Posts by Neil Flanagan
|Neil Flanagan grew up in Ward 3 before graduating from the Yale School of Architecture. He is pursuing an architecture license. He writes on architecture and Russia at цarьchitect.|
A team of professionals looking at DC's zoning concluded that the 1958 code was hopelessly outdated, and found an urgent need for a new code. That report was in 1973. Four decades later, the code will continue getting older, as Mayor Vincent Gray asked the DC Zoning Commission to wait until September before deliberating on the proposed zoning update.
After over five years of public hearings and meetings to write a new code, the DC Office of Planning submitted it to the Zoning Commission, the hybrid federal-local board which has the final say over zoning in DC, last year.
There have been seven months of hearings already, with exhaustive chances for everyone to learn about the code and speak their minds. But Gray now wants changes, including ones that will add housing and help people age in place, to wait even longer.
The commission "set down" the code for public comment and hearings on September 9th, 2013. There were public hearings in November, but when some residents said they hadn't had enough time to read the new code, the commission added another set of hearings in January and February. There are two more hearings, for Wards 7 and 8 on April 21 and citywide on April 24, to give people yet another chance to speak.
But this week, the Gray administration decided to ask for even more delay, and the Zoning Commission extended the deadline to September 15, over a year after they set down the proposals.
The delay was almost another year longer than that. Gray wrote September 15, 2015 in a letter, but the zoning commissioners decided to assume he meant September 15, 2014.
Some commissioners argued that the process had gone on long enough, while others welcomed even more time. Rob Miller, a Gray appointee to the board, said, "Going through this process for seven years, what's another six months?" By that token, what's another seven years? The code has sorely needed revision for over 40 years.
Major problems with the zoning code were evident in 1970
In a July 1970 report, planning consultant Barton-Aschman Associates looked back at the code from the far side of highway protests, racial tension, riots, environmentalism, urban renewal, and the Metro system.
They didn't like what they saw. Despite some patches after Home Rule, the language was outdated and the code had major flaws. The study said,
A considerable number of provisions are archaic or substandard and need to be systematically reviewed and modernized. New techniques should be developed to accommodate changing market demand, technological advances, and new social conditions and programs.Studies for the original code by its principal author, Harold Lewis, predicted that 870,000 people could live in DC under his zoning regimen. But that assumed people continued to have large families and drove everywhere, and that no historic neighborhoods would be preserved. The 1970 report criticized these assumptions as already out of date.
The 1958 code also did not plan for a city with Metro, with the lower dependence on driving and greater densities that made possible. The 1970 report argued,
Perhaps the Metro system alone is a sufficiently important factor to justify a complete review of policies assumed in the 1956 Zoning Plan and reflected in the existing Zoning Regulations.In 1976, 18 years after the zoning code was written, a panel of citizen representatives agreed that a zoning code which separated residential from commercial uses was harming the city:
The rigid separation of uses contemplated by our existing zoning is no longer desirable in many instances, and indeed, the separation of residential and commercial uses contributes positively to the increasing deadening of Downtown after dark.The Special Citizens Advisory Committee on Urban Renewal included the 1958 code as part of the policies of an unrepresentative government that had decimated the city with slum clearance and highway construction. In the same period, the city made some additions to the planning laws, including Advisory Neighborhood Commissions and the Planned Unit Development process.
Downtown got new zoning in 1991 and amendments in 2000, and DC has added overlay districts to tweak zoning in many residential neighborhoods, but for most of the city, the zoning remains substantially the same as in the 1968 plan, and many of its problems were never solved.
For decades, people have said the zoning code is out of date. The earliest response to the highway riots questioned the zoning produced at that time. Then, one of the first actions of an independent DC was to question the land use regulation that was tied up with urban renewal. They patched the regulations up, but didn't reconstructed them in a way that improved stability and quality of life over the long term.
Some people say that changes to the zoning code will only worsen existing problems. But many of those problems exist because of the way the zoning is written now. Perhaps the city has become comfortable with the problems it's known about for 40 years. The risk of short-term pain is not a good enough reason to delay a much-needed update any more.
The simple Commodore Barry monument in Franklin Square gets lost among the many dead generals of Washington. The original design was very different, but was scuttled amid battles over how much a memorial in Washington, and immigrants in American society, should maintain a clear identity or assimilate into the conventional.
In 1906, an alliance of Irish-American groups decided they wanted a monument that would assert their participation in the founding myth of the United States. This had been denied; before 1700, the principal means of Irish immigration was through indentured servitude. The Irish, upwardly mobile and increasingly tired of their second-class ethnic status, were arguably making a bid to become fully a part of white culture.
The Ancient Order of Hibernians, a friendly society, saw the Revolutionary War naval hero John Barry as precisely the man to plug into the American foundation myth. The French had done it with Rochambeau and Lafayette. The Poles would do the same with Kościuszko, and the Germans with von Steuben.
The jury's eyes smiled upon an Irish-American devotee of Rodin, Andrew O'Connor. From Paris, he contrasted a naturalistic portrait of Barry with impressionistic depictions of Irish history. A freestanding personification of Ireland blends into a low relief depicting Irish history. After St. Patrick, the frieze turns quickly toward English oppression, until it terminates in tormented nudes looking west across the ocean to a new life. (R-L)
Situating Barry in a narrative of British violence was wildly unconventional, but completely accurate. Protestant landowners expropriated the Barry family farm when John was a child, casting him into even more abject poverty. He was at sea by 14.
The statue of Barry is tough, if not butch. He's leaning into the deck of a rocking of a ship, staring at a threat unseen. O'Connor exaggerated his hands and face to realize a psychological intensity that is present in only a few monumental sculptures in DC, Henry Schrady's Grant, and the Adams Memorial.
As far as I know, only the Eisenhower Memorial combines freestanding portraiture in front of bas-relief sculptures in a way that comes close to O'Connor's layering. The flickering of a radical direction for traditional sculpture appealed to artists steeped in psychology and modern philosophy but made enemies of Washington elites and populist conservatives.
The Hibernians balked at what they saw as a reification of hot-tempered Papist carnality. It's an altar behind a rail, for God's sake! And all that affliction was just so terribly 1545. It wasn't hard for the groups to push the stereotype further and see the statue of Barry as little more than a Bowery thug in Colonial duds. And those eagles...
The Hibernians wanted a statue that would include one of their own into the genteel pedigree of the memorial landscape. Looking around, that seemed to be mostly men in Classical repose with bald assertions of greatness. All this emphasis on misfortune and victimization was effete nonsense.
Controversy over the design went on for three years. A number of Beaux-arts sculptors and architects spoke out in favor of the design. In the end, the Hibernians reminded President Taft of their voting power, and he rejected the design on June 1st, 1909. The replacement is a competent statue by John Boyle, with an aristocratic commodore and a vacant female allegorical figure.
Like so many competitions, the winner judged by peers was brushed aside by the actual power behind it. After having a contest to make it look open and democratic, they put up whatever they actually wanted.
As one might expect, the appeal to respectability didn't work. At the dedication in 1914, Woodrow Wilson sniped at "Americans with hyphens" who wanted respect without shedding their identities.
Franklin Square, which seemed so promising at the time, never became a memorial ground like Lafayette Park. It never worked as a city park, either. Attention shifted elsewhere, leaving Barry adrift and alone.
Images: O'Connor design from Kirk Savage and the National Archives. Boyle design from the Commission on Fine Arts. A version of this post appeared on цarьchitect.
How much would Frank Gehry's design for the Eisenhower Memorial cost? A lot, but not more than other similar memorials if you adjust for the rising cost of construction.
At the recent National Capital Planning Commission meeting, the memorial's executive architect, Daniel Feil, stated that the hard costs, including parts and labor, of their design, include the metal tapestries which NCPC disapproved, would be $65-75 million.
Including "soft costs" for items such as construction overhead, insurance, and payments to DDOT for lost parking meter revenue, the budget will likely be about just shy of $100 million, according to the memorial's 2015 Budget Justification document.
There is no evidence for wild cost escalation. The competition announcement expected $55-75M in hard costs, and the announcement of the finalists listed $100M in total cost. The $144M figure that pops up is the expected expenditure of the entire Memorial Commission, 2009-2017.
How does that stack up against other memorials?
Critics have highlighted the cost and size of the memorial relative to comparable projects. Certainly the size can be debated. In fact, the most frequent criticism from the Commission of Fine Arts is that the site is too large, irrespective of the architect.
However, many critics use the wrong price index and don't account for the decreasing availability of highly skilled craftsmen over the years.
Most people know the Consumer Price Index (CPI) as a tool to calculate inflation. CPI follows the prices in a "basket" of consumer goods, but doesn't reflect construction materials. Construction, like all industries where labor can't be outsourced or automated, has seen inflation rise much faster than CPI.
There are, however, construction-specific price indices that calculate costs using a basket of construction goods. The most well-regarded is the Construction Costs Index, published by Engineering News-Record. If we use CCI to compare total cost of construction for major memorials nearby, the results are surprising.
|Hist. Cost||Year||Index||CCI estimate||CPI estimate|
In this light, the memorial is within the cost range of similar memorials. These costs don't even take into account major changes in financing, liability, or code requirements. Furthermore, the basket of goods in the CCI reflects material and labor costs for basics like wood, concrete, and steel. It does not include the high-grade finishes and highly-specialized skills required for stonework and bronze.
Where's the money going?
The Memorial Commission declined to provide a detailed cost breakdown, but Daniel Feil said at the meeting that one-third of the memorial's cost is reconstructing the ground. The site currently has a few grass patches and a plaza split by a road. The soils are compacted and a number of utilities run through the site.
In order to bring the soil up to National Park Service's standards for the National Mall, the design relocates utility lines and replaces the first five feet of soil.
Often, the most mundane elements of a design are the most costly. As seen in the cost of underground parking, excavation is very expensive and landscaping isn't much cheaper. Any memorial that occupies the right-of-way also requires relocating utilities to construct foundations or avoid ripping up the ground to repair utilities.
Is the cost fair?
As a number of critics have noted, recent memorials have become larger and more landscaped. Kirk Savage, author of Monument Wars, ties this to a greater emphasis on personal experience in a memorial, beginning with the McMillan Plan and escalating with Vietnam and FDR.
At the same time, the construction industry faces very serious problems with its costs. It is one of the few industries to become less efficient since 1970. How they'll reverse this trend is a billion-dollar question.
Both of these issues will remain big problems for our memorial landscape, and continue to dog the Eisenhower Memorial, however it gets built.
After a five-hour hearing yesterday, the National Capital Planning Commission decided not to approve the current design for the Eisenhower Memorial. Although the commissioners praised various elements of the design, they found that the size and location of the 80-foot metal tapestries unacceptably disrupted key viewsheds and divided the site too starkly.
The "disapproval" does not mean a restart. Congressman Darrell Issa, who holds a seat on the commission as chairman of the House Oversight Committee, made a rare personal appearance. (NCPC formally includes multiple Congressional chairmen and Cabinet secretaries, but most of the time, staff from those committees and agencies actually go to the meeting.)
Issa pushed for NCPC to have the design team back every other month until they get the memorial approved, a motion which passed 7 to 3. Issa explicitly emphasized that the decision today was not a rejection.
NCPC voted to accept the staff's recommendations, meaning their interpretations of the design principles are no longer up for debate. The memorial cannot visually disrupt the 160-foot Maryland Avenue right of way. Any structures must be 50 feet or more from Independence Avenue. And the design can't divide the space into multiple precincts.
On the other hand, NCPC rejected calls from the Committee of 100 to retain the vehicular roadway on Maryland Avenue as a twin of Pennsylvania Avenue. The memorial will cut off one block of Maryland Avenue. It's not clear if the staff's strict interpretation of the L'Enfant Plan viewshed applies to other projects, such as the DC streetcar.
Public and commissioners had many objections
Just over half of the public comments disapproved of some aspect of the design, for different reasons.
Robert Miller, a mayoral appointee One of the commissioners said he didn't care about the intrusion to Independence Avenue, but cared a great deal about how the memorial intruded into the Maryland Avenue viewshed.
John Hart, the presidential appointee from Maryland, said he admired the tapestries, but found the size of the columns unacceptable. Issa felt that without representations of Eisenhower's life, the tapestries lost their original appeal. He and Department of Defense representative Bradley Provancha asked for more content about Eisenhower's domestic achievements.
The commissioners that have already worked on the project, the National Park Service's Peter May and Mina Wright from the General Services Administration, were its principal defenders. They challenged the process, the interpretation of the design principles, and political involvement. NPS is set to own the memorial, while GSA will manage the construction.
May and Wright both spoke out about the many erroneous claims made during testimony, for and against. Wright specifically asked the EMC staff architect to correct some facts. Peter May said that if the accusations of flimsiness about the tapestries were true, the Park Service would not have approved the memorial.
In the strangest moment of the day, Illinois Congressman Aaron Schock eloquently condemned a version of the memorial that has been obsolete since at least May 2013.
What happens next?
There is no doubt that the tapestries, as we've seen them so far, will not reappear. They may shrink, or they may disappear, leaving the memorial core as the most prominent element. I think that the core tableau has become the strongest element of the design, and can survive the loss of the tapestries.
There is also a strong possibility that architect Frank Gehry will walk off the project. That does not necessarily mean that the current scheme will leave with him. Under the contract, the Memorial Commission owns the design, which is 95% complete. Given the political climate at the NCPC meeting, if the architect left, it's likely they would continue to alter the design without Gehry Partners.
Taking control of the design away from the designer has a long history in Washington. The most notable example is right across the street. The National Museum of the American Indian fired architect Douglas Cardinal in a financial dispute, but the final design is clearly his.
The final possibility is that the memorial commission will scrap the design. Longtime critics of the memorial have proposed selecting a new designer in a competition. Given the repeated insistence that the design process end soon, it seems unlikely enough people would be willing to risk another extended design process.
Long processes are not uncommon to the history of memorial designs. The FDR memorial went through four years of design review, just to wait 17 years for funding. The challenge will be trying to find conceptual clarity and design integrity amid the increasingly complex pressure.
Correction: Robert Miller has posted a comment saying he was not the one who worried about the Maryland Avenue viewshed; his main objection is with the columns. We have removed Miller's name from that comment in the article.
A proposed memorial to President Eisenhower in Southwest DC keeps trudging through the federal approvals process, even as it's surrounded by controversy. But federal planners want some changes, especially to the way the memorial affects views of the Capitol.
The National Capital Planning Commission (NCPC) will review the project at its meeting Thursday. NCPC doesn't decide whether the memorial is aesthetically good enough; that job lies with the Commission on Fine Arts. But it will consider whether the design meets various technical requirements, complies with federal laws on memorials, and most of all how it fits into the commission's interpretation of the L'Enfant Plan.
The NCPC staff recommendation carries a lot of weight with the commission board, which will make the decision. The big news in the report was that repeated tests found that the 80-foot-tall stainless steel tapestries, which are a major (and very controversial) part of the design, dramatically exceeded durability requirements.
The National Park Service also found that the memorial's maintenance costs would be about the same as those of the Martin Luther King, Jr. Memorial, and less than half of the World War II Memorial's.
The report says that the current design meets 4 of the 7 principles NCPC set down for the memorial in 2006: It creates a green space, respects the surrounding architecture, helps to restore Maryland Avenue, and creates a unique commemorative space.
However, the staff had some objections about how the tapestries affect the monumental openness the NCPC sees in the L'Enfant Plan. Other concerns revolved around lighting and pedestrian circulation.
The design of the memorial has changed considerably over the past four years. Critics have portrayed Frank Gehry's attitude as inflexible, but the NCPC submission package shows a dizzying number of alternatives and tweaks. Documents given to the CFA show even more.
In the wake of a bitter conflict with President Eisenhower's grandchildren, Gehry added larger-than-life statues in front of the bas reliefs, adjacent to a life-size statue of teenaged Eisenhower. These changes rightly put more emphasis on Eisenhower's accomplishments.
Officials wanted to be sure the tapestries would survive exposure to the elements over a long period of time. Independent studies tested tapestry elements' resistance to corrosion, impact, and fatigue. The corrosion tests subjected the tapestry to water, salt, soot, and sulfur dioxide, simulating acidic pollution that causes damage to the stone and bronze typical of DC's monuments.
Using the stainless steel alloy that the fabricator has chosen, 317L, there was almost no corrosion, and welds held 5 times the expected load even after a thousand-hour salt water shower. The National Institutes of Standards and Technology, the Department of Defense, and the Smithsonian Institution concluded that the tests met their standards.
The Park Service also dismissed concerns from opponents that trash would accumulate; the largest concern seems to be that the designers did not pay enough attention to the effects of bird poop.
Viewsheds strike again
However sturdy, the tapestries infringe on the Maryland and Independence Avenue rights-of-way, the NCPC staff report argues, and diminish the significance of the surrounding buildings in making an urban space.
The report finds that the tapestries and columns change the view towards the Capitol significantly, specifically narrowing it from the full 160-foot right-of-way to a 95-foot gap. The Gehry team argues that the rules permit artworks like the tapestries to occupy the right-of-way, but not a 50' gap at the center called the cartway. The designers say that the tapestries frame the view of the Capitol Dome, bringing more attention to it.
NCPC staff agree in principle, but say the 10' diameter, 80' tall columns and semi-opaque screens impact the view enough to violate this rule. Moreover, they say this approach contradicts L'Enfant's vision for wide-open monumental avenues.
Similarly, the NCPC report found that one column along Independence Avenue extends past a 50-foot setback line matching the adjacent Wilbur Wright (FAA) and Wilbur Cohen (SSA) buildings. The design team argues that since setbacks on Independence Avenue range from 24' to 133', NCPC's choice to use directly adjacent buildings is arbitrary.
Finally, the report finds that the way the tapestries create a semi-transparent precinct within the existing building fabric overshadows the existing buildings, particularly the LBJ Department of Education building. The bottom third of the tapestries would be almost solid, the middle section would be around half solid, and the top, around 20%. The report deems this level of density to be too high to respect the architecture of the building behind it.
I understand the concerns of the NCPC staff. The L'Enfant Plan is a landmark that deserves respect. However, compared to the rigor of the technical analysis, the justifications for the principles are a little thin.
Unoccupiable columns are not buildings. Semi-transparent screens are not simply walls. The reciprocal views aren't ruined on Maryland Avenue. Screening a background isn't the same as blacking it out. Using the unremarkable, objectlike Wilbur Wright Building to establish a 50' setback needs more justification than what's in the report, particularly since NCPC violated its own height rules to approve the MLK memorial.
Conceptually, treating the 160-foot corridor as the total viewshed turns it into a beautiful abstraction unmoored from the experience of people actually there. It defers too much to the beautiful emptiness that's great for looking at but not so good for daily life.
There's already a stately, monumental avenue across the Mall. The Eisenhower Memorial offers a future for Maryland Avenue that preserves the key view while putting pedestrians first.
The memorial's most underappreciated aspect is the proposed LBJ Promenade, a street-sized walkway framed by the Education building and the tapestries. Meant to make more of pedestrian connection than is currently there, that kind of dense space is what a live-work Southwest needs. The NCPC may still find fault with the position of the tapestries, but I'd be more persuaded by their reasoning if they emphasized the tidiness and monumental emptiness less for this site.
The Eisenhower Memorial still has a long way to go before a shovel hits the ground. The agencies with power to approve or halt the memorial have very different opinions. The Commission of Fine Arts likes how the tapestries frame the view to the Capitol, but a few members question their ability to enclose the space. A Congressional committee has proposed stripping funding from the memorial for the year, but that might change if NCPC approves the design. There is a lot of uncertainty at this time.
At the same time, the team has met many of the objections from the Eisenhower grandchildren. The technical evaluations of the memorial have been promising. The doubt in my mind has been eroding. It's too early to count the memorial out.
As part of a deal to build a replacement for the Tenleytown Safeway, residents are looking for the right public benefit to ask for. But the rare opportunity to get a big donation is bringing out narrow interests.
At the February ANC 3E meeting, Steve Strazzella of developer Bozzuto presented the latest iteration of a 5-year-old plan to redevelop the so-called "Secret Safeway," located at 42nd and Davenport streets NW. Bozzuto plans a block-long, brick building with 4 stories of apartments atop a 65,000 square foot supermarket and two levels of parking.
The project is a Planned Unit Development (PUD), which gives an owner more flexibility with a property's zoning if community representatives and the DC Zoning Commission agree to it. There are basically two ways a PUD contributes to a neighborhood: through public benefits, or amenities within the project itself. But it's unclear who will benefit from what the community's asked for.
The proposal has some benefits all by itself
Safeway originally needed a PUD because it wanted a new supermarket bigger than what could fit on the part of the site zoned for commercial use. In response to community pressure, the company agreed to build the store as part of a mixed-use development that is often the foundation of a more vibrant, walkable neighborhood.
In many ways, the proposed building is good on its own. What is currently an ugly one-story building that turns its back on the street and has acres of impermeable parking lots would be replaced with a new store, 200 rental apartments and extensive green roofs, all a quarter-mile from the Tenleytown Metro station and a half-mile from the Friendship Heights Metro.
Bozzuto has hired a new architect for the project, Maurice Walters, who also designed the Arts Walk at Monroe Street Market in Brookland. The developer wasn't willing to share any images, but as before, the apartments will range from studios to three-bedroom units, perfect for an area known for its family-friendliness.
The plan will absorb the adjacent WMATA chiller plant, allowing the building to have an inviting, street-friendly facade for the entire block. A loading dock in the rear will be fully enclosed, hiding loading activities from public view.
Neighbors unsure what the public benefit should be
At the ANC meeting, the neighbors largely supported the project. No one opposed it outright. For his part, Strazzella came to the commission ready to negotiate. Owners of the adjacent rowhouses worried that the proposed building would block their sunlight, but already the building was lower than previous iterations. Residents were divided on whether the building had too many parking spaces, and whether residents should be able to get parking permits.
Everyone generally agreed that Bozzuto should close a slip lane that lets southbound drivers speed off of Wisconsin Avenue onto 42nd Street. Instead, traffic would have to slow down and turn right, reducing cut-through traffic without sacrificing connectivity. In its place, there would be a small park just outside the entrance to the new store.
Beyond these points, discussion broke down. In a preemptive gesture, Bozzuto came with plans for a 4,000 square foot community building to occupy a corner of the lot on Ellicott Street. The building would hold meeting space, but it was unknown who would own it. While the main building featured quality design, the community building was bland and uninspired.
In the subsequent discussion, one woman said it would be better used as a park. Another said it should become a new house. Commissioner Sam Serebin insisted that it should be an outdoor pool. The commissioners agreed to talk it out, but Strazzella indicated that Bozzuto wanted to file with the Zoning Commission within 60 days.
To me, the community building makes little sense. There's no clear need for this kind of functional space. More importantly, there's no reason for this kind of building to be placed on a solidly residential street. But at the meeting, it felt like everyone agreed that the ANC had to extract something from the developer.
How do you decide what a community benefit is?
Part of the problem is that there is no framework to decide what's appropriate at this site. The Upper Wisconsin Avenue Corridor Study would have identified community needs and combined them into a menu of amenities. In that scenario, either the developer or the ANC could see whether the benefit would be appropriate. In the absence of that or any plan, the public is left grasping for any chances it gets.
ANC 3E negotiated an meticulous PUD for the Babe's Billiards redevelopment nearby by focusing on the benefits and negative impacts of the project. This is a much bigger project, so there's more opportunity to toss around big-ticket items. But rather than seeing the PUD process as a mere transaction between a developer and the public, both parties should view it as a chance to build a neighborhood together.
Washington has long turned its back on the Anacostia River, and in turn the neighborhoods east of the river. The 11th Street Bridge Park could become one of the city's most distinctive places, turning disused bridge structures into a connector and destination. With a design competition now underway, all that's left to do is design and build it.
That's a tall order, but the project was born out of ingenuity. The proposed park takes advantage of foundations left over from one of the 1960s highway bridges. Rather than connect Capitol Hill to Anacostia, the highways isolated both.
Originally intended to feed the inner loop freeway, the old bridges were great for driving through the riverfront neighborhoods on the way to something else. When the city rebuilt the bridges in 2012, the city was left with an obsolete, but not totally useless, bridge next to the new local span.
The possibility of doing something with the remnants stuck in the mind of Scott Kratz, who at the time worked at the National Building Museum. At a meeting with then-Office of Planning director Harriet Tregoning, he brought up the concept of reusing the bridge. To his surprise, she immediately thought it was a great idea.
Since then, Kratz has been figuring out the details and building support for the Bridge Park, now working full-time on this project at THEARC in Congress Heights. That organization has held 195 meetings on both sides of the river to find out what the bridge would need to be, with a focus on reaching out to residents who often feel ignored in efforts to improve the city.
Now, THEARC and its appropriately named parent organization, Building Bridges Across the River, are looking to open the dialogue to everyone who benefits from the Anacostia. Since the park will likely be privately funded but publicly owned, raising the $35 million required to build and endow the bridge park will be a major goal. The other key part will be a design competition.
The Bridge Park must be more than a park
Given the precarious site and high cost, this project is risky. Getting the design right can make all of the difference between a world-class park and a white elephant, as Dan Malouff has previously noted.
Rather than stage an ostentatious open competition where flashy, iconic images predominate, Kratz went to the communities first. Some of those 195 meetings were charrettes, design meetings where stakeholders identified what was missing from their neighborhoods and how the bridge could fix them. When professionals do get involved later this month, they'll be screened based on their experience working with communities as much as design skill.
Participants in the outreach meetings have focused on a few ideas for the park again and again. Because the East of the River neighborhoods face high obesity and hypertension rates, active recreation figures prominently in visions for the park. This includes playgrounds, as well as conventional sports areas, since there isn't one in Anacostia proper. In a similar vein, the Bridge Park staff are interested in introducing urban agriculture to the bridge, possibly fruit trees.
Encouraging residents to interact with the river is another goal. This might mean a dock as much as a environmental education center. Artistic output forms the final side: an outdoor performance space, or even a facility for an arts nonprofit could be part of the project. In general, Kratz sees art as crucial to letting the community take ownership of the park when it opens.
Turning the site's challenges into opportunities
I would like to see programs that take advantage of the elevated site. Since it's not an automobile bridge, the Bridge Park doesn't need to be flat, symmetrical, or even the same width all the way across. A skate park might suit the site perfectly. It's a loud activity that needs uneven terrain to play up its acrobatic elements.
Urban agriculture, on the other hand, seems counterintuitive. Planting beds would require importing large volumes of dirt and building a heavy-duty structure to support it. There are sites in Anacostia on actual land that seem more obvious for a farm.
The main challenge the site faces is its isolation from busy streets. The first piers of the Bridge Park are ¼ mile from Good Hope Road on one side. On the other side, M Street SE is a long walk along the Navy Yard's fences and a highway viaduct.
Kratz realizes this problem, so he worked with students from Virginia Tech to find every possible connection, especially to the Anacostia Riverfront Trail. They proposed lighting and community art to enliven the sidewalks to M Street and Good Hope Road. Arriving with a gym bag might still present an obstacle, so Kratz is working with DDOT to install a stop for the Anacostia streetcar, which will run over the new bridge.
Streetcar access will be the most important factor in drawing residents to the active recreation sites. For casual recreation, how the designers locate activity areas could make those walks easier. With major attractions at either abutment of the bridge, visitors would come to pick up their kid from an event and kill time by talking a walk down to see the great view downriver.
Bridge Park needs to feel like a place to succeed
These designers will face a site pretty much unlike any other. Journalists frequently compare the Bridge Park to New York's High Line, but there are several crucial differences. For one, the High Line runs for 1.45 miles through dense neighborhoods, well connected to the streets below.
Reusing the entire structure of an old railroad viaduct, the High Line was stuck with relatively tight dimensions, ranging from 30 to 88 feet. That's about size of a tennis court. The 11th Street Bridge Park has the potential to stand 160 feet wide and 800 feet long, around the size of three professional football fields end-to-end.
And pedestrian bridges sometimes have places to rest, but they rarely are destinations by themselves. There are a few unbuilt parallels, like Thomas Heatherwick's Garden Bridge in London, or OMA's
There is one project that has actually gets beyond the transportation deck: a pedestrian bridge in Providence. Reusing the piers of what had been a highway bridge right through the center of town, the new bridge connects two sections of a greenway.
Architect inForm and engineer Buro Happold created a structure that varies width and height: In one place, a delicate bridge, while on the other, it's grassy steps down to the river. With all of this three-dimensional variation, the designers were able to put a café in the middle.
What's nice about the Providence project is that it looks a lot like a street: it has the multi-layered activity that happens when people are passing by, relaxing, working, and working out. To be successful, the Anacostia Bridge Park needs to sustain this kind of activity. The design of the project, from how the activities are arranged to the way it interprets the river artistically is what will do that.
The designers' test will be to take the communities' desires and layer them within architecture that connects the mundane to something bigger in the context. In other words, the park should make a basketball game feel as connected to MLK Boulevard as to the flow of water underneath. The players should sense that they're playing 20 feet in the air and a mile from the Capitol.
The bridge park can't solve that many problems. But it can create a place of confluence between the city's different constituencies. If everyone feels they own this park, it can be part of a more inclusive revitalization of Washington.
To find out more about the Bridge Park, please visit bridgepark.org. The design competition will be announced on March 20th.
On Monday, the Northeast Neighborhood Library in Capitol Hill reopened after a $10 million modernization. Bringing it up to date required only a few major alterations, but the real challenge was finding new life in the 82-year-old building.
The function of a library has shifted a few times since 1932, when the branch circulated its first book. This most recent renovation positions it as more of a "third place" for the public without abandoning its core purpose as a public resource. Whether residents come to hear a story, use a computer, or attend a community meeting, some of the branch's 45,000 books are always in the background on built-in shelves.
Those shelves are emblematic of the way DCPL conducted the renovation. They're original, designed for 1930s book sizes. Unfortunately books have become bigger, particularly picture books, so a big part of the collection no longer fit.
Rather than rip out the shelves, library officials chose to expand them 1.5 inches with matching walnut woodwork. They're still not big enough for everything in the collection, but this kind of shrewd modification keeps the historic character without getting in the way of modern life.
When the city commissioned Albert Harris, the municipal architect from 1923-1934, to design the building, he did so in the Colonial Revival style. Since at least 1911, the Commission of Fine Arts had favored that style as a common look for DC's public buildings. The modest materials used by far-flung Georgian architects like brick and painted wood meant the style could be built inexpensively. It was also in fashion, since the reconstruction of Williamsburg was prompting architects to search for their roots.
But the revival of Georgian architecture meant drawing inspiration from building types that don't fit so well in an dense environment. Harris styled his building after mansions and courthouses that stood alone in fields.
On the site at 7th Street and Maryland Avenue NE, Harris' tight composition left an empty lawn on the most prominent corner. In the renovation, the exterior architect, Bell Architects located a patio there, so that the library has a front porch. With WiFi, of course.
A path runs from the patio around the back to a glass-enclosed staircase in the rear. The previous staircase ran clumsily through the central room, creating awkward spaces on either side. The new staircase fits into the footprint of a disused garage. The stairway's sunniness provokes the opposite sensation of the MLK Library's windowless, dreary stairwells: you want to climb it and see what you can see from it.
The staircase solves two other problems the building had. One is that the original entry couldn't be made ADA-accessible. The accessible door is in the glass tower, opposite the front door on 7th Street. Coming from either way, visitors enter into the same foyer and then into the library. What is effectively a single entrance shields the reading rooms from the noise of coming and going, so children can rush up to their spaces on the upper level and community members can visit the meeting room without disturbing patrons.
The lack of a good meeting room was the other problem before the renovation. Vines Architecture, who designed the interior, converted two underused rooms through discreet structural changes. New girders to hold up the mezzanine and basement ceilings converted what were once claustrophobic spaces into three public meeting rooms. This saved the airy rooms on the first and second floors for reading.
Other changes follow this trend of discreet interventions. The librarians wanted a more open space, so they could more easily monitor the rooms. The architects responded by placing the reference desk at the center of the building and cutting passages through the walls around it.
The cuts are low compared to the original doors, and the architects integrated them into the wood paneling, so you barely notice them. The things we take for granted nowadays, like good lighting, central air, and plenty of outlets are present, but not at the cost of the library's coziness.
Beyond these quiet changes, the restoration had a light touch. The flaxen paint scheme and cork floor tiles are historically appropriate details that also suit contemporary expectations. The reading tables are recreations with one minor tweak: power strips. It's striking how good design can serve radically different uses with only minor alterations.
Since the beginning of its capital campaign in 2006, library officials have rebuilt 10 of the 26 branches. With the opening of the Northeast Library, they will have renovated five historic buildings. Three planned projects remain: Woodridge, which is under construction, West End, and the Martin Luther King, Jr. central library.
As we consider how to renovate that building, the Northeast Neighborhood Library might offer guidance. Here, carefully chosen alterations have an impact that goes beyond their immediate function. An understanding of what was good about the historic fabric revealed what needed to change. It's worth considering how much alteration is required to make a work of architecture better. A few little changes can do a lot of good.
Many people are perplexed as to why Sam's Park & Shop in Cleveland Park is a historical landmark. While it may look like an ordinary strip mall, the Park & Shop was one of the first examples of retail architecture designed around the automobile.
The Park & Shop's parking lot made it the vanguard of modern design in 1931. Image from Architectural Record.
In the May 1932 Architectural Record, the author praised the Park & Shop in contrast to a traditional main street retail strip, which he derides as "Coney Island Architecture." He might as well have been describing the Connecticut Avenue service lane, which many neighbors are now trying to have removed.
It's easy to look back on the beginnings of autocentric planning and think that the people who conceived it must have been deluded, but to them these choices seem eminently rational. Modernism and Le Corbusier often get blamed for the rise of the automobile during the 20th century, because its supporters posed it as the only way to solve urban issues like traffic and overcrowding.
But this magazine is unequivocal about the need to redesign retail for the automobile, and merely reports on the International Style as an interesting trend in Europe.
If anything, Modernism was an attempt to create an aesthetic for the rationalist fixations of modern, 20th century society, like efficiency, objectivity, and hygiene. After all, the first auto-oriented shopping malls, like Country Club Plaza in Kansas City or Highland Park Village near Dallas, were executed in Colonial Revival styles. When you take the two ideologies apart, it's easier to see how parking fits in.
It's a complicated story, one that I don't really know much about. Luckily, a professor I knew in college, David Smiley, recently wrote a book about the development of the shopping mall, Pedestrian Modern. It discusses how the desire to accommodate the automobile and pedestrian safely crossed with American modernists' interest in retail, before 1960s radicalism rejected capitalism outright.
Our Park & Shop comes in towards the beginning of the story. Architects were grasping how to design for a motoring consumer. They started by expanding the curbside into a parking lot:
A 1932 Architectural Record article on "neighborhood shopping centers" perhaps explains why shopping projects of the interwar period did not quite challenge the curbside paradigm. Buried in the "Drafting and Design Problems" section of the magazine were two juxtaposed images - a typical Main Street with "Coney Island Architecture" and a "planned grouping" of stores set back to make room for parked cars.The new parking configurations try to make sense of the flow of automobiles, paying particular attention to making parking easy for women. As the article points out, they did most of the shopping.
The former image implied congested conditions where parking was difficult, the building were "confused," and the street lacked design coherence. The latter image, by contrast, so that order, coordination, and "uniformity," and abundant parking were all evident. The shopping center shown was the 1930 Connecticut Avenue Park and Shop, in Washington, DC, which Knud Lönberg-Holm had lauded as utterly rational in his 1931 Record article on stores.
Set back from the road and making space for the then technological "fact" of the car, the center appeared to rationalize and make more efficient the elements of the new metropolis. Merchandizing was, in these terms, one among many social programs that could be made to function "better." …
Frey, Kocher, and Lönberg-Holm saw in this project a rational approach to the retailer's need to accommodate a new set of auto-borne customers - the shopper was a driver, not yet a pedestrian.
These represent ideal conditions to the author. Smiley also describes the efforts to retrofit existing cities:
In a process akin to urban bricolage, not yet urban renewal, they considered the turning radius of the car, raised platforms connecting older buildings, ramps or lots squeezed into unexpected places, new technologies, alleys remade into walkways - in sum, they attempted to reimagine the older fabric as an integral part of something new.Ultimately, these "expanded curbs" couldn't solve the parking problem. Designing for single-use convenience led naturally to the enclosed shopping mall. Everyone involved wanted to keep the "king's way" clear for the flow of automobiles and create comfortable places to stroll while shopping. The mess of a city street impeded this.
First they brought coherence, then centralization, then separation, and finally climate control, and now have the pedestrian-oriented shopping mall. All it took was making it impossible to walk when you're not in a mall.
Given the growth of internet shopping, how Cleveland Park's retail will cope remains an open question. But the history of designing for parking suggests that focusing on automobile access would harm what is so desirable in Cleveland Park, rather than save it.
Last week, the District of Columbia Public Library unveiled the six visions for the Martin Luther King Memorial Library. While the designs aren't final, each option offers a very different approach to preserving the historic library while accommodating new uses.
Three teams of architects produced two designs each, one where the library renovates the historic building by the office of Ludwig Mies van der Rohe and another that also adds two or three stories of apartments to the building. For all teams, the mixed-use scheme and standalone version share a common design up until the fifth floor. The residential additions do not affect the public spaces below.
The three teams approached preservation with a few common elements. All projects leave the exterior alone. All schemes preserve the horizontal character of the ground floor, except in key locations. The changes they make stand apart from the original building, and all projects treat the Mies building as an artifact of a different time.
While libraries used to be a place where users only interacted with staff, now they're about users interacting with each other. To respond to this new purpose, the teams had to consider what kinds of spaces suited the new program. Do the existing deep floors still make sense? How do you fit new spaces, such as a lecture hall into the building? Importantly, the teams had to find a way to better connect the floors of a building that, despite having lots of glass, has very little natural light.
Because each scheme proposes major changes in the activities of the building and how visitors will move around, it's worth reading the design presentations, which we have embedded.
Team One: Mecanoo + Martinez and Johnson
Dutch firm Mecanoo and local partner Martinez and Johnson propose alterations that maintain the horizontal character of the building, even going further than Mies. Starting from the modernist's fixation on open-plan spaces, they envision removing all of the opaque barriers from the three library floors. The architects grouped programs floor by floor, so youth collections are on one floor, quiet specialty collections on another, and the noisiest, least library-like uses activate the "market" ground floor.
Library offices occupy the north side of the building up to the 5th floor, a blob-shaped mechanical penthouse surrounded by gardens. In the "development" scheme, a block-long bar of apartments sits on the penthouse, clearly distinct from the original building. The bar slants in plan from from north to south, which emphasizes the horizontal character of the original building and picks up the angles of the 10th & G building to the west and the Pepco building to the east.
To connect the public floors, Team One proposes replacing the yellow brick elevator and stair area just inside the entrance with a large atrium clad in glass panels enameled with the pattern of marble that Mies frequently used. This makes the vertical circulation one of the most visible parts of the building.
Team One mostly respects the ceiling and ground planes of the first floor, but they also cut a light shaft around the rear to bring natural light to the basement. They also eliminate the low brick walls around the north side of the building, hopefully enlivening the dark arcade. This scheme would also leave the original exterior walls in place, but adds insulated glass walls to prevent heat loss, saving on energy costs.
Team Two: Patkau Architects + Ayers Saint Gross
The collaboration between Patkau Architects and local architects Ayers Saint Gross produced the most conservative scheme. The design centers on a courtyard extending from the second floor to a fabric sunshade embedded with communications technology on the third. Called the cloud, the exuberant shape framed by the courtyard reflects the team's approach of making alterations within Mies's order.
Team Two's key alteration is a circulation core directly opposite the main entrance. Escalators take visitors up to a fifth-floor garden and down to the basement, which contains the technological aspects of the program, an auditorium, and the teen collection. A double-height lobby visually connects the entry with the upstairs courtyard, where all of the library's different users would mix. The design of most reading rooms remains relatively unchanged.
The residential component changes the building more dramatically. The standalone building has a small pavilion and a green roof on the fifth floor. The mixed-use variant continues the courtyard up, with a public colonnade around the skylight. Mies imagined the building with a fifth floor, so Team Two extends the original facade without windows as a kind of screen, with floors 5-8 rising behind it in a gray, transparent skin.
In addition to the cloud, Team two proposes some unconventional changes. Most radically, they replace the parking ramps with car lifts and valet-only parking. I don't know of any buildings in DC that use this approach, although it is definitely used in other cities.
Team Three: STUDIOS Architecture + Freelon Group
Team Three proposes the most radical alterations to the Mies building, invoking the zeitgeist argument Mies himself was fond of. Their concept aspires to create a new urban space at 9th & G, inside and outside of the building. The design would gut the upper three stories of the southeastern corner and replace it with a floating, golden zig-zag block containing expanded functions of the library. A continuous stair from the basement to the fifth floor cuts an atrium into the space.
The design would open the great hall to a three-story atrium. This change is probably the most controversial feature of any of the three teams' designs. Otherwise, the first floor remains largely unchanged. Team Three does propose constructing a cafe underneath the G Street colonnade, as well as one inside the main hall.
If the library chooses to develop the mixed-use scheme, the added block would snake out of the building in a U-shape around the courtyard skylight, ending in a cantilever over the 9th Street sidewalk. The stair slope would pause at the 9th & G corner before climbing atop the residential bar to become an intensive green roof with community gardens. The way Team Three's bending bar sits atop the building leaves the 9th & G corner undisturbed and framed as a public space.
Team Three calls for the residential volume to use a curtain-wall system that uses mathematic equations to generate the shape of each component, some of which are more transparent than others. The floors within are conventional slabs. The patterns are carried through to flooring in the entrance that echoes the main staircase as well as the existing lights in the ceiling.
They're not done yet!
DCPL insists that nothing is final about these designs. That is certain. The library needs to decide whether to develop the mixed-use option, and what kind of legal structure it would have. Then, library officials will work with citizens and the architects to further evolve the design. Then, the evolved scheme will undergo at least two design review processes. By the time this process is complete and DCPL solicits contractor bids, the design could change quite dramatically.
The architect teams will present their projects this Saturday, February 15th at 10 am in the MLK library. If you can't attend, the library is livestreaming the event. The designs are also available at each branch library, and DCPL has a website where you can submit your thoughts.
The needs of the library are complex. A single image can't capture the particular experiences of different users, and each of the options involves trade-offs.
Personally, I prefer Team One's overall plan, especially if the library goes ahead with a mixed-use program. Although I appreciate Team Two's sensitive alterations, Team One's solutions for the program, environment, and circulation embrace the strengths of Miesian architecture, but reimagine them in a way that suits the new expectations of urban libraries. It reminds me of two groundbreaking examples of libraries for a digital society, the Sendai Mediatheque and the Idea Store, Whitechapel.
If Team One's design is the beginning of a public building of that caliber, DC will be in good shape.
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