At the southwest corner of Chase and St. Paul in November 1912, the Algonquin Building Company completed a modern ten-story apartment house that neatly complements the historic 1903 Belvedere Hotel down the block. Architect William Nolting, of Wyatt & Nolting, evidently liked the building so much he moved in and lived there for nearly twenty years. The Algonquin Building Company was organized by Webb & White, a partnership of George R. Webb, a Baltimore capitalist who helped to consolidate the city's many street railway companies, and Theophilus White, a successful executive in the new telephone industry. The partnership purchased the building lot on Chase Street from General Francis E. Waters, a local lumberman and financier.
Designed by architects Wyatt & Nolting and built by J. Henry Smith & Sons Company at a cost of $200,000, the new building was nine stories high with terra cotta details on the first three floors. Each floor contained two "large housekeeping apartments and two bachelor suites."
The firm of Wyatt & Nolting began in 1887, a partnership of Baltimore native James B.N. Wyatt and William G. Nolting. The partnership also designed the Walbert apartments just up the street at Charles and Lafayette. Nolting not only designed the Algonquin but became one of its first residents, living in apartment E-8 from 1917 through 1936. After his death in 1940, the Baltimore Sun devoted an editorial to expressing regret for his passing, describing Nolting as "one of the very small group of architects–small nationally as well as locally–who by main strength lifted American architecture out of the doldrums in which it had rested during the latter part of the nineteenth century and gave it new vitality."
In the 1940s, the building converted its apartments to doctors' offices and became known as the Medical Arts Building. In 2015, after several years of vacancy, the building reopened with fifty-six new market-rate apartments. Waldon Studio Architects converted the original luxury apartments into smaller, energy-efficient units with a design that sought to comply with current codes while preserving original historic details.
"My library shall be for all, rich and poor without distinction of race or color, who, when properly accredited, can take out the books if they will handle them carefully and return them."
These were the words of Enoch Pratt in 1882 when he gave a gift of over $1 million to Baltimore City to create a central library and four branches. By 1894, the Pratt Library had the fourth largest collection in the country and one of the most active circulations.
With assistance from Andrew Carnegie, the library system and its branches grew tremendously in the early 1900s, expanding to over 20 neighborhood branches. In 1927, the citizens of Baltimore voted to spend $3 million in city funds to build a new Central Library building.
The construction of the current central library building on Cathedral Street began in 1931 and was completed in 1933. Architect Clyde N. Friz hoped to avoid the old-fashioned institutional character of the past in his design and instead to give the library "a dignity characterized by friendliness rather than aloofness," as Pratt Director Joseph Wheeler stated. The new building allowed the library to form specialized departments, such as "education, philosophy, and religion," "industry and technology," as well as the "popular library," now known as the fiction section.
Although allowing for expansion, the design of the new building retained one of Pratt's steadfast requirements: that there be no stairs leading into the main entrance. This seemingly odd requirement, and one that certainly went against the grain of architectural design for grand civic institutions at the time, was based Pratt's philosophy that the library should be open to all people. Pratt saw grand stairs as an impediment, especially to a growing segment of the reading population: women who may be pushing babies in strollers.
Far before the advent of the Americans with Disabilities Act and its accessibility requirements for public buildings, the main entrance to the library pointedly tell the story of Pratt's vision and commitment to inclusivity.
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