ven ue
ue
ue
e
f th
eA llie
tB ou lev ard
s
Gra nt Str eet
d. o
For t
11 enue
4
65 7S
et
Blv
8
1, 2
3
Benedum Center
Sm it h fie ld S tre et
tre et St a
nw ix S
Fou rt
10 9
Heinz Hall
e
Av erty
For be
O’Reilly Theater 22
St
Point State Park
venu
h Tent
A Penn
Fort Pitt Bridge
12
eet h Str
lvd. ne B
boundaries and are integrated into its varied public spaces.
Nint
22
et Stre
ues Duq Fort
by prominent artists mark the district’s
Byham Theater Sixth
arts neighborhood. Adventurous works
David L. Lawrence Convention Center
13
Fort Duquesne Bridge
in the development of Pittsburgh’s central
Andy Warhol Bridge
Rachel Carson Bridge
St enth Elev
Roberto Clemente Bridge
tre
Sho North
eet
Wo od S
The Cultural District
son Str l Robin Genera
t Stree
walking tour 1
Way roski Maze
Warhol Museum
Sev en th Ave nu e
01 For Pittsburgh 02 David L. Lawrence Convention Center 03 Liberty Avenue Musicians 04 Yesterday’s Tomorrow 05 Thirteen Geometric Figures 06 Ornamental Frames 07 168 Light Bulbs 08 Pittsburgh People
Midtown Towers Reliefs
09 Magnolias for Pittsburgh 10 Agnes R. Katz Plaza 11 Quartet 12 Untitled (Fulton Theater) 13 Allegheny Riverfront Park
01 For Pittsburgh
Jenny Holzer (b. 1950) Year
2005
M at e r i a l
LED and text
Stretching across the convention center’s swooping roofline are 688 feet of blue light-emitting diode (LED) tubes. Jenny Holzer created this kinetic display to present important books that tell compelling stories about Pittsburgh, including Thomas Bell’s Out of This Furnace; John Edgar Wideman’s Homewood Trilogy, Damballah, Hiding Place, and Sent for You Yesterday; and Annie Dillard’s An American Childhood. Over time, new books may be added to the collection. The artwork is a significant contribution to the city’s skyline. It is monumental in scale and in its ambition to give books most often read in private a public presence. The texts scroll 24 hours a day, 7 days a week. For Pittsburgh is the artist’s largest LED project in the United States. Fourth Floor Terrace, David L. Lawrence Convention Center, 1000 Fort Duquesne Boulevard. Best seen from the fourth-floor terrace of the David L. Lawrence Convention Center or the corner of Penn Avenue and 10th Street 10
p h o t o g r ap h s o f F o r P i t t s b u r g h © J o s h F r a n z o s p i tt s b u r g h
a r t
i n
p u b l i c
p l ac e s
11
02 D a v i d L . L aw r e n c e C o n v e n t i o n C e n t e r
Rafael Viñoly Architects, P.C. Year
2003
The design for the convention center was inspired by Pittsburgh’s bridges. This can be seen profoundly in the swoop of the cable-suspended roof, which is created by a series of 15 individual cables and masts. Built to be environmentally friendly, at the time it opened it was the largest Leadership in Energy and Environmental Design (LEED®) certified building in the world. The public art program for the center included commissions and purchases. The fourth floor terrace includes five permanent commissions, including works by Jenny Holzer, Angelo Ciotti, Ray Gerard, Anne Lopez, and Steve O’Hearn. 1000 Fort Duquesne Boulevard
12
p i t t s b u r g h
a r t
i n
p u b l i c
p l a c e s
13
03 Liberty Avenue Musicians
James Simon (b. 1954) Year
2003
Material
Cast concrete These animated figures were created as a sculptural entryway into the courtyard of a three-story building designed by EDGE studio. The figures are made of steel-reinforced concrete and stained an earthy color to relate to adjacent buildings. These three players are a tribute to Pittsburgh’s role in music history. 947 Liberty Avenue
This project is located in the midst of the Penn/ Liberty Historic District, which extends from Seventh to Tenth Streets between Penn and Liberty Avenues. The oldest buildings in the district include a variety of architectural styles, including Italianate, Queen Anne, Richardsonian Romanesque, and Classical Revival.
14
p i tt s b u r g h
a r t
i n
p u b l i c
p l ac e s
15
04 y e s t e r d ay ’ s t o m o r r o w
Brian Holderman (b. 1976) Year
2006
Material
Painted mural This 2720 square foot mural by Pittsburgh artist and graphic designer Brian Holderman evokes a retro-inspired city of the future. Funded by The Sprout Fund, Holderman’s mural captivates the viewer with vibrant colors and scenes of city life in motion. Seventh Avenue and Liberty Avenue
16
p i tt s b u r g h
a r t
i n
p u b l i c
p l ac e s
17
05 Thirteen Geometric Figures
Sol LeWitt (1928–2007) Year
1984
Material
Slate on marble
Sol LeWitt explores geometric forms and lines in his paintings, drawings, sculptures, and prints. For this commission, a series of simple, abstract shapes are presented on the mezzanine wall. Are they transit symbols? The shape of ticket punches? References to architectural forms? We may never know – and there may not be an answer. According to Sol LeWitt, “Artists are mystics rather than rationalists. They leap to conclusions that logic cannot reach.” Wood Street T Station, Mezzanine Level
06 O r n a m e n ta l Frames
Albert Paley (b. 1944) Year
1984
Material
168 Light Bulbs
Jim Campbell (b. 1956) 2001
Material
Wood Street T Station The Wood Street T Station is home to three public art commissions and Wood Street Galleries, one of Pittsburgh’s premier spaces for contemporary art.
Wood Street T Station, Platform Level
Steel
07
Year
Albert Paley has an established reputation for fabricating utilitarian objects that are sculptural, functional, and responding to architecture. For this commission, he designed steel poster cases, which function as sculptural wall reliefs and a platform for advertising cultural events.
Take a moment to study the patterns created by the lightbulbs. When the streets are busy, this artwork is a pixilated mirror. When the streets are quiet, it presents the memory of cars and people passing by. Wood Street T Station, Wood Street and Sixth Avenue
LED
18
p i tt s b u r g h
a r t
i n
p u b l i c
p l ac e s
19
08 Pittsburgh People
Penelope Jencks (b. 1936) Year
1988
Material
Painted bronze
Penelope Jencks created the series of figures in the plaza of Dominion Tower that refer to Pittsburgh’s relationship to business and the arts. Dominion Tower was one of the early projects in the development of Pittsburgh’s vibrant Cultural District, which includes the nearby Benedum Center for the Performing Arts, completed in 1987. Dominion Tower, 625 Liberty Avenue
Midtown Towers Reliefs
Artist unknown Year
Dominion Tower was designed by Kohn Pederson Fox Associates. Midtown Towers was designed by Thomas Hannah. 20
1907
The top of the building is dome-shaped, and the façade features reliefs of a different generation of people with Pittsburgh connections. On the second story are portraits of Teddy Roosevelt; Andrew Carnegie; George Guthrie, Mayor of Pittsburgh from 1906 to 1909; Matthew Quay, United States Senator from Pennsylvania from 1897 to 1899; songwriter Stephen Foster; William Pitt, the British Prime Minister for whom Pittsburgh is named; George Washington, who fought in Pittsburgh during the French and Indian War; William Penn; Mary Schenley, whose family’s land was donated to create Schenley Park; and H.D.W. English, former head of Pittsburgh’s Chamber of Commerce. 643 Liberty Avenue
09 magnolias for pittsburgh
Tony Tasset (b. 1960) Year
2006
Material
Painted bronze, trees, landscaping
Each of these hand-sculpted magnolia trees contains approximately 800 individually painted petals. Tony Tasset, a Chicago-based artist, wanted “to create a little magic, fairy-tale moment in the daily hustle and bustle of downtown Pittsburgh.� Surrounding the two bronze trees are five live magnolias, ivy ground cover, and a curving path. In winter, the blooms appear surreal when covered with newly-fallen snow. By choosing to keep the bronze trees eternally in spring, the artist has provided an element against which viewers can mark the changing seasons. Seventh & Penn Parklet, Seventh Street and Penn Avenue
22
p i t t s b u r g h
a r t
i n
p u b l i c
p l a c e s
23
10 A g n e s R. K at z P l a z a
Louise Bourgeois, artist (b. 1911), Michael Graves & Associates, architect, and Daniel Urban Kiley, landscape architect (1913–2004) Year
1999
Material
Bronze, stone, trees, fountain
The plaza, named in honor of Agnes R. Katz, a local supporter of the arts, is a central feature of the Cultural District. The design was achieved through a collaboration among landscape architect Daniel Urban Kiley, artist Louise Bourgeois, and architect Michael Graves. In the 23,000-square-foot plaza, Kiley placed 32 linden trees, planted closely together in double rows in order for the branches to be pleached, or weaved. In the center of the trees are the most dominant features in the plaza: the bronze fountain and eyeball-shaped benches by Louise Bourgeois. The fountain, standing 25 feet high, features two streams of water that spout from the top and flow to the base. Unlike most fountains that only operate during the warmer months, this piece has heated water, allowing it to flow year-round. Seventh Street and Penn Avenue
Michael Graves designed the nearby O’Reilly Theater at the same time the Plaza was being constructed. In the following years, he was also a consultant for the façade design of the adjacent Theater Square complex. Across the street from the Plaza is the Seventh & Penn Parklet, which The Pittsburgh Cultural Trust uses for temporary public art installations.
24
p i t t s b u r g h
a r t
i n
p u b l i c
p l a c e s
25
10 A g n e s R. K at z P l a z a
Louise Bourgeois, artist (b. 1911), Michael Graves & Associates, architect, and Daniel Urban Kiley, landscape architect (1913–2004) Year
1999
Material
Bronze, stone, trees, fountain
The plaza, named in honor of Agnes R. Katz, a local supporter of the arts, is a central feature of the Cultural District. The design was achieved through a collaboration among landscape architect Daniel Urban Kiley, artist Louise Bourgeois, and architect Michael Graves. In the 23,000-square-foot plaza, Kiley placed 32 linden trees, planted closely together in double rows in order for the branches to be pleached, or weaved. In the center of the trees are the most dominant features in the plaza: the bronze fountain and eyeball-shaped benches by Louise Bourgeois. The fountain, standing 25 feet high, features two streams of water that spout from the top and flow to the base. Unlike most fountains that only operate during the warmer months, this piece has heated water, allowing it to flow year-round. Seventh Street and Penn Avenue
Michael Graves designed the nearby O’Reilly Theater at the same time the Plaza was being constructed. In the following years, he was also a consultant for the façade design of the adjacent Theater Square complex. Across the street from the Plaza is the Seventh & Penn Parklet, which The Pittsburgh Cultural Trust uses for temporary public art installations.
24
p i tt s b u r g h
a r t
i n
p u b l i c
p l ac e s
25
11 Quartet
Angela Conner (b. 1935) Year
1981
Material
Cast stone
The Pittsburgh Symphony created this corner plaza after the demolition of a Woolworth’s store in 1979. The plaza features a water fountain and Quartet, a kinetic sculpture by London-based artist Angela Conner. Similar to her other work, this piece connects to nature, finding inspiration from wind, water, light, and other natural elements. The plaza was designed by MacLachlan, Cornelius & Filoni. Heinz Hall Plaza, Liberty Avenue at Sixth Street
12 Untitled ( F u lt o n T h e at e r )
Richard Haas (b. 1936) Year
1993
Material
Painted mural
Richard Haas is well known for giving flat surfaces a three-dimensional appearance. This 36 x 56 foot mural was painted in the trompe l’oeil method, which translates from French to “fool-the-eye.” The artist integrated real windows and doors of the theater into the mural, which presents a stage where Pittsburgh’s steel legacy is depicted. The performance is a steel mill interior, where furnaces are pouring hot metal. Byham Theater, North Façade, between Sixth and Fifth Streets on Fort Duquesne Boulevard
26
p i tt s b u r g h
a r t
i n
p u b l i c
p l ac e s
27
13 Allegheny R i v e r f r o n t Pa r k
Ann Hamilton, artist (b. 1956) and Michael Van Valkenburgh Associates, landscape architects Year
2001
The Pittsburgh Cultural Trust, seeking a better transition from city to river, initiated an effort to redesign the Allegheny riverfront. A collaboration between landscape architect Michael Van Valkenburgh and artist Ann Hamilton resulted in a thoughtfully planned and useful park. To allow easy access to the river’s edge, two sets of ramps were built off the Andy Warhol Bridge. A cast-bronze handrail, designed by Hamilton to mimic the movement of the river, is located on the outer edge of the ramps. Along the river walkway, Hamilton imprinted bulrush reeds in the concrete paving, adding fossil-like imprints to the hard surface. A variety of trees were used for the park and planted close to each other, a technique Van Valkenburgh calls “hyper-nature.� Allegheny Riverfront and Fort Duquesne Boulevard between Stanwix and Ninth Streets
28
p i tt s b u r g h
a r t
i n
p u b l i c
p l ac e s
29
▲ Mattress Factory
Carnegie
32 Library of Pittsburgh 31 37 29 34, 35 33 30 36
h East O
et io Stre
ns ommo
om West C
e Avenu Ridge
ons Comm North
East C
Children’s Museum of Pittsburgh
mons
19
ve re Dri
24
25
Roberto Clemente Bridge
23
Rachel Carson Bridge
Andy Warhol Bridge
Sixth
22
Stre et A Penn
Point State Park
L
venu
ty A iber
For bes
Ave nu e
Fou rth Ave nu e Blv d. o f
the All ies
Heinz Hall
O’Reilly Theater 22
Benedum Center
e
Six t
e venu Fif th
Ave n
eet h Str
Byham Theater
. Blvd sne que u D t For
Fort Pitt Bridge
14
Nint
Fort Duquesne Bridge
15
ue
hA
ven ue
ield Str eet
27
16
18 17
t
26
28
20 PNC Park
eet
Wo od Str ee
Sho North
21
eet
t Stree
districts in this vibrant neighborhood.
son Str l Robin
la Str Isabel
t
Genera
Heinz Field
Stree
Way
Carnegie Science Center
rson Ande
l Federa
oney
diverse as the mix of cultural institutions, sports arenas, parks, and residential
Way roski Ma z e
Art Ro
The art on the North Shore is as
Warhol Museum
ith f
The North Shore
Sm
walking tour 2
t Stree usky Sand
14 Alcoa Building 15 Pittsburgh Variations 16 Mythic Source and Piazza Lavoro 17 The Forks 18 The Builders 19 Roberto Walker Clemente 20 Willie Stargell 21 J. P. “Honus” Wagner 22 Sign of Light and Lightwall 23 Korean War Veterans’ Memorial 24 Vietnam Veterans’ Monument 25 Ever Watchful 26 Art Rooney 27 Langley Observatory Clock
14 A lc o a b u i l d i n g
The Design Alliance Architects with Rusli Associates Year
1998
The Alcoa Corporate Center fills an entire city block and fronts on a riverfront park. Materials used to construct the building reference Pittsburgh’s landscape and history. The undulating glass façade refers to the river and the city’s glass industry, and the building’s sandstone came from a local quarry that supplied stone for nearby bridge piers. The building is constructed from 800,000 pounds of Alcoa aluminum and 70,000 square feet of glass. North Shore between the Rachel Carson and Andy Warhol bridges
28 E-Motion 29 Discobolus 30 Cubed Tension 31 Colonel James Anderson Monument 32 Elongated Disc 33 Day, Night, The Heavens, The Earth, Primitive Science, Modern Science 34 Children’s Museum of Pittsburgh 35 Articulated Cloud 36 Navigation and Enlightenment
Behind this modern office building on Isabella Street is a landmark two-story building built by Pittsburgh architect Frederick J. Osterling in 1917 to house his offices.
37 Mon, Al, & Oh: The Three That Got Away
pittsb u rgh
art
in
p u blic
places
33
15 Pittsburgh V a r i at i o n s
George Sugarman (1912–1999) Year
1984
Material
Painted aluminum Pittsburgh Variations is a four-part arrangement of abstract, painted-aluminum shapes referencing the growth of Pittsburgh. The pieces represent a paddlewheel to symbolize the rivers, a crucible for industry, the Golden Triangle for business and finance, and Penn’s Woods for Pennsylvania’s forests and natural resources. The artist’s public sculptures were designed to transcend what he called the “indoor eye,” where artwork is seen in isolation from its physical and social environment. This sculpture invites interactivity —visitors can walk through the works and sit on the integrated benches to enjoy the view.
Allegheny Landing
North Shore between the Roberto Clemente and Andy Warhol bridges. The redevelopment of the North Shore riverfront included a 2.7-acre sculpture park designed in 1983 by landscape architect R. Jackson Seay, Jr. Labor was selected as a theme for the park, and each of the artists was asked to address that theme. Seay worked closely with the artists to develop their sites. A riverfront walkway, docking facilities, and fishing access were also incorporated into the park. 34
p i tts b u r g h
a r t
i n
p u b l i c
p l a c e s
35
16 Mythic Source and Piazza Lavoro
Ned Smyth (b. 1948) Year
1984
Material
Cast concrete, marble mosaic, terrazzo
Ned Smyth designed a two-part installation along the riverfront. Each component includes an architectural element and mosaics. The work recognizes the contribution of Pittsburgh to American labor, labor’s role in our nation’s development, and the delicate balance between civilization and nature. In the upper component, Piazza Lavoro, are four freestanding façades covered with mosaics of laborers at work. Smyth describes his decision to depict the laborers without clothes as a way to “not limit their universal expressiveness.” With the classic figures and architectural structures, the work seems to reference ancient ruins. The lower component is called Mythic Source. Here an abstracted palm tree is surrounded by mosaics of people and sea creatures, symbolizing man’s origins in water.
17 The Forks
Isaac Witkin (1936 – 2006) Year
1984
Material
Aluminum
18 The Builders
George Danhires (b. 1942) Year
1984
Material
36
Bronze
This cast-aluminum sculpture references Pittsburgh’s three rivers: the Ohio, which is created by the confluence of the Allegheny and the Monongahela. The cluster of forks reflects the impact of the rivers on Pittsburgh’s economic development, including the molten metal that was once made in the city’s riverfront mills.
These bronze sculptures are a tribute to the builders of Pittsburgh’s two renaissances. The figures seem to be planning the next phase of construction that will further change the skyline. Mellon-Stuart, the construction company that commissioned this work, supplied the artist with photographs of two employees who inspired the figures. p i tts b u r g h
a r t
i n
p u b l i c
p l a c e s
37
19 R o b e r t o Wa l k e r Clemente
Susan Wagner (b. 1950) Year
1994
Material
Bronze
Roberto Clemente was at the height of his career when his life came to a tragic end. He was on a flight that crashed on its way to Nicaragua to deliver supplies for earthquake victims. He played in Pittsburgh for his entire career, from 1955 to 1972, ending his last season with 3,000 hits. The sculpture is located in the center of a black granite base within an outline of a baseball diamond. First, second, and third bases have soil from Puerto Rico, his birthplace; Forbes Field; and Three Rivers Stadium respectively. PNC Park was designed by Hellmuth, Obata + Kassabaum (HOK). Even the highest seats are only 88 feet from the field, giving visitors an intimate view of the game and Pittsburgh’s skyline.
PNC Park, Federal Street at Roberto Clemente Bridge
20 W i l l i e S ta r g e l l
Susan Wagner (b. 1950) Year
2001
Material
Bronze
Willie Stargell played for the Pittsburgh Pirates from 1962 to 1982. His primary position was left fielder. Affectionately known as “Pops,” he became a father-like figure for the Pirates. The artist sculpted Stargell as if ready to hit a baseball, perhaps one of the three home runs Stargell hit in the Pirates’ 1979 World Series victory. PNC Park, Federal Street at Left Field Entrance
21 J . P. “ H o n u s ” Wa g n e r
Frank Vittor (1888 –1968) Year
1955
Material
Bronze
J. P. “Honus” Wagner was born in Carnegie, Pennsylvania in 1874. He played for the Pittsburgh Pirates for 21 years and was considered the greatest shortstop of his time. The base contains reliefs by Tony Vittori, the artist’s brother, that depict young people looking up at the baseball hero with admiration. The sculpture previously stood on the grounds of PNC Park’s predecessors, Forbes Field and Three Rivers Stadium. PNC Park, W. General Robinson Street at Main Entrance
38
p i tts b u r g h
a r t
i n
p u b l i c
p l a c e s
39
22 Sign of Light
Robert Wilson, artist (b. 1941) and Richard Gluckman, Gluckman Mayner Architects Year
1999
Material
LED and vinyl
Sign of Light sits atop the old Joseph Horne building (now Penn Avenue Place); it looks like a large blank billboard during the day. At night, however, more than 10,000 LEDs form a luminous triangle that slowly rotates and changes colors. The sign is covered with a layer of vinyl to soften the light. The image of the triangle is a reference to Pittsburgh’s “Golden Triangle,” the triangle of land that is created by the joining of the Allegheny and Monongahela Rivers to form the Ohio. Sign of Light is a billboard on top of Penn Avenue Place, facing The Allegheny River, that can be seen after dusk from the North Shore and surrounding bridges.
(not pictured) Robert Wilson, artist (b. 1941) and Richard Gluckman, Gluckman Mayner Architects L i g h t wa l l
Year
C u lt u r a l d i s t r i c t Light Projects Artist and theater designer Robert Wilson and architect Richard Gluckman were commisioned by The Pittsburgh Cultural Trust to create artworks that use light to define the borders of the Cultural District.
1999
Across the river in the Cultural District, the design team also collaborated on Lightwall. It is composed of a single horizontal band of projected light that moves in a field of colored light, describing the passage of time through very subtle color changes. Lightwall can be seen only at night on the side of the Mahla Building, 713 Penn Avenue. 40
p i tts b u r g h
a r t
i n
p u b l i c
p l a c e s
41
23 K o r e a n Wa r V e t e r a n s’ M e m o r i a l
R. Allan Christianson Year
1999
Material
Stone
The memorial is positioned and shaped to capture sunlight through its vertical spaces. As the sun travels the horizon, columns of light shine onto the ground, highlighting words that express individual and shared experiences about the war. North Shore Riverfront Park between PNC Park and the Equitable Gas Building
24
TJ McGarvey, a Vietnam Veteran living in Pittsburgh, led the campaign to build this memorial. His poem “Welcome Home” is presented on a bronze Vietnam Veterans’ plaque at the site, setting the monument’s theme. Monument John Robert Middleton The design was chosen through a national and Edward Dumont, competition. The monument includes artworks by George Danhires and Ron Bennett. George landscape architects, with George Danhires, Danhires created the figurative bronze sculptures, which depict soldiers being reunited with their artist, and Ron families. The figures are placed inside a circle, Bennett, artist inscribed with the Vietnamese words “xin ban Y e a r 1987 bình cho chúng tôi” and the English translation Material “grant us peace.” The figures are surrounded by a Bronze, steel, stone steel dome based on the shape of an inverted lotus blossom, a Buddhist symbol for peace. Ron Bennett created the wind chimes within the dome. North Shore Riverfront Park, between Del Monte Foods and Heinz Field
25 Ev e r Wat c h f u l
Susan Wagner (b. 1950) Year
1996
Material
Bronze
The Law Enforcement Officers Memorial was designed by the architecture and environment consulting company EDAW. The prominent feature of the memorial is a figurative sculpture by Susan Wagner of an officer who looks over his shoulder to watch the city. North Shore Riverfront Park, near Heinz Field at Art Rooney Way 42
p i tts b u r g h
a r t
i n
p u b l i c
p l a c e s
43
26 Art Rooney
Raymond Kaskey, FAIA (b. 1943) Year
1990
Material
Bronze
The sculpture of the Pittsburgh Steelers’ patriarch, Arthur J. Rooney, was funded with donations from nearly 7,000 people, including more than 100 former players. The artist captures the impact of his subject, often called “The Chief ,” by the scale of the work: the seated figure is seven feet tall; standing, it would be close to ten. The artist also designed the curved granite bench, or exedra, on which the figure is seated. He chose to depict The Chief as he looked in the 1970s, holding his ever-present cigar. A nearby plaque contains Mr. Rooney’s famous quote, “I never met a player I didn’t like.” Heinz Field, near Gate D, at Art Rooney Way
44
p i tts b u r g h
a r t
i n
p u b l i c
p l a c e s
45
27 L a n g l e y O b s e r v at o r y C lo c k
R.M. Fischer (b. 1947) Year
2007
Material
COR-TEN® steel, glass, stainless steel
New York artist R.M. Fischer’s sculpture was inspired by the astronomer and astrophysicist Samuel P. Langley. Langley was the head of the Allegheny Observatory from 1867 – 1891. In 1870, he introduced the Allegheny System, which standardized time using the observatory telescope and astronomical calculations. This system was sold as a service to railroads and cities across the country and is the basis for standardized time used today. Funds that Langley received by providing this service were put towards his research in the field of solar physics. With its form and materials, the artwork evokes the passage of time and the industrial history of the city. Allegheny Avenue Plaza, North Shore Riverfront Park adjacent to Carnegie Science Center
46
p i tts b u r g h
a r t
i n
p u b l i c
p l a c e s
47
28
Tasso Katselas Associates, Inc. was the architect of Carnegie Science Center.
E-motion
Shashi Caan Collaborators:
Matthew Tanteri, lighting designer, and Nicholas Goldsmith, design engineer Year
1999
Materials
Fabric, cables, light White during the day, E-Motion is dramatically different at night, when a rainbow of light covers the surface of the sculpture. Shashi Caan designed several color sequences for the Science Center to select from, referring to weather changes, events, and special occasions. Caan also designed the Center’s sign, located beneath E-motion. Rooftop of Carnegie Science Center, One Allegheny Avenue
48
p i tts b u r g h
a r t
i n
p u b l i c
p l a c e s
49
30 Cubed Tension
Sylvester Damianos, FAIA (b. 1933) Year
1969
Material
Painted aluminum
Sylvester Damianos is an architect and sculptor who was commissioned by the Urban Redevelopment Authority to create a piece for the redevelopment of the Northside. In the September 1982 issue of Carnegie Magazine, the geometric work was described as “a prism bent to form a cube. It’s almost touching, but not quite.” As you walk around the work, the relationship of the planes evolves into new forms. Allegheny Center, near the entrance to the Carnegie Library of Pittsburgh Allegheny Regional Branch
29 D i s c o b o lu s
Marina Warren Nash Year
1994
Material
Wood
Discobolus was made for the 1994 Three Rivers Arts Festival. The work plays with the relationship of positive and negative space. The Festival’s exhibition catalogue explains that “the series is about conversation and interaction between two or more beings.” If you focus on the negative space between the two wooden forms, you see the discus thrower Discobolus, a symbol of strength, hope, and determination. Four Allegheny Center, at East Commons
50
p i tts b u r g h
a r t
i n
p u b l i c
p l a c e s
51
31 C o lo n e l J a m e s Anderson Monument
Daniel Chester French, artist (1850–1931), and Henry Bacon, architect (1839–1912) Year
1904
Material
Bronze and red granite
After serving in the War of 1812, Colonel James Anderson became a pioneer in iron manufacturing. In the 1850s, he opened his book collection to the young people of Allegheny City, where he acted as a librarian on Saturdays. Andrew Carnegie, who grew up in Allegheny City (today known as Pittsburgh’s Northside) benefited from Anderson’s generosity, and was inspired by him to create free libraries around the world.
This library was the first to be commissioned by Carnegie. Since its construction in 1889, extensive renovations have been done to this branch, and only the façade retains its historical character.
Carnegie, wanting a prominent memorial, chose sculptor Daniel Chester French and architect Henry Bacon. The two worked together on many projects, including the Lincoln Memorial in Washington, D.C. The main architectural feature is the exedra, a curved outdoor bench, which encompasses two pedestals for bronze sculptures. The works include a bust of Colonel Anderson and a seated figure, Labor Reading. Carnegie provided the inscription on the plaque. The work was dedicated with great fanfare on June 15, 1904. This monument was located at the northeast corner of Federal and East Ohio Streets from 1904 until the 1960s, when the Urban Redevelopment Authority created Allegheny Center. During the project, the memorial was dismantled. The sculptures were stored in the library and the exedra was destroyed. In 1984, a restoration campaign to have the memorial rebuilt was initiated by the Pittsburgh History & Landmarks Foundation. What is seen today is a replica of the memorial facing the library. The sculptures are original. Allegheny Center, across from the entrance to the Carnegie Library of Pittsburgh Allegheny Regional Branch
52
p i tts b u r g h
a r t
i n
p u b l i c
p l a c e s
53
33 D ay Night The Heavens The Earth Primitive Science Modern Science
Sidney Waugh (1904–1963) Year
1939
Material
Grey limestone, bronze with gold leaf
The Buhl Planetarium, designed by Ingham & Boyd, was built with a bequest from Henry Buhl, Jr., a Pittsburgh merchant and philanthropist. At the time of its opening in 1939, there were only four other planetariums in the country. The artist designed six architectural reliefs on the building’s exterior, filled with symbols that provide keys to their meaning. The bronze figures Primitive Science and Modern Science are located near the former main entrance. Primitive Science is represented by a Native American surrounded by fire and medicinal plants, holding snowshoes, a bow, and an arrow. Modern Science is represented by a researcher surrounded by objects that refer to chemistry, physics, and geography. The Heavens and The Earth are on either side of the former entrance. The Heavens holds the sun, surrounded by wind and rain. The Earth clutches a hammer in front of plants that formed the region’s coal deposits. Above the old side entrances, Night is asleep at the west door and Day holds a dove at the east door.
32 E lo n g at e d D i s c
James C. Myford (b. 1940) Year
1976
Material
Aluminum
This sculpture references the techniques used in Pittsburgh’s metal industries. The artist describes his casting technique as “full mold process.” Works are carved in styrofoam and buried in foundry sand. Molten aluminum is poured onto the foam, leaving only an identical aluminum form. Fabrication of this sculpture took eight months, with over a year of planning. It weighs nearly 2,800 pounds.
Exterior of the former Buhl Planetarium, now the Children’s Museum of Pittsburgh
Near the entrance of Eight Allegheny Center
54
p i tts b u r g h
a r t
i n
p u b l i c
p l a c e s
55
Children’s Museum of Pittsburgh
Koning Eizenberg Architecture (KEA), design architects, Perkins Eastman, executive architects Year
2004
In 2000, the Children’s Museum of Pittsburgh organized a Design Competition of Ideas for their expansion. Six firms from across the United States were invited to participate in the competition, which was funded by the National Endowment for the Arts. The architects created a three-story structure to connect the old Allegheny Post Office, built in 1897, to the former Buhl Planetarium, built in 1939. The design respects the historic significance of the existing structures, while creating an energizing building for the museum’s audience. It is the nation’s first children’s museum to receive the U.S. Green Building Council’s Leadership in Energy and Environmental Design (LEED®) certification. Twelve artists were commissioned to create interactive works for the museum. Visit the museum to experience the full range of commissions and the design of the building. Ask for a map of the artworks at the information desk. Allegheny Center, 10 Children’s Way, Allegheny Square
© A l b e r t V e c e r k a / Esto
34
56
p i tts b u r g h
a r t
i n
p u b l i c
p l a c e s
57
58
p i t t s b u r g h
a r t
i n
p u b l i c
p l a c e s
59
35 A r t i c u l at e d C lo u d
Ned Kahn, artist (b. 1960) and Koning Eizenberg Architecture, architects Year
2004
M at e r i a l
Polycarbonate and steel MacArthur Award–winning artist Ned Kahn collaborated with architects Hank Koning and Julie Eizenberg to create the museum’s façade, creating a building that is also a mesmerizing wind sculpture. Forty-three thousand individual square panels are hinged to a steel screen, moving in the wind and reflecting light and shadows. The work is lit from within at night, turning the entrance into a shimmering lantern. The artist has explored the confluence of art and science throughout his career. In addition to this work integrated into the museum’s architecture, he has several interactive artworks inside the museum. Children’s Museum of Pittsburgh, 10 Children’s Way, Allegheny Square
60
p i t t s b u r g h
a r t
i n
p u b l i c
p l a c e s
61
36 N a v i g at i o n a n d Enlightenment
Eugenio Pedon Year
1889
Material
Granite
Eugenio Pedon was commissioned to create sculptures for federal buildings throughout the nation, including Pittsburgh’s Fourth Avenue Post Office in 1880. Allegorical figures representing navigation, enlightenment, and industry were created for the top of the building; the proportions of the figures were designed to be viewed from ground level. In 1966, the post office was demolished. The sculptures were placed here as part of the Pittsburgh History & Landmarks Foundation’s Old Post Office Museum Artifact Garden, which was located on the site that is now the museum’s parking lot. Many of the artifacts can still be found on the other side of the stone wall, with plaques that describe the buildings they came from. Corner of West Commons and Ridge Avenue
62
p i tts b u r g h
a r t
i n
p u b l i c
p l a c e s
63
37 M o n , A l , & O h : T h e T h r e e T h at G o t Away
Chris Siefert (b. 1966) and Elizabeth Siefert (b. 1997) Year
The Children’s Museum of Pittsburgh’s parking lot
2005
M at e r i a l
64
Artist Chris Siefert collaborated with his daughter Elizabeth to create these three 14-foot-long bass. Each fish weighs 400 pounds, but that does not stop them from turning in the most gentle breezes.
Painted fiberglass
p i t t s b u r g h
a r t
i n
p u b l i c
p l a c e s
65
▲ Mattress Factory
a Feder
PNC Park
ve re Dri
Sev en th
d. o f th
ven
Ave n
41
ver
ue
ven59 ue
Av e
57
ue
ven ue
55, 56
54
50 53
58
Gra n
eA llie Fir st A s ven 51 ue For tP it t Bo ule var d
nu e
et
hA
49
sA
Oli
Sm ith fie ld S tre
Fou rt
Fif th
hA
t St ree t
For be
Six t
40
Ma rke t St ree t
r
38, 39
enue ty Av
et
tre et
Sta nw ix S
46
Blv
St
Fort Pitt Bridge
47
h Tent
eet
45
et
et
Str wix
48
Benedum Center
Pen
Libe
42
Heinz Hall
e enu n Av
Point State Park
44 43
O’Reilly Theater
Stre
St a n
ues Duq Fort
and a historic financial district.
lvd. ne B
Stre
Byham Theater Sixth
Indian War sites, retail establishments,
h Nint
Fort Duquesne Bridge
soaring office towers, French and
David L. Lawrence Convention Center
66
Smithfield Street Bridge 52
Ave nu e
St enth Elev
Roberto Clemente Bridge
Art in these districts is found amidst
Rachel Carson Bridge
Andy Warhol Bridge
tre
Sho North
eet
Wo od S
Retail District and Firstside
son Str l Robin Genera
et l Stre
walking tour 3
Way roski Maze
Warhol Museum
38 Untitled 39 Aerial Scape, Skyscape 40 The Puddler 41 Up & Away 42 Pittsburgh Recollections
38 Untitled
Pierre B. Soulages (b. 1919) 1968
Soulages was commissioned to create a ceramic mural for the lobby facing Sixth Avenue by William Lescaze, the building’s architect, and Michael M. Rea of the Oliver Tyrone Corporation. Although Soulages’ first time working in ceramic, the mural is painted in his characteristic style of combining abstract forms on a light ground.
43 Man’s Ascent to Woman
Year
44 Pipe Dream IV
Material
45 Wedlock
Ceramic tile
One Oliver Plaza Lobby, 210 Sixth Avenue
39
This Pittsburgh artist is known for his innovations with enamel and steel. After receiving the commission, he visited the lobby to study the amount of light the wall would get throughout the day. To create the brilliant colored layers, the artist continuously worked the panels. Each was kiln-fired nearly ten times.
46 L’s – One Up One Down 47 Joe Magarac
The Heartbreak of the Quench
48 Bell Telephone Clock and Map 49 PPG Place and Obelisk 50 Tympanum 51 Pittsburgh People 52 Smithfield Street Bridge 53 Lions 54 Kaufmann’s Clock 55 Mellon Square 56 Forest Devil
Aerial Scape, Skyscape
58 Three Birds In Flight
Virgil Cantini (b. 1919)
59 Henry J. Heinz
Year
57 Telamones
1970
Material
One Oliver Plaza, Rear Lobby, 210 Sixth Avenue
Porcelain enamel
pittsburgh
art
i n
public
plac e s
69
40 The Puddler
Artist unknown Fabricated by Harriton Carved Glass Company Year
1939
Material
Stained glass
This mural of carved and colored glass depicts a steel puddler. Puddling is the process of converting cast iron into wrought iron or steel by placing it in a hot furnace and stirring frequently. The mural is lit at night, displaying sparks from the puddler’s ladle. 300 Sixth Avenue Building, Wood Street Entrance
70
p i t t s b u r g h
ar t
i n
p u b l i c
p l a c e s
71
41 U p & Away
Clement Meadmore (1929–2005) Year
1977
Material
Painted COR-TEN® steel This work was created for the Three Rivers Arts Festival’s Sculpturescape project in 1977, which paired local companies who donated materials and labor to four artists who were commissioned to create works for Pittsburgh. This sculpture was created with materials donated by the United States Steel Foundation and made at the PBI Industries plant in Williamsport, Pennsylvania. PNC Bank Plaza, Fifth Avenue and Wood Street
72
p i t t s b u r g h
ar t
i n
p u b l i c
p l a c e s
73
74
p i t t s b u r g h
a r t
i n
p u b l i c
p l a c e s
75
42 Pittsburgh Recollections
Romare Bearden (1914–1988) Year
1984
M at e r i a l
Ceramic
This mural is an excellent example of Bearden’s visual orchestration, collaging highly stylized images and abstract forms. For this mural, he juxtaposes Pittsburgh’s social and cultural history, including images of the French and Indian War, the steel industry, music, and science. The artist was born in North Carolina, but lived most of his life in New York City. He spent his adolescence in Pittsburgh, graduating from Peabody High School in 1929. The subject matter of his artwork was excavated from his diverse experiences early in life, including soldier, professional baseball player, social worker, musician, and cultural activist. Gateway Center T Station, Platform Level
76
p i t t s b u r g h
ar t
i n
p u b l i c
p l a c e s
77
43 M a n ’ s As c e n t to Woman
David Breeden (b. 1938) Year
1987
Material
Virginia soapstone This sculpture was installed for the 1987 Three Rivers Arts Festival. It features two intertwined, abstracted figures that form a 14-foot vertical column. Median strip between Gateway 3 and Gateway 4
44 Pipe Dream IV
Josefa Filkosky (1933–1999) Year
1970
Material
Painted steel
As a minimalist sculptor, Josefa Filkosky’s works focused on shape and form. This work explores movement through the thrusting and turning of the pipe form. The artist created this piece for the 1970 Three Rivers Arts Festival, and it is sometimes fondly called “the paper clip.” Median strip between Gateway 3 and Gateway 4
78
GATEWAY CENTER & POINT S TATE PARK These artworks are in the midst of Gateway Center, an office and residential complex built in the 1950s. One, Two, and Three Gateway were designed by Otto Eggers and Daniel Higgins, and the landscape architects were Clarke & Rapuano. Equitable Plaza, behind Gateway 4, was designed by Simonds & Simonds. Also close by is Point State Park, completed in 1974 as part of Pittsburgh’s first renaissance and the location of important events of the French and Indian War. Fort Duquesne and Fort Pitt once stood here, and the Fort Pitt Block House survived to become Pittsburgh’s oldest building. The park and portal bridge were designed by landscape architect Ralph E. Griswold, architect Charles M. Stotz, and engineer George Richardson. Gordon Bunshaft of Skidmore Owing and Merrill participated in the design of the bridge. In 2008, Marion Pressley of Pressley Landscape Architecture led the design team to restore this historic urban park. p i t t s b u r g h
ar t
i n
p u b l i c
p l a c e s
79
46 L’s–O ne Up One Down
George Rickey (1907–2002) Year
1982
Material
Stainless steel
This sculpture is an example of the artist’s method of using axles, counterweights, gears, and bearings to create perfectly balanced work that responds to wind. This work features a central vertical column with two attached L-shaped forms. The pivoting L’s are on steel bearings, and the arms are balanced by counterweights. The surface of the work is burnished to catch the light as it moves. National City Center, 20 Stanwix Street
45
11 Stanwix Street was formerly known as the Westinghouse Tower and was the headquarters for Westinghouse Electric Corporation. W e d lo c k The 23-story tower was designed by Harrison & Edwin W. Hall Abramovitz in 1970. The artworks that remain Y e a r 1969 are examples of the company’s involvement M a t e r i a l Steel and wood with contemporary art. At one time, the building housed a collection of more than 1,000 pieces. In addition to the sculpture in the courtyard, there are two paintings in the main lobby, 16 Degrees Above Zero painted by Ron Landfield in 1970 and an untitled work by Ron Slowinski, also painted in 1970. 11 Stanwix Street courtyard. To get to the site, walk behind Gateway 4 across the pedestrian bridge. 80
81
48 Bell Telephone C lo c k a n d M a p
Emil W. Kinder with William Teskey and Press Dowler of Dowler Calvert & Associates, architects Year
At the entrance to the Verizon Building is a relief of the Commonwealth of Pennsylvania with images of the Liberty Bell, Pittsburgh’s skyline, and the Appalachian Mountains. A rotating globe, a clock, and the words “any where, any time by telephone” hint that this building was formerly the western Pennsylvania headquarters of Bell Telephone. Verizon Building, 201 Stanwix Street
1957
47 Joe Magarac
Artist Unknown Year
1974
Material
Metal
A mythical figure and an icon of the steel industry, Joe Magarac was said to be made out of steel and as tall as a smokestack. He worked tirelessly and formed steel with his bare hands. His life ended when he chose to melt himself to create the best steel in the world.
Also in the lobby is a stained glass memorial to fallen steelworkers by Donna Bogosto Kearns in Donna Bogusto Kearns collaboration with Steelworkers from Local 1843. the heartbreak of the quench
Year
1999
Material
Stained glass
United Steelworkers Building Lobby, 60 Boulevard of the Allies This building was designed by Curtis & Davis in 1963. It is noteworthy for having its supporting structure on the outside, a diamondpattern exoskeleton, which is an adaptation of the wooden framing invented by Ithiel Town in 1820.
82
This building was designed by Curtis & Davis in 1963. It is noteworthy for having its supporting structure on the outside, a diamondpattern exoskeleton, which is an adaptation of the wooden framing invented by Ithiel Town in 1820. p i t t s b u r g h
ar t
i n
p u b l i c
p l a c e s
83
49 PPG P l a c e and Obelisk
Phillip Johnson (1906–2005) with John Burgee (b. 1933) Year
1984
Internationally renowned architects Johnson and Burgee designed the headquarters of PPG Industries with a mix of historical forms, including elements of neighboring buildings and modern construction methods. The office complex occupies six city blocks, with five uniformly detailed low-rise buildings and a 40-story, 635-foot-high tower. There are 231 glass spires, and all of the buildings are sheathed in mirrored glass. The spires refer to The Point, where Pittsburgh’s three rivers meet. In the central plaza stands a 44-foot-tall rose granite obelisk. It sits upon four polished black granite balls atop a base. Noting their resemblance to bowling balls, Pittsburgh Post-Gazette columnist Peter Leo dubbed it “The Tomb of the Unknown Bowler.” Fourth Avenue and Market Street
84
p i t t s b u r g h
ar t
i n
p u b l i c
p l a c e s
85
50 T y m pa n u m
© C h u c k A lc or n
John Massey Rhind (1860–1936) Year
1901
Material
Limestone
The Bank Tower was designed by Alden & Harlow. The Wood Street and Fourth Avenue entrances contain reliefs enclosed in the space beneath the arches, called tympanum. The beehives, which represent the Golden Age, are surrounded by figures representing commerce, labor, knowledge, and fortune. Bank Tower, 307 Fourth Avenue
51 Pittsburgh People
Jerry Caplan (1922–2004) Year
1985
Material
Terra cotta
A small park on the side of the garage is filled with figurative sculptures and reliefs that surround a water feature. The large column features reliefs of actual Pittsburghers in elevators, including gallery owner Carol Siegel, Mayor Richard Caliguiri, Parking Authority board member Edison Montgomery, artist Donna Hollen-Blomgren, and a self portrait. Other figures were invented by this local artist. Wood-Allies Parking Garage Parklet, 232 Boulevard of the Allies
52 Smithfield Street Bridge
Gustav Lindenthal (1850–1935)
© ri c h ard madi s o n
Year
86
1881-1883
In a city of bridges, the Smithfield Street Bridge stands out as a National Historic Landmark designed by the well-known engineer Gustav Lindenthal. Lindenthal’s bridge replaced one designed by John Roebling in 1846. The bridge is outstanding for its use of lenticular trusses that allow it to carry enormous weight. The ornaments on the portals, added c. 1915 by County Architect Stanley L. Roush, depict a miner holding a pick, a man holding machinery gear, and the City of Pittsburgh’s coat of arms. Smithfield Street and Fort Pitt Boulevard
p i t t s b u r g h
ar t
i n
p u b l i c
p l a c e s
87
53 Lions
Max Kohler Year
1871
Material
Brownstone
The two lions that guard the entrance to this historic landmark were carved on location by sculptor Max Kohler. Commissioned to ensure the guardianship of the people’s money, they are beloved icons of Pittsburgh and historic Fourth Avenue. By 1908, the amount of money held in Pittsburgh’s national banks was second only to that in New York City. In that year, the Pittsburgh Stock Exchange and 20 banks and trust companies were located in and around Fourth Avenue. The corridor has retained many of its original buildings, including several early skyscrapers. Dollar Bank entrance, 340 Fourth Avenue
The building was designed by Isaac H. Hobbs & Son of Philadelphia.
54 K a u f m a n n ’ s C lo c k
Artist unknown
The Kaufmann’s clock, a favorite meeting place in Pittsburgh, was integrated into the store’s façade in 1913 to accentuate the new terra cotta addition designed by Janssen & Abbott. The bronze ornamental clock features telamones on both sides. The original building was designed by Charles Bickel in 1898. Smithfield Street and Fifth Avenue
88
p i t t s b u r g h
ar t
i n
p u b l i c
p l a c e s
89
56 Forest Devil
Kenneth Snelson (b. 1927) Year
1977
Material
Stainless steel
This work was commissioned by the Three Rivers Arts Festival’s Sculpturescape project in 1977. Through the program, materials were donated by Allegheny Ludlum Steel Corporation and the piece was fabricated by Pittsburgh-Des Moines Steel Company and Colonial Machine Company. The sculpture consists of 16 stainless steel tubes linked by cables to form a freestanding structure that reflects the artist’s interest in the patterns of physical forces in space. Mellon Square
55 M e l lo n S q u a r e
Simonds & Simonds, landscape architects, and Mitchell & Ritchey, architects Year
1955
In 1949, the Pittsburgh Regional Planning Association decided to build an underground parking garage with a rooftop park. This idea was inspired by R. K. Mellon, who had seen a similar development in San Francisco’s Union Square. Mellon family foundations funded over half the project costs. The park is a memorial to two Mellon brothers, Andrew W. Mellon and Richard B. Mellon. The garage was designed by Mitchell & Ritchey. The 1.37-acre park is by Simonds & Simonds in collaboration with Mitchell & Ritchey. Main features include plants, trees, and shrubs planted in containers throughout the park; terrazzo paving that references the Golden Triangle; and several fountains, including one cast in bronze. Smithfield Street between Oliver and Sixth Avenues 90
p i t t s b u r g h
ar t
i n
p u b l i c
p l a c e s
91
57 Telamones
Artist unknown Year
1896
Material
Terra cotta, originally polychromed
Unless you walk through Pittsburgh looking up, some sculptural works throughout downtown go unnoticed. The telamones on top of the Park Building are a perfect example. From beneath the building you get a stiff neck and a poor view, but they can be seen perfectly from the edge of Mellon Square. Encircling the building, these figurative sculptures are named from the Greek word meaning “bearer” or “support.” The building was designed by George B. Post in 1898. The identity of the sculptor is a mystery, but Patricia Lowry, Pittsburgh Post-Gazette architecture critic, believes that Karl Bitter (1867–1915) may have sculpted them, as he worked with Post on other buildings, including The Bank of Pittsburgh in 1895. Park Building, 355 Fifth Avenue
The Smithfield United Church spire can also be seen from Mellon Square. It was designed by Henry Hornbostel of openwork aluminum and built in 1926.
92
p i t t s b u r g h
ar t
i n
p u b l i c
p l a c e s
93
Built in 1950 by Harrison & Abramovitz of New York, Regional Enterprise Tower is a showcase of the use of aluminum in construction — it was used in every element possible, from the curtain wall to the furniture.
58 Three Birds in Flight
Mary Callery (1903–1977) Year
1953
Material
Aluminum
The artist was commissioned to create this work specifically for this space by the Aluminum Corporation of America (Alcoa), which once called this building headquarters. The abstracted birds are suspended within the Sixth Avenue entrance, which resembles a glass aviary. Regional Enterprise Tower, 425 Sixth Avenue entrance
94
p i t t s b u r g h
a r t
i n
p u b l i c
p l a c e s
95
59 Henry J. Heinz
Emil Fuchs (1866–1929) Year
1924
Material
Bronze
The artist was commissioned by employees of the H.J. Heinz Company to create a monument of Heinz after his death in 1919. The sculpture was unveiled October 11, 1924, Heinz’ birthday. Ten thousand employees celebrated the anniversary in 62 cities in the United States, Canada, and Europe. During the dinners, which occurred simultaneously, speeches were broadcast in from the White House. Before being housed in this lobby, the sculpture was located at the Heinz Headquarters on the Northside. Heinz 57 Center, 339 Sixth Avenue
96
p i t t s b u r g h
ar t
i n
p u b l i c
p l a c e s
97
â–˛ Mattress Factory
l Federa t Stree
eet
PNC Park
ve re Dri
O’Reilly Theater Heinz Hall
Six th
ue Aven
tre
et
Oli ve
For tP itt
Smithfield Street Bridge
Bo
var
ule
do
es
nu
eA llie s
St65 raw ber
Ave nu e
64
ry W 63 ay
e
67 87 86 83
ue
68
Ave nu e
ven ue
f th
var d
Ave
Sev en th
r St re e t
Ave n
Sm ith f
ule
98
For b
Fou rth A
Bo
61, 62 66
tre et
Wo od Str e et
Fif th
ield S
Sta nw ix S
Fort Pitt Bridge
60
Benedum Center
e
St enth Elev
rty
St
Libe
h Tent
bronze, and stone.
Point State Park
venu
et
A Penn
with historic works in stained glass,
Stre
et
For
. Blvd sne que t Du
Stre
that use sound and light are neighbors
Byham Theater Sixth
into their design. Contemporary artworks
David L. Lawrence Convention Center
h Nint
Fort Duquesne Bridge
buildings in this district integrate art
Andy Warhol Bridge
Roberto Clemente Bridge
Many grand public and corporate
Rachel Carson Bridge
84, 85 82
69, 70, 71 78, 79, 80, 81
72
73 74
75, 76 77
Ro ss S tre et
Sho North
son Str
Cof f Wa ee y
Grant Street Corridor District
l Robin Genera
y ski Wa
walking tour 4
Gra nt Str eet
ro Maze
Warhol Museum
88 B
d var
e oul
wB
lo ige
60 Pennsylvanian 61 Untitled 62 Federal Reserve Reliefs 63 V / 7 / 24 / 365 64 Phantasm 65 The Two Andys 66 Arbuckle Coffee Building Reliefs 67 Resurrection 68 Union Trust Building 69 Henry Clay Frick 70 Fortune On Her Wheel 71 Lions 72 North Light 73 Boulevard of the Allies Memorial Columns
60 P e n n s y lv a n i a n
Daniel Hudson Burnham (1846–1912) Year
1900–1902
This grand building housed Pennsylvania Railroad’s Union Station from 1898 to 1903. The rotunda pillars name cities that the railroad served. During the day, the rotunda is lit by the central dome skylight. At night, the ceiling and its arches are brilliantly lit by uncovered light bulbs that mimic carbon-filament lamps of the early 1900s. 1100 Liberty Avenue , Liberty Avenue and Grant Street
74 Firstside Park 75 Richard S. Caliguiri 76 Allegorical Friezes 77 Reliefs 78 Allegheny County Courthouse 79 Courthouse Lions 80 Wrought Iron Gates 81 Justice, Peace, Industry, The Battle of Grant’s Hill, Fort Duquesne 82 Chairs For Six 83 Mellon Green and Mellon Green Fountain 84 Improvisations for Pittsburgh 85 Rivers of Light 86 The Flow 87 U.S. Steel Tower 88 Mosaic Tunnel
pittsburgh
art
in
public
plac e s
101
61 Untitled
Sylvester Damianos, FAIA (b. 1933) Year
1974
Material
Painted steel At the building’s entrance is a red abstract sculpture created from three triangular forms whose forceful presence is balanced by the negative space between the forms.
62 Federal Reserve Reliefs
Henry Hering (1874–1949) Year
1931
Material
Cast aluminum Above the first-story windows are three cast-aluminum figures that symbolize mining, agriculture, and commerce. The interlocking “4” and “D” pattern that repeats in the building’s metalwork refers to the fourth of 12 Federal Reserve districts. Untitled and the Federal Reserve Reliefs can be seen at the Federal Reserve Bank, 717 Grant Street. 102
63 V/7/24/365
Jeremy B. Boyle, artist (b. 1975) and Gerard Damiani, architect (b. 1966) Year
2005
The design team of Damiani and Boyle created a sound environment that is powered by light. A solar panel collects and transforms light into electrical energy, which powers a computer and sound system. Boyle created a computergenerated, ever-changing musical composition based on Vivaldi’s Four Seasons that passersby hear as they move through this portion of the alley.
Sound, solar panel, cables
Strawberry Way, between William Penn and Grant Street
64
Phantasm illuminates the alley with images that evoke, through color and light, an affinity among life forms. The first installation featured transparencies of different animal eyes. The project will change and evolve over time as one set of photographs is exchanged for another.
Material
P h a n ta s m
Laurel Beckman (b. 1953) Year
2005
Material
Strawberry Way, various locations
Light boxes and transparencies
65 The Two Andys
Tom Mosser (b. 1970) and Sarah Zeffiro (b. 1982) year
2005
Strawberry Way
Strawberry Way between Grant Street and Liberty Avenue This four-block alley is widely used by pedestrians. In 2003, the Pittsburgh Downtown Partnership hired Klavon Design Associates to add elements to the alley to make it a better pedestrian environment. They selected light as the theme for the space, and commissioned several artworks based on that theme.
In addition to the artworks commissioned with the theme of light, Strawberry Way is home to a mural commissioned by The Sprout Fund. The Two Andys features two famous Pittsburghers getting a makeover: Andy Warhol and Andrew Carnegie. 628 Smithfield Street at Strawberry Way
Material
Painted mural
104
p i t t s b u r g h
a r t
i n
p u b l i c
p l a c e s
105
66 A r b u c k l e C o ff e e Building Reliefs
Artist unknown Year
1865
Material
Stone
The alley was named for the Arbuckle Coffee Company, which had a building there until 1936. These reliefs were saved and integrated into a new building. It is speculated that the reliefs depict George Washington, Abraham Lincoln, either Mary Croghan Schenley or Jane Grey Swisshelm, and either an Indian-head penny or a pre–Civil War rendering of Liberty. Coffee Way, between Sixth Avenue and Strawberry Way
67 Resurrection
Paul Theodore Granlund (1925–2003) Year
The First Lutheran Church, designed by Andrew Peebles, was built in 1888. Inside is a stained glass window by Tiffany Studios. Downtown’s many churches provide a unique architectural variation to the surrounding commercial skyscrapers, and are a reminder that downtown was once heavily residential.
1985
Material
106
The First Lutheran Church commissioned this bronze sculpture, with its theme of spiritual awakening, to celebrate man’s ability to renew himself and his surroundings. The piece was created by the lost-wax method, a five-stage process that involves creating a series of molds. First Lutheran Church entrance, 615 Grant Street
Bronze
p i t t s b u r g h
a r t
i n
p u b l i c
p l a c e s
107
68 Union Trust Building
Frederick J. Osterling (1865–1934) Year
1917
Though Henry Clay Frick commissioned Frederick Osterling to create this building, much of the design has been attributed to his associate, Pierre A. Liesch. It combines design elements from 15th-century Flemish Gothic and late North French architecture. The two gothic towers on top of the building are sometimes thought to be chapels; however, they were offices and now house mechanical utilities. Inside, don’t miss the skylight. Stand in the center of the first floor to look up into an 11-story central light well or take the elevator to the tenth floor to see the stained glass up close. The skylight includes coats of arms that are repeated in the stained glass above the building’s entrances. 501 Grant Street
108
p i t t s b u r g h
a r t
i n
p u b l i c
p l a c e s
109
69 H e n r y C l ay F r i c k
Malvina Hoffman (1887–1966) Year
1923
Material
Marble
This bust of Henry Clay Frick was commissioned by his daughter, Miss Helen Clay Frick, in memory of her father. The artist focused on capturing not only the likeness of her subjects, but their personality as well. Perhaps this bust depicts Frick’s determination? This site was the original location for St. Peter’s Church, built in 1852. When Frick selected this location for his new building, directly next to the Carnegie Building, he agreed to move the church, brick by brick, to Oakland. The height of Frick’s building surpassed Carnegie’s by a few floors and put an end to the dominance of Richardson’s courthouse tower, which was the prominent feature of Pittsburgh’s skyline for 14 years. The building was designed by Daniel Hudson Burnham. Frick Building, 437 Grant Street
110
p i t t s b u r g h
a r t
i n
p u b l i c
p l a c e s
111
70 Fortune on Her Wheel
John La Farge (1835–1910) Year
1902
M at e r i a l
Opalescent glass
The Roman goddess Fortuna is the goddess of chance and fortune. When Henry Clay Frick wanted to display his prosperity and power, he selected the painter and opalescent glass inventor John La Farge to illustrate the rapid change in a person’s wealth within a turbulent sea. In this work, however, she remains balanced on her wheel. Frick Building, 437 Grant Street
112
p i t t s b u r g h
a r t
i n
p u b l i c
p l a c e s
113
71 Lions
Alexander Phimister Proctor (1860–1950) Year
1904
Material
Bronze
Well known for his sculptures that depict wildlife and the American West, the artist was commissioned to create 35 western animals for the 1893 World’s Colombian Exhibition in Chicago. He received this commission for the Frick Building when he met Henry Clay Frick in Chicago at the close of the fair. These lions were originally located outside of the building, guarding the entrance. They were moved inside in 1913 when Grant Street was lowered 15 feet, giving the building a larger lobby and a grand staircase. Frick Building, 437 Grant Street
114
p i t t s b u r g h
a r t
i n
p u b l i c
p l a c e s
115
72 North Light
David Von Schlegell (1920–1992) Year
1982
Material
Aluminum
The artist cites the flow of traffic on Grant Street as one of the inspirations for this sculpture. By choosing to place the work near the street, he created a visual relationship between the flow of traffic and the angles of the street with the contrasting curve and right angles of the sculpture. One Oxford Centre, Grant Street and Fourth Avenue
73 Boulevard of the Allies M e m o r i a l C o lu m n s
Frank Vittor (1888–1968) Year
1922
Material
Granite
The Boulevard of the Allies is a practical memorial to World War I, built by the city to commemorate the war and its heroes while improving the connection between downtown and Oakland. The gateway to the road is flanked by twin columns filled with symbols, including Liberty’s head, eagles, and the eternal flame. Bridge entrance of Boulevard of the Allies at Grant Street 116
74 F i r s t s i d e Pa r k
Albert Guibara, artist (b. 1944), Steven Gillespie & Rachelle Wolf, landscape architects, Astorino, architect, PNC Firstside Center Year
2007
Material
Bronze
Firstside Park is located across the street from PNC Firstside Center, a silver rated LEED速certified building on the site of a former B&O Railway terminal. The park was also constructed with environmentally-friendly practices. For example, it was built using 2,500 tons of recycled concrete from a demolished Public Safety building. The 1.5 acre park is an urban oasis; perennials, ferns, ornamental grasses, and deciduous trees surround undulating pathways. These lead to sculptures of monkeys, rabbits, and frogs. 500 First Avenue
118
75 R i c h a r d S. C a l i g u i r i
Robert Berks (b. 1922) Year
1990
Material
Bronze
Richard S. Caliguiri served as Pittsburgh’s mayor from 1977 until his death in 1988. He was a widely loved hero who led Pittsburgh through an era of revitalization. The sculpture was placed on the steps of the City-County Building because he could often be found there talking to the people of Pittsburgh. He is depicted gazing at a map of the city. City-County Building Rotunda, 414 Grant Street
76 Allegorical Friezes
Charles Keck (1875–1951) Year
1915
Material
Stone
Recently cleaned and restored, this work depicts draped classical figures that flank the crest of the City of Pittsburgh and Allegheny County. The architect of record for the City-County Building was Edward B. Lee, the designer was Henry Hornbostel of Palmer, Hornbostel & Jones. The building’s great hall features a three-story, barrel-vaulted ceiling lit by two light wells and lined by bronze columns fabricated by Tiffany Studios. On the walls are hung a series of presidential portraits, including a bust of William Pitt by Sir William Reid Dick. City-County Building façade, 414 Grant Street
77 reliefs
Stanley Roush Year
1929
Material
120
Stone
The architectural details on this building include round reliefs on the Ross Street façade. The images include a male figure holding a bridge and flanked by an eagle, as well as a female figure with a child holding a garland of flowers. County Office Building, 542 Forbes Avenue
p i t t s b u r g h
a r t
i n
p u b l i c
p l a c e s
121
122
p i t t s b u r g h
a r t
i n
p u b l i c
p l a c e s
123
78 Allegheny County Courthouse
Henry Hobson Richardson (1838–1886) Year
1888
Designed in 1884 and completed in 1888, the Courthouse—and the Jail behind it on Ross Street— are recognized internationally as among the most significant buildings designed by H. H. Richardson, America’s leading architect at the end of the 19th century. A self-guided walking tour brochure is available weekdays from the information office located in the courtyard off Forbes Avenue. The guide is recommended to fully experience the building, including courtroom 321, which has been restored to its original design. 436 Grant Street between Forbes and Fifth Avenues
124
p i t t s b u r g h
a r t
i n
p u b l i c
p l a c e s
125
79 Courthouse Lions Year
1888
Material
Melford granite
Before Grant Street was lowered, these lions greeted courthouse visitors on street level. Now, they guard the building from higher ground. The building’s stone carvings were completed by Boston’s Evans & Tombs, under the direction of master carver and Richardson associate John Evans. Courthouse façade, 436 Grant Street
80 Wrought Iron Gates
(not pictured) Samuel Yellin (1885–1940) Year
1928
Material
Courthouse entrance, between the lions, 436 Grant Street
Iron
81 Allegheny Courthouse Murals: Justice, Peace, I n d u s t r y, T h e B at t l e o f Grant ’s Hill, Fort Duquesne
Vincent Nesbert (1898–1976) Year
When Grant Street was lowered, Stanley Roush, the county architect, designed a new entrance to the courthouse. Samuel Yellin was commissioned for the iron work, including the wrought iron gates. The well-known metalworker was a leader of the crafts revival in America in the early twentieth century.
1934–1938
Material
Paint on canvas
Commissioned by the Federal Works Progress Administration’s Public Works of Art Project (PWAP), Nesbert created these murals for the building’s Grand Staircase. When funding fell through, he decided to do the mural for the love of the work, but was eventually paid by the county to complete the series. Local Pittsburghers served as models. From the beginning, the murals were a source of newspaper gossip. During the painting of Justice, the artist was accused of plagiarism, which he denied. In Industry, a bare-chested worker was a source of controversy, not because of nudity, but because it was determined that steelworkers always wear shirts while working. At one time, the murals even made the news because the artist had run out of canvas. Courthouse Grand Staircase, 436 Grant Street 126
p i t t s b u r g h
a r t
i n
p u b l i c
p l a c e s
127
82 Chairs for Six
Scott Burton (1939–1989) Year
1986
Material
Granite
The focus of Scott Burton’s sculpture was to create art that had social meaning. These six chairs invite people, perhaps strangers, to take a seat facing each other and carry on a conversation. One Mellon Center, corner of Fifth Avenue and Grant Street
83 M e l lo n G r e e n
Burt Hill M e l lo n G r e e n F o u n ta i n
Marshall Tyler Rausch LLC Pedestrians in need of some green space linger in the park, the center of which is a fountain consisting of a series of granite columns. Sixth Avenue and Grant Street
128
p i t t s b u r g h
a r t
i n
p u b l i c
p l a c e s
129
84 Imp r o v i s at i o n s for Pittsburgh
Kathleen Mulcahy (b. 1950) and Ron Desmett (b. 1948) Year
1984
Material
The artists developed layers of imagery in glass block that reference downtown’s street grid, geography, and city life. The work is integrated into and behind the glass block portions of five wall areas. Neon lines, some relating to the patterns on the block, some to the colors on the walls, are used to create a play of light between the walls and the glass block. Steel Plaza T Station, Mezzanine Level
Hand-pressed glass block, paint, and neon
85 Rivers of Light
Jane Haskell (b. 1923) Year
1984
Material
Painted aluminum, neon, glass block
This installation was inspired by the design of the station, which features a V-shaped platform that references the Golden Triangle of downtown Pittsburgh. The artist designed a 5,000-squarefoot environment of neon and aluminum, using color to suggest the flow of the rivers from dawn till dusk. Neon tubes are connected to a timer and dimmer; in early morning the warm neon lights glow, while in the evening, cool colors dominate.
U.S. Steel Plaza T Station A pedestrian spur to the U.S. Steel Building contains a mural titled Challenge Pittsburgh, painted by H. R. Shuler in 1985. The One Mellon Center entrance to the Steel Plaza T Station is home to a constantly changing gallery space for the Society for Contemporary Craft.
Steel Plaza T Station, Platform Level
130
p i t t s b u r g h
a r t
i n
p u b l i c
p l a c e s
131
86 T h e F lo w
Louise Pershing (1904–1986) Year
1979
Material
COR-TEN® steel
Pittsburgh artist Louise Pershing fabricated this work from COR-TEN® steel. It is an abstract representation of steelmaking that was inspired by Pershing’s visit to the open hearth of U.S. Steel Corporation’s Homestead Works. The artist is best known for her paintings, many of which featured industrial scenes of Pittsburgh, as well as portraits. Sixth Avenue and Bigelow Square
87 U. S . S t e e l T o w e r
Harrison, Abramovitz & Abbe Year
1971
This is U.S. Steel’s world headquarters, home to UPMC’s corporate headquarters. It is Pittsburgh’s tallest building. The 64-story tower was designed by Harrison, Abramovitz & Abbe. The building’s distinctive color is from the COR-TEN® steel used on the exterior. As the material ages and is exposed to the elements, the surface develops a rusty-brown, protective cover.
Material
COR-TEN® steel
600 Grant Street
88
This pedestrian tunnel is filled with colorful mosaic panels. One wall depicts a cross section of stratified earth and the other an abstract cityscape fabricated from glass and concrete.
Mosaic Tunnel
Virgil Cantini (b. 1919) Year
1964
Pedestrian tunnel behind U.S. Steel Tower, between Seventh Avenue and Center Avenue, beneath Bigelow Boulevard
Material
Glass mosaic
132
p i t t s b u r g h
a r t
i n
p u b l i c
p l a c e s
133
Acknowledgments
The Office of Public Art would like to thank the following people who generously gave their time to review our research, share their knowledge about the history of the artworks, and give context and perspective to the diverse collection of art in Pittsburgh: Richard Armstrong, Carnegie Museum of Art Martin Aurand, Carnegie Mellon University Carol Brown, Founding President, The Pittsburgh Cultural Trust Jonathan P. Cox and Nancy Hart, Pittsburgh Downtown Partnership Patrick Ford, City Planning Susan Golomb, former director of City Planning Lareese Hall and Margie Oliver, Riverlife Task Force Murray Horne and Veronica Corpuz, The Pittsburgh Cultural Trust Patricia Lowry, Pittsburgh Post-Gazette Anne-Marie Lubenau, Community Design Center of Pittsburgh Jeanne Pearlman, The Pittsburgh Foundation Elizabeth Reiss and Katherine Talcott, Three Rivers Arts Festival Jeremy Smith, City Planning Alice Snyder, Art Consultant Anne Swager, Maya Haptas, Becky Spevack, and Quinn Fedele, AIA Pittsburgh Albert M. Tannler and Mary Ann Eubanks, Pittsburgh History & Landmarks Foundation Christine Taylor, Greater Pittsburgh Arts Council and the Office of Public Art Advisory Committee: Susan Blackman, Greater Pittsburgh Arts Council Noor Ismail, City Planning Mary Navarro, The Heinz Endowments Mitch Swain, Greater Pittsburgh Arts Council Several resources were consulted during the research phase of the project. Of special note is Marilyn Evert’s excellent book Discovering Pittsburgh Sculpture, as well as past issues of Carnegie Magazine, and the archives of Carnegie Library, University of Pittsburgh, Senator John Heinz Pittsburgh Regional History Center, and Pittsburgh History & Landmarks Foundation. 134
Free copies of this walking tour can be downloaded from the Office of Public Art’s website, www.publicartpittsburgh.org.
Cert no. SW-COC-003168
p i t t s b u r g h
a r t
i n
p u b l i c
p l a c e s
137