/items/browse?output=atom&tags=North%20Avenue <![CDATA[Explore 91ĘÓƵ]]> 2025-03-12T11:37:15-04:00 Omeka /items/show/560 <![CDATA[Motor House]]> 2018-11-27T10:33:56-05:00

Dublin Core

Title

Motor House

Subject

Architecture

Creator

Johns Hopkins

Curatescape Story Item Type Metadata

Subtitle

Former "Load of Fun" Building on North Avenue

Story

Built in 1914 for Eastwick Motors, Baltimore’s first Ford dealership, 120 West North Avenue has been home to a surprising array of owners and occupants. After its days with Eastwick (a proud supporter of Amoco gasoline and its American Oil Company Baltimore roots), the building changed hands several times. Subsequent dealers sold cars from mostly forgotten manufacturers including Graham Page, Desoto, and Plymouth. By the mid 1930s, Kernan Motors owned the building and sold Nash, Willys, and Jeep vehicles.

As North Avenue transitioned from a corridor for car dealerships, the building became vacant several times before finally becoming home to the Lombard Office Furniture company in the late 1970s. The business sold well-used metal office furniture.

In 2005, the building became an arts center that included the Single Carrot theatre, a gallery, and studios. The name of the space came about by creatively deleting letters from the existing signage. So, “Lombard Office Furniture” became “Load of Fun” Gallery.

Unfortunately, 120 West North Avenue required major renovations to meet the necessary building codes. BARCO, an arts-based development group, acquired the building in 2013 and began making the necessary changes in order to reopen as a hub for the arts. In 2014, the Baltimore Sun quoted project director Amy Bonitz on the unique historic elements of the building:

"The beauty is nobody has messed up the interior. Some of the wonderful features we've uncovered include the original [auto] showroom with a mezzanine where the managers could oversee the work happening throughout the first floor, including the rooms where the sales agreements were finalized.The front facade also contains beautiful leaded-glass windows with large, pivot windows that will be fully restored. The third floor is also a wide-open space with large skylights where mechanics used to work on cars. We will be saving and preserving the old freight elevator that brought the cars up to the upper floors for servicing as well."

The Motor House held a grand reopening in January 2016 with space for performances, artists, a cafe, and gallery.

Official Website

Street Address

120 W. North Avenue, Baltimore, MD 21218
]]>
/items/show/494 <![CDATA[KAGRO Building]]> 2018-11-27T10:33:55-05:00

Dublin Core

Title

KAGRO Building

Subject

Architecture

Curatescape Story Item Type Metadata

Subtitle

Modernist former Maryland National Bank on North Avenue

Story

The former Maryland National Bank building at the southwest corner of Maryland and North Avenues is a faded but still striking example of the modern architecture that accompanied the city’s growth in the 1950s and 1960s. The Fidelity Baltimore National Bank (a predecessor of Maryland National) opened their first branch location on North Avenue since the late 1930s. In the mid-1950s, the firm built a drive-in on the eastern side of Maryland Avenue—a structure still in use today as the home of K & M Motors.

The local architectural firm of Smith & Veale (Albert K. Broughton serving as the project architect) designed the modern building and the general contractor was the Lacchi Construction Company. Broughton remained a practicing architect in Maryland up through 2002, shortly before his death in 2005. Reflecting the continued importance of automobiles to retail banking, a large parking lot was located on the southern side of the building and the branch was designed so patrons could enter the bank from either North Avenue or the parking lot.

As the building went up in March 1961, the Baltimore Sun touted the bank as the city’s first commercial building with a precast concrete frame. The Nitterhouse Concrete Product Company in Chambersburg, Pennsylvania cast a series of t-shaped elements that were then transported to Baltimore by truck.

The Maryland National Bank sold the property in 1990 and, sometime after 1995, the Korean-American Grocers & Licensed Beverage Association of Maryland (KAGRO) moved into the building as their office. In 2015, the Contemporary occupied the building for an exhibition by artist Victoria Fu. The exhibition, Bubble Over Green, is described as multilayered audio-visual experience consisting of moving images projected onto architectural surfaces, aligning the physical site with the space and textures of digital post-production.

Street Address

101 W. North Avenue, Baltimore, MD 21201
]]>
/items/show/394 <![CDATA[The Hour Haus]]> 2019-01-18T22:54:38-05:00

Dublin Core

Title

The Hour Haus

Curatescape Story Item Type Metadata

Story

The Hour Haus formerly served as a cornerstone for Baltimore's Station North Arts & Entertainment District. Inside you found rehearsal rooms for musicians, a recording studio, a large stage and a revolving cast of colorful characters. For over twenty-five years the Hour Haus survived as functioning music and art space. Unfortunately, the Hour Haus closed in July 2015.

The Hour Haus was once the headquarters of the Maryland and Pennsylvania Railroad. The "Ma and Pa" once operated passenger and freight trains on its original line between York and Baltimore, Maryland, from 1901 until the 1950s. The Ma and Pa gained popularity with railroad enthusiasts in the 1930s and 1940s for its antique equipment and curving, picturesque right-of-way through the hills of rural Maryland and Pennsylvania.

Street Address

135 W. North Avenue, Baltimore, MD 21201
]]>
/items/show/331 <![CDATA[Arch Social Club]]> 2020-10-16T11:32:58-04:00

Dublin Core

Title

Arch Social Club

Creator

Johns Hopkins

Curatescape Story Item Type Metadata

Story

The Arch Social Club at Pennsylvania and North Avenues started its life as Schanze's Theater, a movie house constructed in 1912. After serving time as a Wilson's Restaurant from the 1930s through the 1960s (when the lower facade was covered over), the club bought the building in 1972. Originally located on Arch Street, the club was part of the Victorian-era Reformist Movement that promoted working class men to better themselves through lectures and cerebral recreational pursuits. In 1912, a group of African American Baltimore men founded the Arch Social Club to promote charity, friendship and brotherly love. As many reformist Clubs did, the Arch Social Club grew and evolved into a public house and event hall, uses that continue to this day. In 2013, the club brought back the building's historic façade. The newly restored facade more than sparkles at this key intersection in West Baltimore and stands as a bright reminder of the area’s great heritage and promising future.

Watch our on this site!

Official Website

Street Address

2426 Pennsylvania Avenue, Baltimore, MD 21217
]]>
/items/show/184 <![CDATA[Watson Monument]]>
Taking place on the fifty-seventh anniversary of Lieutenant Colonel Watson’s death during the Battle of Monterey, spectators watched as aged survivors of the war took their places on the grandstand. Meanwhile, they also laid eyes on the over ten-foot statue, draped in the flag that had shrouded Watson’s corpse as it left Mexico. The most symbolic moment came when Watson’s last surviving child, Monterey Watson Iglehart, walked towards her father’s likeness and unveiled the statue. The unveiling by Iglehart, born on the day her father died, was the highlight of a ceremony that included speeches from U.S.-Mexican War veterans, politicians, and other dignitaries.

Given U.S. activity in the Caribbean at the time, and the monument’s connection to the U.S.-Mexican War, the memorial presented a counterpoint to the overall anti-imperialist sentiment that existed in Baltimore. By highlighting the valor and honor of Baltimore’s U.S.-Mexican War heroes, the public viewed the veterans as heroes of a conflict which greatly benefited the United States, as opposed to participants in an unjustifiable land grab. Thus, the monument served to legitimize the United States’ imperialist endeavors of the late-nineteenth and early-twentieth centuries.

The monument, created by sculptor Edward Berge, was originally located at Lanvale Street and Mount Royal Avenue. In 1930, the monument was moved to Reservoir Hill—what was then the entrance to Druid Hill Park—because of a planned extension of Howard Street. Today, the monument blends into the scenery of west Baltimore. The war that it commemorates has faded from memory.]]>
2019-05-07T13:46:14-04:00

Dublin Core

Title

Watson Monument

Subject

Public Art and Monuments

Description

On an auspicious afternoon in late September 1903, a crowd of Baltimoreans converged onto the intersection of Mount Royal Avenue and Lanvale Street to witness the unveiling of the William H. Watson monument. The monument, erected by the Maryland Association of Veterans of the Mexican War, honored Marylanders who lost their lives during the U.S.-Mexican War.

Taking place on the fifty-seventh anniversary of Lieutenant Colonel Watson’s death during the Battle of Monterey, spectators watched as aged survivors of the war took their places on the grandstand. Meanwhile, they also laid eyes on the over ten-foot statue, draped in the flag that had shrouded Watson’s corpse as it left Mexico. The most symbolic moment came when Watson’s last surviving child, Monterey Watson Iglehart, walked towards her father’s likeness and unveiled the statue. The unveiling by Iglehart, born on the day her father died, was the highlight of a ceremony that included speeches from U.S.-Mexican War veterans, politicians, and other dignitaries.

Given U.S. activity in the Caribbean at the time, and the monument’s connection to the U.S.-Mexican War, the memorial presented a counterpoint to the overall anti-imperialist sentiment that existed in Baltimore. By highlighting the valor and honor of Baltimore’s U.S.-Mexican War heroes, the public viewed the veterans as heroes of a conflict which greatly benefited the United States, as opposed to participants in an unjustifiable land grab. Thus, the monument served to legitimize the United States’ imperialist endeavors of the late-nineteenth and early-twentieth centuries.

The monument, created by sculptor Edward Berge, was originally located at Lanvale Street and Mount Royal Avenue. In 1930, the monument was moved to Reservoir Hill—what was then the entrance to Druid Hill Park—because of a planned extension of Howard Street. Today, the monument blends into the scenery of west Baltimore. The war that it commemorates has faded from memory.

Creator

Richard Hardesty
David Patrick McKenzie

Relation

, Richard Hardesty and David Patrick McKenzie, underberlly, January 24, 2013

Curatescape Story Item Type Metadata

Subtitle

Erected by the Maryland Association of Veterans of the Mexican War

Story

On an auspicious afternoon in late September 1903, a crowd of Baltimoreans converged onto the intersection of Mount Royal Avenue and Lanvale Street to witness the unveiling of the William H. Watson monument. The monument, erected by the Maryland Association of Veterans of the Mexican War, honored Marylanders who lost their lives during the U.S.-Mexican War.

Taking place on the fifty-seventh anniversary of Lieutenant Colonel Watson’s death during the Battle of Monterey, spectators watched as aged survivors of the war took their places on the grandstand. Meanwhile, they also laid eyes on the over ten-foot statue, draped in the flag that had shrouded Watson’s corpse as it left Mexico. The most symbolic moment came when Watson’s last surviving child, Monterey Watson Iglehart, walked towards her father’s likeness and unveiled the statue. The unveiling by Iglehart, born on the day her father died, was the highlight of a ceremony that included speeches from U.S.-Mexican War veterans, politicians, and other dignitaries.

Given U.S. activity in the Caribbean at the time, and the monument’s connection to the U.S.-Mexican War, the memorial presented a counterpoint to the overall anti-imperialist sentiment that existed in Baltimore. By highlighting the valor and honor of Baltimore’s U.S.-Mexican War heroes, the public viewed the veterans as heroes of a conflict which greatly benefited the United States, as opposed to participants in an unjustifiable land grab. Thus, the monument served to legitimize the United States’ imperialist endeavors of the late-nineteenth and early-twentieth centuries.

The monument, created by sculptor Edward Berge, was originally located at Lanvale Street and Mount Royal Avenue. In 1930, the monument was moved to Reservoir Hill—what was then the entrance to Druid Hill Park—because of a planned extension of Howard Street. Today, the monument blends into the scenery of west Baltimore. The war that it commemorates has faded from memory.

Related Resources

, Richard Hardesty and David Patrick McKenzie, underberlly, January 24, 2013

Street Address

W. North Avenue, Baltimore, MD 21217
]]>
/items/show/80 <![CDATA[Green Mount Cemetery]]> 2018-11-27T10:33:49-05:00

Dublin Core

Title

Green Mount Cemetery

Subject

Architecture

Parks and Landscapes

Creator

Nathan Dennies

Relation

Curatescape Story Item Type Metadata

Story

Officially dedicated on July 13, 1839 and born out of the garden cemetery movement, Green Mount Cemetery is one of the first garden cemeteries created in the United States. After seeing the beautiful Mount Auburn Cemetery in Connecticut in 1834, Samuel Walker, a tobacco merchant, led a campaign to establish a similar site in Baltimore. During a time in which overcrowded church cemeteries created health risks in urban areas, Walker's successfully garnered support and commissioned plans from architect Benjamin Henry Latrobe, II to establish the Green Mount Cemetery on sixty acres of the late merchant Robert Oliver's estate.

During his life, Walker spared no expense tailoring the beauty of the estate, and left the grounds highly ornamented upon his death. Latrobe's design incorporated all the beautiful features associated with garden cemeteries including dells, majestic trees, and numerous monuments and statues. Amongst the towering hardwood trees in the cemetery is a rare, small-flowered red rose known as the Green Mount Red. Created by Green Mount Cemetery's first gardener, James Pentland, the Green Mount Red can only be found here at Green Mount and on George F. Harison's grave at Trinity Church Cemetery in New York.

Walking into Green Mount Cemetery, the first thing visitors notice is the imposing Entrance Gateway designed by Robert Cary Long, Jr. An example of the Gothic style, the gateway features two towers reaching forty feet and beautiful stained glass windows. The haunting chapel, designed by John Rudolph Niernsee and James Crawford Neilson, is made of Connecticut sandstone and features flying buttresses and an impressive 102 foot spire.

Green Mount Cemetery is famously known as the resting place of a large number of prominent historical figures ranging from John Wilkes Booth, to local philanthropists Johns Hopkins and Enoch Pratt. The graves and sculptures that scatter the cemetery make Green Mount Cemetery a treasury of nineteenth century art.

William Henry Rinehart, considered the last important American sculptor to work in the classical style, had many commissions at Green Mount, and is credited with some of the cemeteries most awe-inspiring pieces. Commissioned by Henry Walters for the grave of his wife, Ellen Walters, Rinehart's "Love Reconciled as Death" depicts a classical Grecian woman cast in bronze strewing flowers. Poetically resting on Rinehart's own grave is his bronze statue of Endymion: the beautiful young shepherd boy who Zeus granted both eternal youth and eternal sleep.

Perhaps the most striking sculpture in the Green Mount Cemetery is the Riggs Memorial, created by Hans Schuler. Schuler was the first American sculptor to win the Salon Gold Medal in Paris, and his mastery shows in the Riggs Monument depicting a grieving woman slouched over a loved one's grave, holding a wreath in one hand and a drooping flower in the other.

Official Website

Street Address

1501 Greenmount Avenue, Baltimore, MD 21202
]]>
/items/show/57 <![CDATA[North Avenue Market]]> 2018-11-27T10:33:49-05:00

Dublin Core

Title

North Avenue Market

Subject

Food and Drink

Creator

Elise Hoffman

Curatescape Story Item Type Metadata

Story

Touted as "modern market in the country," and now considered an early prototype for suburban shopping centers, the North Avenue Market opened in 1928 with twelve retail stores and twenty-two lane bowling alley on the second floor at a cost of $1,850,000.The site of the market between Charles Street and Maryland Avenue had originally been the site of two country houses (including one used by Confederate General Robert E. Lee) but thanks the rapid development of north Baltimore in the early twentieth century the new market drew in fifty thousand visitors on its opening day and soon attracted more than two hundred grocery vendors.

After WWII, however, as many industrial businesses began to leave the area, the market began to decline and only thirty of the stalls were occupied when a destructive six-alarm fire in August 1968 shut down a portion of the market and led to substantial changes for the building. The fire, which started in the Woodlawn Lunch stall, was so hot that it cracked glass display cases and caused canned food to explode. A crowd of eight hundred residents gathered to watch the fire, tragically including elderly market manager, George Horshoff, suffered a heart attack and collapsed while viewing the damage and died shortly after. Two of the main factors in the extensive destruction caused by the fire were a lack of a sprinkler system and the sheet metal window guards, which obstructed fire fighters trying to enter the building.

After the fire, the market was purchased by James and Carolyn Frenkil, owners of the Center City, Inc., development company, who planned to reopen a portion of the market over the next six years and sold the northern portion of the building to be developed into high-rise senior citizen housing. The northern portion of the market was razed to accommodate the seventeen-story retirement home. The remaining part of the building was turned into a supermarket which opened in 1974.

Despite efforts to rejuvenate the building or redevelop any of the property, the heart of the building was closed off and vacant for nearly forty years following the fire. In 2008, a $1 million project for the building was launched to restore the building as an "arts-focused mix of shops, eateries, and offices." The rehabilitation process for the property is still ongoing, but has been successful so far. In 2012 the continued rehabilitation project for the market was awarded grant money from the Maryland Department of Housing and Community Development as well as from the Central Baltimore Partnership. The newest plans for the space include new paint, addition lighting, and re-opening exterior windows that were covered decades ago.

Related Resources

Street Address

12-30 W. North Avenue, Baltimore, MD 21218
]]>
/items/show/18 <![CDATA[Morgan Millwork Company]]> 2019-05-09T21:19:52-04:00

Dublin Core

Title

Morgan Millwork Company

Subject

Architecture
Industry

Creator

Eli Pousson

Curatescape Story Item Type Metadata

Subtitle

Former Factory Turned MICA Graduate Studios

Story

The Morgan Millwork Company, now known as the MICA Graduate Studio Center, is a product of Baltimore's once vibrant industrial development and a clear reflection of how industry has struggled in Baltimore over the past 50 years. J. Earl Morgan together with his cousin, Albert T. Morgan, incorporated the Morgan Company in Osh Kosh, Wisconsin in 1889, building on an enterprise first established by their fathers in 1868 to manufacture processed lumber and shingles. Here in Baltimore, J. Earl Morgan partnered with Charles A. Hanscom to start a Baltimore office for the Morgan Millwork Company in 1910. Within a few years, they purchased a property from Frank Ehlen on the south side of North Avenue just west of Maryland Avenue with the plan to construct a "sales distributing plant" for $60,000.

The Morgan Millwork Company remained on West North Avenue for nearly 60 years, selling and distributing a range of building products produced by Morgan Millwork, Andersen Window-all, Armstrong Cork and others, to contractors, lumber yards and building supply firms. In 1971, the company announced their plans to move from North Avenue to a new 90,000 square foot office in Baltimore County in a 1,000-acre industrial complex known as Chesapeake Park, developed by the Martin-Marietta Corporation.

Next to take over the building, was Max Rubin Industries, a Baltimore clothing manufacturer established by Max Rubin — a unique character with a personal passion for poetry and a reputation for employing people with disabilities. Over the years, Rubin wrote over three thousand poems on such varied topics as the 1952 Baltimore transit strike and the historic old Otterbein Church (located across the street from one of his factories) gaining him recognition as the Poet Laureate of Baltimore in 1947. His business grew from a modest start in the 1920s with a small chain of stores in West Virginia and Pennsylvania before he moved to Baltimore in the 1930s. By the 1970s had become one of the city's oldest clothing manufacturers. Regrettably, the loss of a large government contract and the challenges of the late 1970s recession brought an end to the business in 1983. On Christmas Day, a small classified ad appeared announcing an auction to sell of all the sewing machines, cutting tables and clothes presses at West North Avenue on January 9, 1983.

Even as Baltimore's struggling textile industry continued to slide, in 1984 this building again found a use as a factory for Jos. A. Bank Clothiers to produce suit coats at the rate of 5,000 a week. Jos. A. Bank has deep Baltimore roots, dating back to 1905 when 11-year old Joseph A. Bank got a job working for his grandfather, Charles Bank, cutting trousers in the family owned factory. The firm continued to produce clothes at Baltimore factories until they ended all production in the United States in the mid-1990s.

For the past fifteen years, the building has been occupied as studios for students at the Maryland Institute College of Art. The building is currently undergoing a transformation into a hub for MICA's graduate study programs with renovations led by architects Cho Benn Holback + Associates to create shared galleries, a lecture hall, meeting rooms, work and fabrication space, café, and painting, mixed-media and photography studios.

Official Website

Street Address

131 W. North Avenue, Baltimore, MD 21201
]]>
/items/show/17 <![CDATA[Centre Theatre]]>
The interior of the Centre Theatre featured a mural symbolizing entertainment and captioned, "Man works by day; night is for romance." by R. McGill Mackall, a MICA-trained Baltimore native who painted 53 large public murals in the city over his career. The design by Philadelphia architect Armand Carroll, described by the Sun as "conservatively modern" with decoration "intended to soothe rather than startle the spectator," won an award for "architectural attainment" from the Baltimore Association of Commerce as the best "Retail Commercial Building" built in 1939. When the theatre opened, Mechanic had an office on the second floor with a window "fitted with special glass... invisible from the theatre, the window permits anyone in the office to see the picture on the screen."

Morris Mechanic closed the theatre, later known as the Film Centre Theatre, on April 16, 1959, after the Equitable Trust Company announced plans to enlarge the complex and move their operations department into the building early in 1960. The bank planned to add a third story and "special dust-free areas... to create the exact atmospheric conditions required for the most efficient use of highly sensitive automated electronic equipment." One example offered for this new equipment included a $55,000 sorting machine that sorted checks and other documents at a rate of 1,000 a minute guided by "magnetic ink" rather than "the familiar punch card holes." The radio station and the bank remained through the 1990s, later purchased by a church and over the past few years has deteriorated significantly.

The building has a new future ahead after it was purchased by local non-profit developer Jubilee Baltimore with support from MICA and the American Communities Trust. The building will be restored and re-used as a for film screenings, music, artists' studios, galleries, a playhouse and more.]]>
2018-11-27T10:33:48-05:00

Dublin Core

Title

Centre Theatre

Subject

Architecture
Entertainment
Economy

Description

The Centre Theatre opened on a February evening in 1939 with a Hollywood-style opening as "a thousand invited guest walked through the glare of spotlights while newsreel photographs turned their cranks and candid camera fans sniped from the sidelines." Crowds poured in to the theatre and turned to the circular proscenium covered with gold leaf and illuminated by hundreds of lights for a preview showing of "Tail Spin." The $400,000 new building was not just a theatre but included a whole complex with the WFBR radio station and studios, a branch bank office for the Equitable Trust Company, and a garage. Owner Morris A. Mechanic was born in Poland on December 21, 1904 and emigrated to Baltimore with his parents as a child. In 1929, Mechanic worked as the principal at a Hebrew School on West North Avenue and owned a chocolate shop downtown, when he decided to purchase the New Theatre as a real estate investment. The New Theatre's "box-office bonanza" success during a showing of "Sunny Side Up" encouraged him to stick with the theatre business for the rest of his life, owning dozens of theaters over the years before his death of a heart attack in July 1966.

The interior of the Centre Theatre featured a mural symbolizing entertainment and captioned, "Man works by day; night is for romance." by R. McGill Mackall, a MICA-trained Baltimore native who painted 53 large public murals in the city over his career. The design by Philadelphia architect Armand Carroll, described by the Sun as "conservatively modern" with decoration "intended to soothe rather than startle the spectator," won an award for "architectural attainment" from the Baltimore Association of Commerce as the best "Retail Commercial Building" built in 1939. When the theatre opened, Mechanic had an office on the second floor with a window "fitted with special glass... invisible from the theatre, the window permits anyone in the office to see the picture on the screen."

Morris Mechanic closed the theatre, later known as the Film Centre Theatre, on April 16, 1959, after the Equitable Trust Company announced plans to enlarge the complex and move their operations department into the building early in 1960. The bank planned to add a third story and "special dust-free areas... to create the exact atmospheric conditions required for the most efficient use of highly sensitive automated electronic equipment." One example offered for this new equipment included a $55,000 sorting machine that sorted checks and other documents at a rate of 1,000 a minute guided by "magnetic ink" rather than "the familiar punch card holes." The radio station and the bank remained through the 1990s, later purchased by a church and over the past few years has deteriorated significantly.

The building has a new future ahead after it was purchased by local non-profit developer Jubilee Baltimore with support from MICA and the American Communities Trust. The building will be restored and re-used as a for film screenings, music, artists' studios, galleries, a playhouse and more.

Creator

Eli Pousson

Curatescape Story Item Type Metadata

Subtitle

Bright Marquee Lights and a Restored North Avenue Landmark

Lede

The Centre Theatre opened on a February evening in 1939 with a Hollywood-style opening as "a thousand invited guest walked through the glare of spotlights while newsreel photographs turned their cranks and candid camera fans sniped from the sidelines." Crowds poured in to the theatre and turned to the circular proscenium covered with gold leaf and illuminated by hundreds of lights for a preview showing of "Tail Spin."

Story

The $400,000 building (a transformation of an earlier auto dealership) was not just a theatre but included a whole complex with the WFBR radio station and studios, a branch bank office for the Equitable Trust Company, and a garage. Owner Morris A. Mechanic was born in Poland on December 21, 1904 and emigrated to Baltimore with his parents as a child. In 1929, Mechanic worked as the principal at a Hebrew School on West North Avenue and owned a chocolate shop downtown, when he decided to purchase the New Theatre as a real estate investment. The New Theatre's "box-office bonanza" success during a showing of "Sunny Side Up" encouraged him to stick with the theatre business for the rest of his life, owning dozens of theaters over the years before his death of a heart attack in July 1966.

The interior of the Centre Theatre featured a mural symbolizing entertainment and captioned, "Man works by day; night is for romance." by R. McGill Mackall, a MICA-trained Baltimore native who painted 53 large public murals in the city over his career. The design by Philadelphia architect Armand Carroll, described by the Sun as "conservatively modern" with decoration "intended to soothe rather than startle the spectator," won an award for "architectural attainment" from the Baltimore Association of Commerce as the best "Retail Commercial Building" built in 1939. When the theatre opened, Mechanic had an office on the second floor with a window "fitted with special glass... invisible from the theatre, the window permits anyone in the office to see the picture on the screen."

Morris Mechanic closed the theatre, later known as the Film Centre Theatre, on April 16, 1959, after the Equitable Trust Company announced plans to enlarge the complex and move their operations department into the building early in 1960. The bank planned to add a third story and "special dust-free areas... to create the exact atmospheric conditions required for the most efficient use of highly sensitive automated electronic equipment." One example offered for this new equipment included a $55,000 sorting machine that sorted checks and other documents at a rate of 1,000 a minute guided by "magnetic ink" rather than "the familiar punch card holes." The radio station and the bank remained through the 1990s before the theater was turned into a church. Unfortunately, without the resources for essential maintenance the building deteriorated significantly and was mostly abandoned for a decade.

In 2011, Jubilee Baltimore acquired the building at auction for $93,000 and started working to redevelop the sadly neglected site. In partnership with Johns Hopkins University and Maryland Institution College of Art (MICA), along with support from the American Communities Trust and TRF, Jubilee Baltimore restored the exterior back to its original appearance, lit up the marquee, and transformed the interior into offices and community space for film screenings, music, classrooms, galleries, and more. The Centre Theater reopened to the public in 2015.

Related Resources

Official Website

Street Address

10 E. North Avenue, Baltimore, MD 21218
]]>
/items/show/16 <![CDATA[Parkway Theatre]]> 2018-11-27T10:33:48-05:00

Dublin Core

Title

Parkway Theatre

Subject

Entertainment
Architecture

Creator

Elise Hoffman
Eli Pousson

Curatescape Story Item Type Metadata

Story

Occupying a busy corner at Charles and North, the magnificent Parkway Theater entertained audiences in Central Baltimore for decades with everything from vaudeville and silent movies to nightly live radio productions. Although abandoned for over a decade, the Parkway Theater is poised for renewal as developers vie for the chance to remake the handsome Italian Renaissance building for new crowds of Baltimore theater-goers.

Built in 1915, the Parkway was closely modeled on London's West End Theatre, later known as the Rialto, located near Leicester Square with shared features like the interior's rich ornamental plasterwork in a Louis XIV style. The architect, Oliver Birkhead Wight, was born in Baltimore County and designed a number of theaters around the city: the New Theater (now demolished) on Lexington Street, the Howard Theater around the corner on Howard Street, and the McHenry Theater on Light Street in Federal Hill.

Originally envisioned by owner Henry Webb's Northern Amusement Company as a 1100-seat vaudeville house, the theater added a movie projector even before they opened, screening "Zaza" starring leading Broadway actress Pauline Frederick for opening night on October 23, 1915. An early account of the theater remarked, "The lights radiating from the roof of the building as well as from the brilliantly lighted entrance, make an appreciable addition to the illuminations of North avenue which is fast becoming a nightly recreational center for the residents of the northern part of the city."

Loew's Theatres Incorporated bought the business in 1926, one of the scores of theaters across the Midwest and East Coast purchased by entrepreneur Marcus Loew as he grew his Cincinnati-based chain across the country. The new owners extensively remodeled the theater and replaced the original Moller Organ (Op. 1962, II/32) with a Wurlitzer theater organ. Loew's staged a grand re-opening along with the downtown Century Theater that they acquired and re-opened at the same time as the Parkway.

During the late 1940s and early 1950s, a group produced a nightly live radio program at the Parkway entitled "Nocturne" featuring poetry readings interspersed with musical selections on the organ. Morris Mechanic, a local theater operator who opened the Center Theater down the street in 1939, purchased the Parkway and closed the doors in 1952. Many thought that this might be the end of the Parkway, by then one of the oldest theaters in Baltimore City, and Morris Mechanic suggested that the building might be turned into offices.

Fortunately, the theater changed hands a few more times, spending a season or two as a live theater, before finally reopening with a new name — "5 West" — in 1956. With an eclectic mix of old movies, foreign films, and live performances, 5 West continued through the mid-1970s when it closed for good. Despite a handful of attempts to reuse the building in the 1980s and 1990s, the Parkway was closed from 1998 through 2017. In 2017, the Parkway reopened as The Stavros Niarchos Foundation Parkway—a complex of three theaters and the headquarters for the Maryland Film Festival.

Official Website

Street Address

5 W. North Avenue, Baltimore, MD 21201
]]>