The Washington, DC region is great >> and it can be greater.

Posts about Architecture

History


DC once had its own Arc de Triomphe

Paris's Arc de Triomphe is world famous, but did you know DC once had its own version?


Photo from the DC Public Library.

The Washington, DC Victory Arch sat on Pennsylvania Avenue, at the corner of New York Avenue and 15th Street NW.

It was a temporary structure built to commemorate the end of World War I. This photo, from 1919, shows the US Army on parade following the end of the war. Presumably the arch was made of plaster, like the White City of Chicago, and thus never intended to be permanent.

Here's another view, showing the arch from ground level.

Cross-posted at BeyondDC.

Architecture


Here are some ideas for designing NoMa's new park

The NoMa Parks Foundation just bought two acres on the Metropolitan Branch Trail (MBT) for a new large park. There are great examples of how to use the space all over DC and beyond.


The site of NoMa's new park next to the MBT. Image by the author.

"People want an area for informal recreation and relaxation," said Robin-Eve Jasper, president of the NoMa Business Improvement District (BID), on the initial ideas for the park when it announced the $14 million deal earlier in January. "Something beautiful, something that really integrates with the Metropolitan Branch Trail."

There are many features that the NoMa Green, as it is tentatively called, could include. A connection between Q Street NE and the trail will almost certainly be a part of the park. Also, a flexible space like a lawn that could be used for a variety of needs, like the NoMa Summer Screen and various seasonal festivals, could fit elsewhere in the park.

NoMa BID plans to hold a community design forum with residents for the green after it hires a design team, said Jasper. This process could begin as soon as the second quarter of the year.

Canal Park in Navy Yard could inspire the NoMa Green

The five-acre Canal Park in Navy Yard offers some ideas for the NoMa Green. Opened in 2012, the space mixes programming, including a café, water feature, and seasonal ice skating rink, with a flexible lawn space that is used for various activities throughout the year.


An overview of Canal Park. Image by OLIN.

Hallie Boyce, a partner at OLIN landscape architects, says every section of Canal Park serves multiple purposes that, in many cases, are not exactly what the design team had in mind.

"The public will use a space as they deem appropriate," she says, recalling an image she saw of a kid using a sculpture as a seat to watch a movie in Canal Park. "On the one hand, you want enough programming to attract people long-term and on the other hand there is a need to have flexibility."


Canal Park's fountains and rain garden. Image by Payton Chung on Flickr.

OLIN led the design team of Canal Park, which is built on the site of a former Washington Canal. The studio has also been selected for the 11th Street Bridge Park and the redesign of Franklin Park in downtown.

There are lots of other options too

Canal Park is just one example NoMa can look to as it begins the process of designing its new green. DC is dotted with many small parks that, while often designed during an earlier period of landscape architecture, offer templates of what works and what does not.

Folger Park in Capitol Hill and Meridian Hill Park in Columbia Heights are two examples of good small parks in DC that Greater Greater Washington contributors suggest. The former includes ample lawns and an iconic drinking fountain and bench.

Meridian Hill Park, while larger than the NoMa space, includes a popular lawn atop the hill and a cascade fountain down the hillside to W Street NW.


The cascade fountain in Meridian Hill Park. Image by Washingtonydc on Flickr.

Boyce points to Teardrop Park and Wagner Park in New York City when asked what she thinks are good examples of well-designed small parks outside DC. The former, designed by Michael Van Valkenburgh Associates, is a 1.8-acre green space in lower Manhattan that includes a unique man-made rock outcropping and an open lawn nestled between residential high-rises.


Teardrop Park in New York. Image by Calvin C on Flickr.

"There's no solution you would slap down," says Boyce, emphasising the need to engage the community and take into account form, scale, and site when designing a park. "It's about context and engaging with the neighborhood and key stakeholders first to identify [what they want]."

Public Spaces


The winner of a design competition will build the WWI Memorial. Here's what that means.

Today, the sponsor of the World War I Memorial will choose the winner of its design competition, meaning we'll get a sense for what the memorial will look like in the end. Whether or not design competitions succeed depends heavily the work that goes into planning them.


Pershing Park and its memorial today. Photo by Mr.TinDC on Flickr.

The Memorial will go into Pershing Park, a secluded 1970s plaza at 14th and Pennsylvania Avenue, near the White House. Congress chose that location because it already has a memorial to General John Pershing, who led US troops in World War I.

The memorial sponsors sent out an open call for ideas last year. The winner will come from of one of the five finalists named in November 2015. After getting feedback, these five designers have revised their projects and submitted them to a jury of architects, historians, and politicians. On Tuesday (after a snow delay), the memorial commission will vote on the jury's choice.

Here's how design competitions work

Design competitions aren't part of the process for most buildings, but governments and other big institutions like them for major projects. They give those sponsoring the competition (and ultimately responsible for the building) a few options to choose from rather than picking a designer based on prior work and a business plan.

Every competition begins the same: with a design brief, a document that outlines what the sponsor wants. Then, they split into three basic formats:

  1. The most celebrated kind is an open competition where pretty much anyone can submit a design. The Vietnam Veterans Memorial is the best example, and the World War I Memorial is using this model.
  2. An invited competition, where a client looks at only a hand-picked few designers is the second type. The Lincoln Memorial is one outcome of this format.
  3. A slight variation on that is a qualified competition, where anyone can submit qualifications, out of whom a few get asked for designs. The Eisenhower Memorial followed this model, which is common for federal projects.
Most open competitions, including the World War I Memorial, have two stages. In the first, anyone can present their design in a very limited format. For the Pentagon 9/11 Memorial, the jury winnowed 1,200 entries to six finalist from a single drawing. Qualified competitions make the same selection by looking at past work or credentials.


Henry Bacon beat out one rival for the Lincoln Memorial, John Russell Pope. This design by Pope is closer to what the McMillan Commission envisioned. Image from the Library of Congress.

In the second round, open, qualified, and select competitions work the same. Each team works out a detailed conceptual design. In better competitions, the competitors work with the sponsor, review agencies, and constituents to refine the design. Then, at the end of this, a jury composed of stakeholders or designers picks a winner.

Well-run design competitions can have big upsides

Malcolm Reading, a design competition designer, who ran recent competitions for Gallaudet University, and the Guggenheim Helsinki, put it this way in an interview: "I would say that competitions are, in general, more meritocratic. The process itself, run properly, allows talent to rise to the top and a level of public debate and engagement that would not be possible with a direct commission."

The best example of this process working is the tightly controlled competition that brought us the Vietnam Veterans Memorial.

Take a look at this booklet promoting the memorial. It outlines so much of what makes that design iconic: an apolitical remembrance of the dead, a list of names, and a site of personal reflection. That's interesting, because this is the design brief, written months before Maya Lin began her class assignment that eventually become an American icon.


Detail of Maya Lin's first-stage entry, showing visitors' experience at the center of the memorial and exiting. Image from the Library of Congress.

Lin realized these conceptual elements with brilliant clarity. But the competition's designer, Paul Spreiregen, had laid the groundwork for a minimalist design like hers to win. He wrote the brief to encapsulate the desires of the Veterans who commissioned it. Washington's design review agencies wanted something low, so he pushed for a landscape design in Q&As, and set up a jury of accomplished modernist designers.

History shows design competitions aren't a simple solution

Good outcomes aren't guaranteed. If a sponsor issues a bad brief, ignores problems with the site, or doesn't trust the jury, all hell can break loose.


The winning design for the World War II Memorial changed a lot. (Image from Friedrich St. Florian)

The sponsors of the World War II memorial imagined a huge project when they picked a design, including an underground museum in a floodplain. Both the design and what the commission asked for changed dramatically over years of controversy and costs.

The chairman of the Korean War Veterans Memorial, Richard Stilwell, fired the designers of the tragic winning scheme and instructed the local architect of record to execute a heroic diorama. A similarly heavy-handed client guided the Martin Luther King, Jr. Memorial.


In the winning scheme for the the Korean War Veterans Memorial, visitors would have "walked home" between statues of troops. (Image from Lucas Architects)

The World War I Memorial designer has a lot of changes to make.

The World War I Memorial's process is mixed. The designers brought collaborators onto the design teams in the second stage for mid-point review, which is great. While the brief gives fewer aesthetic preferences than the Vietnam Veterans Memorial's sponsors did, the goals of commemoration are clearer than other recent memorials.

But the memorial commission made a huge mistake when picking a site. After getting rejected from converting DC's World War I Memorial as a national one, the memorial commission went around the city's review agencies by getting Congress to pick the site.

The brief contradicts itself, encouraging designers replace the existing park because it is secluded, but also forbidding any activity-generating features and ignoring how this memorial plot connects living city around it.


Some WWI competition entrants have changed significantly already. Here's the first stage entry for "Plaza to the Forgotten War"

As a result, a surprising number of groups have spoken out against the competition. That includes the National Capital Planning Commission, the Commission of Fine Arts and the DC Historic Preservation Office, which led to designers needing to change their schemes significantly.


In the second-stage mid-review version, design now preserves more of the existing park. (Both images from Johnsen Schmaling Architects.

World War I has little political clout. Unlike World War II, there are no living veterans. Pershing Park has a lot of influential supporters. Whatever is chosen will change significantly. By proceeding without realistic about what they could do on the site, the memorial commission wasted the primary advantage of a competition: choosing a designer based on a concrete vision.

Much more goes into commemorating history than the spectacle of choosing designers. The jury, the site, and the ambitions of the sponsor are as important to a good outcome. In this case, the simplicity of competition seems to have hidden fundamental problems in the project.

History


Here's an early design for Union Station

Check out this drawing of Union Station when it was in the planning phase, waiting for Congress to give the green light for construction. It's a fun reminder that even the most grandiose of buildings go through routine planning processes.


Click for a larger version of both the drawing and the accompanying news article. Images from the Library of Congress.

Published in March of 1902, the Times Washington article announcing the coming train depot calls it "a fitting gateway for the nation's Capital City, through which for all time shall ebb and flow the tides of the world's pilgrims to the national Mecca, a fitting beginning for the new Washington."

When GGWash contributor David Cranor passed the article my way, he wondered if the project finished on time or came in on budget.

"Perhaps it will be a reality in two years," reads the article, "for great railway corporations build with magic quickness" Union Station opened in 1908, but it's not clear from the article whether the builders shared that two year expectation. And even if they did, a four year delay on such a huge project doesn't exactly stack up poorly when compared to many infrastructure projects today.

The article says Union Station itself will cost $6 million (about $166 million in today's dollars), with things like buying the land and building the accompanying rail tunnel bringing the price to $14 million (about $388 million today). If you have any information on how much was actually spent on building Union Station, please share it in the comments!


Preservation


An art deco industrial building in Georgetown could have a new use

Developers want to build a contemporary mid-rise residential tower on a prime site in Georgetown, but it'd mean tearing down a distinctive old heating plant. There might be ways to reuse the old building and build something new as well.


The West Heating Plant looking south from the C&O Canal. All images by the authors unless noted.

The West Heating Plant, which abuts Rock Creek Park on the edge of Georgetown, was built by the Federal government to provide steam heating for federal buildings in the District. Designed during World War II by architect William Dewey Foster, it opened in 1948 as one of the few examples of industrial art deco-to-moderne architecture in the District; the other is the Central Heating Plant on 13th Street SW.

The six-story structure now stands idle, having been decommissioned in 2003.

A team led by local developer Richard Levy purchased the plant from the Government Services Administration (GSA) in 2013 with plans to demolish part of the building for up to 80 luxury Four Seasons residences and use the former coal yard for a new park.

Unfortunately, preservation officials encouraged Levy's team of notable architects - British architect David Adjaye and OLIN landscape architects - to be creative with the site without preserving the building. Levy understandably leapt at the opportunity.

In a presentation to the Citizens Association of Georgetown in December, Levy outlined plans to tear down the West Heating Plant entirely. His new plan includes a 10-story tower made of blue travertine and bronze on the site of the plant, housing 60 to 70 luxury residences and the adjacent park.

The West Heating Plant is worth preserving

DC has few industrial buildings and even fewer that are architecturally significant. The West Heating Plant, despite its decaying state, is significant as both a notable industrial edifice and one of the few examples of moderne architecture in the city.

Eight massive vertical windows stretching nearly the building's entire height dominate its north and south faces. A similar vertical portico dominates the 29th Street façade.


The entrance portico is an impressive vertical dominating the building's 29th Street facade.

The West Heating Plant stands out on the Georgetown skyline as one approaches from the south or east, reminiscent of the neighborhood's industrial past. Other remnants of this include the lofts in converted warehouses along the canal and the Capital Crescent Trail that was on the former Georgetown Branch railroad line.


The West Heating Plant seen from Rock Creek Parkway.

The building is a worthy reminder of Georgetown's history, and an impressive example of civic architecture.

Converting the plant to residences would be difficult

With or without Levy's plan to demolish the West Heating Plant, it was never really feasible to convert the existing building into residences. Floors are only located on its 29th Street side, and shoring up the columns that run up and down the building would be costly due to years of corrosion.

In addition, at 109 feet wide, the building is deeper than is preferable to get good light throughout an apartment. The design team attempted to fix this in their earlier partial-demolition proposal by adding big shafts to the center of the structure to bring in light.

To fill the building with apartments or offices, the developers would also have to add a lot of windows. This would be problematic as the brick is only loosely attached to the steel frame. Adding windows would require painstaking care and, even then, might deface the monumental qualities that give the building interest.

In other words, it is a tough sell for a residential or commercial conversion even before he exorbitant cost of cleaning up the asbestos, PCBs, and other toxins scattered throughout the site.

Zoning and economics drove Levy's demolition proposal

The original appeal for developers was that the West Heating Plant sits on just a fifth of the lot. When the GSA sold the facility, it anticipated the site would receive a waterfront zone district, W-2, allowing for 362,000 square feet of development up to 60 feet high, in its environmental assessment.


The West Heating Plant only sits on about a fifth of the lot. Image by Google Maps.

However, adaptively reusing the plant would offer only up to 143,600 square feet of space. While the building is tall, it only has six floors with high ceilings—13 feet on most floors and 22 feet on the first—that allows for less density than the height suggests.

To address this disconnect, the GSA imagined that a developer would build a second flat and fat structure on the coal yard south of the heating plant that would peep over the Whitehurst Freeway viaduct. Since the conversion would ruin the dramatic interior spaces and significantly alter the monolithic exterior, it would have been a pretty hollow deal for developers and preservation interests alike.


The West Heating Plant seen from the Whitehurst highway viaduct.

Levy's demolition plan is a compromise to the competing expectations of the developers and neighbors: there's no second building and the new 10 stories of apartment fit into the existing massing. That's more floors than with an adaptive reuse but less density and more open space than the GSA's scenario. The height and the park secure the great views that high-end buyers will pay extra for and the park has quieted a lot of neighborhood concerns.

It is a clever solution but it is not the only one. There are options that preserve the historic plant and also get a distinctive new apartment building.

The West Heating Plant could be a new public space

If height is not really an issue, Levy could build a new 10-story building in the coal yard and reuse the actual plant for something much more creative.

There are ways to reuse the West Heating Plant that work in big messy spaces. Contemporary art institutions, like the Tate Modern in London, are a good example, especially if the first floor is open and free to the public, effectively making it an extension of the streetscape.


The Tate Modern gallery is located in the former Bankside Power Station in London. Image by Alquiler de Coches on Flickr.

The Tate Modern has been a staple of the London tourist circuit since its turbine hall hosted a series of blockbuster exhibitions shortly after it opened. This has prompted demands for contemporary art museums elsewhere with large spaces that can handle rough treatment, like the Dia:Beacon near New York City.


The turbine hall at the Tate Modern. Image by Jennifer Morrow on Flickr.

The West Heating Plant's boiler room is an ideal candidate for such a space, something the Post recommended in 2012. While only about a third the size of the Tate's 36,500 square foot turbine room, it is much bigger than the District's last proposed contemporary art museum in the Franklin School. If two floors of the plant were cleared out, Adolf Cluss's landmark school would fit comfortably in the boiler room.

The plant could also be used as a home for one of DC's excellent theaters. A big box with three stories for flies could make the cornerstone of a spectacular alternative theater venue. The industrial patina, few windows and big spaces of the old plant again could be more of an asset than a drawback.

Realistically, to keep the old and add the new, any reuse of the site would have to assume a new building on the coal yard. This would likely mean more height and density on the site in order to allow development of as much of the 362,000 square feet allowed. It would also mean no new large park.

Dropping the park from the Levy's proposal may not be a bad thing. The Georgetown Waterfront Park, just a few blocks from heating plant, was completed just five years ago and both Rock Creek Park and the C&O canal run along the site.

To offset the loss of the park, and curry neighborhood support for a higher and denser project, the boiler room of the new West Heating Plant art space could be part of a new public space with new entrances connecting it to both Rock Creek and the canal. Shops facing the canal could be added along the ground floor making it a popular neighborhood destination.

Compromises will undoubtedly be necessary to get the developer to support preserving the plant and the neighborhood to support more density on the site. But it would be well worth it.

A West Heating Plant site with both an extension of the urban fabric plus new public arts and green space at the intersection of two of DC's most popular parks might be a altogether a better deal for Georgetown and the District.

Architecture


An NFL stadium in DC could be suitably urban, but it probably wouldn't be

Rumors are swirling once more that the Washington NFL team could be moving from its stadium in Landover, possibly to the District. A new stadium in DC is almost certainly a bad idea, though it's possible—just very unlikely—it could actually have positive effects.


RFK in the 1960s. Photo by DDOT DC on Flickr.

The most logical place for a stadium is the Anacostia riverfront site where there's an existing, unused, aging stadium already: RFK. But RFK occupies a massive amount of waterfront land that could be far better used for new housing, fields for community sports, monuments, or just about anything else.

It's not that a stadium is so noxious. But around it is 80 acres of parking lots. Not only are they almost always empty, they're damaging ecologically, pouring stormwater runoff directly into the river, absorbing heat, and depriving the District of other ways to use valuable land.

Could a stadium exist without such surface parking lots? In theory, sure. Since games are on weeknights and weekends, one could imagine a new district with office buildings, each with underground garages that serve workers by day and football fans during games.

That, however, would interfere with tailgating, a strong fan tradition outside football games. It also would mean yielding some control over the parking arrangements, something owner Dan Snyder is unlikely to do without strong incentives. He makes big bucks on parking charges at FedEx Field (and tried to charge fans for walking to the stadium instead).

The team recently made news by hiring Bjarke Ingels Group (BIG), a highly-respected architecture firm, to design a potential new stadium. The team didn't announce where, but if that's DC, BIG is capable of creating something much more innovative than the typical bowl-in-sea-of-parking.

Citylab's Kriston Capps says that even if Snyder were willing to go with an urban design that doesn't involve massive surface parking, the NFL would not then let a Super Bowl be played there, and a Super Bowl represents massive revenue.

What else a DC stadium should have

If a stadium were to come to the District, a few other elements should be prerequisites for any deal:

Change the football team's name. It's offensive. This has already been discussed extensively and need not be rehashed here. But the team should change it.

No public money. Economist after economist has demonstrated that public subsidies for pro sports stadiums rarely come anywhere close to paying off for cities, and least of all for football, where teams play just eight regular home games a year.

No free tickets for public officials. The mayor and DC Councilmembers get free tickets to Nationals games. This is a big perk for top officials, who can enjoy the games and give out tickets to staff, constituents, and donors. It also means that everyone potentially voting on such a deal has a massive conflict of interest—they can spend taxpayer dollars and get a perfectly-legal kickback.

Some argue that a city-controlled box is a valuable tool for wooing economic development to DC. If that's true and not just a rationalization, perhaps there's a way to set up an independent body that gives out tickets only when there's a strong enough case, and sells or lotteries the tickets to residents the rest of the time. But it shouldn't be yet another perk of incumbency.

This probably won't happen

Unfortunately, there's little reason to believe DC would successfully push for such features or that Snyder would accept. There's too much political pressure on officials just to get the team to DC regardless of the cost, and a traditional parking lot-ringed stadium would serve Snyder's interests fine.

The chance of that got a little stronger thanks to a baffling Washington Post editorial that called a stadium at RFK "the logical and obvious move" because of its transportation access and "waterfront vistas that can't be beat." (Never mind that there are trees in the way of waterfront views from RFK; trees on federal parkland have not stopped Snyder before.)The editorial made no mention of the opportunity cost of foregoing ball fields, bucolic parks, and buildings.

If a football stadium won't be urban in nature, there's no reason to have it in DC. The District has scarce land and huge demand for housing and offices. For something that needs 80 acres of almost-always-empty land around it and gets used eight or so times a year, suburban areas are far more sensible.

Landover is a fine place for a stadium. A site in Loudoun County, near a future Silver Line stop, has been widely discussed as a likely contender, especially since Virginia Governor Terry McAuliffe has been wooing the team, and its practice facilities and headquarters are already in Ashburn.

DC might have once needed the kind of pride and reputation that comes from having a team inside its borders, but now it has plenty of other reasons for pride (and the team will still be called Washington, anyway). A stadium that truly anchors a new neighborhood could be great, though. It's just extremely unlikely. I'd love to be surprised, though.

Architecture


Seven designers are bidding for Obama's presidential library. Here's what they've done in DC.

Seven teams are bidding to design Barack Obama's presidential library. They're all well-regarded modern architects, and a few have projects in the DC area.


Like all US presidents, a library will be dedicated to Barack Obama. Photo by IIP Photo Archive on Flickr.

Only one of the teams, John Ronan Architects, comes from Chicago, where the library and museum of the 44th president will eventually rise. Most work out of New York, but teams have roots in London, Genoa, Paris, and Oslo as well. Like a lot of high-profile architecture nowadays, all have projects flung across the globe.

Their work is different from the previous generation of designers, who tended to create object-like buildings that feel aloof from street life. The potential architects of the Obama library all have projects that sit carefully in their context and play nice with existing streets, even if they don't disappear into the neighborhood stylistically.

That's a big deal because both of the proposed sites in Chicago are landmark parks in socially diverse neighborhoods. And that means a monumental building floating in a parking lot, like the elder Bush and Clinton's libraries, isn't going to happen.

Will it be good? The real test is seeing these architects' buildings in person. Luckily, you might be able to do that at lunch.

Three of the candidates them have projects in DC

Out on New York Avenue NW, John Ronan Architects created the Yale Steam Laundry Condominiums by converting a landmarked commercial laundry facility. The architects highlighted the irregularities of the original building with minimalist alterations in industrial materials like wood and steel.

A different architect designed the larger new building to the east, but Ronan designed both building's rugged amenity spaces in the wing set back from the street.


A Yale Steam Laundry apartment. Photo by Nathan Kirkman, courtesy of John Ronan Architects.

Tucked into the base of a glass office building on 10th Street NW, the First Congregational United Church of Christ could easily be mistaken for another storefront, just set in black, textured brick and a raw bronze column. Really though, what you're seeing is the church's foyer, designed by Tod Williams Billie Tsien. Through the lobby's massive doors is a softly lit sanctuary that blocks out the noise of downtown.


The aisle of the sanctuary looks onto G Street. Image from TWBTA.

Design writers often pick London-based architect David Adjaye of Adjaye Associates
as the likely choice to do the Obama library. His influence is unusually strong in DC: Only London has as more buildings by his office. So far, the most notable Adjaye building in DC is the National Museum of African American History and Culture near the Washington Monument.


The NMAAHC. Photo by the author.

Farther afield are two libraries Adjaye designed a few years ago east of the Anacostia River. Both use transparency and reflections to create atmosphere. His firm divided up the Bellevue Library into a series of rooms that overlook Atlantic Street in Southwest while still offering seclusion though panes of colored glass.


Bellvue Library. Photo by Edmund Summer, courtesy of Adjaye Associates.

The Gregory Library is a more extroverted design, with a façade that alternates transparent or mirrored panels. The effect is that a pedestrian on the street sees the neighborhood overlaid on the interior. At oblique angles, the library disappears into the woods of Fort Davis. The wood-lined interior is more conventional, except for a staircase the plunges into the airy popular collection room.


Francis Gregory Library. Photo by Edmund Summer courtesy of Adjaye Associates

If plans to go through, Adjaye will also design a high-end residential building at Georgetown's West Heating Plant. With the plant needing to go through at least five design review stages, though, the Obama Library might get built first.


One option for the West Heating Plant, courtesy of Adjaye Associates.

Two candidates almost have a presence in DC

In addition to that heating plant project, two of the other firms have designed unbuilt projects for DC.

New York-based designers SHoP are designing the new Fannie Mae headquarters on L Street. The U-shaped glass office building at the former Washington Post headquarters will have a slightly unusual facade, with the angle of the glass changing gradually from end to end and top to bottom. This is similar to a lot of their work: boxy forms fitted out in shifting steel and glass facades.


Rendering of 1150 15th Street NW, courtesy of SHoP Architects.

In DC, Diller Scofidio + Renfro are best known for their "bubble:" an inflatable temporary structure that was going to sit inside the Hirshhorn courtyard. That scheme deflated for cost and feasibility reasons under the last director. They also submitted a design for the NMAAHC.


Rendering of the Hirshhorn bubble, courtesy of DS+R.

A couple don't have anything to show

The Norwegian firm Snøhetta has no buildings in DC. They did, however, renovate Times Square, so it's not hard to find their work. Rather than try to tame the iconic space, they covered the ground in rugged concrete pavers embedded with steel disks that echo the billboards that crossroads is famous for.

The last firm, run by Renzo Piano, is the most established choice. His company's recent designs using glass and natural materials have been expertly detailed, austere, and conservative. That sounds like Washington's reputation, so it's sort of odd that he's never had anything even considered in Washington.

As DC's downtown shows, it's tough to make a monumental building that also fits into an urban site nicely. Too often notable architects produce unfriendly places that photograph well. But perhaps this time, the Obama Library Foundation will pick a design that's not a monument, and connects with the public space around it.

Take a look at these buildings. Do you think that could happen?

Architecture


Twenty-five gorgeous but non-famous US train stations

America has abundant famous train stations, from New York's iconic Grand Central, to Denver's fabulously remodeled Union Station. DC is blessed with a particularly lovely one. But if you only know the famous stations, you're missing out.

Here are 25 gorgeous train stations from around the US that you may not have seen before.

1. Worcester Union Station


Worcester Union Station. Photo by C Hanchey on Flickr.

Some of the buildings on this list are still active train stations, and some aren't. But all were originally built as gateways to their city.

2. Albuquerque Alvarado Station


Albuquerque Alvarado Station. Photo by Karen Blaha on Flickr.

3. Omaha Union Station


Omaha Union Station. Photo by Chris Murphy on Flickr.

4. Buffalo Central Terminal


Buffalo Central Terminal. Photo by Bruce Fingerhood on Flickr.

5. Richmond Main Street Station


Richmond Main Street Station. Photo by rvaphotodude on Flickr.

6. Barstow, CA Harvey House Station


Barstow, CA Harvey House Station. Photo from Ron Reiring on Flickr.

7. San Bernardino Santa Fe Station


San Bernardino Santa Fe Station. Photo from Oakshade on Wikipedia.

8. Kansas City Union Station


Kansas City Union Station. Photo by Ron Reiring on Flickr.

9. Boise Union Pacific Station


Boise Union Pacific Station. Photo from Doug Kerr on Flickr.

10. Scranton Lackawanna Station


Scranton Lackawanna Station. Photo from Andrew Baskett on Flickr.

11. Utica Union Station


Utica Union Station. Photo from Carol on Flickr.

12. Nashville Union Station


Nashville Union Station. Photo from Megan Morris on Flickr.

13. Indianapolis Union Station


Indianapolis Union Station. Photo from the.urbanophile on Flickr.

14. San Diego Santa Fe Station


San Diego Santa Fe Station. Photo by Penn Station University Library on Flickr.

15. Salt Lake City Union Pacific Station


Salt Lake City Union Pacific Station. Photo from SounderBruce on Flickr.

16. Ogden Union Station


Ogden Union Station. Photo from railsr4me on Flickr.

17. Springfield, IL Union Station


Springfield Union Station. Photo from Ron Reiring on Flickr.

18. Tacoma Union Station


Tacoma Union Station. Photo from SounderBruce on Flickr.

19. Louisville Union Station


Louisville Union Station. Photo from Pam Culver on Flickr.

20. Saint Louis Union Station


Saint Louis Union Station. Photo by Dustin Batt on Flickr.

21. Oklahoma City Union Station


Oklahoma City Union Station. Photo from Raymond Woods on Flickr.

22. Topeka Overland Station


Topeka Overland Station. Photo from Ron Reiring on Flickr.

23. Cheyenne Union Station


Cheyenne Union Station. Photo from railsr4me on Flickr.

24. Chattanooga Terminal Station


Chattanooga Terminal Station. Photo from Andrew Jameson on Wikipedia.

25. San Antonio Sunset Station


San Antonio Sunset Station. Photo from Tony in WA on Flickr.

Cross-posted at BeyondDC.

Architecture


When it redesigns its campus, Gallaudet hopes to pioneer architecture for the Deaf

The southwestern edge of Gallaudet University borders a growing urban center, but fences close the campus off. Now, the school is rethinking its design and redevelop some of its land to bolster finances. To do this, it's reimagining 6th Street NE as a corridor that zips together deaf and hearing communities.


Gallaudet's 6th Street gate is not exactly community-friendly. Photo by the author.

Gallaudet is using two projects to create the first urban environment designed for the deaf. First, it's redesigning its public spaces, including the 6th Street streetscape, the campus grounds, and a few small buildings. Second, it's developing four large parcels of land that front 6th Street NE.

As the world's only university for the Deaf and Hard of Hearing, Gallaudet has a set of design guidelines the school calls DeafSpace; the redesigns will fit with both that and the 10-year master plan that zoning requires.


Base image from Google Maps.

Gallaudet wants new buildings and new ideas for tailoring its design to the Deaf

Gallaudet's main entrance on Florida Avenue NE is nearly half a mile from where Union Market, the neighborhood's new attraction, sits on 6th Street. Redeveloping the parking garages and auxiliary buildings there will tie the campus to its surroundings without harming its historic campus by Frederick Law Olmsted, Sr., who also designed Central Park.


JBG's conceptual plan for the 6th Street development project. Image from JBG/Gallaudet.

A large part of the development plan has already started. In 2014, the school selected the developer JBG and architect Morris Adjmi; the team behind the Atlantic Plumbing project at 8th & V NW, to build 1.3 million square feet of building on the parcels.

Gallaudet has already used internal workshops and two design processes to pioneer a way of designing spaces for the Deaf. The school wants to stay innovative in this field as moves forward, so it's holding a two-part design competition to shape its public spaces.

For now, it's gathering input from neighboring communities and asking for designers to form teams with specializations like interaction design in addition to architecture and urban planning.

A panel will narrow those teams down to just a handful in October, and the teams will then submit rough designs for feedback from the student and neighborhood communities. After a round of revisions, a jury of experts will pick a winning approach in February.

Using a competition allows Gallaudet to draw on a range of expertise that goes beyond the immediate community, which is important given that this is the school's largest planning endeavor to date.


The Gallaudet master plan emphasizes connections towards the NoMa-Gallaudet Metro. Image from Gallaudet.

Creating spaces for deaf people presents unique challenges

Gallaudet is promising vibrant streets and high standards of sustainability, both of which are now common in DC projects. But making spaces for deaf people will require designers to think a little harder than usual.

Gallaudet developed its DeafSpace guidelines when it realized its campus didn't suit how the Deaf use buildings and streets. The guidelines go way beyond the "universal design" requirements of the Americans with Disabilities Act. Instead of focusing just on patches for audiological deafness, uncapitalized, DeafSpace is custom tailored to culture shared by people participating in Deaf (capitalized) communities.

It's not an overstatement to say there's a distinct Deaf Culture. Many of our social norms, from how we say goodbye to what kind of art we enjoy, rely on hearing. The Deaf have different norms, and the way they talk is also different from English speakers. Although most deaf students can read and write English, American Sign Language is an entirely distinct language, with different grammar, vocabulary, and dialects.

In sign language, a single hand sign changes meaning depending on where the signer makes it, its orientation, movement, and what their facial expression is. To communicate in ASL, you need to see the whole upper body. A bar with low, intimate lighting will kill an ASL conversation the same way loud background music does for the hearing.


DeafSpace concept diagrams. Dangermond Keane Architecture / Gallaudet

Since Deaf Culture prefers clear vision and generous personal space, those are the conceptual building blocks. Sign language requires people to stand further apart and use more space, so, hallways have to be wider. Signers have to keep their hands free, so in DeafSpace, there are as few manually opening doors as possible.

If a deaf person can't see through a door, they can't tell if someone's in a room, so windows are helpful. But at the same time, an ASL user can spy on a conversation through that glass. In this case, translucency balances the competing needs. In general, reflective surfaces on cabinets or walls a deaf person might often face help with spatial awareness. Even paint helps: blue walls help hands and faces pop no matter the skin tone.

DeafSpace is a distillation of these needs and solutions into what the architectural theorist Christopher Alexander calls "patterns:" generic rules and forms that a designer can combine to create a multifunctional, comfortable space. The leader of the DeafSpace project, Hansel Bauman, sees it as a way of designing spaces around Deaf interactions and experiences.

But DeafSpace has few patterns that apply to open areas and urban space. Do crosswalks have to heighten visibility? If sidewalks have to be wider, do they cut into sidewalk cafes and increase the area of surfaces impermeable to rainwater? There are a lot of new issues open spaces present. I think bringing more brainpower to these issues is why Gallaudet is holding the design competition.

Plus, Bauman wants to take the concept further, to design spaces more tightly around human behaviors and sensations, irrespective of specific abilities. That might seem basic, but between a tendency to stick to financially proven conventions or get lost in an artistic vision, it's easy to forget the human interaction behind the built environment. The competition could bring this idea some much needed attention.

Tailoring an urban space for Deaf experience may force competing teams to get back to basics about how spaces facilitate interaction between people. Maybe the competition will let designers to reexamine the patterns of design for a sidewalk cafe or a multi-story building's front door.



The Flipboard Cafe in Melbourne, Australia has complex connection to the street. Brolly Design

Gallaudet's decision to open up its campus to a pedestrian-friendly, dense 6th Street is an extremely promising step. One step further would be taking the focus on buildings as amplifiers of social interaction and applying that design across the city.

Support Us
DC Maryland Virginia Arlington Alexandria Montgomery Prince George's Fairfax Charles Prince William Loudoun Howard Anne Arundel Frederick Tysons Corner Baltimore Falls Church Fairfax City
CC BY-NC