The Wilson and the Elm - Coming This Fall in Bethesda

If you have traveled anywhere near Bethesda you would not have missed the 3 new towers under construction at 7272 Wisconsin Avenue in the center of Bethesda.  The three towers are part of Carr Properties’ nearly 1 million square foot project of two residential towers (the Elm) and, on its south side, one office tower (the Wilson).  Named for an adjacent street and for Alfred Wilson, who in 1890 opened a general store on the site that became a social hub, Carr hopes its creation will duplicate that success.

Carr, partnering with residential developer Insight Property Group, broke ground in August of 2018 and hopes to complete construction by late October. The three towers share a common podium that will, like Wilson's general store, become a commercial nexus with a new southern entrance to Metro's redline station and the terminus station for the Purple Line.  The Metro station, 120 feet below, was originally built to accommodate a second entrance, and will share an entrance with the Purple Line as well as connection with the Capital Crescent Trail.  The project is hard to miss at 23 stories, nearly 300 feet, well above adjacent Bethesda Row.  Bozzuto, which will manage the buildings, will begin residential leasing in August.

Streetsense / Edit Labs designed the interior of the two apartment buildings, which will be connected by a skybridge with views of the National Cathedral.  According to the developers, the height will permit views as far as Dulles Airport and National Harbor on a good day.  The ground floor will offer up retail space, the only confirmed tenant for which is Tatte Bakery.  Above, several office tenants have inked leases, including Fox 5 and UBS Financial Services. Accommodating the red line Metro entrance, expected to open in 2022, provided developers with additional height and density than would have been otherwise permitted. Lastly, the development team points out the suite of technology to fight airborne viruses, including 100% use of outside air, "a rarity" in the DC office market, but an issue that will no doubt be a central talking point in future office marketing.

Project:  The Wilson and the Elm

Address:  7272 Wisconsin Avenue, Bethesda, MD

Developer: Carr Properties 

Architect:  Shalom Baranes

Landscape Architect: OVS

Interior Design:  Streetsense / Edit Lab

Construction:  Clark Construction

Use: 348,000 s.f. of office (1 tower) and residential (2 towers) with 456 units

Expected Completion:  Late 2020 for office and residential portions of the project.

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Washington D.C. commercial real estate news

Will Takoma Finally Embrace Its Inner Bethesda?

Denizens of the earthy Takoma neighborhood are finally seeing much-promised transit-oriented development beginning to sprout along underutilized Carroll Street NW, just steps from the Takoma Metro station.

Earlier this month, real estate giant Federal Capital Partners of Chevy Chase, which owns more than $1.8 billion in real estate assets in the mid-Atlantic region, announced the $36 million joint venture with Level 2 Development's Takoma Central, currently building in the 200 block of Carroll Street NW near the District-Maryland border.

Still, even as its neighbor to the north, Silver Spring, sees a burst of development, it hasn't been easy to convince the 17,000-plus globally-inspired Takoma Park citizens -- where illegal immigrants are allowed to vote in city elections and hold office -- to embrace their inner-Bethesda. Takoma Park residents, many of whom refer to the city as a "village," fought a long, but losing battle against a much-maligned CVS along Carroll Street in 1998 that led to the quick demise of a favorite mom-and-pop pharmacy on the Takoma Park, Maryland side. And a Subway sandwich joint that located in the village's historic district found its windows smashed in 2004 with the epithet "shop local" scrawled in spray paint.

But things may finally be changing in the People's Republic of Takoma Park as once development-wary residents embraced the Takoma Central design. That made it an ideal opportunity for Federal Capital Partners' Wade Casstevens, vice president of residential development.

"I think its a great place to live and well-kept secret," Casstevens said in an interview. "There haven't been areas in Takoma that you could build a large complex, so this is a true infill opportunity." Takoma Central will have amenities common to other Class A spaces in Logan Circle, Bethesda, and most recently Silver Spring, such as granite countertops, and stainless steel appliances, not easily found in Takoma. "Our strategy is to look for areas that have one or less competitors, not four or more, which is what we're finding in Silver Spring " he said.

Originally known as Ecco Park condos, the plan converted to apartments in 2008 under the design and ownership of SGA Architects. Takoma Central will be built in two phases.

Phase One, already under construction, is four stories, with a round, castle-like turret at the corner of Carroll Street and Maple, and will have 84 units and 70 underground parking spaces, plus 6,500 square feet for ground level retail.

Phase Two is a five-story, brick warehouse-style complex with 60 units and 35 underground parking spaces and ground-floor retail.

More importantly, the development may fill in a key gap between the bustle and activity of the Metro station and the quarter-mile walk to Carroll Avenue, Takoma Park's main street with well-kept sidewalks and quaint Victorian-era street lighting. Carroll Street NW becomes Carroll Avenue at the Maryland line, for those keeping score.

The 200 block of Carroll Street currently consists of a convenience store, a funeral home, the CVS pharmacy, and several surface parking lots. But the brick sidewalks are crumbling and there is no pedestrian friendly street lighting. Casstevens says the infrastructure and consistency of the street will improve with the completion of Takoma Central. "Right now, that part of Carroll Street looks a little beat up."

Phase 1 construction has begun already and Phase 2 will begin later this year. FCP says they will complete construction by the fourth quarter of 2013.

The construction of Takoma Central will go a long ways to renovating Carroll Street on both sides of the Metro line that the District and Maryland have been seeking to make ripe for transit-oriented development projects.

On the West side of the Metro line, where Carroll Street becomes Cedar Street, the District Office of Planning has been looking at possible enhancements to the neighborhood near the dormant Takoma Theater and its surrounds since Anthony Williams' tenure as Washington D.C.'s Mayor.

The Office of Planning's 2002 report shared the puzzlement over why TOD near Takoma Metro wasn't forthcoming. "Neither Carroll Street nor 4th Street have developed the critical mass of retail, commercial and housing that their Maryland neighbor enjoys, despite being anchored by the most heavily used pedestrian Metro transit station in the District of Columbia."

The Gables, a LEED-certified 142-unit complex opened in 2008 along Blair Road. FCP's Casstevens credits the opening of Gables for influencing their decision. "It was definitely a factor in our choice," he said. The Gables has many of the same amenities that Takoma Central offers, such as stainless steel GE appliances, hardwood floors and black granite countertops.

Still, south of Cedar Street there has been little progress in building a revitalized neighborhood around the historic Theater. Takoma Village, a unique co-housing urban village opened next to the historic Art Deco Takoma Theater in November 2000.

Milt McGinty, father of WUSA-9 anchorman Derek McGinty owns the theater, and wants to raze it to convert it to luxury apartments.

Preservationists want the the city to buy the theater outright but McGinty says the theater, which was built in 1923 isn't for sale and the theater stands in disrepair, prompting some accusations of "demolition by neglect." Like many development disputes, the fate of the Takoma Theater may end up it court while neighborhood redevelopment plans continue to gather dust.

Washington D.C. real estate development news

Union Station's Main Hall Set For Big Changes

Entering Union Station's grand Main Hall, amid all the construction netting and scaffolding resulting from the emergency ceiling repairs prompted by August's earthquake, you'd be hard pressed to spot preparation for two shafts set to penetrate the Main Hall's pink marble floor.

The sinking of what will become two 750-square foot escalators openings are just the start of a grand "less-is-more" redesign of the hundred year-old-plus Main Hall, which among other things, will eliminate the Center Cafe and the two circular marble planters, while adding more seating and retail and improving sight lines, signage and pedestrian flow. It's what Union Station Redevelopment Corporation chief consigliere David Ball hopes will create more "vertical circulation" -- improving access to an expanded level of retail space on the venerable station's lower level, freed up with the closure of the much-maligned Union Station 9 movieplex downstairs in 2009.

The remake is the biggest overhaul of Daniel Burnham's Beaux Arts gem since Union Station's 1988 restoration and the largest repair job since January 1953, when 200-plus tons of locomotive and coaches of the Federal Express en route from Boston, sans brakes, plunged into what is now the lower level food court.

Still, getting this far hasn't been easy. Union Station has a virtual who's who of multiple stakeholders, including Amtrak, Union Station Redevelopment Corp., The Federal Railroad Administration, Metro, Ashkenazy Acquisition Corp., which owns the lease to Union Station through Union Station Investco LLC, and Jones Lang LaSalle, which manages the retail spaces.

The replacement designs for what came next became became a bureaucratic slug-fest between alphabet-soup agencies including the Commission on Fine Arts, The D.C. Office of Historic Preservation, and the National Capital Planning Commission who couldn't come to an agreement on what they liked. Compounding the difficulty was the 1969 declaration of Union Station as a National Landmark, which made it subject to the complex Section 106 proceedings of the National Historic Preservation Act.

It was easier to reach an agreement on what they didn't like -- Center Cafe smack in the middle of Main Hall. While the double-decker libation center was popular with 20-something Capitol Hill types, many said the sight lines in Main Hall were spoiled.

"The distracting Center Café makes visitors pause in confusion and forces travelers to circle around the pedestal and stairs to find the trains," said Nancy Metzger of the Capitol Hill Restoration Society in comments to the Union Station Redevelopment Corp. last August.

But the first design by GTM Architects, unveiled in June 2010, was almost a wreck on the scale of the Federal Express. Reminiscent of the 1970's Bicentennial visitors center, the design would have cut a giant hole in the center of the Main Hall, creating a glass and steel platform flanked by two elevator/escalator shafts.

The suggestion of re-opening the floor in the main hall recall(ed) memories of the ill-fated slide show pit," said Wesley Paulson, a member of the National Capital Trolley Museum. Critics such as the National Trust for Historic Preservation said the initial design (left) used too much glass and said that the redesign was no better than the behemoth Center Cafe it was designed to replace. In July 2010, USRC and GTM unveiled round two of the redesign, eliminating the center elevator/escalator shafts while seeking a retro-approach in an attempt to make the Main Hall look like more like its passenger station heyday of the 1920's and 30's, with long high-backed mahogany benches.

But this time, Amtrak police, perhaps channeling their inner-TSA, sought to nix the iconic mahogany, saying that the proposed high-backed benches made it hard for their explosive-sniffing police dogs to do their work, while giving potential bad guys plenty of places to hide.

Finally in December 2010, a compromise was reached. Two, smaller, but parallel escalator shafts closer to the front entrance but on opposite sides of the Main Hall so as not to impede center flow traffic. The escalator shafts would be detailed with wood, brass and marble signage and fittings to help pedestrians find their way to trains and the new retail.

Instead of the high-backed benches, the design called for functional if unimpressive low-slung pedestals that can be easily scooted out of the way for black-tie corporate shindigs in the evenings that the Main Hall routinely attracts, something the long benches would have impeded. Also added would be two new retail kiosks or "luxury marketing units" and an information booth in the center, reminiscent of the original layout.

Construction on the Main Hall improvements will follow the emergency work already being done on the ceiling as a result of the earthquake on August 23. The emergency work will be finished in late 2012.

The improvements in the Main Hall aren't the only ones. Already underway outside Union Station is a redesign of Columbus Circle in junction with the National Park Service, along with plans from Union Station Investco to improve the passenger waiting area with "Best In Brand" stores and new fixtures.

Metro too, is looking to upgrade access to its own station at Union Station as well, with a new improved entrance along First Street NE and a tunnel to H Street, in advance of Akridge's massive Burnham Place project, set to begin preliminary construction in 2014.

Washington D.C. real estate redevelopment news.

Rosslyn Station Kicks Off Today

Development of the expanded Rosslyn Station kicks off this morning with sacramental event to publicize construction of the $32m project. The 10am ceremony will highlight expansion of the underground station and replacement of the single elevator with three high-speed lifts intended to increase speed and create redundancy for Virginia's highest-trafficked station. The event will be attended by officials from Arlington, WMATA, the state's Congressional delegation, and JBG, which owns part of the site and has plans to build the Central Place development above it.

Arlington, Virginia real estate development news

Reston Station: Planning for the Last Stop of the New Metro Line

When it comes to development along the new Dulles Corridor Metrorail Silver Line, connecting downtown Washington D.C. to Tysons Corner and Dulles Airport, developers think big. Reston Station, a transit-oriented, mixed-use development soon to be brought into the orbit of Washington DC as the terminus of Phase 1 of the Silver Line, is no exception. Zoned for 1.3 million s.f. of development and incorporating three office buildings, two residences, one hotel, retail space and a 2300-car underground garage, developers expect to break ground on the garage next March and start the residences in late 2012. Davis Construction, now at work on Reston Station's county-sponsored underground garage, intends to complete work by 2013 to sync with the Silver Line's debut.

Comstock Partners, the Reston-based developer behind the vision, is just now beginning to market to prospective office users and hotel operators to fill up the 60,000 s.f. of retail, 650,000 s.f. of office space, and 220-key hotel that have been planned 3/4 of a mile east of Reston town center. Comstock has just begun design process for the 500,000 s.f. of residential space with the search for an architect, but already plan pair of residential buildings, 205 and 140 feet high, with a total 370 units, 19.5% of it designated for workforce housing.

Turning what looks, at least aerially (mislabeled picture above courtesy of MWAA), like a land of parking lots dotted occasionally by office buildings, into a community that is "edgy, contemporary, with easy living and walking to the Metro" as Comstock's Maggie Parker puts it, will require a bold metamorphosis. Anchored by the indispensable Metro station, various groups are working to design a more urban Reston. Reston 2020, a committee of the Reston Citizen's Association, which represents residents of Reston in the Reston Master Plan Review process, has outlined its own optics for the area, A Strawman Proposal for The Wiehle Area Metro Station, that envisions a thriving mixed-use, beyond 9-5, transit-oriented community. The group calls for increased residential uses, pedestrian and bike interconnectivity along the Silver Line corridor, embracing the urban center paradigm and integration of growth along the corridor. According to Penniman, Strawman Proposal author and board member of the Reston Community Center,

"Reston is a wonderful, planned community of urban and village centers, but running in the middle of it is the toll road, which has historically been lined with office buildings. With the arrival of the Metro and three stations running through Reston, there is an opportunity to add some urban flavor that would allow more people to live, work, walk and play...If we can create more pedestrian connections and manage traffic, that should do a lot to energize the corridor and would fit in well with the image of Reston as a community of open spaces and quality architecture."

Not everyone would agree that Reston calls to mind architectural splendor or exudes urbanity, but Comstock hopes their site next to the Metro will afford the opportunity to change that. Comstock plans on entering Reston Station in the running for LEED-ND (LEED for Neighborhood Development) certification, a relatively new category in the LEED rating system, which the US Green Building Council, the Congress for New Urbanism and the Natural Resources Defense Council developed collaboratively to certify neighborhoods that are planned according to smart growth principles with attention to urban planning and environmental design characteristics at the community scale.

Debate on the project has focused on traffic mitigation from the beginning. The Metropolitan Washington Airports Authority began increasing tolls on the Dulles Toll Road last January by 33% to help finance the Silver Line, with further toll increases expected in 2012. With increasing gas prices and suffocating traffic, the commute along the toll road has become less sustainable.

Comstock's Parker says the developer has focused on traffic management from the start, making the most of the pedestrian bridge that will link its project to the Metro station. Planners have designed Reston Station Blvd. as a new cross street, "an east-west spine road parallel to both Sunset Hills Road and the Dulles Toll Road provides a key cornerstone to the ultimate goal of a well-planned grid of streets." "We have proffered to significant traffic modifications to accommodate the suggested increase in traffic with the arrival of Metro. We are also committed to conducting other traffic studies as the development progresses through an aggressive Transportation Demand Management plan designed to reduce automobile trips generated by the office and residential uses" explained Parker.

Ultimately, construction timelines will be determined by economic realities, with even citizens groups acknowledging that "development will not proceed as fast as might have been thought a couple of years ago." With three years to go until the Metro station opens, time will tell what awaits sojourners venturing out to the end of the new metro line.

Reston, Virginia, real estate development news

The Giant Mess of Greenbelt Station

If it continues on its current course, the planned, $2 billion Greenbelt Station development may well go down as one of the biggest - though certainly one of many - debacles of mixed-use, high-density construction in the region.

Greenbelt Station is the brainchild of the Washington Metropolitan Area Transit Authority (WMATA) and the late A.H. Smith Jr. whose estate still owns most of the land that hugs the beltway just south of where I-95 blends into the beltway.

It was Smith's father who first began mining the land around the (then) rail road tracks in 1916 and created the asphalt plants that supplied the I-495 portion of the Capitol Beltway the raw materials that built it.

In 1996, WMATA announced that it would be redeveloping its part of the land adjacent to the Metro. Smith Jr. approached Metro about combining their efforts and creating a ginormous, high-density, townhouse and shopping development. Lessard Architectural Group was brought in to create a site plan, showing the nuts and bolts of how the separately-owned portions of the development could link together. And with that, the ill-fated Greenbelt Development was born.

For his part of the project, Smith took on a partner, developer Daniel Colton. Together they formed GB Development to develop the South Core and, until 2007, their townhouse/retail/multi-family residential project seemed to be on track for a 2008 groundbreaking. But then things got messy.

The development was supposed to be the apotheosis of a from-scratch, mixed-use community, with retail, entertainment, office space, hotel, and literally thousands of new homes in the heart of Prince George's County.

Designed by SK&I, the 240-acre parcel was to be split between a South Core of Pulte Homes townhouses and a North Core consisting of 2.3 million s.f. of office and retail space, plus 2,200 new homes. Built between neighborhoods where pickup trucks populate the driveways of unassuming one-story homes, and where there is no architecture to speak of, the development would replace a large mining operation still in use, a large surface parking lot, and at least some of the forested hills - with died-in-the-wool neocontemporary suburbanism at a Metro station.

But then everything that could go wrong, did. And today Greenbelt Station finds itself tangled in news of bankruptcy, allegations of fraud, dissolving partnerships, and inaction. Assistant Planning Director for the City of Greenbelt, Terri Hruby, tells DCMud that as far as she knows, the Smith portion of the development is "basically on hold," adding that to date "what's been approved has been a concept plan and one portion of the townhouse site plan. Another plan has been submitted, but hasn't gone anywhere."

In the northern part of Smith's parcel, Urban Design Supervisor Steve Adams, from the Prince George's County Planning Department, says that his department has "heard through the grapevine now and then about various commercial enterprises that might be trying to get something going in the northern part," but adds skeptically that, "nothing has come in to date."

Hruby speculates that "with the financial times being what they are," it's unlikely movement is going to happen in any part of the development any time soon and says that "there are still over-arching issues the developer needs to address." Like how to get someone to finance a gargantuan new suburban development project, for instance.

Bottom line: It's unclear if the developers even have the financing they need to move forward and they won't be getting a green light from planners unless they can make assurances that they are financially viable enough to follow through with road improvements and other existing land covenants.

This all brings us to the question: Who's developing this mixed-use masterpiece, anyway? On paper at least, the developer for the Smith parcel is Metropark LLC. But who are the entities behind Metropark? That's a question that leaves even city and county planning officials scratching their heads.

In December of 2007, Smith died at the age of 74, leaving the project jointly in the hands of his estate and with his business partner, Daniel Colton.

According to a 2008, WUSA News 9 Now report, Patrick Ricker, a developer working with Colton on the Greenbelt Station development, became the subject of an FBI raid aimed at high-level officials with ties to fancy development contracts. That same report revealed that Colton had once served time in prison for bank fraud and that the Greenbelt Station Development itself had also become part of the FBI's investigation.

After the fallout, Colton filed for bankruptcy in 2009, severed his ties to the project, and left the community at large even more exasperated and confused.

Hruby can tell us that original partner in the townhouse project south of the tracks, Pulte Homes, is now officially out of the project, but says that "there have been several town home developers and I don't know who the current players are."

Edward J. Murphy, Town Administrator for the adjacent Berwyn Heights community responded in much the same way, saying that as far as their town planners know, "the developer for the entire Smith project hasn't changed," but "the people that run the development have."

Murphy was equally fuzzy on details about who's now running Metropark LLC, which is not so surprising when you take into account that since 2006, at least nine different partners and LLC's have been cited as partners in the joint Smith-Metro Greenbelt Station project.

Now it's time for some more bad news: the saga over the Smith family parcel is matched on the WMATA land, where developers are suing Metro for backing out on an agreement that would have allowed Greenbelt Ventures the rights to develop the Greenbelt Station Towne Centre.

For its part, WMATA representatives have failed to respond to DCMud's inquiries into where its part of the development stands now. When a public agency won't return your phone call about very public project, assume the worst.

Maryland Real Estate and Development News

Notes from the Underground

DC Mud is pleased to announce it’s new architecture column, “L’Enfant Terrible” by Andrew Cocke. Though he left his urban heart in Manhattan years ago, Andrew is a Washington native, returning in 2007 after living and working in New York, San Francisco, Berlin, Shanghai and Hong Kong. He studied architecture and planning at Virginia and Yale, is LEED accredited, and teaches architecture at the Catholic University of America. He started his practice, HERE design in 2006 which specializes in high performance sustainable design.
More from L'Enfant Terrible...


Could it get any worse for Michael McBride, manager of MetroArts, Metro’s Art in Transit program? After numerous snowmageddon delays and a derailment last month crowned Metro’s abysmal safety record, the agency cheerfully announced the latest acquisitions for their Art in Transit program, prompting many Washingtonians to ask why Metro is spending money on art when it can’t even keep its passengers and employees safe. And then came the insult to injury: McBride, along with dozens of other Metro employees, was laid off in an effort to close Metro’s forty million dollar budget gap.

To set the record straight, artwork in Metro is funded entirely by private donations, and McBride was promptly reinstated by Metro’s board. But McBride’s greatest challenge remains: how to place art in such an overbearing, dark, inhospitable place.

Don’t get me wrong. This critic, like most architects, loves Metro, but it is a decidedly difficult venue for art. If you ask architects to name their favorite architecture in Washington they will mention the White House, the Jefferson Memorial, the Lincoln Memorial, the Capitol; the usual suspects. In 2006 the American Institute of Architects asked their members (and civilians too) to name their favorite architecture in America and surprisingly Harry Weese’s brutalist design for the Metro system was ranked number 14 among buildings in Washington (and 106 nationally). And if the poll had been limited to architects, Metro might well have ranked higher.

Weese’s great innovation was to design the stations not as a series of ever deeper basements but as a single subterranean nave into which the mezzanine concourses are loosely inserted like ships in a bottle allowing fluorescent lamps at the base of each curved wall and between the tracks to wash the entire volume with light. Weese rejected the white-glazed ceramic tile that had been used in New York, Paris, and London subways in favor of raw concrete, dark bronze and dark red quarry tile. The advantage of these unfinished materials is that they hide the inevitable: the cracks, water leaks, discarded bubble gum, and subway grime all disappear against the rough textures in Weese’s rugged palate.

But as surfaces for displaying works of art, they are totally unsuitable which explains why much of the art in Metro is clustered around station entrances, before one descends into the totalizing aesthetic of Weese’s underworld. The only flat surfaces inside the cavernous

stations are the end walls. But Metro trains are rarely as long as the platform so most riders never see the end walls of the station. It has probably been years since anyone looked at Constance Fleures’s, “The Yellow Line” which hangs forlorn on the south end wall of Gallery Place’s yellow line platform—its yellow neon unlit, its Miami Vice checkerboard and triangles hopelessly dated.

The biggest problem however is that much of the artwork chosen by MetroArts is merely decoration, intended to dress up a space that is utterly resistant to decoration; the visual equivalent of Vivaldi played in a steel mill. Hazel Rehold’s “Ribbons and Jewels” at Metro Center might be perfectly suited to a richly-appointed hotel lobby, bathed in the warm glow of their light, but the stained glass sconces are mounted too high on the wall to make out their intricate detail and are too small to have much impact on the cavernous Metro Center.


While size does matter, in the right places very small works can make a big impression. New York’s subway system boasts a better collection contemporary blue chip artists than most museums, but some of the most wonderful moments in New York’s subways are small, whimsical surprises by less well-known artists like Tom Otterness whose bronze alligator crawls out of a manhole on the platform to grab a hapless sculpture or this delightful installation in Stockholm’s art-rich subway encouraging riders to use the stairs instead of the escalator.

Artwork in Metro must be prepared to do battle with Weese’s design. Jorge Martin’s imposing marble piece at the entrance to the Archive-Navy Memorial station picks up and then warps the rhythm of Metro’s typical concrete panels as if Weese’s walls have been torn away to reveal some ancient boat hull entombed behind the concrete. There is an even better precedent in Washington: Leo Villareal’s wildly popular LED installation “Multiverse” which transformed the tunnel between the east and west wings of the National Gallery of Art. One hardly notices I.M. Pei’s signature P-shape passage because of Villareal’s leap into hyperspace. How many commuters would happily miss their trains to watch Villareal’s mesmerizing patterns wash across the Weese’s vaulted ceiling.Washington D.C. is not, let’s face it, an art town. There are many serious artists in Washington, but you wouldn’t know it by looking at our Metro stations. Penguin Rush Hour at Silver Spring and other large-scale murals and mosaics are a perfectly pleasant relief from Metro’s waffled concrete monotony, but few if any will stand the test of time like the great WPA murals.

Just as Metro is taking a close look at its safety procedures, it might be time to reexamine MetroArts’s selection process to encourage works that stand up to and enhance the overwhelming aesthetic of Weese’s architectural vision. And its well past time to enact some procedure for decommissioning works that haven’t aged well. Most importantly, Metro should redouble its art acquisitions efforts. Not every piece must be a work of art so to speak, but each should at least be engaging and provocative because as much as we all love Weese’s stations, they need to lighten up.