DC's Development Pipeline

Ever since the Fenty administration took over development of the District's publicly-owned property, merging agencies and placing them under his direct supervision, it seems development of blighted blocks has been given a new urgency, even compared to that of the Williams administration - itself a great improvement over its predecessor. But despite weekly announcements from the Mayor and the Office of Planning and Economic Development, many of the projects still have to proceed through the District's infamously thick bureaucracy. But if China can cleanse its murky atmosphere in a few short months, there is cause for optimism that change is in the air here in Washington. DCMud has prepared a rundown of the largest projects now underway, properties in need of developers, and solicitations to look for in the future.

The projects listed below are still being refined. The numbers and square footage assigned to each are conceptual and are subject to change.

Projects With Developers

Southwest Waterfront by Hoffman Streuver will offer 539 market-rate units and 231 affordable units. The $1.5 billion project will also include 350 hotel rooms, 700,000 s.f. of office space and 280,000 s.f. of retail space. On July 15th, the DC Council approved a $198 million TIF/PILOT package to finance park and infrastructure improvements. Groundbreaking is not expected any time soon, with construction lasting at least 6 years.

Waterfront, the erroneously named project at 401 M Street, SW, will deliver 800 market-rate and 200 affordable residential units as well as 1.3 million s.f. of office space and 110,00 s.f. of retail space. Mayor Fenty joined SW Waterfront Associates (Forest City Wasington, Charles E. Smith Vornado) in November to demolish the former Waterside Mall. The $800 million project will sit atop the Waterfront -SEU Metro station.

Clark Realty was selected in February as Master Developer for Poplar Point on the east side of the Anacostia. The number of residential and hotel units they will deliver has not yet been determined, however 30% of all residential units will be affordable. The District and the National Park Services held a public scoping meeting last month for the Environmental Impact Statement of the $2.5 billion project.

Center Leg Freeway on Massachusetts Ave, NW between 2nd and 3rd Streets is being developed by Louis Dreyfus Properties into 100 market- rate and 50 affordable residential units. The $1.1. billion project will cap the exposed section of I-395, and include 2,100,000 s.f. office space and 67,000 s.f. retail space.

The McMillan Sand Filtration Site on North Capital Street and Michigan Avenue will be developed into 820 market-rate units, 351 affordable units, and a 100-room hotel by EYA. The $1 billion project will also deliver 700,000 s.f. of office space and $110,000 s.f. of retail space. The project has long been worked over, but don't make plans for moving in any time soon.

In May the District reached a deal with Hines Archstone to develop a 400-room "high-end" hotel and 100,000 s.f. of additional retail space on "Parcel B", a 53,000 s.f. plot of land that is part of the larger CityCenter DC, the development taking up residence on the old convention center site. The entire $850 million project downtown will deliver 539 market-rate units, 135 affordable units, 476,000 s.f. of office space, and 266,000 s.f. of retail space.

On June 26th, Marriot International, Cooper Carry Architects and EHT Traceries presented plans for the Convention Center Headquarters Hotel to the Historic Preservation Review Board. Located on the Corner of 9th Street and Massachusetts Avenue, NW, the $550 million project will deliver 1125 hotel rooms and 25,00 s.f. of retail space. Having been scaled back from its original 1400 bed facility, the project is well past its early schedule, of construction in 2007.

O Street Market at 7th Street and Georgia Avenue will be transformed into a mixed-use development that will include 550 market-rate and 80 affordable residential units by Roadside Development. The $329 million development will replace a current Giant supermarket with a new 71,000 s.f. store and include a 200 unit hotel and 87,000 s.f. of retail space. The District reached an agreement with the developer late last month to kickstart financing. Of the dozens of projects promising to revitalize the Shaw neighborhood, this may be the first large project to actually get underway.

Skyland Shopping Center on Good Hope Road at Naylor and Alabama Avenue, SE will be developed by Rappaport Companies and William C. Smith Companies into a $261 million development with 155 market-rate units and 66 affordable units as well as 230,000 s.f. of retail space. When? Even an estimate will be fine.

City Vista, which began sales in late 2005, will bring 441 condos with 138 affordable residential units to, as well as a separate apartment building, to 5th and K Streets, NW. The project will also include 130,000 s.f. of retail space and will cost $191 million. The first condominium building completed last October, the remaining condominium and the apartment building are nearly ready for occupancy.

Early this year, Fenty signed a Land Disposition Agreement with Broadcast Center One Partners LLC, (Ellis Development and Four Points, LLC) that will bring African-American-owned Radio One to the district. The $144 million Broadcast Center One at 7th and S Streets, NW will be a mixed-use project with 135 market-rate and 45 affordable residential units as well as 96,000 s.f. of office space and 22,000 s.f. of retail space. According to Fenty's office, "the deal also sets in motion the $22 million redevelopment of the Howard Theater, a long-shuttered landmark that was the hub of black Broadway." If it gets built; the timeline remains uncertain.

Mt. Carmel (Parcel 51B) on 3rd Street, NW between K and H Streets is being developed by MQW LLC (Quadrangle and the Wilkes Companies) into $130 million mixed-use project with 267 market-rate units, 67 affordable units and 90,000 s.f. office space.

Forest City Washington is responsible for the $120 million O Street SE Redevelopment by the SE Federal Center. It will deliver 354 market-rate units, 89 affordable units and 47,000 s.f. of retail space.

The Village at Dakota Crossing in Fort Lincoln by Ft. Lincoln New Town Corporation will include 327 market-rate and 30 affordable units. It will cost $110 million.

Mid City Urban and A&R Development will bring 216 market-rate and 54 affordable residential units as well as 70,000 s.f. of retail space to the area around the Rhode Island Avenue Metro station with their $105 million Rhode Island Station project. First attempted as a condo project, developers have bowed to the market and substituted apartment buildings - at least in theory, as the project has yet to break ground.

The $100 million Shops at Dakota Crossing on New York and South Dakota Avenue, NE will be developed by Ft. Lincoln New Town Corporation into 29,000 s.f. of office space and 461,000 s.f. of retail space.

Lowe Enterprises and Jack Sophie Development have long had intentions to develop Riggs Road and South Dakota Avenue, NE (Triangle Parcel) into 208 market-rate units, 52 affordable units and 23,223 s.f. of retail to the tune of $75 million. The fate of the project is uncertain, as higher construction costs, shrinking condo prices, and more conservative lending practices - especially in low-income neighborhoods, make such projects harder to justify.

Park Place on Georgia Avenue in Petworth will be developed by Donatelli Development into 161 market-rate units, 32 affordable units and 16,000 s.f of retail space and will cost $60 million. Purchased by Donatelli, along with partners Gragg & Associates, Canyon Capital Realty Advisors and Earvin 'Magic' Johnson, will be one of the few developers delivering new condos in 2009.

In February, the District made a Term Sheet with Parcel 42 Partners to develop 95 affordable housing units and 8,000 s.f. of retail space on Parcel 42, in Shaw at 7th and Rhode Island Avenue, NW for $28 million.

In December 2007, the District selected William C. Smtih Companies and the Jair Lynch Companies to develop the $700 million Northwest One New Community that will deliver 1,600 units of housing on former NCRC parcels as well as adjacent DC-controlled and private properties in Ward 6. Located between North Capitol Street, New York Avenue, New Jersey Avenue, and K Street, the site is in an area that has "long been plagued by high crime and poverty", but is surrounded by the up-and-coming NoMa and Mt.Vernon Triangle neighborhoods. The development team, which also includes Banneker Ventures and CPDC (affordable housing provider), will create apartments, townhouses, and condos for all income levels as well as over 40,000 s.f. of retail and 220,000 s.f. of office space. The development will also offer a 21,000 s.f. clinic.

And further down the road...

The District issued a solicitation in early June for Parcel 69 at 4th, 6th, and E Streets, SW. The $130 million development will be an office and hotel project along the Southwest freeway. Proposals are due by September 15th.

In May, Fenty issued an RFEI for the Hill East Waterfront on Capitol Hill East. The District seeks a developer to create 2,100 market-rate and 900 affordable units with 2,000,000 s.f office space and 67,000 s.f. of retail space. The District anticipates a price tag of $1.1 billion for the development of the 50 acres surrounding the former DC General Hospital. Proposals are due by October 31st.

Proposals were due June 3rd for Minnesota and Benning Road, NE Phase II. The $107 million development will include 60 market rate, 392 affordable units and 40,000 s.f. of retail. No developer has been selected.

It is high time the District announced developer for Fifth and I Street, NW. After proposals were submitted in March, the District widdled the teams down to the final four including BG, Buccini/Pollin, Potomac Investment Properties, and a group comprised of Holland Development, Donohoe Development, Spectrum Management, and Harris Development. The winning team, whenever they are announced, will create somewhere around 170 market-rate units, 30 affordable units, 100 hotel rooms and 50,000 s.f. of retail space.

Upcoming Solicitations

The District would like to see 1,469 market-rate and 440 affordable units in Lincoln Heights in Ward 7 at an estimated cost of $576 million.

Barry Farm/Park Chester/Wade Road in Ward 8 will likely include 110 market and 330 affordable housing units and will cost around $550 million. The project is an effort to revitalize low-income properties in the historic Anacostia area.

The issuance of the Park Morton solicitation at Park Road and Georgia Avenue, NW is "imminent" according to the Mayor's office and will cost $136 million with 499 market-rate and 150 affordable units. Axis

Planners Select 5 Firms to Redesign President's Park - DC Architects Not Invited

Urban planners at the National Capital Planning Commission (NCPC) have announced the selection of 5 architectural firms to redesign the parks south of the White House. NCPC selected the firms from 23 that submitted qualifications; no design ideas have been submitted, but the planners for the area's federal lands have set a June 17th deadline for submitting plans and expect to announce a winning idea by July 7th.

The idea is to create "durable and more aesthetic security elements in the President's Park South area and replace the existing temporary and unsightly security elements," no grand plans for new monuments. The area includes the parks bordering the southern fence of the White House, including the Ellipse and E Street, which has been closed to vehicular traffic for the past decade. Possibilities include reopening E Street to traffic (in true Washington fashion pending completion of a transportation study), but final decisionmaking rests with the Secret Service, which is generally inclined to close streets down rather than open them.

Pedestrians can enter the area to get to the fence surrounding the south lawn of the White House, but have to navigate security obstacles. Bill Dowd, Director of Physical Planning for NCPC cites that impediment as a prime directive for a new plan. "One of the biggest things we want to fix...is that pedestrians can get up to the fence but because of security barriers its very confusing how to get there."

The 5 firms selected are:

• Hood Design Studio, San Francisco, CA;
• Michael Van Valkenburgh Associates, New York City, NY
• Reed Hilderbrand Landscape Architects, Watertown, MA;
• Rogers Marvel Architects, New York City, NY; and
• SASAKI, Watertown, MA.

Although several DC area firms competed for the rights, no local teams made the final list. The 5 winning design firms get bragging rights and a $20,000 honorarium, but not necessarily much else, as the design committee reserves the right to appropriate the designs without employing the architects. The process is being overseen by NCPC, National Park Service, and the Secret Service, but Dowd says that once the competition ends NPS and the Secret Service will take over responsibility for execution.

This being DC, the competition does not go hand in hand with funding, so no timeline has been set to make any of the recommended changes. Dowd hopes that creative ideas will spur the necessary funding, eventually to be provided by the Secret Service. "The ideas will allow us to cost out what the project will be." Says Dowd, "we looked for proposals that indicated...a creative approach that relfected an understanding of how important the historical entity was."

Beginning June 20, 2011, the public will be invited to view the designs submitted by the five project teams, both online and in person.

Washington DC real estate development news

Law Enforcement Goes Underground in Judiciary Square

Judiciary Square will soon become a tourist mecca - once the new National Law Enforcement Museum is built on (or, rather, under) the 400 block of E Street, NW. Okay, it may not be the new go-to spot for tourists, but construction is expected to get underway nonetheless in the first quarter of 2009.

If all goes according to plan - in this case, the National Capital Framework Plan - the 90,000 square foot underground museum would extend under E Street and be accessible by two above-grade entry pavilions separated by a 100-foot wide shared plaza. Currently the site of a parking lot between District of Columbia Court Building C and United States Court of Appeals for the Armed Services, the plaza would make Judiciary Square a new draw for tourists - and give deadbeats something to do while waiting for their turn in the docket - and serve as a “natural extension” of the National Law Enforcement Officers Memorial, already located in the square.

The placement of the museum next to the memorial that inspired it is no coincidence. The genesis of the project came in 2000, when Congress and President Bill Clinton enacted a measure calling for the establishment of such a museum. Fundraising endeavors were then passed off to the National Law Enforcement Officers Memorial Fund and the National Capital Planning Commission (NCPC) in their roles as de facto developer, which got to work clearing the project with the seemingly endless list of local and federal authorities with overlapping jurisdictional interests.

Eight years and a million feet of red tape later, the museum will finally begin construction in 2009. Utilizing designs by Davis Buckley Architects and Planners, the museum will sport exhibition rooms, a gift shop, a theater and an underground atrium with skylights that peek into the plaza above. The mission of the museum will be to be lead visitors on a journey from “the first days of the night watch in the 1600’s” up to today’s high-tech era of CSI-styled detective work. Using exhibits designed by Christopher Chadbourne and Associates, the museum will highlight “historical artifacts, manuscripts, books, oral histories and other information that chronicle the development of America's civil society.” Or it might be like the aborted City Museum, a multi-dollar downtown museum that resulted in too few tourists too make it financially viable.

Then again, maybe not. Marcello Muzzatti, an officer with the Metropolitan Police Department (MPD) and President of the Fraternal Order of Police of Washington, DC (DC-FOP), testified before the City Council this week regarding the project and has no doubts about its potential. "[Ward 2 Councilman] Jack Evans is really in favor of it because he knows it's a whole marketing strategy for downtown," said Muzzatti. "You've got the Spy Museum, the [Koshland] Science Museum, the Newseum - all that area, in the past 10 years, has just exploded. It is going to bring more visitors into Washington, DC and our museum, you have to understand, is completely unique."


The project has finally been approved by all the agencies with a finger in the development pie (District of Columbia Office of Planning, National Parks Service, US Commission of Fine Arts, etc.). All that now remains is to begin spending the $80 or so million that has been donated by prominent benefactors such as Panasonic, DuPont and Motorola (in exchange for product placement within the museum, of course), and police organizations such as the DC-FOP and the MPD (who recently organized a 5K run that raised $10,000 for the project). Fundraising is still very much underway and the NCPC is currently working with the adjacent courts to develop a perimeter security plan that is satisfactory to all. Clark Construction will serve as the general contractor once the project goes to ground.

For those who care, the oldest of the Judiciary Square buildings is the Old Courthouse, designed by architect George Hadfield, and originally intended to be the District's city hall. The courthouse was built in stages from 1820 and 1849. Maybe when it’s complete, they can slap the museum on tour including the Navy Memorial, the National Museum of the American Indian and the National Building Museum and explore the unmined history of the rest of the Village People. Okay, maybe not, but think about it.

Your Next Place

Look how cute this little building is, nestled cozily between two much-larger buildings, and yet with an undeniable appeal all its own.  (Insert your own "size doesn't matter" joke here.  It sounds too autobiographical if I do it.)

This beautiful unit is one of 22 in this boutique building, which means it's just big enough that there's probably at least one other person in the building you can have an ill-advised romance of convenience with, but not so small that you won't be able to avoid them after it crashes and burns.  It's a corner unit too, so it's a bit bigger and brighter than the other units, a fact you should bring up constantly when you run into other building occupants.  ("You look depressed, is it because your apartment is slightly smaller than mine?")  The main area is open and gets a ton of light; it features glowing hardwood floors and recessed lighting.  The kitchen comes with the granite countertops/stainless steel appliances one-two punch, and there are a ton of built-ins for your collectible plate collection.  The master bedroom is spacious and wide, and boasts a world-class walk-in closet.  It got me thinking, "wait, why doesn't my bedroom have a walk-in closet?"  And then I realized, my bedroom IS a walk-in closet.  Explains all the built-ins, and why my twin mattress takes up 90% of the floor space.

This building also comes with concierge service, extra storage, rental parking, and even a gym.  Imagine how much guiltier you'll feel about not working out when there's a gym right downstairs!  It's located in Penn Quarter, so it's close to Chinatown, downtown, NoMa, and other neighborhoods people go to, look around, and say, "wait, is this it?  Really?"  (I kid, I kid; aside from that horrible intersection where they have the huge tvs, I actually really like Chinatown.)  Also, it's equidistant from two metro stations, turning each morning into an agonized internal debate over where exactly you want to go to get the back of your neck breathed on by total strangers.

675 E Street NW #500
1 Bedrooms, 1.5 Baths
$509,000

Washington DC real estate news

Winner of President's Park South Design Competition

Rogers Marvel Architects, a New York-based firm, was announced as the winner of the President's Park South design competition at the National Capital Planning Commission (NCPC) meeting held today.  Rogers Marvel was selected amongst five semi-finalists out of a field of 25 entrants. In a statement, NCPC described the Rogers Marvel design as "adding a seating wall with integrated pedestrian lighting, while subtly raising the grade of the Ellipse. This establishes a security feature, reinforces the Ellipse as an event space, and minimizes the visual appearance of adjacent parking." The design adds a new E Street terrace that joins the modified Ellipse with the White House South Lawn, a design that "could also accommodate re-opening E Street, NW without requiring significant changes," according to NCPC. The next, and more formidable, portion of the project will be to wrangle the money necessary to build out the winning design.

Washington D.C. real estate development news

Eckington's St. Martin's Still a Source of Tension

Originally scheduled for completion in the first quarter of 2010, Eckington's St. Martin's Apartments are coming together, according to church authorities and architects involved with the project - although, November of 2010 is now looking like the more likely date for completion.  Washington DC based NorthStar Development and Consulting partnered with St. Martin's on the apartments which will ultimately be controlled by The Catholic Charities of the Archdiocese of Washington through a subsidiary. Those curious about the progress on the 178-unit affordable apartment complex located at 116 T Street, NE can now see the recently installed windows, according to Lenora "Chick" Bowser. Built atop St. Martin's land, the four-story complex (plus one story of parking below-ground) has been billed by Parish Pastor Michael Kelley as "The Largest Affordable Housing Project in DC." All units are rental and all are offered below the market rate with one-bedroom public housing units available at 30% AMI and two-bedrooms available at 60% AMI. That's either great news for working families or a ticking property value time bomb for local property owners - depending on who you ask. The project has faced community roadblocks since its inception in 2005 when Hamel Builders was given the unique opportunity to roll the convent 80 feet east of its 116 T Street, NE lot to avoid razing a potential historic site.

  

According to Milan Mehta, Grimm & Parker's lead architect on the project, the convent will now hold six units built in accordance with Historic Preservation guidelines, with the other apartments contextual with the neighborhood. "We tried to break up the façade so that it mimicked the homes to the [Todd Place] side," explains Mehta, adding that the designers included a "grander frontage and greater street presence on the T Street side," facing McKinley Tech and Hyde School.

But design aesthetics—including an E-shape somewhat reminiscent of Sursum Corda's horseshoe design—aren't the only concerns some of the area's neighbors have with the 241,000 s.f., $41 million project. At a time when the New Communities initiative has sold the District on the idea that mixed-use, mixed-income, rent-or-own developments will spark progress in neighborhoods, some Eckington residents feel this development will have the exact opposite effect - namely, that it will concentrate poverty and crime into one designated area.

For their part, church officials and developers have repeatedly dismissed these charges as naive mischaracterizations of future St. Martin's residents. "This development will be mixed-income," counters Chapman Todd, director for housing development at Catholic Charities, adding that although the development is a stand-alone development separate from the New Communities initiative, it will serve as "an asset to a vibrant community in need of more affordable housing options."

As for the similarities to failed public housing projects like Sursum Corda, Todd assures that the St. Martin's Apartment design took into account neighborhood concerns about "common areas being open to the street" by placing features like the toddler play area, gazebos, and courtyard terraces one floor above street-level. Whether or not such steps help soothe community concerns, Todd is certain that as the building nears completion, everyone involved will continue to work "to be present for the community and ANC, Bloomingdale Civic Association and Edgewood Neighborhood leaders."

Washington DC retail and real estate development news

The Shaw Shine Redemption

Q and A with Suzane Reatig  
by Beth Herman

Heralded for her consistent redesign and accruing revitalization of D.C.'s deteriorating Shaw neighborhood, where she practices architecture, Israeli-born and Technion-educated Suzane Reatig of Suzane Reatig Architecture continues to shine a tenacious light on Shaw's blighted blocks. Moving to Maryland during the 1975 recession, Reatig toiled for two years as a carpenter before finding work for various architectural firms, finally posting her own shingle in 1989. While her award-winning buildings are considered affordable as opposed to luxury designs, they are tantamount to the latter in many respects and celebrated for their exuberant facades, spare spatial qualities and prodigious use of natural light and air. DCMud spoke with Reatig about her latest multifamily project in Shaw.

DCMud: What is the genesis of the 623 M Street building, your eighth building in 20 years in Shaw, which we understand didn't start as a housing project at all.

Reatig: The existing building with eight apartments was in terrible shape, next to a church. The occupants were elderly, and they could walk to the church, though the building had a lot of exterior  steps which made it hard for them. The client, with whom I'd worked on another project, asked me to design a ramp. It really didn't make sense because there were also stairs inside the building these people would have to negotiate on their way to the ramp. I was able to convince the client that something more drastic was needed: a new building.

DCMud: But how did that work in terms of displacing an elderly group of residents - even temporarily?

Reatig: I was doing another building for the client on 7th Street and told him we would have some of the units accommodate these people for a while. Then we could bring them back. Interestingly, some of them loved the other building so much, they let us know they were going to stay.

DCMud: Did this alter the M Street design in any way?

Reatig: When we realized the elderly residents were not coming back, we added a mezzanine (with staircases) to three top floor units, making them larger and fancier. These could be rented at market rate and there were nine units in all.

DCMud: What about the site itself, which we understand was a real challenge?

Reatig: We were dealing with only a 4,700 s.f. site, including building and parking, and all the zoning regulations. But we achieved the design, in three stories, with an elevator though it was no longer critical in terms of the residents' needs. The exterior is concrete and has brightly-colored panels.

DCMud: Can you explain the absence of wood in this design, and perhaps in some of your other projects.

Reatig: We could have built it like you build houses, but it's an urban design, so for noise and fire safety purposes we do it the way highrises are built.

DCMud: Some may say there's an absence of sustainable elements in the M Street building, but you have other ideas about that.

Reatig: To build sustainably, you want to build something that will stand a long time and that people will want to use. It's not about LEED points but rather if it's built well, it will endure and people will continue to be comfortable living there.

DCMud: Tell us about the interiors, with your signature focus on light and ventilation.

Reatig: The lower six units are one bedroom, 800 s.f. The top floor (three units) are 900 s.f. with the mezzanines, and a roof deck. Some apartments have three exposures so they are more like a house. Glass is low-E with a mix of fixed and operable windows. The units have cross-ventilation. There are exposed polished concrete floors.When they were marketed, they rented immediately. I've said before that whenever we design housing, we do something we would want to live in.

DCMud: You have spoken a great deal in the past of infill architecture, like this building on M Street. So how does it reflect the neighborhood vernacular?

Reatig: Actually it's very different than the surrounding buildings, which are very old and a brown brick - very monotone. We have a building that is cheerful and makes people smile. You can always see the light inside and lots of color.

DCMud: In what ways does your considerable stint as a carpenter in the '70s affect your work today?

Reatig: It gives me something important in terms of understanding materials as we don't always consider how things are built. I also have a great appreciation for these people who do the work. I always tell the contractor that as architects, we do a small portion of the work. They are the ones who build and are much more important than us, though the teamwork is also very important.

DCMud: Speaking of a city that thrives on teamwork, is there a particular D.C. site that appeals to you?

Reatig: There are a lot of buildings I love in D.C. like the Corcoran and I.M. Pei's National Gallery. I love buildings like the Freer that have courtyards. The Portrait Gallery enclosed theirs in glass, but I loved it when it was open and you could sit there with fountains and trees. It was lovely - a real oasis.

Photos courtesy of Alan Karchmer.

Vornado Hits Crystal City Again

Sticking with their strengths, Vornado/Charles E. Smith is recycling an old 13-story office building, turning it into a 19-story - you guessed it - "luxury tower" at 220 20th Street in Crystal City. Designed by global firms HOK Architecture and Dorsky Hodgson & Partners, 220 Twentieth Street will be a 270,000 s.f. mixed-use tower that will include 265 luxury rental apartments and 1,600 s.f. retail space at its completion in mid 2009. The developers will recycle the concrete structure of the old building while adding six floors, rebuilding the façade, systems, and interior space. “We’re thrilled to bring 220 20th Street to market. We believe this new sustainably-designed residential project will bring a sparkling new level of quality and visibility to the new Crystal City,” said Richard Smith, Senior Vice President of Development. Two blocks from the Crystal City Metro, developers say the project will be LEED Certified for such features as its water efficient landscaping, bike storage, and use of recycled material during construction, and that from the rooftop pool deck it will boast panoramic views of the planes touching down at Reagan National Airport, the not-too-distant District, and surrounding clusters of the vertical, but newly-walkable, neighborhood of Crystal City.The developers intention for the project was to bring more residents to Crystal City and “set a design standard” for the area. Modest goals, perhaps, but here's to hoping they succeed...

Arlington Virginia commercial real estate news

Lincoln Theatre Brings Films Back to U Street

The District government will announce today a plan to energize the Lincoln Theatre with an (expected) blockbuster that will run for the next 4 weeks, the first such first-run movie to have premiered at the Lincoln in many years. Landmark Theatres will sponsor The Girl with the Dragon Tattoo, David Fincher's $150-million Hollywood adaption of the wildly popular book, one in a trilogy of novels by the late Swedish writer Stieg Larsson. 

 In an effort to assist the city's efforts to animate the historic building, Landmark will donate all proceeds of ticket sales to the city. Screening will begin next Wednesday, the date of the film's release, with 3 screenings planned per day. Mayor Vincent Gray and Deputy Mayor for Planning and Economic Development Victor Hoskins plan to hold a press conference next week in advance of the opening. The 1,225-seat Lincoln Theatre is owned by the District, and has been under a management contract by the U Street Theatre Foundation (USTF). One month ago the District gave the D.C. Commission on Arts and Humanities oversight of the theater and announced it would look for other operators of the site to address the site's solvency after an emergency request by USTF for $500,000 to keep the theater operational, a shortfall that threatened to close the theater. 

 Landmark currently operates E Street Cinema and Bethesda Row Cinema, as well as 61 other movie theaters nationwide, making it "the nation's largest theatre chain dedicated to exhibiting and marketing independent film." "We're pleased to help the city in its efforts to revitalize the Lincoln Theater" said Landmark CEO Ted Mundorff, who hoped the partnership would augur a more profitable future for the historic venue. Alan Zich of DCRE represented Landmark in the transaction. Once a dignified theater, the Lincoln fell into disrepair and disuse after the widespread riots in 1968, finally shutting its doors in 1981. In the early '90s, the Lincoln was restored and reopened on a limited basis. In 2007 the Fenty administration attempted to resurrect the Lincoln by letting developers compete to develop the back lot, now a parking lot, promising to earmark some of the sale proceeds for the theater, a proposal that was canceled when the District did not receive the proposal it expected. 

  Top Photo the work of Mark Podger, taken from CityStream.com 

  Washington D.C. real estate news

Industry Insight: Architect Phil Esocoff

Responsible for the design of Capitol Hill's Senate Square, the ballpark area's Onyx, the Whitman, and the Historic Greyhound Station at 1100 New York Avenue, NW, Phil Esocoff, Principal of Esocoff and Associates, is as creative in person as his buildings are in presentation. With an office full of architects quietly scheming and tracing the next building, about which everyone will have something to say, Phil Esocoff agreed to talk about urban design, bricks, and which buildings he would invite to dinner. 

When did you become interested in architecture? 

Esocoff: When I was in 5th grade there was a photograph of the Guggenheim in my weekly reader and I made my parents take me to see the building, that’s when I decided I wanted to be an architect. 

What do you think urban architecture should achieve? 

Esocoff: I think the term would be genus loci, the idea of it being rooted in the place and time and the culture of the place. It’s what makes the world interesting. If you’re traveling to a place, you don’t want to find the place you left, you want to find something new. And it’s great to have architecture grow out of that. It could be climate, craft, and traditions. Certainly in history architecture has been based on the materials that have been available, whether its wood and you have wooden architecture or stone and stone architecture. So when you go back and think of history you find that brick came from local clay and depending on what materials you have for fuel, that changes the color or outcome of the brick. So unbeknownst to a lot of people today, our regional architecture has always been very much affected by what was available at the time. Whether it’s a sod house on the plains or log cabin somewhere. It’s like we don’t realize milk doesn’t come from a bottle, it comes from a cow. 

So how would you describe your style? 

Esocoff: It’s not a style, it’s probably more like an aesthetic that comes from looking for some discovery of what the purpose of the building is, what’s the technology used to build, and what’s going to make it last a long time. I like buildings that will get better over time like good wines. There is a quote that says, “Finishing ends construction, then weathering constructs the finishes.” And so it's that softening that limestone or brick gets as it collects residue. 

Are there buildings in DC that come to mind when you think of structures getting better over time? Esocoff: Federal Triangle looks better now than it probably did when it was brand new. That concept is also something I have in mind for my Canterbury project.

What’s been your favorite project that you’ve designed?

Esocoff: I would say that my longtime favorite is the one I did at 2401 Pennsylvania Avenue, NW before I started this firm. There are flags on top and little brackets that hold the canopies that are donkeys and elephants. You couldn't do that anywhere else. It is so perfect for where it is. 

What is your favorite building in DC? 

Esocoff: (Laughs) thats a hard question. For interior, it's hard to beat the Library of Congress. My favorite building is 518 C Street, NE. It's a small office building that Amy (Weinstein, also his wife) did in Stanton Park. 

What are some of the projects that you have coming up? 

Esocoff: We have several and they are all exciting, really the ones nearing completion are the Dumont at 4th and Mass, that’s 401 and 425 Mass Avenue and there is also the Onyx by the ballpark. Still being designed is Marina View in Southwest. That’s exciting because we are renovating I.M. Pei buildings from 1962, and in some cases following original design drawings that were somewhat badly engineered, so we are trying to bring it a little closer to what the original design intent was, but also use double glazing for energy reasons. The exciting part is we've hired the original landscape architecture firm to come back and redo the garden between the two buildings and update it in light of contemporary understandings of good urban designs. There is an author – Oscar Newman who wrote Defensible Space. And he said there should be a clear definition of ownership and responsibility for space. Public space especially, helps give some quality to the urban realm, so people aren’t in this kind of ambiguous relationship with it. So in this case, we're opening up a place that will be open to the public during the day with established east-west routes through the site that are clearly inviting to the public. They will be able to go east-west through this superblock that was established so they can get through to the Metro. We are trying to re-establish the pedestrian circulation that used to flow through here. So while the street isn’t being re-opened, people can traverse the site on attractive circulation paths. 

Do you tend to prefer historical projects like that one, or ground-up design? 

Esocoff: Almost all of my projects are ground up, we haven’t done too many actual renovations. We did one at the Chilean Embassy on Mass Ave, where we put things back in order that had been changed. You wouldn’t call it a real restoration but we mitigated some renovations of the past so that if in the future they want to do a full blown renovation, they can. We tried to do a respectful renovation The Pei buildings are really going to set a standard for contemporary design and how you renovate a building from the 1960s, that's not even 50 years old. That project went through an informal process with the HPRB to almost set a standard for how buildings in that area of the city are renovated - what would be the philosophical approach to dealing with the buildings and the spaces there in a way that kept the baby but threw out the bath water. One of the things with the 60's is they threw out baby and bath water, so if you want to learn from history, you have to take a more circumspect view of what our

predecessors did and not just throw it out wholesale which is what they did in a way. They erased the street grid as though the street grid that had worked for 200 years was somehow a mistake. There was no mistake in the layout of the street grid. There was no need to have done that. It was a misguided idea of super block planning and wholesale destruction of historic fabric that we wouldn’t do today. In a way, if we went in there and started tearing down old buildings, we wouldn’t have learned anything from what they did, because some of these buildings have character – they are historic artifacts for good or ill and if somehow they can be retained and adaptively reused in a respectful way for what qualities they do have, that’s actually better than just doing the same thing they did.

What is your view of the architect's role in the PUD process? 

Esocoff: Well we look at the zoning and look at the description of the site. We look at what the surrounding context is, in other words - what would be the best front door for the project - is it on a boulevard, what should the address be. Whats the best way to present the building? It's funny that we've slipped into this idea that planning is a restriction on peoples' rights to plan economically. Somehow people have forgotten that planning can add value to land by setting up rules that people can use then to plan accordingly. It is the opposite of Tyson's Corner where everyone could do what they wanted, but the net value there is probably less than if you took the same square footage starting in the center of Farragut Square and worked your way out. If you applied DC's plan to Tyson's Corner, you might have more real estate value. So what do we do? We look at the context and we look at very basic things like where the front door is, where the parking entrance should be and where the loading dock will be. Those things have to be dealt with very early on. That stuff sounds very prosaic but its really the foundation of it. It no more prosaic than saying, "Here are the boundaries of the site, plan within them". So you look at that and then I guess what we developed was kind of a philosophical attitude about what good urban architecture is in the context of the District's plan. The District is interesting as a plan because it has very wide streets and its streets are so wide that in other cities you could almost put a park in the middle of the street. So it is really incumbent upon the people building here to build to the property line for a good portion of the facade and define public space by project initiative. In some ways its very much a description of the underlying premise for our political system or our political culture – people are free to do what they want, but if they live up to certain civic responsibilities, we are all the better for it. You will then get a sense of an urban space that is a linear park that runs for miles. If you think about some of the streets in the city, they are about 150 to 160 feet wide. Essentially, you have space that is wider than a football field that runs for miles and it’s ironic that citizens or lots of people in district will sometime object to buildings because they say they will use up too much space. 

We have a lot of undefined, two dimensional areas. I would say that one of our problems is that if you really look at all of our spaces, they aren't developed nearly as well and don't have the texture and usability as any number of spaces in Paris, for example. It is also unfortunate that not everyone thinks you should have to take care of your part of the public realm just as a voluntary exercise. In the BIDs, it's different, but you'll see sometimes the area between the curb and sidewalk that is barren or full of broken glass and dirt and no one feels that they have to take care of that. The BIDs have done a lot though. I would also say that it's unfortunate that more thought isn't given to the facades of buildings. Each developer should think of how their project affects the view from the building across the street. Not just in a brochure, but in terms of selling office space and looking across at non-public elevation. I can't help but think that a lot of real estate value is incinerated. If you're stuck with an office on an alley looking at bland facades and boring window patterns, and that space could be courts from the center of the block that are quiet and attractive and secondary exposures, and not just the back of a building. (Laughs) It's almost like each developer should pay the developer on the other side. You don’t get to see your own, you see the one across the street and you don’t get money for that office space.

How do height restrictions affect your work? 

Esocoff: I like to think of heights in the District as a schedule of heights and based on what I said about defining public space, they have to do with what the original planners thought the right height would be for the width of the streets to create a boulevard. The analogy I think of is the big room upstairs in the Renwick Gallery where pictures are hung three or four pictures high. And out streets are small galleries and you look up into windows and see different slices of lights. The windows are like picture frames. Its like you are in this public room and the walls are the facades, and if everyone builds a certain amount, it will be a nice picture gallery. I think the restrictions are a good thing. It means you’ve got this kind of nice coherence. because unlike other cities, in DC its a little bit like you took a waffle iron and poured in a batter called "highest and best use" and slammed the lid down and it squeezed out. Washington from the air seems to have this grid and diagonal boulevard system that looks like a waffle pattern. It's very satisfying that now, 200 years later, you cant stand on Dupont Circle and look down clearly defined streets. The Constitution allows people to pursue life, liberty, and the pursuit of happiness, but in buildings, you don’t see a lot of that. To fully express the underlying value of society, each building should be self expressive. You've been given this freedom to go up to a certain elevation and the fact that some buildings sit there mutely is kind of disappointing. People do a lot of excruciatingly boring things and say if that if they could have gone higher, it would have been more exciting and I don't believe that. I like buildings like Gaudi's buidings – no one looks at them and says, "too bad they aren’t sky scrapers." But people go down streets in DC and think its a problem that there is a height limit. To paraphrase Shakespeare, "the problem, dear Brutus, is not in our height limit, but in ourselves." What I like is that you can take time to lovingly design each inch of the façade. Its not like there are six stories out of view; people get to see it all. People get to see what your doing. People see every square inch and that’s fun to work on. If a city is an expression of our culture, you have to be able to say what you think about that. 

What are some of the other architecture firms that you admire? 

Esocoff: My favorite architect from the District is Amy Weinstein, although I guess the disclaimer is, she's my wife (laughs). She is now starting up again as the Weinstein Studio within Esocoff and Associates, and she has a project on Capitol Hill, the Eastern Market Metro Plaza, its an urban design scheme that she is going to make sing. We are also collaborating in a way on the Wardman West for JBG in Woodley Park, just west of Wardman Park Tower. I think it will set a new standard for DC buildings. Some of the architects I like are Mark McInturff, Bob Kearney, and certainly Shalom's (Shalom Baranes) work is consistently excellent as is Bonstra Haresign's. They do tight brickwork that I really like. I could go on and on about brick, but what I like about their work, is the nice sculptural clarity. I don’t think our predecessors wanted us to keep doing the same thing. Just being different for the sake of being different and not building on the past is not much of an accomplishment. 

Who are some past architects that have inspired you? 

Esocoff: There are a lot – I think Louis Kahn, he used a lot of brick too, he taught at Penn when I was there. There was always this underlying meaning in what he was doing. 

It seems like you have a thing for brick.

Esocoff: Well its Kahn and it's something you can work with – what else can you make buildings out of? There is stone like we did for 1100 New York Ave (NW). But I guess it's because a lot of projects I have worked on have been in neighborhoods and in budget levels where brick seemed like the right material. There is a lot of expressive value in it. I think you have a role in the world, you're not alone and its nice there there is material that you can use to provide some meaningful work for other people. I think we have some great craftsman in the world and if we also have great drawings, I believe that they will always rise to the task and build a new design. That is based on my experience in my last thirty years in DC. We believe they will do a great job, and they always do. All these people have a heart and soul and want to do something meaningful. 

How would you change the development process for the better? 

Esocoff: I think there needs to be more of a sense of self respect. I think a lot of people don’t take this seriously. I think every site I work on is the most important in the world, and each developer should think that too, because the communities that developments are in think that. There needs to be better public discussion among community groups and government. That has taken a dramatic turn thanks to Mayor Williams. Since his administration there has been a renaissance in the Office of Planning, but I think there still needs to be more public discussion about what makes DC special. There isn’t a lot of discussion of what architecture goes with that plan. When I look at buildings I think about having a party and each building coming to it. You look at the building and think, "would you want that building to come to dinner?" If it looks uptight, you say, "no", or if it looks like it chews with its mouth open, that's probably my building (laughs), but if it looks like it has a story to tell, then you want to learn more about it.

Washington DC commercial real estate news

The Technology of Tapas

By Beth Herman


It's a long way from a town widely known for its slaloms and schnitzel to the epicurigentsia of D.C. Principal Griz Dwight of Grizform Design Architects traded childhood ski racing competitions in the icy terrain of the Green Mountains for the equally sharp, albeit mental terrain of Washington, and never looked back - except with the occasional fond memory of a frozen lavatory at 6 a.m. and wind-blown snow inside the family home.


"We moved in to a converted barn," Dwight said of his first winter as an 8-year-old in Stowe, Vermont. "There was no heat in the house - just two wood stoves." Dwight’s mother, an author and avowed hippie, referred to it all as "character building," but the next year renovation and insulation followed, which may have impacted the future architect - even subconsciously. He admits it was a great place in which to grow up.

With 30 eclectic D.C. and Florida restaurants in his passbook and one more in development, Dwight’s unconventional undergraduate studies, almost equally distributed between studio art and physics (he was one science class shy of double-majoring) are emblematic of an architect whose love of the abstract and tactile sense are tantamount to his sense of precision and the technology of how things work. He also logged Vermont summers working construction, quipping that the confluence of all the art, science and framing is enough to make him “dangerous.

“I can weld; I do carpentry; I’ve worked a lot with pouring concrete; I’ve done some electrical work; plumbing.” Because the firm’s restaurant designs are so varied, Dwight said they can design everything “with that crazy pie-in-the-sky idea (recalling the abstract), but also the technical knowledge to get it done. We’re not coming up with a lot of crazy ideas that can’t be built and are over budget,” he added.

In the case of Estadio, 1520 14th Street NW, Grizform Design Architects’ latest restaurant venture which opened in July, the firm took a small, 2800-s.f. space and “packed a lot of punch in there,” Dwight said. Working in tandem with owner Mark Kuller, whom Dwight said loves Spanish food and wine, is extremely hands-on and also owns Proof, 775 G Street NW (another Grizform design), the team took tapas into the bullring by marrying the animal’s raw power and presence with “the sleekness and athleticism of the matador. We took images of the bullfight, or sort of the notion of a bullfight, and really thought about how that might translate into the space,” Dwight said.

Accordingly, clean, contemporary lines and stainless steel are offset by hand wrought 19th century one-inch terracotta bricks from a mansion in Spain. These elements are juxtaposed against what Dwight calls a monolithic, poured in place concrete bar – a massive element in the center of the space he believes could be the bull in the center of the ring. The wood on the face of the kitchen bar is a bold heart pine, salvaged from a building in Charlottesville, Va. in a nod to sustainability. Inside the vestibule, the heart pine theme continues on walls, punctuated by clavos: large nail heads reflective of those at the entry door of Plaza de Toros in Seville.

“It’s got a great vibe,” Dwight said, recalling that Kuller and chef Haidar Karoum (also of Proof) “ate their way across Spain” in an effort to authenticate the tapas and full dinner menu. “It’s really one of those restaurants that opened up with a soul. A lot of times restaurants seem to need to earn their soul, but this one, you walked into it the first day and it just felt right,” he affirmed.

Down the proverbial street, the firm is “digging into Korean culture” to open a second Mandu in the City Vista building at 475 K Street. According to Dwight, the owners purchased the first Mandu as a turnkey operation, changed the paint colors and simply opened up. But its scion, tentatively scheduled for a grand opening around the first of the year, will pay homage both to the country’s culture and the owners’ very traditional heritage.

“We are in Washington, D.C.,” Dwight said, “so it’s not going to be as if you plucked a place from Seoul and dropped it in.” Nevertheless in the Korean tradition, a wall of memory boxes will exist, exaggerated almost like a giant apothecary case with various drawers and nooks in which to put things. The structure will anchor the space and house memorabilia about the family’s history in Korea, their subsequent journey to D.C. and eventual foray into the restaurant profession.
Additionally, Dwight explained the owners spent their youth living by a duck pond in Korea, with ducks a significant sentimental factor in their own family story. Accordingly, the firm found about 60 wooden ducks, painted them lime green, and will situate them in various forms of flight around the memory wall in the middle of the space.

“We strive to tackle each project freshly,” Dwight explained, referring to the great diversity of all of his projects, both restaurant and retail, which also include Obi Sushi, Tackle Box, G Street Food, Artisan Confections and Sea Salt in Naples, Fla. Casting an even wider net into the hotel industry, Dwight anticipates a future where the applied potion of art, physics (what he calls the “why” in the reason things work – the fact that they hold up) and construction will make dreams come true for the client. Back in Stowe, during that first winter, he recalled that from their barn house in Long Hollow you couldn’t see anyone’s lights at night. In retrospect, it was clearly the place for his own dreams.

Estadio photography by Paul Burk Photography