Pittsburgh Walking Art Tour PDF - Greater Pittsburgh Arts Council

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boundaries and are integrated into its
varied public spaces.
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by prominent artists mark the district’s
Byham
Theater
Sixth
arts neighborhood. Adventurous works
David L. Lawrence
Convention Center
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Fort
Duquesne
Bridge
in the development of Pittsburgh’s central
Andy
Warhol
Bridge
Rachel
Carson
Bridge
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Elev
Roberto
Clemente
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The Cultural District
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Warhol
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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
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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
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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
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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.
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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
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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
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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
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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
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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
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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.
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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.
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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
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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
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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
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Children’s
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Roberto
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Rachel
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Andy
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Sixth
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districts in this vibrant neighborhood.
son Str
l Robin
la Str
Isabel
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Genera
Heinz
Field
Stree
Way
Carnegie
Science
Center
rson
Ande
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Federa
oney
diverse as the mix of cultural institutions,
sports arenas, parks, and residential
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The art on the North Shore is as
Warhol
Museum
ith
f
The North Shore
Sm
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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
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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
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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.
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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.
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The Forks
Isaac Witkin
(1936 – 2006)
Year
1984
Material
Aluminum
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The Builders
George Danhires
(b. 1942)
Year
1984
Material
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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.
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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
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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
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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
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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.
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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
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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
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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
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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
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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
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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
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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
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a r t
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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p l a c e s 97 ▲ 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
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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
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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
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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
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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
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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
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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
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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®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
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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
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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
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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
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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
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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
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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
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