LocationWashington D. C., United States
Lead ArchitectsRichard Loosle Ortega, Janet Bloomberg
Fentress Architects has revealed their design for the expansion of the Norwegian Chancery in Washington D.C. A prominent new addition to the embassy’s Washington D.C. campus. The scheme expands the architectural language of the existing embassy buildings, embracing contemporary design techniques within the context of traditional bureaucratic architecture.
Fentress’ design integrates materials of Norwegian cultural significance as prominent features of the façade. The use of Norwegian spruce timber, Oppdal stone, and patinated copper pay homage to the country’s traditions in shipbuilding and woodworking, as well as their abundance of natural resources.
Snarkitecture’s “Fun House” has opened at the National Building Museum in Washington DC, an interactive exhibition forming part of the museum’s Summer Block Party series of temporary structures created inside its historic Great Hall.
More than 1500 people visited Fun House at its July 4th opening day, which comes three years after Snarkitecture’s installation at the 2015 Summer Block Party, titled "The BEACH." Other noted collaborations for Summer Block Party include Studio Gang in 2017, James Corner Field Operations in 2016, and Bjarke Ingels Group in 2014.
Joseph Rodota's new book The Watergate: Inside America’s Most Infamous Address (William Morrow) presents the story of a building complex whose name is recognized around the world as the address at the center of the United States' greatest political scandal—but one that has so many more tales to tell. In this excerpt from the book, the author looks into the design and construction of a building The Washington Post once called a "glittering Potomac Titanic," a description granted because the Watergate was ahead of its time, filled with boldface names—and ultimately doomed.
On the evening of October 25, 1965, the grand opening of the Watergate was held for fifteen-hundred guests. Luigi Moretti, the architect, flew in from Rome. Other executives came from Mexico, where the Watergate developer, the Italian real estate giant known as Societa Generale Immobiliare, was planning a community outside Mexico City, and from Montreal, where the company was erecting the tallest concrete-and-steel skyscraper in Canada, designed by Moretti and another Italian, Pier Luigi Nervi.
Freelon Adjaye Bond/SmithGroup’s Smithsonian National Museum of African American History and Culture in Washington D.C. has been selected as the winner of the Beazley Design of the Year for 2017.
Presented by the Design Museum in London, the award is given to the project that best meets the criteria of design that “promotes or delivers change, enables access, extends design practice or captures the spirit of the year.”
See more from the overall winner and each of the category winners, below.
Despite 3 years of community input and redesign, BIG’s plans for the new Smithsonian Institution Campus Master Plan in Washington, D.C., has been met with skepticism from the Commission of Fine Arts, one of the two federal agencies charged with approving the plan.
Classical design formed our nation's capital. The soaring Washington Monument, the columns of the Lincoln Memorial, and the spectacular dome of the Capitol Building speak to the founders' comprehensive vision of our federal city. Learn about the L'Enfant and McMillan plans for Washington, D.C., and how those designs are reflected in two hundred years of monuments, museums, and representative government. View the statues of our Founding Fathers with the eye of a sculptor and gain insight into the criticism and controversies of modern additions to Washington's monumental structure. Author Michael Curtis guides this tour of the heart of the District
BIG has unveiled an updated vision for the new Campus Master Plan for the Smithsonian Institution in Washington, D.C., after taking into account over 3 years of community input and collaboration with the storied museum and research institution. The revised proposal pays particular attention to the preservation of unique character of the Enid A. Haupt Garden while still addressing the existing and future needs of the Smithsonian at one of the nation’s most historically significant sites.
The Arc de Triomphe as an Elephant?! These Illustrations Reveal What Famous Monuments Could Have Been
A city’s monuments are integral parts of its metropolitan identity. They stand proud and tall and are often the subject of a few of your vacation photos. It is their form and design which makes them instantly recognizable, but what if their design had turned out differently?
Paris’ iconic and stunning Arc de Triomphe could have been a giant elephant, large enough to hold banquets and balls, and the Lincoln Memorial in Washington D.C. could have featured an impressive pyramid.
GoCompare has compiled and illustrated a series of rejected designs for monuments and placed them in a modern context to commemorate what could have been. Here are a few of our favorites:
Amazon’s open call for bids for its new headquarters, HQ2, closed last month, but in the months leading up to the final decision in 2018, analysts will continue to flood the internet with detailed studies evaluating who they believe should be the winner. In other words, the mirror-mirror-on-the-wall game for cities is just starting to warm up.
Earlier, ArchDaily reported on the data-driven approach adopted by Moody’s Analytics which projected Austin, TX as the winner. But another study by IT education company Thinkful now points towards Washington DC as the city most likely to make the cut. So what makes Washington DC the fairest of them all? Read on to see how data science techniques helped analysts at Thinkful with this prediction, what kind of approach they adopted, and how it differed from that of Moody’s Analytics.
The Frank Gehry-designed Eisenhower Memorial has finally broken ground in Washington DC following a tumultuous years-long approval process.
A groundbreaking ceremony was held yesterday at the National Mall site, located at the intersection of Maryland and Independence Avenues and across from the National Air and Space Museum.
Washington D.C. Unveils Its Largest Ever Construction Project: $441 Million Frederick Douglass Memorial Bridge Replacement
Washington, D.C. has unveiled the design of the city’s largest ever construction project: a $411 million bridge spanning the Anacostia River that will replace the 68-year-old Frederick Douglass Memorial Bridge. The project will be carried out by the team known as “South Capitol Bridge Builders,” consisting of lead designer AECOM, Archer Western Construction and Granite Construction, after their submission was selected as the winner of a competition for the bridge announced in 2014.
In this six-minute-long video, Vox makes the argument that the primary reason behind the recent resurgence of streetcar systems—or proposals for streetcars, at least—in the USA is not because of their contributions to urban mobility, but instead because of the fact that they drive and sustain economic development. As it uncovers the causes for the popular failure of the streetcar systems in cities such as Washington DC, Atlanta, and Salt Lake City (low speed and limited connectivity, mostly) it asks why an increasing number of American city governments are pushing for streetcars in spite of their dismal record at improving transit. Is it solely due to their positively modern aesthetic? Are streetcars destined to function as mere “attractions” in a city’s urban landscape? Or is the real objective something more complex?
The National Capital Planning Commission (NCPC) has reviewed the revised concept for the National Washington WWI Memorial as part of several major commemoration and transport projects taking place in the capital city. Designed by architect Joseph Weishaar and sculptor Sabin Howard, the proposal won the memorial’s competition last year, beating out 4 other finalists with its multilevel design and use of relief sculpture.
Technology company Pavegen has unveiled the world’s first “Smart Street” in London’s West End that utilizes the company’s unique kinetic paving slabs to generate energy from pedestrians’ footsteps. But unlike earlier Pavegen installations deployed in cities like Washington DC and Rio de Janeiro (which uses the panels as the foundation for a soccer field), the London Smart Street comes with its very own app – giving visitors precise information about the power they are generating, and encouraging use by offering up store vouchers in return for steps.
Hive, Studio Gang’s 2017 Summer Block Party installation, has opened to the public at the National Building Museum in Washington, D.C. Constructed from 2,551 silver-and-magenta wound paper tubes, Hive invites visitors to explore their senses in a series of dome-shaped chambers, each scaled to reflect a unique sound signature.
Utilizing structural paper tubes commonly used in construction as concrete formwork, Hive takes its form from the catenary physics that have inspired some of the world’s great structures such as the the Gateway Arch in St. Louis and Brunelleschi’s Dome at the Florence Cathedral in Italy, and vernacular buildings such as Musgum mud huts in Cameroon.
Plans for Apple’s next flagship store, to be located within the historic Carnegie Library at Mount Vernon Square in Washington, D.C, have been approved by the District’s Historic Preservation Review Board (HPRB).
The project comprises both an interior/exterior restoration and renovation of the 63,000-square-foot Beaux Arts library, which was constructed in 1903 and added to the National Register of Historic Places in 1969. The plan will allow the library to be shared by Apple and the building’s existing tenant, The Historical Society of Washington. The 2-story Apple store will be located on the first floor and basement levels of the building, and will be designed by Foster + Partners, continuing their collaboration with the tech giant.
The following is a manifesto, in search of a movement... In it, I am proposing a theory of architecture based around a ruffneck, antisocial, hip-hop, rudeboy ethos. 
– Kara Walker
In her companion publication to the 2014 group exhibition “Ruffneck Constructivists,” the show’s curator, Kara Walker, lays down a radical manifesto for urban intervention. Just months before Ferguson  and a year before Baltimore,  Walker proposes her theory through which installation artists (along with architects and designers by extension) can become “defiant shapers of environments.”  The invocation and juxtaposition of the terms hip-hop and architecture in the intro to her manifesto is particularly remarkable given the show’s exclusive assembly of visual and installation artists.