PhillyHistory Turns 10!

Celebrate ten years of PhillyHistory.org at a birthday event Wednesday, October 21, at City Hall!

City Hall Tower-Statue Penn's Head (PhillyHistory.org)

City Hall Tower-Statue Penn’s Head (PhillyHistory.org)

Back in 2005, the City of Philadelphia Department of Records launched the Photo Archives Website to provide access to historic photographs from the Philadelphia City Archives. A few months afterward, that site became PhillyHistory.org and we launched the PhillyHistory.org Blog to help tell the stories behind the photos. Ten years later, we’re excited to have over 130,000 historic photographs and maps from five organizations available that are viewed and searched by thousands of visitors each month.

We hope you’ll join us for a panel discussion on Wednesday, October 21, at 5pm at City Hall to celebrate ten years of PhillyHistory.org. We’ll explore PhillyHistory’s creation and development, lessons learned from ten years of maintaining a digital history project, and plans for future digitization initiatives. Please follow the RSVP directions at the event announcement if you’re interested in attending.

The “Celebrating PhillyHistory’s 10th Birthday” event is part of Archives Month Philly. Visit their website for a full list of events throughout the month of October!

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A Story of Stewardship

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“Japanese Pagoda – Fairmount Park,” ca. 1910. (PhillyHistory.org)

The 1904 St. Louis’ Louisiana Purchase Exposition was a gigantic affair: nearly twice the size of Chicago’s Columbian Exposition in 1893 and quadruple Philadelphia’s Centennial in 1876.  For Japan, the increasing scale of America’s world’s fairs turned out to be just about the perfect platform to demonstrate its expanded ambitions for the world stage. The Japanese occupied seven acres in St. Louis, more than any other nation outside the United States.

Japan had emerged as the Far East’s imperial nation and its colonial power—“the protector of Chinese territory,” according to historian Carol Christ. (Just a few months before the fair opened, Japan had attacked Russia on Chinese soil and was on its way to a decisive victory, the first time an Asian country defeated a European power.)

Japan also expressed its dominance in the creative realm. As the heir of Asian culture and the “sole guardians of the art inheritance,” Japan positioned itself as keeper of the “museum of Asiatic civilization.” When Russia backed out of their commitment to exhibit in St. Louis, Japan the imperial power and cultural ambassador stepped in with purpose and commandeered the Russian space.

Japan’s exhibition buildings were “built entirely by native carpenters,” in styles perfected hundreds of years earlier, declared one guidebook. Set in landscapes with gardens, hills, waterfalls, lakes and bridges, accented with imported, centuries old, “beautifully trained dwarf trees…drooping wisteria…peony, scented lily and blushing maple”—it all added up to a “harmonized…artistic” whole. For visitors from around the world, Japan curated a one-of a kind experience that sent a powerful message: Asian power had arrived.

And there was more. By the fair’s main entrance, millions were lured onto the Pike, a mile-long, carnival-like collection of attractions open late into the evenings. “The Pike” offered up contortionists, dancing girls and a “Zoological Paradise” complete with an elephant water slide. Visitors went “deep sea” diving, scaled miniature replicas of the Tyrolean Alps, rode burros along constructed cliff dwellings and toured “Blarney Castle.” Especially popular were rides inspired by the biblical version of “Creation” and another ride with the “Hereafter” as its theme. The Pike also staged military reenactments: the Boer War, the Spanish-American War and, the Russo-Japanese War, still in progress.

No concession on the Pike stood out more than Japan’s. Entering through a massive, 150-foot  gateway –a “replica of the famous portal in Nekko, Japan” visitors strolled “a Street of Tokyo,” brought alive by 80 actors in traditional costume. Everything was new, though constructed to appear ancient and venerable, except for one artifact that didn’t need to feign authenticity, a 45-foot tall temple gate that, for the previous three centuries, had graced the Hitachi Provence, about 120 miles northeast of Tokyo.

Japanese Temple Gate, Fairmount Park. Autochrome by Emil Albrecht, ca. 1912.  (The Library Company of Philadelphia).

Japanese Temple Gate, Fairmount Park. Autochrome by Emil Albrecht, ca. 1912. (The Library Company of Philadelphia).

What would become of such a treasure when the crowds returned home? John H. Converse and Samuel Vauclain, who had made their fortunes at Philadelphia’s Baldwin Locomotive Works, imagined the “Nio-Mon, or, Temple Gate” as a picturesque addition to Fairmount Park. They bought it, paid for its transportation, reconstruction and landscaping—completed with tons of boulders worn smooth in the nearby Darby Creek. Converse and Vauclain, with additional help from John T. Morris, transformed the grove between Memorial Hall and Horticultural Hall into a picturesque and peaceful destination.

But peaceful in a big city park can be vulnerable. From the start, the City and the Fairmount Park Art Association (where Converse and Morris served on the board) took protective measures.  Artifacts exhibited inside the temple gate’s second-story chamber were transferred to Memorial Hall and later to the Philadelphia Museum of Art. (One still survives in the Asian Art gallery.) But without fences or a guard, Philadelphia’s new, hidden treasure became an easy target.

Architect Albert Kelsey had seen it coming: “I deplore the possibility of this beautiful temple becoming merely another scattered unit in a poorly planned park that has not, in many instances, been laid out to heighten the effect of the many valuable works of art it possesses.” Morris called for the installation of “wire guards” to prevent “acts of barbaric young American(s), who take pleasure in stoning these fine specimens of Japanese wood carvings.”

“If the building is not protected it will soon go to decay,” Morris fretted. “If visitors are permitted to do as they want in the interior it will soon be a disgrace…” Cycles of vandalism and repair followed one another from installation in 1906 into the 1930s, when, as part of the Works Progress Administration, the temple gate got a facelift. But to no avail. Within a few more years, Park Commissioner John B. Kelly was ready to throw up his hands. Kelly suggested the gate might just have to be “torn down.”

On the eve of the temple gate’s golden anniversary in Philadelphia, in May, 1955, the City installed scaffolding to carry out another cosmetic overhaul. But before the project got underway, the temple gate burned to the ground. The culprit, according to the Philadelphia Fire Department, wasn’t vandalism, but the “carelessly discarded cigarette” from the repair crew.

Who mourned the temple gate? Who had time to? Two years after the fire, Shofuso, another cultural treasure from Japan, found its way to Fairmount Park.

[Sources include: Christ, Carol. “The Sole Guardians of the Art Inheritance of Asia: Japan and China at the 1904 St. Louis World’s Fair.” Positions: East Asia Cultures Critique 8:3 (2000): 675-709; Historical Narrative of Shofuso. (.pdf); 1904: The World’s Fair. Missouri Historical Society; At The Fair: The 1904 St. Louis World’s Fair. The Pike; Hoshi, Hajime, Handbook of Japan and Japanese exhibits at World’s fair, St. Louis, 1904; Tsen, Hsuan, Spectacles of Authenticity: The Emergence of Transnational Entertainments in Japan and America, 1880-1906. (Stanford University, 2011).]

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Pope John Paul II Visits Philadelphia

Just about everyone knows that Pope Francis is scheduled to visit our area this weekend on Saturday September 26th- Sunday September 27th. Security will be tight, bridges will be closed, as will major highways and public transportation via SEPTA will be severely limited as well. Though it will be a major inconvenience for many Philadelphians who live and/or work in the affected area, it is expected to bring in millions of visitors to the city. This isn’t the first time that a Pope has visited us, though. Back in 1979, Pope John Paul II came here right after he was inaugurated.

This was a much quicker visit than what is being planned for Pope Francis next month, though. He arrived mid-day on October 3, 1979 and left at 11 AM the next morning for Des Moines, IA. During the time that he was here, he visited two churches and led a mass at the old Civic Center site and the day before, he led a large mass that attracted 1.5 to 2 million visitors at Logan Circle.

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The Philadelphia Rowhouse: American Dream Revisited

The American Dream? Data collected last year, and presented in the chart below from The Washington Post’s WongBlog, identifies a decisive answer: the single, detached house. It’s the way Americans live in half of the nation’s 40 largest cities—with two prominent exceptions. The majority of New Yorkers live in buildings with 20 or more units. And in Philadelphia, about 60% live in “single attached residences,” or what we know as rowhouses. Keeping in mind that New York is always the outlier, we ask: is Philadelphia’s habit of rowhouse living an un-American dream?

The most popular type of home in major American cities, charted (Washington Post)

The most popular type of home in major American cities, charted (Washington Post)

Earlier, we explored the evolution of the Philadelphia rowhouse, which culminated in the two-story “Workingmen’s House,” a machine for living that lined miles of streets and set off a frenzy of envy at the Columbian Exposition in Chicago in 1893. Then, The Encyclopedia of Greater Philadelphia walked us through the centuries-long evolution of our rowhouse genre. Now, with up-to-date housing typology data, we can see just how aberrant Philadelphia may have been, and apparently still is today. Thing is, the Philadelphia rowhouse wasn’t presented as an aberration during a massive period of growth at the end of the 19th century. Quite the opposite. Talcott Williams, and others, pitched it as nothing less than a manifestation of the American Dream. In an essay from 1893: “Philadelphia—A City of Homes” published in St. Nicholas, an Illustrated Magazine for Young Folks, Williams explained:

“There are in Philadelphia about 500 [Building Associations] and 500 more in the state of Pennsylvania. The entire 1000, in 1889, were paying out $33,000,000 to be used in buying houses; and of this about $22,000,000 was being paid in Philadelphia. From 1849 to 1876, these associations bought 30,000 houses at a cost of $72,000,000. Since then, the associations have lent money to about 50,000 persons who were buying houses. In the last sixty years, about 80,000 houses have been bought this way. The average price of a house began at about $1000; it rose to $2000; and now most of the houses bought by men who work cost from $2500 to $3500.

“What kind of houses are they? There is a sample one which has been put up at the Columbia Exposition in Chicago. When you go there, you must look at it. There is nothing more wonderful in all that marvelous Exposition than this proof that the laws, the habits, and the businesses of a city of one million people can be so arranged that even the day-laborer earning only $8 or $10 a week can own the roof over his head and call no man landlord.”

Southwest corner - 24th and Kimball Streets, May 11, 1916. (PhillyHistory.org)

Southwest corner – 24th and Kimball Streets, May 11, 1916. (PhillyHistory.org)

Williams goes on: “The result of all this is that Philadelphia is not a city of palaces for the few, but a city of homes for the many—which is better. It is not magnificent, but it is comfortable. In 1890, its 1,046,964 inhabitants were living in 187,052 dwellings. This means that with only two-thirds as many people, it had twice as many houses as New York. With just as many people as Chicago, it had half more houses. Of the 200,000 families in Philadelphia, seven out of eight had separate houses, and three-quarters of its families, or 150,000, owned the houses they lived in.  …  The number of families owning the house in which they live is from four to six times greater in Philadelphia than in any other great cities of the world. You cannot know, until years and life have taught you more than any boy or girl should know of this hard and bitter world, how much of comfort, peace, and happiness is summed up in that statement. It means room and air and health. It means that each family can have its own bath-tub, its own yard, its own staircase, and its own door step. These are simple daily blessings for most of us; but for tens and hundreds of thousands in all large cities, they are absent. …”

1014-1018 South 24th Street. Row Homes  (PhillyHistory.org)

1014-1018 South 24th Street. Row Homes (PhillyHistory.org)

“Street after street of small two-story brick houses looks rather mean and dingy,” admitted Williams. But “if the great mass of voters are men owning small houses and living in a small way, then all the work of the city will be done in a small way, too.”

“But it is better to spread a carpet on a poor man’s floor than spread an asphalt pavement under the carriage wheels of the rich. It is better to have bath-rooms by the ten thousand in small homes, than to have brilliant fountains playing in beautiful squares.” …

The rowhouse, concluded Williams— 150,000 of them—“owned by the families which live in them, are such a triumph of right living in a great city, as the world never saw before, and can see nowhere else but in Philadelphia, a city of homes.”

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Philadelphia Architects on Fire(houses)

CAPTION (PhillyHistory.org)

Fire Engine Company No. 47. 3035-37 Grays Ferry Avenue. Charles E. Oelschlager, architect, ca. 1899. (PhillyHistory.org)

As the city heated up, pushing outward in all directions, so did its fire department. As we’ve seen in more than one post, architect John Windrim stepped in and supplied an array of new and eclectic designs for the expanded municipal footprint, making up for lost time. Director of Public Works Windrim had a natural advantage getting commissions, but there was more work, and a broader appetite for design diversity, than any one office could handle. Projects went to bid, many other architects and contractors responded. What resulted might be called Philadelphia’s Fin-de-siècle Firehouse Boom.

This post introduces a six-pack of additional architects and handful of their firehouses, as well as a spattering of their kin, police stations. In all, the city put an estimated 50 or so fire houses and police stations on the streets between 1890 and the 1910, a prodigious display of design finesse.

Have we ever heard of such a demonstration in municipal architecture? We have, in a way. On NPR a few years back, Susan Stamberg presented the case of Columbus, Indiana. In the mid-20th century, Columbus commissioned more than 60 buildings “by a veritable who’s who of modern masters” including I.M. Pei, Eero and Eliel Saarinen, Cesar Pelli, Richard Meier, Harry Weese, and Philadelphia’s Robert Venturi (who, in 1967, created Fire Station No. 4).

The Philadelphia’s six are not big names, but the civic design frenzy that took place at the turn of the 20th century, long before Indiana’s, occurred at the intersection of demand and indigenous talent. Where Columbus lured starchitects from far and wide and funded their arrival with philanthropy, Philadelphia’s homegrown creative burst took place in its own space, on its own time—on its own terms.

Firehouse, 1322 West Cambria Street. (Google)

Firehouse (Engine 50; Latter 12) 1325 West Cambria Street. Charles E. Oeschlager, architect, 1900. (Google)

So who’s rushing out for a Philadelphia firehouse tour? Unfortunately, much of this work got lost in the shuffle over the last century. In truth, we barely even know the extent of what once was. A few private efforts at compilation hope to fill the yawning information gap. (See Mike Legeros’s List of Historic and Former Philadelphia Firehouses.) You can’t just dip a toe in the complicated and (early on) violent history of the Philly firefighting, certainly not in a few blog posts. It’s a steep, slippery and, so far, largely silent slope. But who and what you’d encounter makes it a ride well worth the price of admission.

Here are a few of the architects and buildings you’d see along the way:

Charles E. Oelschlager’s listed projects include churches, theatres (both moving picture and vaudeville) and even early gas stations. His “new three story fire house…at 31st and Grays Ferry Road,” from 1899 (illustrated here) didn’t survive. What did is still in use: his three-bay-wide firehouse from 1900 on Cambria east of Broad (also illustrated). Behind its terra cotta, red brick façade, beneath its green, slate-covered mansard roof were nine horse stalls, sleeping quarters, four sliding poles and all the latest “appliances…electric bells and buzzers.”

Joseph M. Huston (1866-1940) generated more impressive projects, like the Pennsylvania State Capitol, but that job proved to be a show stopper. Scandal and conviction led to a residency at Eastern State Penitentiary. Before all that, in 1899 and 1900, Huston designed several firehouses that have yet to be documented and none of which survive.  In addition, his stationhouse for the Sixth Police District at 11th and Winter Streets was a lovely, long gone, Georgian Revival design.

Engine Company #13, 1529-39 Parrish Street. Phillip H. Johnson, architect. Photographed by Vince Feldman in 2001.

Engine Company #13, 1529-39 Parrish Street. Phillip H. Johnson, architect, 1901. Photographed by Vincent D. Feldman in 2001.

E. V. Seeler (1867-1929) is known for 65 projects including Curtis Publishing Company on Washington Square, the nearby Penn Mutual Life Insurance Building and the Philadelphia Bulletin Building on Filbert Street, once just to the northeast of City Hall. His breakthrough took place with the First Baptist Church in 1901, at the corner of 17th and Sansom Streets. It’s not far from the extant fire house at 1528- 1530 Sansom, which he completed two years before that.

Hazelhurst & Huckel – Way back in the early 1880s  Edward P. Hazlehurst and William Samuel Huckel, Jr. started a long and prolific partnership generating 326 projects. Their combination police station, patrol station and fire house stood at the northwest corner of Seventh and Carpenter Streets until it was demolished in 1962.

W. Bleddyn Powell’s (1854-1910) projects include the completion of City Hall. His combined fire/patrol houses including one at 4th and Snyder, now long gone. He also turned out a police station at 19th and Oxford that later served as the first Opportunities Industrialization Center.

Phillip H. Johnson (1868-1933) is not to be confused with another architect: Philip Johnson. The Philadelphian was more notorious than famous. Through some skill and sheer connectedness he landed a lifetime contract with the City Health Department that earned his office more than $2 million in fees over three decades. Johnson’s projects include the Philadelphia General Hospital, Philadelphia Hospital for Contagious Diseases and buildings at the Philadelphia Hospital for Mental Diseases aka Byberry. He also designed City Hall Annex.  Johnson cut his teeth on several firehouse projects: at 1016-1018 South Street, 50th and Baltimore Avenue, 1529-39 Parrish Street (illustrated here from Vince Feldman’s aptly named book, City Abandoned) and 2936-38 Ridge Avenue. All of these survive except the last, which was demolished in 1994.

No, we’re not quite ready yet for the Philadelphia’s Fin-de-siècle Firehouse Boom tour. Heck, we’re not even sure what we have—or if we really even want to keep it. 

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John Windrim and the Eclectic Engine House Boom

Fire House #2, Southwest Corner Warnock and Berks Streets.March 23,1931. (PhillyHistory.org)

Fire House #2, Southwest Corner Warnock and Berks Streets.
March 23,1931. (PhillyHistory.org)

The newspaper headline confirmed what everyone already suspected. Philadelphia’s “Boom in Building” of 1889 had more structures going up than during any other year in the entire history of the city. On the streets, that translated into the city pushing noisily in every possible direction. On the books, that meant 70 new factories, 65 additional shops and foundries, 65 stores, 30 warehouses, five freight stations, three market houses, and as many hospitals. The spires of 18 new churches reached heavenward between the factories, punctuating more than eleven miles of new brick rowhouses. In North Philadelphia alone, just west of Broad Street, more than 1,800 homes extended the city’s grid monotonously to the north. Five hundred eighty new houses pushed the city to the south. And in West Philadelphia, developers obtained building permits for no less than 1,500 additional houses.

Everyone expected 1890 to be an “even more prosperous” year. After all, open land in the vicinity of 29th and Susquehanna that had been selling for $1,000 per acre. Now it fetched up to $30,000. “Everything points to success” claimed an optimistic developer, “if we build 10,000 houses a year we are only supplying the demand of our growing population.”

Thing is, the city’s own role in the phenomenal growth of 1889 was seriously stunted. Only one fire station and three patrol houses were built that year. Politicians scrambled to close the gap. Dancing in their heads were visions of something new, not the same old kinds of firehouses and police stations, those had been outgrown in so many ways. Here was the chance to fix the problem while crafting a newer image for the expanding metropolis. And who could disagree with more and better services based in newer, more and better facilities?

In May of 1890 the first one opened. “A Model Station House, the first combination fire engine house, police station and patrol house in the country,” proclaimed officials gathered at 20th and Long Lane (now Point Breeze Avenue). Mayor Edwin Fitler addressed the crowd at the ribbon cutting as Councilman Edwin S. Stuart stood proudly by. Director of the Department of Public Safety William S. Stokley praised the new, “elegant” 3-story, “Roman” design as “the ideal station house of the city” regretting only that “it was not in a more central position, as nobody but people from the Neck” might see it for inspiration. Officials believed this building, which cost the hefty sum of $58,000, was nothing less than “the finest station house in the country.”

Engine # 45, 26th and York Streets, 1908. (PhillyHistory.org)

Engine Company  #45, Northeast corner, 26th and York Streets, 1908. (PhillyHistory.org)

The election of Edwin S. Stuart to the mayor’s office in 1891 allowed him to extend his construction campaign citywide. As the Bureau of City Property looked ahead, they allocated more than half of their next annual budget for “new stations and new engine houses” specifically earmarking $25,000 for a new station house at Twentieth and Berks Streets. Many more were on the way.

To carry out Stuart’s vision in style, he brought in architect James H. Windrim as Director of Public Works. But Windrim had too much work from other clients and turned his partner and son, John T. Windrim, loose on the fresh streets of the city. Over the next several years, the younger Windrim expanded the city’s footprint in a string of gem-like fire stations. By 1913 the list had grown quite long.

More than a century later, a few remain in various stages of threat and preservation. Others have been lost to time. Below, Windrim’s extant buildings are presented in bold; each is linked to contemporary street views. Two of the major causalities in North Philadelphia, Engine Companies # 2 and #45, are illustrated with the only things that remain: rare archival images from the City Archives.

1892 – Engine Company #42, Front and Westmoreland Streets.

1893 – Engine Company #2, Berks and Warnock Streets.

1894 – Engine Company #43, 21st Street near Market Street.

1894 – Engine Company # 45, 26th and York Streets.

1894 – Engine Company #46, Reed and Water Streets.

1894 – Engine Company #37, West Highland Avenue and Shawnee Street (Chestnut Hill)

1895 – Engine Company # 16, Belmont Avenue near Wyalusing Avenue (Mill Creek)

1895 – Engine Company #29 , 1225 North 4th Street near West Girard Avenue.

[Sources in the Philadelphia Inquirer include: “The Boom in Building. More Structures Erected in 1889 than during Any Previous Year,” November 9, 1889; “A  Model Station House. Opening of the New Seventeenth District Fire, Police and Patrol Station,” May 13, 1890; “A New Style of Station Houses.”  (Front and Westmoreland), September 29, 1892; “A New Police and Fire Station,” (Chestnut Hill), October 4, 1894; “A New Engine House. Fourth Street above Girard Avenue, February 28, 1895; “New Fire Station. It Will be Opened for Use in a Few Days,” March 7, 1895; “New Fire House: West Philadelphia Boys Will Occupy It To-Morrow,” June 21, 1896.]

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Firehouses Acting Out: An Exuberant, Stylistic Storm in the 1890s

Engine House #29 - Truck "G", Chemical Engine #2 N 04th St and W Girard Ave. 11-17-1896 (PhillyHistory.org)

Engine House #29 – Truck “G”, Chemical Engine #2
North 4th Street and West Girard Avenue, November 17, 1896 (PhillyHistory.org)

“The most intriguing element” on the façade of Engine #29 on 4th Street near Girard,” Inga Saffron wonders, is “the vaguely Pennsylvania Dutch hex signs embedded between the handsome truck doors and the German-style pattern in the ribbon of flowery tiles just below the cornice. Why those motifs?”

Yes, we agree: What the hex?

Might this be “an attempt to reflect the heritage of the German immigrants who worked in the neighborhood’s breweries and mills,” Saffron pondered. Or “was it just the fancy of the architect?”

Fancy indeed.

Philadelphia firehouses took off in an exuberant stylistic storm in the 1890s, and John T. Windrim, the likely designer of Engine #29, was the creative at its center. We can see the broad eclecticism on 4th Street; it’s one of the factors that led to the building’s listing by the Philadelphia Historical Commission in 1989. We see something similar at Windrim’s Engine #37, on Highland Avenue in Chestnut Hill, completed about the same time. (The Commission recently added that structure, “the oldest active fire hall in the city” to their list, reported Newsworks.) Two happy survivors, but many more gems by Windrim got lost along the way.

Back to our original question: What the Hex? How, in the 1890s, did firehouses become places for expressions of opulence, eclecticism, and outright design rowdyism? Not only did Windrim draw from the German vernacular, he dipped into all kinds of historical and contemporary design sources that added up to a wild ride in architectural design. More than “Richardsonian Romanesque,” the firehouse on 4th Street takes strides toward the even wilder, contemporary work by Frank Furness which Michael Lewis refers to with an apt and revealing subtitle: “Architecture and the Violent Mind.”

What was it about firehouses at the end of the century that made them so susceptible to architectural expression? Did the culture of rowdyism, which played out so vividly in firefighting’s earlier years, somehow become channeled into its architecture? Or, as Rebecca Zurier suggests in The American Firehouse, could it be that there was “no prevailing ‘proper’ style for a fire station, [so] architects tried nearly all of them.” In firehouses, she wrote, they executed designs “considered too outlandish for another type of building.” Zurier, who conducted her own Grand Tour of American firehouses concluded: “no one ever complained about a fire station being undignified.”

In recent times, observed historian John Maass, “municipal officials generally want inconspicuous fire stations lest they be accused of wasting taxpayers’ money.” But in the 1890s, “political bosses used to glory in building the showiest firehouses.”

“Opulent fire stations,” said Zurier, “constituted political as well as architectural statements. Responsibility for commissioning a particularly extravagant fire station” was often “traced directly to the wishes of the mayor.”

Purposeful extravagance resulted in “a wondrous variety of architectural styles,” wrote Maass, from “Greek Revival, Italianate, Second Empire, Richardsonian Romanesque” to “French Chateauesque, Castellated, Half-timbered Tudor, Prairie Style, Spanish Colonial, Pueblo Adobe, Art Deco, Ugly & Ordinary Venturian.” The American firehouse had become, and would remain, a genre all its own.

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Detail: Engine House #29 – Truck “G”, Chemical Engine #2. North 4th Street and West Girard Avenue, November 17, 1896 (PhillyHistory.org)

Fire House #2 - Southwest Corner Warnock and Berks Streets.  March 23, 1931. (PhillyHistory,org)

Detail: Fire House #2 – Southwest Corner, Warnock and Berks Streets. March 23, 1931. (PhillyHistory,org)

“Up-Town Firemen Move to Better and More Modern Quarters,” reported the Inquirer on February 28, 1895. Contractor Frederick J. Amweg had turned Engine #29, his project in “terra cotta and Pompeian brick,” costing $39,611, over to the City Department of Public Safety. Philadelphia had added yet one more creative interpretation in the firehouse genre to its ever-more exuberant, ever-growing collection.

But do we really know that Windrim came up with this particular design? The hex sign offers a possible confirming hint. The very same feature also appears in another, documented example of Windrim’s work: Fire House #2, which opened in 1894 at the southwest corner Warnock and Berks Streets. That building had a similar hex pattern, applied in a similar way, as does the Engine #29 on 4th Street.

Except that Windrim building is long gone, its site now occupied by Temple University’s mammoth Montgomery Avenue Parking Garage.

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Taming the Fight in Philadelphia Firefighting

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Engine House #15 – Cecil B. Moore Avenue and Howard Street., November 17, 1896, detail. (PhillyHistory.org)

Philadelphia endured six riots in the 1840s. The city’s streets were seething and dangerous. But they also could be glorious.

“Grand beyond description,” is how the Inquirer described the May Day display put on by the city’s sixty-six volunteer fire companies in 1849. “The gorgeous banners of every hue and shade, the beautifully decorated engines and hose carriages, the unnumbered fire horns, the wreaths, bouquets, and different emblems of the respective fire company, were showered from nearly every window, added greatly to one of the most grand and lovely spectacles that has ever taken place in the Quaker City. [It] is an occasion that will doubtless be remembered for years to come.”

Especially excited were members of the city’s newest group of firefighters, the General Taylor Hose Company, who were assigned to bring up the rear of the procession. The Taylor Hose men were last, but not least. Each of the 34 members in this Kensington-based brigade were dressed in their new uniforms with gaudily painted hats—standard firefighter processional regalia of the day. The top hats featured portraits of Zachary Taylor, whose battlefield prowess in the Mexican-American War had won him the White House. Only a few months before, Taylor had been inaugurated as the 12th President of the United States.

As the parade snaked up and down the city streets, marchers attracted attention from “notorious rowdies,” gangs known as The Stingers and The Killers. At 6th and Fitzwater they disrupted the procession. And at 8th and Catherine, just as the Good Will Hose Company passed, they initiated “a brutal attack” with stones. Pistol shots were heard over the music of marching bands.

Guilty or not, ready or not, the General Taylor Hose Company joined the city’s culture of street violence that day. It would be a rough ride for the next two decades, until the volunteer fire companies were replaced by a professional fire department. How did it play out for the men of Taylor Hose? Here are few incidents culled from the Inquirer:

March 19, 1850: “Another Fire Apparatus Destroyed.—On Saturday night, the carriage of the Taylor Hose Company of Kensington, was captured by a party of rioters, ran out Ninth street, a considerable distance, and there nearly demolished. The hose was unreeled, and the screws cut off both ends. The apparatus was a borrowed one. It is only a month or so since the Taylor Hose had their own carriage destroyed in a similar manner.”

January 17, 1854: “Narrow Escape.—In the course of the riot on Saturday night, in the vicinity of Second and Jefferson street, between two rival gangs of ruffians attached respectively to the Hibernia and Taylor Hose Company, a ball from one of the pistols which was discharged on the occasion, entered an upper window of a house in the neighborhood, a struck near the spot where an infant was lying. How long are these disgraceful proceedings to continue?”

August 16, 1854: “More Ruffians.— A number of rowdies, said to be adherents of the Taylor Hose, assailed the house of Wm. Henry Haverkemps, on Monday afternoon, broke his windows and assaulted several citizen residing in the vicinity. Officer Clemens arrested two of the assailants…”

Third time - Engine House #15 - Columbia Avenue and Howard Street. 11-17-96 (PhillyHistory.org)
Engine House #15 – Cecil B. Moore Avenue and Howard Street., November 17, 1896. (PhillyHistory.org)

August 31, 1858: “Fireman’s Riot. About one o’clock on Sunday morning, the quiet of the Eighteenth Ward was disturbed by the Globe Engine and Taylor Hose Companies engaging in a desperate riot, in which horns, spanners and stones were freely used. Officer Ketcham, of the 19th Ward, was struck in the face by a brick, and severely cut: two or three other officers were struck by the flying stones. During the fight, Robert Squibb, a prize fighter and notorious bully, was arrested by officer John Watt, of the 128th Ward, and held to bail for his appearance at Court.”

By 1864, when the state incorporated Taylor Hose as the General Taylor Steam Forcing Hose Company, its members were long part of the established demonic, heroic underworld of Philadelphia firefighting. Seven years after that, on March 15, 1871, their brick and marble building at Howard Street and Columbia (now Cecil B. Moore) Avenue, would be designated Philadelphia Fire Department’s Engine No. 15.

Six of the charter members showed up for a reunion of “The Taylor Hose Boys” in May, 1891. According to the Inquirer, “the Taylor Hose Company, of the old Volunteer Fire Department, celebrated their forty-fourth anniversary last evening by a banquet at their hall, Columbia avenue and Mascher street. About 100 members and their friends sat down to a splendid collation, followed by several speeches and music.”

We’ll never know the stories shared that evening.

The 19th century firehouse remained in service until the 1920s when it was replaced by an undated facility by city architect John Molitor. That firehouse, decommissioned in the 1960s, remains a Kensington curiosity to this day.

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Vanna Venturi House: Inspirations from Philadelphia of the 1930s

Southeast Corner Juniper and Locust Streets, January 10, 1917. (PhillyHistory.org)

Dr. Casper Wister Residence, 1322 Locust St., Southeast Corner Juniper and Locust Streets, January 10, 1917. Furness & Evans, Architects, ca. 1883 (PhillyHistory.org)

“The city is the place of availabilities,” declared Louis Kahn. “It is the place where a small boy, as he walks through it, may see something that will tell him what he wants to do his whole life.”

If the small boy was Robert Venturi and the city was Philadelphia in the 1930s, that something would be architecture.

What the young Venturi saw and heard on the streets of Philadelphia confounded him, at first, and then it inspired him. As noted here a while back, he later remembered the Provident Life and Trust Company on Chestnut Street and “loving to hate those squat columns as my father drove me past.” Those columns were the work of Frank Furness. And in time, Venturi would develop an “absolute unrestrained adoration and respect” for Furness.

Before Venturi learned from Las Vegas, he contemplated on Chestnut Street, leered on Locust and became fortified by what he saw on Fairmount Avenue. Philadelphia was Venturi’s formative architectural learning lab. What he studied on the city’s streets in the 1930s helped him forge a unique architectural identity.

Philadelphia in the middle third of the 20th century burgeoned with finely-wrought buildings that had grown out of style—and many more of less distinguished parentage. For an emerging visual talent such as Venturi, a creative who would come to take pride in theoretical and design perversity, that Philadelphia was nothing less than an inspirational smorasborg. Not only could Venturi learn from the bold expressions of self-assured, industrial Philadelphia, he’d translate their vocabulary into buildings that would become his masterpieces.

Vanna Venturi House in Chestnut Hill, Philadelphia, Pennsylvania photographed by Carol M. Highsmith. (The Library of Congress)

Vanna Venturi House, 1964. Chestnut Hill, Philadelphia. Photographed by Carol M. Highsmith. (The Library of Congress)

Take Mothers’ House, aka the Vanna Venturi House (which has recently been placed on the market). Here’s a building modest in scale with an outsized reputation, a manifesto for Post Modernism. Consider its billboard of a façade, an element with playful wit using flawed symmetry, a gratuitous arch and boldly-arranged negative spaces. Then look at the (now-butchered) façade of Dr. Casper Wister’s residence at Juniper and Locust Streets. See the parallels: a cave-like quality to both entrances; the use of compressed arches and blockish jutting of forms, in and out. But they are more like far-flung cousins than siblings.

Somewhat closer might be the industrial vernacular found in the Philadelphia Rapid Transit Company’s car barn on Fairmount between 24th and 25th. Here stood a structure with significantly less provenance, but, it seems, with a closer familial tie.

Yet neither of these examples has been mentioned as part of the design parentage for Mothers’ House.

Old Car Barn - Philadelphia Rapid Transit Company - South Side Fairmount Avenue between 24th and 25th Streets. (PhillyHistory.org)

Old Car Barn – Philadelphia Rapid Transit Company – South side of Fairmount Avenue between 24th and 25th Streets. July 10, 1930. (PhillyHistory.org)

What has been mentioned? Stanislaus von Moos, the Swiss architectural theorist, suggests inspirations as far away in time and place as Michelangelo’s Porta Pia and Palladio’s Nymphaeum at Villa Barbaro. He noted, as did Venturi himself, a relationship with Luigi Moretti’s Roman Il Girasole (The Sunflower) house of 1950.

But Venturi left wide open the possibilities for more influences and inspirations—more ways of finding and creating meaning. “I include the non sequitur and proclaim the duality,” he stated in Complexity and Contradiction in Architecture. “I am for richness of meaning rather than clarity of meaning…I prefer ‘both-and’ to ‘either-or,’ black and white, and sometimes gray, to black or white.”

“A valid architecture evokes many levels of meaning and combinations of focus,” he continued, “its space and its elements become readable and workable in several ways at once.” This “architecture of complexity and contradiction…must embody the difficult unity of inclusion rather than the easy unity of exclusion.”

“More,” Venturi famously put it, “is not less.”

He likens Mother’s House to “a child’s drawing of a house” adding “the front in its conventional combinations of door, windows, chimney and gable, creates an almost symbolic image of a house.” But there was nothing childlike about it. “The varying locations and sizes and shapes of the windows and perforations on the outside walls, as well as the off-center location of the chimney, contradict the overall symmetry of the outside form: the windows are balanced on each side of the dominating entrance…but they are asymmetrical. …”

“These complex combinations,” Venturi observed, “achieve the difficult unity of a medium number of diverse parts based on inclusion and on acknowledgement of the diversity of experience.”

That diversity of experience, we imagine, acknowledged inspirations from many times and places. Among them were the ample “availabilities” in the city where Venturi was born and raised.

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10th Anniversary of Live 8

Ten years ago this month, the Live 8 benefit concerts (organized by Live Aid founder Bob Geldof) were held in G8 countries around the world and one of the cities chosen for the concerts was Philadelphia. Here are several photos of Stevie Wonder performing on the Ben Franklin Parkway. In one of the photos, he is joined by Adam Levine of Maroon 5 and Rob Thomas of Matchbox 20. Will Smith and members of Maroon 5 and Matchbox 20, along with Dave Matthews Band, The Kaiser Chiefs, Kanye West and Destiny’s Child were among the other performers featured in Philadelphia.

The G8 concerts were held in conjunction with the UK’s Make Poverty History campaign and the Global Call for Action Against Poverty. The Philadelphia concert was one of ten simultaneous Live 8 concerts that was held on July 2nd, 2005. They were held with the goal that the G8 nations would increase their support for aid to Africa and on July 7th, the G8 nations agreed to double aid from $25 million to $50 million. The concerts were also held approximately 20 years after Live Aid and Philadelphia was one of the first cities chosen to participate since it had been one of the sites of the Live Aid concerts.Stevie Wonder

Stevie Wonder
Stevie Wonder with Adam Levine

Stevie Wonder with Adam Levine

 

 

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