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NATIONAL CAPITAL PLANNING COMMISSION
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COMMISSION MEETING
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OPEN SESSION
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THURSDAY, FEBRUARY 2, 2017
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The meeting convened in Room 5115, Suite 500, 401 9th Street, N.W., Washington, D.C. 20004, at 1:00 p.m., Preston Bryant, Jr., Chairman, presiding.
NATIONAL CAPITAL PLANNING COMMISSION MEMBERS PRESENT:
L. PRESTON BRYANT, JR., Chairman Presidential Appointee EVAN CASH, Office of the Chairman of the City Council of the District of Columbia ARRINGTON DIXON, Mayoral Appointee THOMAS GALLAS, Presidential Appointee GEOFFREY GRIFFIS, Mayoral Appointee PETER MAY, Department of the Interior REBECCA NUZZI, U.S. Senate MICHAEL L. RHODES, Department of Defense
JENNIFER STEINGASSER, Office of the Mayor of
the District of Columbia
BETH WHITE, Presidential Appointee
MINA WRIGHT, General Services Administration
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NCPC STAFF PRESENT:
MARCEL C. ACOSTA, Executive Director MATTHEW FLIS, AICP, Senior Urban Designer CARLTON HART, AICP, Urban Planner JULIA KOSTER, Secretary to the Commission VIVIAN LEE, Community Planner ANNE SCHUYLER, General Counsel
ALSO PRESENT:
TOM DOUGHERTY, United States Secret Service BRIGADIER GENERAL CARL RIDDELL, Eisenhower Memorial Commission JUSTON SHUBOW, The National Civic Art Society CRAIG WEBB, Gehry Partners
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AGENDA
Report of the Chairman ...... 5
Report of the Executive Director ...... 5
Legislative Update ...... 7
Consent Calendar Items ...... 8 4a Parcel L1 4b DC United Stadium
Action Items
Approval of final site development plans
for phase one of the White House fence
replacement...... 11
Approval of comments on revised concept
design ...... 25
Approval of final site and building plans. . . . .73
Adjourn ...... 83
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1 P-R-O-C-E-E-D-I-N-G-S
2 1:02 p.m.
3 MR. BRYANT: Welcome, everyone, to the
4 National Capital Planning Commission. This is
5 our February 2, 2017 meeting. And if you would
6 please, stand with me and join me in the pledge
7 of allegiance.
8 (Pledge of Allegiance)
9 MR. BRYANT: For all in attendance,
10 please note that today's meeting is being live-
11 streamed on the NCPC.gov website. We do have a
12 quorum, so we will call the meeting to order, and
13 we will proceed by the agenda that has been
14 properly publicly advertised.
15 [INSERT - AGENDA]
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1 REPORT OF THE CHAIRMAN
2 MR. BRYANT: Agenda item number one is
3 the Report of the Chairman, and I don't have
4 anything of significance to report.
5 REPORT OF THE EXECUTIVE DIRECTOR
6 MR. BRYANT: So agenda item number two
7 is the Report of the Executive Director who
8 always has something.
9 MR. ACOSTA: I have two things to
10 report today. First of all, I'd like to welcome
11 our guests. We have a group of undergraduate
12 students from the University of Michigan
13 architecture program who are here to do a design
14 study on memorials, so they are here to listen to
15 the Eisenhower Memorial Presentation, so we
16 welcome you to NCPC.
17 Secondly, Lee Webb recently joined our
18 organization as our historic preservation
19 specialist. He brings over 20 years of
20 experience to his work at the Advisory Council of
21 Historic Preservation, the Georgia State Historic
22 Preservation Division. He also served as a
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1 preservation planner for the City of Alexandria
2 and Savannah, Georgia.
3 Lee most recently served as the
4 executive director of Thomasville Landmarks, a
5 50-year historic preservation organization in
6 Georgia, so welcome to you, Lee. So that
7 concludes my presentation. You do have a
8 written report before you.
9 [INSERT - REPORT OF THE EXECUTIVE DIRECTOR]
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1 MR. BRYANT: Yes, thank you, Mr.
2 Acosta.
3 LEGISLATIVE UPDATE
4 MR. BRYANT: Agenda item number three
5 is the legislative update, General Counsel, Ms.
6 Schuyler.
7 MS. SCHUYLER: Thank you, Mr.
8 Chairman. I do have one item on which I'd like
9 to report. It is a bill, HR216, called the
10 Second Division Memorial Modification Act, which
11 was introduced in the House on January 3 of this
12 year. It's been referred to the House Committee
13 on Natural Resources.
14 The bill authorizes - this is a very
15 long name for a sponsor - the Scholarship and
16 Memorials Foundation of the Second Indian Head
17 Division Association to place three benches at
18 the second division memorial located in
19 President's Park bordering Constitution near 17th
20 Street NW.
21 The benches honor members of the
22 Second Infantry Division killed in the Cold War
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1 in Korea, the War in Iraq, and the War in
2 Afghanistan.
3 The bill specifically holds that the
4 design and placement of the benches shall be
5 governed by the requirements of the Commemorative
6 Works Act, so this commission will be called upon
7 to review it if passed and enacted into law.
8 MR. BRYANT: Thank you. Any questions
9 for Ms. Schuyler?
10 CONSENT CALENDAR
11 MR. BRYANT: Agenda Item Number Four
12 is the consent calendar, and we have only two
13 items. Item 4A is for comments on the 35 percent
14 site and building plans for Parcel L1 at the
15 Southeast Federal Center. That's brought to us
16 by the General Services Administration.
17 And Agenda Item 4B is the approval of
18 preliminary and final site building plans with
19 comments for the D.C. United Stadium located in
20 Southwest Washington submitted to us by D.C.
21 United in coordination with the District of
22 Columbia Department of General Services.
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1 If there are no questions, is there a
2 motion on the consent calendar?
3 MR. DIXON: So moved.
4 MR. BRYANT: It's been moved and -
5 MS. WHITE: Second.
6 MR. BRYANT: - seconded. All in favor
7 of the consent calendar, say, "Aye."
8 PARTICIPANTS: Aye.
9 MR. BRYANT: Opposed no? It carries.
10 [INSERT - SOUTHEAST FEDERAL CENTER]
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1 [INSERT - DC UNITED STADIUM]
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1 ACTION ITEM 5A
2 WHITE HOUSE FENCE REPLACEMENT
3 MR. BRYANT: Agenda Item Number 5A is
4 approval of the final site and development plans
5 for phase one of the White House fence
6 replacement. We previously reviewed the concept
7 and preliminary plans in July and December
8 respectively in 2016.
9 Mr. Flis, welcome.
10 MR. FLIS: Yes, good afternoon, Mr.
11 Chairman and members of the Commission. The
12 National Park Service in cooperation with the
13 United States Secret Service has submitted final
14 site development plans for phase one of the new
15 perimeter fence and gates at the White House
16 complex.
17 As you know, the Commission provided
18 preliminary approval of the project back in
19 December, with comments and recommendations which
20 have helped to guide further refinement of the
21 plans.
22 The White House, as you know, is the
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1 Executive Office of the President and also the
2 primary residence of the First Family. It is
3 located in downtown Washington, D.C. between
4 Pennsylvania Avenue, E Street, 15th, and 17th
5 Streets NW.
6 The current location of the White
7 House fence is outlined here in yellow on the
8 screen in front of you, and it encloses
9 approximately 18 acres.
10 The White House complex is just one
11 component of the larger President's Park which is
12 outlined here in white, which also includes
13 Lafayette Park, the Eisenhower Executive Office
14 Building, the Treasury Building, as well as the
15 Ellipse which is located to the south.
16 This is a more detailed site plan of
17 the White House complex and surrounding
18 buildings. The Commission again is today
19 considering a new perimeter fence and gates as
20 the first phase of a comprehensive security plan.
21 A future phase will also look at the Eisenhower
22 Executive Office Building as well as the Treasury
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1 Building.
2 The White House has actually had a low
3 wall or fence since around 1803, and over time,
4 it has continued to evolve, eventually reaching
5 the form which you would recognize on the site
6 today.
7 Of course, the White House is a major
8 visitor destination, and the house itself and the
9 grounds are also viewed and experienced through
10 the fence from a variety of perspectives. As
11 such, staff has evaluated the proposed fence and
12 gates based upon a number of considerations
13 including historic preservation, urban design, as
14 well as visitor experience.
15 As I have mentioned, this project is
16 the first phase of security improvements that
17 will eventually include other portions of
18 President's Park, including the Treasury Building
19 and Eisenhower Executive Office Building, which
20 are shown on the screen.
21 As such, staff believes it will be
22 helpful for the Park Service and Secret Service
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1 to provide the Commission an update on the
2 anticipated schedule and scope of future phases
3 of security improvements at President's Park.
4 And further, the unique character and
5 condition of the public spaces surrounding and
6 adjacent to the Eisenhower Executive Office
7 Building as well as the Treasury Building may
8 require different security solutions than those
9 developed for this first phase.
10 So going back to preliminary review,
11 the Commission approved the site plan, site
12 development plans, and provided a number of
13 recommendations and comments. In particular, the
14 Commission supported the use of pencil point
15 anti-climb measures, requested the fence piers be
16 reduced in size where possible, and also asked
17 the applicant to evaluate if the piers could be
18 removed from some locations along Pennsylvania
19 Avenue.
20 The Commission also supported a
21 vehicular gate design with minimal solid elements
22 to maintain views, and did not support the use of
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1 the crash rated wedge barrier.
2 So just as a reminder, the existing
3 fence is six feet tall on a generally two-foot
4 base. The proposed fence will be ten-foot seven
5 inches tall on an 18-inch stone base, and anti-
6 climb measures will be located on top, and they
7 are about a foot in height.
8 The existing stone piers shown here
9 will also be increased in scale. This does
10 reflect the U.S. Secret Service's recommendation
11 for the fence height consistent with your
12 previous review in December.
13 So based upon your comments, as well
14 as those from the Commission of Fine Arts, along
15 with staff discussion, the applicant has further
16 refined a number of the fence details. I'm going
17 to walk you through your previous recommendation
18 and also show you how the design has changed in
19 response.
20 So first, the Commission expressed
21 support for the use of pencil point anti-climb
22 measures as they best balance of security and
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1 design in an unobtrusive manner. The Commission
2 also did not support the use of cross-teeth anti-
3 climb measures as they appeared to detract from
4 the visitor experience.
5 So in response, the applicant has
6 eliminated the cross-teeth design on the left
7 here, and has utilized the pencil point motif
8 shown on the right in a manner that's integrated
9 with the overall design of the fence. Many of
10 the other elements, including the finials and
11 post tops, have also been refined.
12 At preliminary review, the Commission
13 also requested the applicant consider reducing
14 the size of the fence piers where possible, and
15 also consider removing the fence piers from the
16 pedestrian gates located along Pennsylvania
17 Avenue. This request was in response to viewing
18 the scale and the massing of the piers at the on-
19 site mock-up.
20 So in response, the applicant has
21 carefully reduced the size and scale of the
22 piers, considering both their overall mass as
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1 well as their proportion of elements.
2 So here you can see the width and
3 depth of the piers have been reduced about three
4 inches, and again, this is in both dimensions,
5 from about four feet to three-foot nine inches.
6 The height of the pier cap has also been reduced
7 several inches. This is shown here.
8 And further, the applicant evaluated
9 the pier joints, and has also modified them to be
10 better in proportion with the overall scale of
11 the pier. In total, staff believes that these
12 changes are responsive to the Commission's
13 requests, and are appropriate to the design of
14 the project.
15 As I mentioned, the Commission also
16 requested the applicant consider removing the
17 piers from the pedestrian gates along
18 Pennsylvania Avenue, and those are shown here,
19 and then to the right is the vehicular gate.
20 The applicant has concurred with this
21 recommendation, and has removed the piers from
22 the pedestrian gates, so you can see that here.
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1 Staff believes that this change helps to open up
2 views to the White House grounds, and also allows
3 the vehicular gates to stand as distinct features
4 along the avenue.
5 This is just a larger elevation of the
6 fence along Pennsylvania Avenue, again showing
7 the removal of those piers.
8 Moving on, regarding the fence gates,
9 the Commission expressed support for a vehicular
10 gate design that minimized solid elements,
11 reduced clutter, and maintained views to the
12 White House grounds. The Commission also stated
13 it did not support the use of a crash rated wedge
14 barrier due to their visual impact.
15 So just as a reminder, there will be
16 nine pedestrian gates and six vehicular gates
17 located along the fence. That's shown on the
18 site plan in front of you. The vehicular gates
19 will also be improved with crash protection.
20 So in response to the Commission's
21 comments, the crash rated wedge barrier shown
22 here was eliminated from consideration. The
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1 remaining two options were further evaluated.
2 These include a crash rated gate, and then a non-
3 crash rated gate with additional bollards located
4 behind.
5 So here you can see the vehicular
6 gates located on Pennsylvania Avenue located -
7 shown side by side. On the left is the crash
8 rated gate which includes a more solid base, and
9 then on the right is the non-crash rated gate
10 which is somewhat more open at the bottom, but it
11 does include the bollards located behind.
12 The same options would generally apply
13 to East and West Executive Drive. Again, here is
14 the crash rated gate on the left and the non-
15 crash rated gate with bollards on the right.
16 The crash rated gate is supported by
17 the applicant because of maintenance and
18 operational concerns related to the addition of
19 bollards and other equipment, and although this
20 base is solid, this will generally be below the
21 line of view for most people.
22 Regarding the adjacent pedestrian
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1 gates shown here, staff recommends the use of the
2 vertical picket design which is relatively simple
3 and relatively transparent. This recommendation
4 was also supported by the Commission of Fine
5 Arts. The resulting combination of vehicular and
6 pedestrian gates would balance both openness and
7 operations while meeting Secret Service needs,
8 and is consistent with the Commission's original
9 recommendation.
10 And finally, at preliminary review,
11 the Commission noted that the project components
12 would continue to be refined. As shown through
13 this presentation, additional design development
14 has continued to improve the overall project
15 elements, and this includes the piers and gates,
16 which you've already seen, but also elements such
17 as the post tops shown here on the screen, as
18 well as the finials, and I think there's a model
19 that's being passed around.
20 Overall, staff believes that these
21 refinements have continued to improve the quality
22 of the project, and so therefore, it is the
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1 Executive Director's recommendation that the
2 Commission approves the final site development
3 plans for phase one of a new perimeter fence and
4 gates at the White House complex, requests that
5 the Park Service and Secret Service provide an
6 update on the schedule and scope of future
7 improvements at President's Park, notes that the
8 different character and conditions of the public
9 space around the Eisenhower Executive Office
10 Building and the Treasury Building may require
11 different security solutions, and further
12 supports the applicant's preferred design for
13 vehicular gates on Pennsylvania Avenue, along
14 with the more open picket design for the adjacent
15 pedestrian gates.
16 This concludes my presentation. I'm
17 available for questions, and I believe Mr. Tom
18 Dougherty with the United States Secret Service
19 also would like to make a few comments. Thank
20 you.
21 MR. BRYANT: Mr. Dougherty, welcome.
22 Welcome back.
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1 MR. DOUGHERTY: Thank you, Chairman
2 Bryant. It's been a long year. If you think
3 about it, we started this process over a year
4 ago, and over three public hearings and multiple
5 staff meetings.
6 And I want to thank, first of all,
7 Chairman Bryant and the Commissioners for helping
8 us with this process, and also to you, Executive
9 Director Acosta, for all of the counsel and
10 guidance that you have given to both the Park
11 Service and the Secret Service in terms of sort
12 of perfecting this process.
13 The recommendations are all completely
14 in agreement with us. We certainly are open to
15 any other additional discussions. But again, I
16 just wanted to thank you very much for helping us
17 advance this important national security project.
18 As I started off a year ago mentioning
19 that the existing fence was deficient and no
20 longer really relevant to the modern age, we see
21 and feel that particular predicament every single
22 day now at the White House practically.
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1 So in any event, thank you very much
2 for your help in this process, and if you have
3 any questions, I'd be glad to answer them.
4 [INSERT - WHITE HOUSE FENCE]
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1 MR. BRYANT: Thank you, Mr. Dougherty.
2 We had a long discussion on this in December when
3 we approved the preliminary site development
4 plans. We noted at that time that there would be
5 continued refinements, and those have taken place
6 as Mr. Flis has outlined.
7 With that, are there any additional
8 questions or comments on this? And of course,
9 Mr. Dougherty and Mr. Stan are here for technical
10 planning questions as well.
11 Is there a motion?
12 MR. MAY: So moved.
13 MS. WRIGHT: Second.
14 MR. BRYANT: It's been moved and
15 seconded. Sensing no further discussion - oh,
16 yes, please, Ms. Steingasser?
17 MS. STEINGASSER: Yes, I just want to
18 support the staff's - the Executive Director's
19 recommendation, especially noting the unique
20 character and the condition of the spaces along
21 the Eisenhower and Treasury Buildings, and state
22 that when it comes to stage two, we expect to
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1 have a lot more involvement and concern over the
2 interface with the public spaces and city.
3 MR. BRYANT: Mr. May?
4 MR. MAY: I would just say we
5 certainly support that, and you know, we want to
6 make sure that we have a good design as we move
7 forward with phase two when that gets moving
8 again, so thank you very much.
9 MR. BRYANT: Additional comments?
10 It's been properly moved and seconded. All in
11 favor of the EDR, say, "Aye."
12 PARTICIPANTS: Aye.
13 MR. BRYANT: Opposed, no? Then Mr.
14 Dougherty, congratulations.
15 MR. DOUGHERTY: Thank you, sir.
16 ACTION ITEM 5B
17 DWIGHT D. EISENHOWER MEMORIAL MODIFICATION
18 MR. BRYANT: Agenda Item 5B is the
19 approval of comments on the revised concept
20 designs for the Dwight D. Eisenhower Memorial,
21 and we have Ms. Lee.
22 MS. LEE: Good afternoon, Mr. Chairman
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1 and Members of the Commission. The National Park
2 Service on behalf of the Eisenhower Memorial
3 Commission has submitted a revised concept design
4 for the Dwight D. Eisenhower Memorial.
5 So the review process for the memorial
6 has been conducted over a period of several
7 years. Congress authorized the memorial in 1999,
8 then in 2006, the Commission approved the site
9 and adopted and set the design guidelines for the
10 memorial.
11 Later in 2011, the Commission provided
12 comments on three concept design alternatives,
13 followed by preliminary reviews in 2014. Most
14 recently, the Commission approved the final plans
15 for the memorial in July 2015.
16 Concurrently, the Commission reviewed
17 our related street closure and the transfer of
18 jurisdiction of a portion of Maryland Avenue.
19 And as a result of further consultation with the
20 Eisenhower family, the applicant is proposing
21 design modifications to the final plan which
22 results in today's revised concept design.
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1 As you may recall, the site is located
2 in Southwest Washington, D.C. a block south of
3 the National Mall and approximately four blocks
4 west of the U.S. Capitol. Maryland Avenue runs
5 diagonally to the side, framing a view corridor
6 towards the U.S. Capitol that extends all the way
7 to the Jefferson Memorial.
8 The site is bound by Independence
9 Avenue to the north, 4th Street to the east, 6th
10 Street to the west, and the Lyndon B. Johnson
11 Department of Education Headquarters to the
12 south.
13 The Commission approved the site in
14 2006 because of its size, accessibility, and the
15 unique relationship between Eisenhower's legacy
16 and the fair entities and museums that surround
17 the site.
18 Maryland Avenue divides the site into
19 different parcels, and the site is under three
20 jurisdictions. Currently, reservation five which
21 you can see here, this triangle at the north, has
22 a community garden and a fitness area, and is
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1 under control of NPS. Maryland Avenue right of
2 way is under the control of DDOT, and the
3 triangular plaza here to the south and also the
4 LBJ Building are under control of GSA.
5 Prior to construction, the entire
6 memorial site which you can see highlighted in
7 green would be transferred to NPS to create a
8 unified parcel. Once built, NPS will maintain
9 the memorial. GSA will retain control of a 50-
10 foot buffer area, which you can see highlighted
11 in orange, between the memorial and the site -
12 between the memorial site and the building.
13 As part of the site approval process
14 in 2006, NCPC developed a set of design
15 principles to guide the memorial design.
16 Basically, the intent of the principles is to
17 preserve views of the Capitol along Maryland
18 Avenue, enhance the nature of the site, create a
19 unified memorial site that functions as a public
20 space, reflect plan principles, complement the
21 architecture of the surroundings, respect the
22 building lines and the alignment of trees along
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1 Maryland Avenue, and incorporate significant
2 green space. In general, the current proposal
3 that I will share today continues to satisfy the
4 intention of these principles.
5 So the concept of the memorial is to
6 commemorate Eisenhower's achievements as a
7 military general and the 34th President of the
8 United States, as well as the humble way in which
9 he approached these roles based on a set of
10 values he acquired during this childhood in
11 Abilene, Kansas.
12 The applicant has taken inspiration
13 from the renovation of the Lincoln Memorial and
14 the notion of an object within an open air
15 temple. The design team envisions the Eisenhower
16 Memorial as a commemorative object placed within
17 an open room as you can see here, within a
18 surrounding present. To convey a sense of a
19 layered experienced, the applicant is using
20 several memorial elements listed in this slide.
21 So now I will walk you through the
22 final plan approved by the Commission in the
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1 summer of 2015. So the plan included a central
2 memorial core composed of freestanding bronze
3 sculptures and quotations that recognize
4 Eisenhower's achievements as a general and also
5 as a President, a large, stainless steel tapestry
6 supported by a monumental colonnade, and two
7 freestanding columns that define the park space.
8 You can see the columns highlighted in blue.
9 It also included a landscape design
10 that included several canopy and understory trees
11 arranged in clusters throughout the side to frame
12 the Maryland Avenue viewshed, and entry plazas at
13 the corners to serve as a transition from the
14 busy surroundings, and also wide pedestrian paths
15 leading to the memorial core.
16 The memorial also included a 2,400
17 square foot memorial information center
18 containing a bookstore and an NPS ranger station,
19 and finally, it included a pedestrian promenade
20 between the memorial and the LBJ Building
21 providing outdoor seating areas in front of the
22 cafeteria and also exhibit areas, and a memorial
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1 overlook that could accommodate public
2 gatherings.
3 In general, the current proposal
4 maintains these elements, so now I will show you
5 the changes that are before you today. The
6 revised concept includes three design
7 modifications which change the narrative of the
8 memorial. The current proposal revises the
9 artistic image on the tapestry, you can see here
10 in red, removes four trees, and relocates the
11 statue of Eisenhower as a young man.
12 So now I will describe the refinements
13 in more detail and share our staff analysis that
14 supports the recommendation. I noted that this
15 is the current proposal, and as a concept design,
16 the project will continue to be refined in the
17 future months.
18 Since the Commission's final approval,
19 the image for the tapestry has changed from a
20 landscape scene of Abilene, Kansas, Eisenhower's
21 hometown, which was meant to symbolize his
22 Midwestern values, to a contemporary aerial view
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1 of Normandy, France along the coastline during
2 peacetime where the D-Day invasion took place
3 during World War II.
4 This image includes Utah and Omaha
5 beaches with Pointe du Hoc in the center in
6 remembrance of the sacrifices of D-Day. The
7 image is meant to highlight Eisenhower's major
8 achievement and represent his legacy and
9 commitment to global peace.
10 So you can see in these diagrams, the
11 transparency levels of the tapestry have been
12 maintained to ensure views of the LBJ building
13 and retain the building's identity. The opacity
14 of the tapestry will range from approximately 95
15 percent solid along the bottom of the tapestry
16 here, transitioning to about 50 percent open in
17 the middle, and at the top, about 20 percent, so
18 the tapestry will be more open toward the sky and
19 more dense at the bottom.
20 Here is a section through the side to
21 give you an idea of the relationship between the
22 tapestry and the LBJ Building. As you can see,
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1 the top elevation of the tapestry aligns with the
2 LBJ Building framing the promenade.
3 The tapestry is raised 20 feet above
4 the ground to allow pedestrian circulation
5 underneath. You will notice that the tapestry
6 will mostly be seen by pedestrians looking up,
7 and you can see the viewshed in blue.
8 So here is a picture of the physical
9 model from the 2015 final design. The tapestry
10 serves as a commemorative and open design element
11 providing a visual separation from the LBJ
12 Building. Here is the revised tapestry image.
13 The tapestry continues to provide a backdrop to
14 the memorial.
15 Staff finds that the overall
16 placement, scale, and assembly of the primary
17 elements have not significantly changed since
18 final approval, including the stainless steel
19 tapestry and supporting colonnade, freestanding
20 columns, memorial core, landscaping, and
21 information center.
22 So here is a view of the previous
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1 tapestry along Maryland Avenue. You can see how
2 the trees depicted on the tapestry occupied a
3 significant portion of the tapestry and served as
4 an extension of the landscape, and here is the
5 revised image. The coastline sets low on the
6 tapestry occupying a narrow portion, while the
7 clouds occupy about two-thirds of the tapestry.
8 In 2011, the applicant created a
9 series of mockups of the tapestry to demonstrate
10 its transparency and also artistic quality. In
11 order to ensure that the revised tapestry
12 continues to create a legible image and maintain
13 the level of transparency, staff requests
14 additional visual studies and a mockup of the
15 revised tapestry that addresses any impacts to
16 the LBJ Building.
17 The second change is related to the
18 landscape. To create views to the new tapestry
19 image, in particular the coastline, the applicant
20 has proposed minor modifications to the landscape
21 limited to the removal of four trees. You can
22 see the trees highlighted here in red.
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1 You will notice that the portion of
2 the tapestry that shows the focal point, which is
3 Pointe du Hoc here and the Normandy coastline, is
4 at the same height at the canopy, as the tree
5 canopy, therefore, the applicant has proposed to
6 create these two viewsheds with the removal of
7 the four trees.
8 Staff finds that the proposal strikes
9 a balance between maintaining the approved
10 landscape while creating views to the tapestry
11 image. Staff also finds that the removal of the
12 tree along the Maryland Avenue right-of-way,
13 which you can see here, does not impact the
14 overall alignment of trees along the Avenue.
15 The last change proposed is the
16 relocation of the young Eisenhower sculpture. If
17 you recall, the final design included a life-
18 sized statue of Eisenhower as a young man seated
19 on an overlook wall looking out towards his
20 future achievements with a background of his
21 hometown.
22 At the time, the intent of the
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1 sculpture of young Eisenhower was to create a
2 dialogue between his childhood in Abilene, Kansas
3 in the background looking out towards his future
4 achievements as a general and President. Since
5 the image of the tapestry will be revised, the
6 symbolic connection between the young Eisenhower
7 sculpture and the tapestry is no longer relevant.
8 The current proposal is to relocate
9 the sculpture from the memorial core near to the
10 LBJ promenade in this location near the
11 Department of Education entrance to strengthen
12 the dramatic relationship between the memorial
13 and the Department of Education.
14 Staff supports the proposed relocation
15 of the sculpture at the LBJ promenade because
16 this location will provide a more informal and
17 approachable setting that welcomes visitors into
18 the promenade to learn more about the Department
19 of Education.
20 The sculpture will provide a
21 transition point between the monumental tapestry
22 and the building, and also this location is
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1 consistent with the proposed programming of the
2 promenade.
3 The revised figure will be seated on
4 a low wall looking toward the memorial core. The
5 sculpture can be seen at eye level as you can see
6 here. The associated plans will include an
7 inscription from a homecoming speech that
8 Eisenhower delivered in his hometown. The
9 sculpture will still be in close proximity to the
10 memorial core and the main building entrance, and
11 will continue to be life-sized.
12 Finally, staff recommends that the
13 design team consider how the relocated young
14 Eisenhower sculpture and its associated
15 inscription wall will impact the approved
16 lighting plan.
17 And so with that, the Executive
18 Director's recommendation is for the Commission
19 to commend favorably on the revised concept
20 design for the Eisenhower Memorial, find that the
21 overall placement, scale, and assembly of the
22 primary elements have not significantly changed,
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1 find that the revised concept continues to
2 satisfy the site selection design principles,
3 requests additional visual studies and a mockup
4 of the revised tapestry that addresses any
5 impacts to the LBJ Building, requests a revised
6 lighting plan consistent with the overall
7 lighting design for the memorial that considers
8 the relocated young Eisenhower sculpture and the
9 associated inscription wall, and finally,
10 requests that the applicant conduct additional
11 Section 106 consultations to ensure that the
12 proposed changes will not result in new or
13 intensified adverse effects to historic
14 properties. With this, I conclude my
15 presentation.
16 [INSERT - DWIGHT D. EISENHOWER MEMORIAL
17 MODIFICATION]
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1 MS. LEE: And I note that General Carl
2 Riddell, the Executive Director of the Eisenhower
3 Memorial Commission, is here to speak on behalf
4 of the project. Thank you.
5 MR. BRYANT: General, welcome back.
6 GENERAL RIDDELL: Thank you. Thank
7 you, Vivian, for that helpful presentation. Good
8 afternoon, Chairman Bryant, Executive Director
9 Acosta, and Commissioners. Thank you for the
10 time to speak briefly.
11 We'd previously been here to present
12 final site and building plans, however since our
13 last presentation, we found that we could not
14 move forward without modification to the design
15 plans we previously presented.
16 As you know, we are here today to
17 present three modifications and a revised concept
18 design arrived at with the consensus support of
19 our elected commissioners. We also have the full
20 support of the Eisenhower family as stated in a
21 letter from Susan Eisenhower to Chairman Bryant
22 and given to you this past week. Given other
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1 commitments, Susan could not be with us today.
2 We also have with us today two of the
3 presidentially appointed Commissioners who are in
4 support of the modifications. That's Al Geduldig
5 from New York City and Susan Banes Harris from
6 Washington, D.C.
7 I would now like to take five minutes
8 to make a singular point about General and
9 President Eisenhower before responding to
10 questions along with Craig Webb, senior design
11 partner for Gehry Partners.
12 My comments are from the perspective
13 of a former military officer and a historian, and
14 from that viewpoint, I believe that the central
15 paradox of Eisenhower's public life as a
16 professional military officer and civilian
17 commander in chief was his commitment to peace,
18 not to war.
19 Raised and nurtured in a pacifist
20 family, he became paradoxically both a
21 professional soldier, mastering the weapons and
22 the organization of modern warfare, and also a
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1 passionate champion of peace, an extraordinary
2 duality in a solider who believed that war was
3 not a solution to the nation's or to the world's
4 problems, but that it was mostly brutal, futile,
5 and stupid.
6 His views and heroic stature were
7 formed through the experience of wearing the
8 uniform in both World Wars I and II, the only
9 president to do so, but most importantly, they
10 were shaped and severely tested in the crucible
11 of the invasion of Europe on the beaches of
12 Normandy.
13 And Normandy became the historical
14 hinge point of Eisenhower's transformation into
15 heroic status as a world historical figure
16 resulting in the admiration and adulation of
17 millions of people in the United States and
18 throughout the world for the whole of the rest of
19 his life.
20 This did not happen in one fell swoop,
21 but became evident shortly after victory in
22 Europe when Churchill invited him to London to
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1 speak to the British about the war in London's
2 venerable Guildhall.
3 In Guildhall, Eisenhower elegantly
4 addressed and convincingly explained to the
5 British public why their sons had died under his
6 command as Supreme Commander of the Allied
7 Expeditionary Force in World War II.
8 His heartfelt identification with the
9 American heartland as a son of Abilene, Kansas
10 was expressed then in London to these Brits, and
11 again upon his first return to Abilene after the
12 war ten days later after receiving praise and
13 plaudits in Paris, New York, and Washington,
14 among other stops, before reaching Abilene.
15 Eisenhower's profound personal
16 identification as a child and young man with the
17 values and ideals of Abilene, Kansas, a small
18 town in the American heartland, never left him,
19 and remained a constant influence at the core of
20 his character.
21 However, the growth of his
22 responsibility for the security of millions at
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1 home and abroad changed and grew steadily for the
2 rest of his public life, from Chief of Staff of
3 the United States Army, to becoming the first
4 NATO commander, to being overwhelmingly elected
5 as 34th President of the United States, and to
6 assuming leadership of the free world during the
7 Cold War. He became convinced that American
8 security must be defined and secured in a global,
9 not national context, for America to be as free
10 as possible.
11 Returning to Pointe du Hoc and the
12 shores of Normandy with Walter Cronkite during
13 the Cold War, former President Eisenhower
14 demonstrated his passionate concern for peace,
15 and his humble acceptance of the sacrifices made
16 by soldiers for peace for all to see and hear
17 because he had come to know as a soldier that
18 without peace, you cannot have freedom.
19 It was clear as he walked the beaches
20 of Normandy in 1964, 20 years after D-Day, that
21 Eisenhower wanted the beaches of Normandy to
22 reflect in peacetime the emerging light of the
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1 peace that makes freedom possible, not the dark
2 devastation of war, not the satanic
3 destructiveness of the Nazism he defeated in
4 World War II, and not the bizarre human abuses of
5 Communism that he fought against during the Cold
6 War.
7 In his own words on his visit to
8 Normandy on the 20th anniversary of the invasion
9 of Europe, Eisenhower said, and I quote, "Every
10 time I come back to these beaches, or any day
11 when I think about that day 20 years ago, I say
12 once more we must find some way to work for peace
13 and to gain an eternal peace for this world."
14 This was Eisenhower's final goal and
15 his ultimate passion, to enable and to ensure
16 global peace so that his fellow citizens could be
17 free, to balance security and freedom so that
18 democracy would survive and flourish in America
19 and in as much of the world as possible, and this
20 is his legacy for all of us as it is represented
21 and symbolized in the Eisenhower Memorial. Thank
22 you for your attention.
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1 MR. BRYANT: Thank you, General
2 Riddell, very much.
3 MR. DIXON: Mr. Chairman, I'd like to
4 thank the General for those comments. I think
5 they're very timely as a citizen, and as a
6 Commissioner, and as a retired 06. We appreciate
7 that, and I think they're very timely, your
8 comments about peace, and because comments about
9 peace are always timely. Thank you.
10 MR. BRYANT: We do have one person
11 signed up, Justin Shubow, welcome back.
12 [INSERT - LIST OF REGISTERED SPEAKERS]
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1 MR. SHUBOW: Mr. Chairman and
2 distinguished Commissioners, my name is Justin
3 Shubow. I speak on behalf of the National Civic
4 Art Society, a nonprofit dedicated to the
5 classical and humanistic tradition in public art
6 and architecture.
7 What we are looking at today is a
8 radically changed concept for the memorial.
9 Indeed, last month, Fine Arts Commissioner
10 Elizabeth Meyer said the change was radical. The
11 memorial used to be a narrative of a young
12 Eisenhower symbolically looking ahead to his
13 future accomplishments.
14 That narrative no longer exists. The
15 new concept is confused, illegible, and weak.
16 Indeed, more than one Fine Arts Commissioner said
17 that the revised design is less coherent than the
18 previous one.
19 The applicant used to say that
20 America's heartland is at the core of this
21 memorial. This applied both to the tapestry and
22 to the heart of the memorial core which featured
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1 the statue of Eisenhower as a young man. That
2 statue, we were told, was essential to the
3 design. We were told that from the very
4 beginning.
5 Now however, it has been placed
6 behind, hidden behind the tapestry as if to say,
7 "Pay no attention to the boy behind the curtain."
8 We get the confused phenomenon of young
9 Eisenhower sitting smack dab in LBJ promenade, a
10 site already dedicated to another President.
11 The applicant previously described the
12 memorial as being based on the model of an object
13 in a temple as in the Lincoln Memorial. The
14 young Eisenhower now sits to the rear of that
15 temple.
16 Furthermore, as you know, the Kansas
17 landscape on the tapestry has been replaced by an
18 image of the Normandy coastline, which oddly
19 constitutes the second depiction of Normandy
20 Beach in the memorial, the other one being on the
21 bas relief behind General Eisenhower.
22 The new tapestry image is banal and
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1 bland, lacking any beauty or obvious symbolism.
2 It's a work of geography, not art. I've seen
3 more striking landscape photos on my friends'
4 Facebook pages. It's not even recognizable as
5 Normandy Beach, and neither as Normandy Beach
6 today at peace, and it also features a harsh
7 horizon line that extends the entire length of
8 the tapestry.
9 In sum, we believe that the radical
10 changes to the design have resulted in a
11 confused, incoherent proposal with an uninspired
12 tapestry. This should be no surprise since it is
13 the result of a political compromise brokered by
14 former Secretary of State James Baker. It is the
15 quintessential example of design by committee.
16 Although my organization did not and
17 does not support the previous design, it was at
18 least far superior, and this Commission should
19 require that that design be reinstated. Thank
20 you.
21 [INSERT - STATEMENT OF JUSTIN SHUBOW]
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1 MR. BRYANT: Thank you, Mr. Shubow,
2 very much. The EDR notes that that was - its
3 principle finding is that the major elements have
4 not changed, those major elements being the
5 tapestry structure, the colonnade, the columns,
6 landscaping, etcetera, so that which is before us
7 mostly is that which has changed is the imagery.
8 Mr. Webb, I have a couple of questions
9 if I might, and I did see the CFA letter, and I
10 would say and I would acknowledge that the
11 aesthetics and the imagery as art is not really
12 before us. That's more of the CFA jurisdiction.
13 How that imagery and art impacts other buildings
14 is something that is properly before us, and I
15 know that legibility, and in my case, I guess,
16 more transparency if I'm a DOE employee looking
17 out.
18 And I remember when we have the mockup
19 of the tapestry before and we were inside the DOE
20 building looking out. I was pleasantly surprised
21 at how transparent it was. Can you help me or us
22 understand the new design and its transparency,
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1 and how you are in the design process assessing
2 it for its impact on those who are in the
3 building?
4 MR. WEBB: Sure, so we are continuing
5 to work with Tomas Osinski, who is the artist
6 that has developed the process and the art, you
7 know, for the tapestry. He is right now taking
8 the image that you have seen here and starting to
9 work that image, as he had done before with the
10 previous image, in terms of creating the line
11 work that would then become the woven stainless
12 steel mesh that will compose the tapestry.
13 And so I think you may be able to see
14 in this image that the new image has more sky
15 than the previous image. There are not the trees
16 that are extending up into the sky, and we think
17 that this image is actually going to have more
18 transparency than the previous image which will
19 do two things, one, give the Department of
20 Education building and the LBJ Building its
21 presence within the urban composition, creating
22 the urban space of the room that this sits in,
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1 and secondly, give views from the building out
2 towards the memorial, so we think this is going
3 to be somewhat more transparent.
4 He is now working on a number of
5 sections of this which mainly focus on the
6 horizon line and the sky to start to test how to
7 create the light, and shadow, and the contrast
8 that's going to be necessary to create the
9 readability of mainly the clouds in this
10 landscape image.
11 So as we move along, and I think we
12 have a lot of confidence that we're going to
13 achieve the same degree of transparency, and
14 perhaps even a little more.
15 The image that was shown before of the
16 degrees of transparency, the percentages, these
17 percentages were established to create the
18 opacity for a wind tunnel test, which is really
19 necessary for the structural design of the cable
20 net and the columns, and these were established
21 as maximum densities in terms of how wind load
22 would actually hit the tapestry.
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1 We're expecting the density to be
2 actually less than these values, but this would
3 establish the maximum value that each of these
4 sections of the tapestry could have.
5 MR. BRYANT: And I guess a little bit
6 of a CFA type of question is on the horizon line
7 and the landscape, given proximity of a passerby,
8 a visitor looking up at it, how confident are you
9 that that will be, getting back to the word
10 legibility, how distinctive will the viewer be
11 able to say, "Ah, I can easily see what that is,"
12 versus not being able to see, and understand, and
13 drink it in as to what it is?
14 MR. WEBB: So I believe there's an
15 image from the memorial core looking toward the
16 tapestry, so the focal point of the tapestry is
17 Pointe du Hoc, which is the cliffs that the U.S.
18 Army Rangers scaled in the invasion, and those
19 become a third point in a composition between the
20 sculptural elements on the right side, the
21 General Eisenhower side, and the left side, the
22 President Eisenhower side.
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1 You can see Pointe du Hoc in this
2 image becomes the third piece of that
3 composition, which is the main part of the kind
4 of ground plane of the image. In other parts of
5 the core, you're going to get views through the
6 trees toward the image.
7 Mainly I think though what you're
8 going to see is the sky, which we think is really
9 part of the kind of uplifting part of the
10 memorial, the memorialization of the tapestry,
11 and so it's going to mainly provide a skyscape
12 from further back focused on this central piece,
13 and then the coastline then becomes a kind of
14 datum at the lower part, so you're going to get
15 glimpses through the trees. This is the main
16 focus of the artwork.
17 MR. BRYANT: Commissioner White?
18 MS. WHITE: First, to the General, I
19 also want to commend you for your comments and
20 your message about peace, which is, as
21 Commissioner Dixon said, is always relevant and
22 very appreciated today.
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1 And I have a deep personal connection
2 to Normandy and President Eisenhower. I have
3 several family members who served under him, an
4 uncle who is buried at Normandy. I've been to
5 the site many times.
6 The most recent visit was for the 70th
7 anniversary of the D-Day invasion. I've seen the
8 site from the air, and I'm puzzled, and it's
9 really hard to read this image. I don't know
10 that I would have recognized that that's Normandy
11 Beach.
12 So it could be just the presentation
13 materials or the scale, but I would love to see
14 how this develops so that people instantly
15 recognize it, and I'm not sure that I get it even
16 with you explaining it, which I really
17 appreciate, but maybe when you're further along
18 in the creation of this, it will be helpful to
19 see that.
20 The second thing, and I would love to
21 ask Mr. Webb to come back up, is I was really
22 perplexed by the movement of Eisenhower, of the
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1 statue of Eisenhower as a young boy. I wasn't
2 convinced that the importance of the relationship
3 to Abilene as the contextual part of the tapestry
4 was a reason.
5 I still think him looking out at his
6 future and making that a relevant piece of what
7 you're trying to portray here, especially
8 Normandy and looking to the future. I'm just
9 puzzled why he's placed in a spot where you don't
10 see him.
11 And with all due respect to the staff,
12 I don't see that making that esplanade side a
13 more friendly place or inviting place to visit
14 the memorial overrides the concern I have for the
15 boy, who the statement says so eloquently is part
16 of the man, is removed from the context. So I'm
17 really curious to hear how that came about.
18 And then just my final point is I was
19 really glad to see a letter from the Eisenhower
20 family, and I commend you for working through the
21 issues with the family. It's very important to
22 my mother that the Eisenhower family be happy
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1 with this.
2 I've heard from her on numerous
3 occasions about this, so thank you. I can report
4 to her tonight that that's all settled. So if
5 you wouldn't mind responding, I'd love to hear
6 the thinking behind the why.
7 MS. KOSTER: And Mr. Webb, could you
8 also identify yourself for the record, and speak
9 a little closer into the microphone so we can
10 pick you up? Thank you.
11 MR. WEBB: How about that? Okay, so
12 as we have been developing the design for the
13 memorial, we've had quite a few conversations
14 with the Department of Education, a lot of it
15 about the transparency of the tapestry, but also
16 about the programmatic use of the promenade, and
17 a lot of that discussion focused on their
18 interpretive programming of that space.
19 The western portion of the promenade
20 which you see in this image moving off in the
21 distance there will be devoted to interpretive
22 programming about the Department of Education
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1 that is based - that is intended as educational
2 programming for schoolchildren that are visiting
3 the site.
4 And so we felt that by placing the
5 sculpture of Eisenhower as a young man in this
6 position in association with an interpretive
7 program, that schoolchildren visiting the
8 Department of Education following the
9 interpretive programming there might be inspired
10 to see this life-sized sculpture of Eisenhower
11 maybe, you know, close to what their age might
12 be, that they would be able to relate to it,
13 maybe even kind of sit down beside it or get very
14 close to it, and so we felt like this is a more
15 intimate setting for this piece.
16 It is definitely challenging. Sergey
17 Eylanbekov is working on this piece as we speak
18 because we basically picked the sculpture up off
19 of the wall and moved it, and the gesture and the
20 placement is not quite right, so he is now
21 rethinking the gesture. This is our photo
22 montage, and he is definitely going to make some
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1 modifications to it.
2 But we felt that that movement and
3 kind of creating this more intimate setting would
4 allow particularly schoolchildren to relate more
5 closely. Susan Eisenhower herself really
6 supported this move, and she was quite pleased
7 with this position.
8 MR. BRYANT: Other comments from
9 Commission members?
10 MR. DIXON: Mr. Chairman, I would like
11 to say that I noticed that you were very careful
12 in trying to deal with our position as opposed to
13 the Fine Arts Commission's position, and I think
14 that was very important, and I support that, but
15 I do think, I got to just say I liked the first
16 one better because I think that the second one is
17 about war, this one, and the first one is about
18 peace in my view, and tranquility.
19 And I think the fact that Eisenhower
20 kept coming back to his roots at home showed his
21 appreciation for that more than the image of a
22 battlefield, and I think we did a lot with that
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1 with the World War II Memorial. They've got a
2 lot of that there, and I think this would be a
3 great statement to young people about the value
4 of the tranquility and peace of where he came
5 from. And we may be moving out of range here,
6 but I'll just make the comment.
7 MR. BRYANT: Mr. Gallas?
8 MR. GALLAS: Thank you, Mr. Chairman.
9 Again, I also want to thank the General. I was
10 very moved by your words, and Eisenhower is a
11 national hero, that it's an honor to be a part of
12 celebrating his life.
13 I do have a couple of questions
14 thinking about - and I'm new here in terms of -
15 I'm not new anymore. I know that, okay, but in
16 terms of this particular application, I am new to
17 it, and so I will start with that.
18 But I guess if we could go to the
19 comparison of the transparency of the old one,
20 the original one to the new one, I just have a
21 couple of questions. I think it's 23 or
22 something like that, 23? There we go.
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1 So my eye tells me a few things. I
2 guess the first one is that the 95 percent line
3 looks bigger on the top than it does on the
4 bottom, and I think that's very important, at
5 least the way I register this image. I didn't
6 put a scale to it, but my eye is telling me that
7 the one on the bottom is lower.
8 And there was an earlier comment about
9 the ability to register what we're looking at,
10 and I believe that if that red line on the bottom
11 was as high as it is on the top one, we'd have a
12 better understanding of what's going on, and the
13 difference between water, and land, and sky. So
14 I wonder, Mr. Webb, if you could comment on that,
15 and then I'll follow with some other questions?
16 MR. WEBB: Yes, you are correct that
17 the 95 percent line is lower on the lower image.
18 This was, the composition of this is like a
19 painting, is like a landscape painting, and we
20 spent a lot of time working with Tomas Osinski
21 and other stakeholders in terms of - including
22 Robert Wilson who has been advising us along the
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1 way here.
2 And also trying to select the height
3 of the viewpoint, we originally - well, we
4 started actually with an image from the shoreline
5 looking out to the sea, which we felt that ocean
6 horizon line was very powerful in terms of
7 emotional content. However, we felt that this
8 image looking from the sea toward the beach was a
9 better image because it showed more of the
10 landscape of Normandy.
11 And then we started more at eye level
12 as you would be on a boat on the water, and in
13 that case, the cliffs of Normandy were very much
14 a straight, horizontal line, and so the
15 composition was tuned by coming up which gave us
16 more of a sense of the land beyond the beachhead,
17 more of a horizon line, and also more of shape to
18 the coast, accentuating Pointe du Hoc more as it
19 came forward. So there was a lot of time spent
20 in terms of creating this composition, and we
21 also felt that the sky was very important.
22 So I might add another point that this
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1 artwork gets transformed a lot when it becomes
2 woven in stainless steel wire. The lighter
3 portions are the voids between the wire. The
4 darker portions become where the wire is, and the
5 wire is layered in seven or eight layers to
6 create the light and shadow and darkness, and so
7 there's - this is, you know, not intended as a
8 photographic image.
9 It's intended as a work of art, and
10 right now, what Tomas is working on is the kind
11 of shade and shadow and the subtlety of the line
12 work because it's really like a line drawing.
13 The wire is like the lines on an etching, and so
14 there's a lot of work, and this image is going to
15 change quite a bit. This is kind of the basic
16 canvas we're working off of and it's going to
17 change from there forward.
18 MR. GALLAS: Yeah, so, and I don't
19 know if the pressure for sort of the transparency
20 that Commissioner Bryant talked about earlier is
21 what caused you to lower, if you will, the
22 horizon from the original, but I do think it's at
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1 the risk of coherency. So we are maybe gaining
2 transparency with a lot of sky, but the ability
3 to understand what we're looking at is that, and
4 so, if you're looking for comments, that's a
5 comment that I'd like to offer, that I'd
6 recommend at least being able to see the horizon.
7 And the magic of the original, and I'm
8 not going to comment on the theme one way or the
9 other because I wasn't involved in that one, and
10 I love this theme too, I'll just say, but the
11 magic of the other one was that the trees started
12 at 95 percent and then they went on to 50 and 20.
13 Here, there is a demarcation at 95
14 where the land stops, and so your mind in the
15 other version, you registered this tree
16 continuing even though it's less coherent as it
17 moves up to the top, and whereas here, it's sky
18 and more sky, and so I believe that we'd benefit
19 more in understanding it with more density of the
20 image itself.
21 My second question is related to that,
22 and it has to do with the 447 feet, okay? Now, I
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1 know that that must have been magic when it first
2 was designed because it, you know, it fits the
3 space. It was an image that had three different
4 groves of trees and all of that. I understand
5 now the focus on Utah Beach and what is it, Omaha
6 Beach, and Pointe du Hoc in the middle.
7 I would like to know, and I don't know
8 if you could show us visually, where - no, no,
9 no, stay, please stay, please stay where we were
10 - where is Omaha Beach and where is Normandy
11 Beach? Could you show us?
12 MR. WEBB: So actually that statement
13 is not entirely true - I have to - we have found
14 since this was written. The image, I think, and
15 I have to get my notes, but I think that Omaha
16 Beach is on the left side and Utah Beach is on
17 the right side, and I think that Omaha Beach is
18 actually cut off in this image.
19 And I think that looking toward, you
20 know, there's a longer view to the left, I mean
21 to the right, and I think that we actually are
22 getting parts of it, but the beachheads are
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1 actually separated by a couple of miles from
2 Pointe du Hoc, so I think that statement is not
3 entirely correct.
4 MR. GALLAS: So what I'm getting at
5 is, and I'm really not interested in trying to
6 start a new design process, but you asked for our
7 comments and so I have to give them, but it seems
8 like we have tried to make 447 feet work here, it
9 seems like to me, particularly on the right side
10 where the image going beyond sort of an equal
11 amount of landscape on the left to the right
12 would also help us register more what's going on.
13 And as the beach fades off, it seems
14 less important, and so I feel like we made it
15 stretch to make 447 work, and I don't know where
16 447's magic is in this process, but I think it
17 hurts the understanding of what we're looking at.
18 MR. WEBB: I'm not exactly sure what
19 your question is, however I'll address the -
20 MR. GALLAS: It may not be a question.
21 MR. WEBB: So the proportions and the
22 shape of the memorial, for those of you who have
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1 been here for the last seven or eight years, or
2 however long it's been, have changed quite a bit
3 in the process.
4 I could talk a little bit about that
5 if you go back to the plan, however the original
6 tapestry was the entire length of the Education
7 Building, and there were side tapestries in
8 previous designs and many different
9 configurations.
10 At the direction both of NCPC and CFA,
11 there was a desire to have the Department of
12 Education building as more of a piece of the
13 composition, and so from 4th and 6th Streets, you
14 see the ends of the building, so the tapestry,
15 the two end bays of the tapestry were removed.
16 We felt that, you know, in this
17 process, we think that the design of the memorial
18 has improved because that particular move brought
19 what's been called the temple in from the edges
20 of the site, and so it made it stand more as an
21 object within the site. The threshold, what we
22 call threshold is where you pass between columns
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1 and come inside of the space, became more
2 carefully defined.
3 So through that process which took
4 years to perfect, we support this, and so when we
5 were given the charge to modify the image on the
6 tapestry, we did not want to rethink that whole
7 proportionality. It is a landscape and it does
8 lend itself to very horizontal reading, and so we
9 believe the composition we've got now is the
10 right one for this image.
11 MR. GALLAS: Okay, I'll just say I'm
12 not convinced. I'll say that 447 was there and
13 we needed to make an image that seemed to want to
14 get to it, but, and I think it shows that, but,
15 so, in terms of - but that's a comment that I'm
16 offering for this debate. Well, thank you very
17 much. I appreciate it.
18 MR. BRYANT: Other questions or
19 comments? Yes?
20 MR. CASH: I just wanted to go back to
21 the placement of the young Eisenhower. I mean,
22 I'm just kind of still struggling with this
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1 because I think it makes a lot of assumptions
2 like number one, that the Department of Education
3 building will always be the Department of
4 Education. There will be children's programming
5 going on in that area.
6 I mean, I think it's like the FBI
7 Headquarters where it may be GSA next year, or
8 maybe we abolish the Department of Education and
9 we decide to sell the building and redevelop it,
10 and now this new condo building has a young
11 Eisenhower sitting out in front of it.
12 I mean, it's kind of odd, and this
13 also just struck me and I have to say it. I
14 mean, he has his - he's turning his back on
15 education here too. I mean, it just feels like
16 moving him back here and not somewhere in the
17 memorial core in that room that you're talking
18 about creating, it just seems really ad hoc.
19 And it kind of reminds of there's,
20 down on the wharf project, there's actually a
21 thing called the Maine Lobsterman Memorial that
22 had to get moved because we're redeveloping all
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1 of that federal space down there, and it actually
2 became the subject of federal oversight
3 legislation on the Senator from Maine that was
4 worried about whether it would look out on the
5 water.
6 So I think that not making this kind
7 of such an afterthought by placing it outside the
8 core, I think maybe that should be rethought.
9 MR. BRYANT: Ms. Wright?
10 MS. WRIGHT: Well, we had some
11 conversation earlier today about how appropriate
12 it is that today is Groundhog Day, and it felt
13 like that for a minute, and then I heard Mr.
14 Shubow's testimony, and I thought well, no, it's
15 not exactly like the conversations we've had
16 before.
17 I'm disoriented because it sounds like
18 even though you did refute that you're not
19 supporting the old design, the former design
20 either, so we're back to Groundhog Day with the
21 size of the memorial and all of that.
22 So I too have to say that I'm sorry to
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1 see the trees in the tapestry go. Part of what I
2 think has been so successful about the landscape
3 depiction in the tapestry was because it had such
4 the potential to play so beautifully off the
5 natural landscape in the park.
6 However, having seen the mockups in LA
7 and here in various stages, I have every
8 confidence in the artist's ability to take the
9 opportunity that's presented in the proliferation
10 of clouds and not only achieve the transparency,
11 but a different but still stunning effect from an
12 aesthetic point of view with the landscape and
13 the sky.
14 The placement of the boy, I understand
15 that people - I can understand that it seems a
16 little puzzling, but I can't even remember what
17 year we did a design charrette. GSA sponsored a
18 charrette for design opportunities in the LA that
19 would be created by the tapestry, and my
20 recollection is that the Department of Education
21 uses and intends to use this space for what they
22 call read-alouds and all kinds of programming for
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1 kids visiting.
2 So while it does kind of seem a little
3 bit odd perhaps in the context of the previous
4 design, I think it does present some
5 opportunities for programming, and the Department
6 of Education and GSA can and will work together
7 to see that the composition on the west side of
8 the LA makes sense.
9 So I've been very supportive of the
10 design from the beginning. GSA continues to
11 support the design with enthusiasm, and I think
12 it's a cardinal change to be sure, but I think
13 it's one that given the talent of the artist
14 that's been commissioned to do this work, I'm
15 confident that he can pull it off.
16 MR. BRYANT: Anything else from any
17 Commissioner?
18 MS. STEINGASSER: I just want to
19 express my agreement with Mr. Evans on the
20 placement of the boy. It does seem very awkward,
21 and if there is cause to put something there,
22 perhaps something else could be designed to be
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1 placed there, but I agree. To me, it has always
2 - it has felt very unusual.
3 MR. BRYANT: I'm sensing we're nearing
4 a vote. I'll just say my final word. If I were
5 a CFA member and the central question before me
6 was the imagery, I may well vote against this.
7 Properly before us though is the fact
8 that the design plan itself has not significantly
9 changed, and it does continue to be in keeping
10 with the design principles. So I will base my
11 hesitant vote in favor of this. Is there a
12 motion on the EDR?
13 MS. WRIGHT: So moved.
14 MR. MAY: Second.
15 MR. BRYANT: It's been moved and
16 seconded. All in favor of the EDR, say, "Aye."
17 PARTICIPANTS: Aye.
18 MR. BRYANT: Proposed, no? Thank you,
19 Ms. Lee.
20 ACTION ITEM 5C
21 VISITOR SCREENING FACILITY
22 MR. BRYANT: Action Item Number 5C is
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1 the approval of final site and building plans for
2 the Visitor Screening Facility at the Washington
3 Monument. Mr. Hart, welcome.
4 MR. HART: Good afternoon, Mr.
5 Chairman, and Members of the Commission. The
6 National Park Service has submitted the final
7 site and building plans for the Visitor Screening
8 Facility at the Washington Monument.
9 The project was last before the
10 Commission in March of 2014, and at that time, it
11 was at a preliminary design level. The project
12 is before you today because NPS is looking to
13 align this construction project with the current
14 elevator renovation project now underway.
15 Since I'm assuming we all know where
16 the Washington Monument is, I'll just show this
17 image that identifies the components that make up
18 the Washington Monument grounds. These
19 components include the vehicular perimeter
20 security barrier. That's this pink area, the
21 area that's the granite plaza and flag pole area
22 which is directly adjacent and then surrounds the
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1 Washington Monument, then there's the temporary
2 Visitor Screening Facility that exists there
3 currently.
4 It's at the base of the monument on
5 the eastern side of the monument, and finally
6 there's the Jefferson Pier which is a small stone
7 marker that demarcates a symbolic center of the
8 National Mall, and it's really that point that is
9 due south of the White House and due west of the
10 U.S. Capitol, and that Jefferson Pier is located
11 here, and I'll be talking about that in an
12 upcoming slide.
13 Early in the design process, NPS
14 identified a number of important program
15 requirements. These are just the summary of
16 them. They are the main topics. There were
17 about 10 to 12 of these requirements.
18 Overall, they concerned design,
19 security, the facility itself and the capacity of
20 the new building. NPS noted that the new
21 facility that they're proposing would have to
22 meet these requirements for it to be able to
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1 replace the existing temporary screening
2 facility.
3 Over a few years up until 2012, NPS
4 conducted an EIS process to fulfill its need for
5 responsibility. The EIS included six options,
6 and NPS also identified the characteristics that
7 the preferred option would need to have, and
8 these are listed here.
9 It would have to be the least
10 intrusive option. It would have to be
11 reversible. It would have to minimize impacts to
12 the historic fabric. And I'll note here that the
13 Washington Monument, as you're probably well
14 aware, is a national historic landmark. It has
15 that designation.
16 It would also have to have a direct
17 route from the east, and would have to avoid
18 impacting the existing vehicular perimeter
19 security elements, and the option that they were
20 looking at was a glass cube or box.
21 After NPS identified this preferred
22 option, it began to develop alternatives, and the
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1 options that you see here are these alternatives.
2 The option in the upper right was chosen by the
3 Park Service and the consulting parties as it
4 would be the least intrusive. It was reversible.
5 It minimized impacts to the historic
6 fabric. It provided a route from the east, and
7 it did not impact the existing vehicular
8 perimeter security, and so it met all of the, or
9 addressed all of the characteristics I described
10 in the previous slide.
11 So back in 2014, you saw this design,
12 which is the preliminary design, and now before
13 us is the final design. I'll toggle between that
14 so you can see that really we're talking about
15 some fairly minor changes, again 2014 and 2017.
16 The east facade has changed, and
17 really we're talking about in the preliminary
18 design, there was a door in the center. Now
19 there are doors on either side of the east
20 facade. One is one that you enter. One is an
21 exit.
22 Also note that the granite base, it
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1 used to be in the preliminary design, it was, the
2 base was really just a metal emollient, and now
3 there is a granite base, and this granite base is
4 necessary to address the sloping. The plaza
5 actually slopes from the monument towards the
6 edge of the granite plaza.
7 The final floor plan is shown here.
8 The red arrow is the visitors' entrance sequence.
9 The blue arrow is the exit sequence. The
10 entrance route as you'll note is purposefully not
11 straight. It has a serpentine look to it, and
12 this is really so that visitors would slow down
13 and allow time for them to be properly screened
14 before entering into the monument.
15 NPS is also proposing to relocate some
16 geothermal wells it had proposed at the
17 preliminary design. In the preliminary design,
18 these wells were located to the north of the
19 monument, and now they're being proposed to the
20 west.
21 In case you're wondering, geothermal
22 wells are used to - they utilize the fairly
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1 stable temperature of the earth. Deeper than
2 five or six feet, the earth's temperature is a
3 constant 55 degrees, and it uses this in tandem
4 with mechanical equipment.
5 That mechanical equipment is going to
6 be located in vaults east and west of the
7 underground vaults, east and west of the
8 monument, and these will be used to both either
9 heat or cool the building throughout the year.
10 The well field, excuse me, each of
11 these wells, there are approximately 64 of them
12 or 60 wells that they're talking about. Each one
13 of these wells is 12 inches in diameter,
14 approximately 20 feet apart, and between 200 and
15 400 feet deep.
16 As was explained in the staff report,
17 NPS is increasing the number of these wells so
18 that the heating and cooling loads for both the
19 Washington Monument and this new facility can be
20 accommodated, as well as reducing costs.
21 So the staff analysis was fairly
22 straightforward. Since there were only minor
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1 changes or below grade components, staff focused
2 on the Commission action from March of 2014 at
3 the preliminary review.
4 The Commission had three requested
5 items. The first is detailed plans of the
6 geothermal wells identifying any impacts
7 associated with them. The second is the blast
8 and ballistic analysis to inform material
9 selection, and finally, lighting design for the
10 new facility.
11 So here is a more detailed plan of the
12 new geothermal wells which will be, as I stated
13 earlier, now sited west of the monument. These
14 will be fully located below ground with
15 approximately 12 inches of soil above them and
16 then grass planted on top of them. So really
17 from the monument looking west, you won't see
18 anything at all. It will just be what you see up
19 there now.
20 A below grade conduit will connect to
21 the below grade vaults that house the mechanical
22 equipment, and you can see the conduit there
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1 indicated here.
2 The geothermal well field that NPS
3 presented at preliminary design had fewer wells
4 as I noted because it only was supposed to
5 accommodate the new screening facility. This is
6 a larger well before again because they are
7 looking to condition the air for the monument as
8 well as the new facility.
9 In addition, I'll note that the well
10 field is south of the Jefferson Pier, so it will
11 not impact that marker, and staff is supportive
12 of this change.
13 NPS also provided information
14 including these drawings that show the walls
15 which would be composed - and this is a section
16 here on the left - which would be composed of two
17 laminated glazing units that are on either side
18 of a steel frame structure. In effect, these
19 glazing units would sandwich the steel frame.
20 The exterior laminated glazing unit
21 will incorporate a metal mesh, and it will be
22 used with an interior laminated glazing unit to
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1 provide ballistic and blast protection for
2 visitors and employees inside the new facility.
3 Staff is satisfied that NPS has provided the
4 necessary information and supports the proposed
5 design.
6 And finally, NPS states that it hired
7 an architectural lighting specialist to ensure
8 that the site lighting is designed in accordance
9 with the Illuminating Engineering Society of
10 North American guidelines, and that it is
11 compatible with the nighttime illumination of
12 other monuments and memorials on the National
13 Mall.
14 NPS also stated that the primary
15 design intent for lighting is to provide adequate
16 ambient light for circulation and security
17 without obstructing nighttime views of the
18 monument. Staff is satisfied that NPS has
19 addressed this issue as well.
20 And with that, it is the Executive
21 Director's recommendation that the Commission
22 note that NPS is proposing only minor design
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1 changes in moving the geothermal wells to a site
2 west of the monument.
3 Also note that NPS responded to the
4 Commission's request from the preliminary review,
5 and that the Commission should approve the final
6 site and building plans for a new Visitor
7 Screening Facility at the Washington Monument and
8 the associated below grade geothermal wells
9 located west of the monument, and that concludes
10 my presentation, and we have some NPS staff here
11 to answer questions or I could answer the
12 questions.
13 MR. BRYANT: Perfect, thank you. And
14 the geothermal wells, they will serve only the
15 Washington Monument?
16 MR. HART: They will serve both.
17 MR. BRYANT: Both.
18 MR. HART: Yeah, the monument and the
19 new facility, the entrance facility.
20 MR. BRYANT: Okay, questions for Mr.
21 Hart? Is there a motion on the EDR?
22 MR. MAY: So moved.
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1 MR. GALLAS: Second.
2 MR. BRYANT: It's been moved and
3 seconded. All in favor of the EDR, say, "Aye."
4 PARTICIPANTS: Aye.
5 MR. BRYANT: Opposed, no? It is
6 approved.
7 ADJOURN
8 MR. BRYANT: And that is maybe almost
9 a record time in the efficiency today. Thanks to
10 everyone. We had a good meeting and we are
11 adjourned.
12 (Whereupon, the above-entitled matter
13 went off the record at 2:26 p.m.)
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C E R T I F I C A T E
This is to certify that the foregoing transcript
In the matter of: Commission Meeting
Before: National Capital Planning Commission
Date: 02-02-17
Place: Washington, DC
was duly recorded and accurately transcribed under my direction; further, that said transcript is a true and accurate record of the proceedings.
------Court Reporter
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