Anchoring the historic Charles Street retail corridor for decades, the McDowell Building at 339 North Charles Street is a solid 4-story historic building that now houses 12 market rate apartments and retail space on the first floor. The preservation and renovation of the building strikingly revealed that there were actually two, not one, original entrances. The project team faithfully brought this dual-entry system back, along with recreating original millwork and saving the leaded glass transoms. With historic rehabilitation tax credits to help, the building once again is a great asset to historic Charles Street. The Adaptive Reuse and Compatible Design Award went to architect Brasher Design and contractors John E. Day Associates.
Although it imitates the arrangement of the U.S. Capitol – central dome and symmetrical side wings, the Baltimore City Hall is covered in French architectural elements, including banded rustication, arched windows, and a crowning Mansard roof. How did this come about?
Between 1861 and 1865 the American Civil War retarded most building projects. By the time it ended, tastes had changed. Although the Italianate style remained popular (especially in conservative Baltimore), the antebellum Greek and Gothic Revival styles faded away. Indeed, this whole era in American architecture bears a European name: “Victorian,” for the queen of Great Britain, 1837-1901. Victorian buildings showed off the new products of the industrial revolution then pouring forth a wealth of new building products – cheaper bricks and cut stone, encaustic tiles and terracotta, various forms of structural iron.
The Victorian style from France is named for the Second Empire of the Emperor Louis-Napoleon Bonaparte, who styled himself Napoleon III. It was this Napoleon who extended the Louvre and laid out the boulevards and sewers that made Paris the most modern city in the world in the late 19th century. The Second Empire style became very popular for government buildings after the Civil War; it was sometimes called the “General Grant” style after the 18th President. In Baltimore, George A. Frederick’s design, completed in 1875, employed a good deal of cast iron, including the 227-foot tall dome designed by Wendel Bollman and cast by Bartlett, Robbins, and Company.
About 75 years after their construction, Victorian buildings inevitably came to be seen as downright ugly. In Baltimore, the construction of the Abel Wolman Municipal Building overshadowed City Hall, blocking any views from the north. In the 1970s, demolition of City Hall was seriously discussed. But wiser heads prevailed, and a prize-winning renovation equipped City Hall for continued use as the center of Baltimore’s government.
At the beginning of the railroad era, no one knew what a grand metropolitan rail terminus should look like. In the mid-1850s the Baltimore and Ohio Railroad chose the Italianate style, with bracketed cornices and window arches; a long, symmetrical composition of pavilions and lower hyphens; and a curious skyline of tower and cupolas seemingly drawn from church architecture. At 185 feet, the central tower was the tallest structure in Baltimore when the building was completed in 1867, a beacon for travelers making their way to their trains through the crowded commercial district. As with so many mid-19th century buildings, the architects were Niernsee and Neilson.
With the decline of train service Camden Station declined as well, eventually losing its crowning array of tower and cupolas. In the early 1990s, however, the old station was taken in hand by the architects Cho, Wilkes, and Benn as part of the Oriole Park sports complex. Using fiberglass and other modern materials they reconstructed the stations skyline and prepared the interior for reuse as museum space.
Another version of the Italian palace that dominated Baltimore architecture in the middle of the 19th century was not executed in traditional materials like marble (Peabody Institute) or brick (Old Loyola College). Instead it used cast iron and large sheets of glass – both made more abundant by the Industrial Revolution. In 1850, James Bogardus of New York obtained a patent for a system of iron construction. His first great commission was the Sun Iron Building in downtown Baltimore, sadly destroyed in the Great Baltimore Fire. Bogardus and his imitators went on to build a number of iron-and-glass commercial palaces across the United States, often cast by Baltimore foundries like Heyward, Bartlett, & Co. and Denmead’s Monumental Foundry.
This week is a bit darker than usual with a set of three historic cemetery gates in Baltimore, including the Westminster Burying Ground, Greenmount Cemetery, and the Baltimore Cemetery on North Avenue.
Greenmount Cemetery, courtesy Jack Breihan
Baltimore’s explosive growth in the late 18th and early 19th century soon created a demand for burial sites. The Presbyterian burial ground on West Fayette Street was established in 1786 and is the final resting place of many eminent early Baltimoreans, including Edgar Allen Poe. The Egyptian-style gate was probably added during the eclectic period in American architecture in the 1840s. Later, still larger cemeteries turned to the Gothic Revival style. Robert Cary Long, Jr., designed the elaborate gatehouse for Green Mount Cemetery in the mid 1840s; the less well known gatehouse for Baltimore Cemetery seems to be from about the same era. It stands at the eastern end of North Avenue.
