ABSTRACT  
 
Title of Thesis:      AN ARTS COMMUNITY FOR THE LOGAN CIRCLE 
NEIGHBORHOOD IN WASHINGTON, D.C. 
Susan Elizabeth Gibson, Master of Architecture, 2004 
Thesis directed by:   Steven W. Hurtt,  Dean, 
School of Architecture, Planning, and Preservation 
 
 
In the early 1900?s, 14
th
 Street in Washington, D.C. was a prominent commercial 
corridor and the site of numerous automobile showrooms.  The riots following Martin 
Luther King, Jr.?s assassination in 1968 left many damaged buildings and vacant lots 
along the corridor.  This project will seek to revitalize the area.  Retail and mixed uses 
catering to the artist and appealing to the general public will be implemented on the 1500 
block of 14
th
 Street.  An art center located within the block will incorporate affordable, 
flexible units with spaces for artists to live and work.  Galleries and cafes along the 
ground floor of the building will reach out to the community as a whole.   
An artists? community will help redefine 14
th
 Street as a ?place.?  The 
development will seek to provide a sense of community within the larger context of the 
city while acting as a catalyst for future artistic growth. 
 
  
  
 
 
 
 
 
 
 
AN ARTS COMMUNITY FOR THE LOGAN CIRCLE NEIGHBORHOOD IN  
WASHINGTON, D.C. 
 
By 
 
Susan Elizabeth Gibson 
 
 
 
Thesis submitted to the Faculty of the Graduate School of the 
University of Maryland, College Park in partial fulfillment 
of the requirements for the degree of 
Master of Architecture 
2004 
 
 
 
 
 
 
 
Advisory Committee: 
 
Dean Steven W. Hurtt, Chair 
Assistant Professor Angel David Nieves 
Professor Thomas L. Schumacher   
 
 ii
DEDICATION 
 
 
To my parents, Elaine and Paul Gibson, for always believing in me. 
 
To my sisters, Cindy and Robin, for always being there for me. 
 
To Adrian Mentus for your love and patience these past two years. 
 
 
 
 iii
ACKNOWLEDGEMENTS 
 
 
Thanks to the following individuals who assisted me through this final charette: 
 
Adrian Mentus 
Laura DeHart 
Elisa Garcia 
John Oderda 
Brad Reed 
Mike Talbott 
Vanessa Vap 
Traci Weems 
Sarah Weiser 
 
A special thank you to Gretchen Wagner for inspiring me this semester, and for your 
devotion these past weeks. 
 iv
TABLE OF CONTENTS 
LIST OF FIGURES??????????????????????...????.vi 
INTRODUCTION?????????????????????????.?..?1 
CHAPTER I:  THE SITE?????????????????????????.3 
 Site History?????????????????????????......?3 
 Site Description?????????????????????????..15 
 Site Analysis?????????????????????????......23 
CHAPTER II:  PRECEDENT STUDIES?????????????????.?39 
 Arts Districts 
  Gateway Arts District (upcoming Arts District)????????.?..39 
  Short North, Ohio (existing Arts District)????????????.41 
Artists Studios/Galleries 
Torpedo Factory Art Center????????????????...?44  
Viaduct des Artes?????????????????????...47 
 Housing 
 Fukuoka Housing????????????????????...?51 
 Mount Rainer Artists Housing????????????????...55 
CHAPTER III:  Theory??????????..????????????...?.?58 
CHAPTER V:  Program????????????????.?????????63 
 Design Objectives?????????????????.?????.??63 
 Private Program Requirements???????????????????..64 
 Public Program Requirements???????????????????...65 
 Urban Requirements for Block???????????????????..65 
 v
CHAPTER VI:  SCHEMATIC DESIGNS..?????????????.????.67 
 Parti One???????????????????????..??..??67 
 Parti Two????????????????????????.???..69 
 Parti Three???????????????????????????.71 
 Schematic Building Sections????????????????????.73 
CHAPTER VII:  DESIGN CONCLUSIONS?????????????????74 
BIBLIOGRAPHY????????..???????????????????84 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 vi
 LIST OF FIGURES 
 
Figure 1:  L?Enfant?s Plan for Washington, D.C.  [LCAA website]??????.......?3 
Figure 2:  Comparison of Versailles, Washington D.C., and Paris.  [Peets 46]????..3 
Figure 3:  10-mile square of Washington D.C.  [Peets 4]????????????....4 
Figure 4:  Topography of Washington, D.C.  [Peets]??????????????..5 
Figure 5:  Nodes within plan of Washington, D.C.  [Peets]???????????....5 
Figure 6:  Vistas to Virginia, across the Potomac River.  [Peets]?????????...5 
Figure 7:  Bird?s Eye View of McMillan Plan, 1901-1903.  [Garvin 78]??????...7 
Figure 8:  Statue @ Logan Circle.  [LCCA Website]??????????????.8 
Figure 9:  14
th
 Street streetcar, 1870?s.  [LCCA Website]????????????..9 
Figure 10:  Fourteenth Street.  [Greater 14
th
 St & Logan Circle Brochure]?????..10 
Figure 11:  Cars on 14
th
 Street, 1930.  [LCCA Website]????????????...11 
Figure 12:  DeSoto-Plymouth Dealership on 14
th
 Street, 1935.  [LCCA Website]??...11 
Figure 13:  1526 14
th
 Street in 1925.  [Greater 14
th
 St & Logan Circle Brochure]?...?12 
Figure 14:  1526 14
th
 Street in 2003???????????????????..?12 
Figure 15:  Image of 14
th
 Street after 1968 Riots. [Redevelopment Land Agency 
Document 15]?????????????????????????..12 
Figure 16:  Map of Citywide Damage?????????????????...??13 
Figure 17:  Greater Fourteenth Street and Logan Circle Historic Districts [Greater 14
th
 
Street  and Logan Circle Brochure]?????????????????.14 
Figure 18:  Aerial Photo, including Thesis Site.  [D.C. Office of Planning]????.....15 
Figure 19:  Plan Highlighting Western Side of 14
th
 Street????????????16 
Figure 20:  Western Side of 14
th
 Street???????????????????..16 
Figure 21:  Western Side of 14
th
 Street, cont????????????????.?16 
Figure 22:  Plan Highlighting Eastern Side of 14
th
 Street????????????..17 
Figure 23:  Eastern Side of 14
th
 Street  ??????????????????.....17 
Figure 24:  Eastern Side of 14
th
 Street , cont?????????????????.17 
Figure 25:  Plan Highlighting Church Street????????????????.?18 
Figure 26:  Vacant lot on Church Street ??..????????????????.18 
Figure 27:  Development @ Church Street and 14
th
 Street??????????.?..18 
Figure 28:  Perspective looking down Church Street?????????????....18 
Figure 29:  Automobile Repair Shop on Church Street?????????????.18 
Figure 30:  Plan highlighting location of the Studio Theatre??????????.....19 
Figure 31:  Interior Renovations, 1997. [Kfoury Website]????????????19 
Figure 32:  Exterior of the Studio Theatre?????????????????.?19 
Figure 33:  Plan highlighting location of Studio Theatre  Expansion??????...?.20 
Figure 34:  Existing Studio Theater and Two Adjacent Buildings?????????21 
Figure 35:  Studio Theatre Expansion.  [Metropolis Development]????????..21 
Figure 36:  Location of Whole Foods Market???????????????...?22 
Figure 37:  Entrance of Whole Foods Market???????????????..?.22 
Figure 38:  Outdoor Seating at Whole Foods Market????????????..?..22 
Figure 39:  Exterior of Whole Foods Market?????????????????.22 
Figure 40:  Regional Diagram of Site and Context?????????????..?..23 
Figure 41:  Map of the Metrorail System??????????????????...24 
 
 vii
Figure 42:  Diagram of walk from Dupont Circle Metro Station to the site,  
               approximately .55 miles?????????????????????..25     
Figure 43:  Lush landscaping typical of P Street (between Dupont and Logan 
Circles)????????????????????????????25 
Figure 44:  Row homes characteristic of P Street (between Dupont and Logan Circles)  
Higher density housing occurs as well??????????????...?.25 
Figure 45:  Map of bus lines running through and around the site???????...?.26 
Figure 46:  Figure Ground of Site and Greater Context????????????....27 
Figure 47:  Figure Ground Reversal of Site and Greater Context???????...?..28 
Figure 48:  Five-minute walk diagram from the site???????????...??..29 
Figure 49:  Five minute walk from nodes close to site (nodes from L to R:  Dupont 
Circle, Scott Circle, and Logan Circle)??????????????.?..30 
Figure 50:  Figure Ground of site and immediate context????????????.31 
Figure 51:  Figure Ground Reversal of Site and Immediate Context??????...?.32 
Figure 52:  Diagram of Street Network??????????????????.?34 
Figure 53:  Diagram of Traffic Conditions Near Site????????????..?..35 
Figure 54:  Retail/restaurant and residential uses near the site??????????..35 
Figure 55:  Civic buildings and churches near the site????????????..?35 
Figure 56:  Art/performance spaces and vacancies near the site????????..?.36 
Figure 57:  Uptown-Mixed Use (ARTS) Overlay District????????????37 
Figure 58:  Map of Gateway Arts District.  [Gateway Arts District Sector Plan and 
Sectional Map Amendment]???????????????????....39 
Figure 59:  Map of Short North, arts corridor is highlighted??????????.?42 
Figure 60:  Goodale Park. [Short North Website]??????????????.?43 
Figure 61:  Pocket Park.  [Short North Website]?????????????...??43 
Figure 62:  Street performers are popular in Short North.  [Short North Gazette 
Website]??????????????????????????..?43 
Figure 63:  Crowds at Gallery Hop.  [Short North Gazette Website]??????...?43 
Figure 64:  Arches on High Street.  [Short North Gazette Website]????????.43 
Figure 65:  Target Gallery, national exhibition space.  [Torpedo Factory Website]??.44 
Figure 66:  Sculptural Stairs in Torpedo Factory???????????????...44 
Figure 67:  Diagram of Entrances????????????????????.?.45 
Figure 68:  Eastern Entry- Plaza on Potomac?????????????...???.45 
Figure 69:  Western Entry- N. Union Street???????????????..??45 
Figure 70:  Plan of Torpedo Factory??????????????????.??.45 
Figure 71:  First and Second Floor Atrium Space?????????????.??46 
Figure 72:  Third Floor Studios??????????????????.????46 
Figure 73:  Section through Torpedo Factory???????????.?.????.46 
Figure 74:  Map of 12
th
 Arrondisment showing location of Viaduct de Artes??.?....47 
Figure 75:  Railroad viaduct with garden on top.  [Amelar 138]????????..?47 
Figure 76:  Isometric, Part of the Viaduct.  [Viaduc 75]????????????..48 
Figure 77:  Drawing of standard arch on viaduct.  [Viaduc 75]????????..?.49 
Figure 78:  Photo of storefront, showing setbacks of glass.  [Amelar 141]???..??49 
Figure 79:  Artist working within vaulted space; note daylight pouring in transoms.  
[Amelar 142]?????????????????????????...50 
Figure 80:  Section and floor plans of vaulted interiors???????????..?..50 
 viii
Figure 81:  Model of South (Private) Fa?ade.  [Holl 99]???????????.?..51 
Figure 82:  Model of North (Public) Fa?ade.  Note that courtyard starts at the second 
level on public side.  [Holl 99]?????????????????...?.51 
Figure 83:  View of North fa?ade [Holl 95]???????????????.??.51 
Figure 84:  Diagrammatic Plan showing 3 passages through building?????.??52 
Figure 85:  Diagrammatic Section showing 3 passages through building??????52 
Figure 86:  Interlock of Unit Types  [Author?s drawing, based on Holl 106]????..52 
Figure 87:  3 different configurations of one unit plan (2 sets).  [Author?s drawing,  
               based on Holl 06]???????...???????????????....53 
Figure 88:  Interior of Unit, Configured with panels open.  [Holl 107]??????...54 
Figure 89:  Interior of Unit, Configured with panels closed.  [Holl 107]??????.54 
Figure 90:  Interior of Unit, Configured with panels open.  [Holl 106]??????...54 
Figure 91:  Interior of Unit, Configured with panels closed.  [Holl 106]??????.54 
Figure 92:  Exterior model of building.  [HGA Website]????????????.55 
Figure 93:  Schematic Section through building.  [Courtesy HGA]??????..?...55 
Figure 94:  Section ? Public Side?????????????????????..56 
Figure 95:  Interior of Unit.  [HGA Website]???????????????..?..56 
Figure 96:  Plan Detail ? Public Side????????????????????.56 
Figure 97:  Partial Elevation - Public Side???????????????.???56 
Figure 98:  Study of programmable wall elements within units??????????57 
Figure 99:  View from roof of arch?????????????????????59 
Figure 100:  View to arch?????????????????????..???59 
Figure 101:  Artist drawing fountain @ Dupont Circle.  [D.C. Stock Photos]??..??59 
Figure 102:  City street of Madrid??????????????????...??..60 
Figure 103:  Artists and pedestrians in the Place de la Terte??????...????..61 
Figure 104:  Views of Las Ramblas (L to R:  Street Performer, Pedestrian Promenade, 
Street Performer)??????????????????????.??62 
Figure 105:  Plan of Pocket Park Parti??????????????????.?..67 
Figure 106:  Diagram of Pocket Park Parti?????????????...????.68 
Figure 107:  Plan of Promenade Parti????????????????????69 
Figure 108:  Diagram of Promenade Parti??????????????????.70 
Figure 109:  Section through Church Street??????????????..???70 
Figure 110:  Plan of ?Catwalk? Parti??????????????..??????71 
Figure 111:  Diagram of ?Catwalk? Parti?????????????..?????.71 
Figure 112:  Section through Catwalk @ Caf??????????.???????.72 
Figure 113:  Section through Catwalk @ Automobile Museum??.???????..72 
Figure 114:  Section showing interaction of gallery space with mezzanine above.??..73 
Figure 115:  Section showing the two faces of art production:  gallery space on the  
               public side, with studio and production space along the alley??????...73 
Figure 116:    Building section showing opportunity of creating a setback?????..73 
Figure 117:    Section through entire building, including the 2 existing automobile 
showrooms on site??????????????????????...?75 
Figure 118:    Cross-section showing relationship of building to 14
th
 Street and the roof 
garden??????????????????????????..??75 
Figure 119:    First floor plan??????????????????????.?76 
Figure 120:    Second floor plan??????????????????????.76 
 ix
Figure 121:    Third floor plan?????????????????????..?77 
Figure 122:    Plan of floor 3 ? (see Figure 116 for floor relationships)?????.?77 
Figure 123:    Fourth floor plan????????????????????.?...78 
Figure 124:    Fifth floor plan?????????????????????.?..78 
Figure 125:    Unit plans???????????????????????.?..79 
Figure 126:    West elevation with context???????????????.?.?.80 
Figure 127:    West elevation?????????????????????..?..80 
Figure 128:    North elevation with context?????????????????..81 
Figure 129:    North elevation????????????????????..??.81 
Figure 130:    Perspective of Gallery/Caf? (Northwest corner)??????.?..??.82 
Figure 131:    Perspective of main gallery??????????????????83 
 
 1
INTRODUCTION 
Throughout its history, the Greater 14th Street District in Washington D.C. has 
been an area of great economic and social diversity.  In the 1800?s and 1900?s, residents 
living within the neighborhood were from various economic backgrounds, with the 
wealthier living along the major thoroughfares and the working class living on side 
streets and alleys. 
Fourteenth Street was a major commercial corridor during the 1870?s and 1880?s.  
In the early 1900?s the popularity of the automobile continued to make the street a 
popular destination.  During this time, automobile showrooms arose along the corridor, 
making 14
th
 Street a hub of automobile exhibition and activity. 
The activity following the assassination of Martin Luther King, on April 4, 1968, 
brought the area into a major state of decline.  Riots along the commercial corridor left 
many buildings in flames, resulting in numerous abandoned buildings and vacant lots.  
Currently, the area is in need of major revitalization, as most of the damage is still 
evident today. 
Arts Districts have been linked with the revitalization of communities across the 
United States.  Short North in Columbus, Broad Street in Philadelphia, and the Addison 
Street Arts District in Berkeley are all examples where bringing art into the community 
has helped in its revitalization.  Fourteenth Street has been zoned as an Arts Overlay 
District from Rhode Island Avenue to the south, to Florida Avenue to the north.  A great 
opportunity is therefore provided to promote the diversity and potential of the 
neighborhood though the development of an arts district. 
 2
 A master plan for the 1500 block of 14
th
 Street will form the foundation of the 
arts community, addressing its potential to extend north.  Programming of the block will 
cater to the artist while still providing for the general public.  Potential uses include an 
arts supply store, bookshop, and caf?.  The adaptive reuse of existing buildings will be 
encouraged, ultimately resulting in a blend of new and old structures.   
An Arts Center will be incorporated within the city block, acting as an anchor to 
the surrounding development.  The ground floor of the building will seek to draw the 
public into the artists? realm through the incorporation of a caf? and gallery.  Housing for 
artists will be located above, providing an environment for artists to live and work. A 
sense of place will be strived for through integration within the context.  Ultimately, the 
image of the Art Center will define it as a significant landmark within the community. 
Art is a way of bringing together people of different ages, ethnicities, and genders.    
This thesis will suggest how the Greater 14
th
 Street District can regain its diversity 
through the development of an arts district and its reestablishment of ?place.? 
 
 3
THE SITE 
SITE HISTORY 
HISTORY OF WASHINGTON, D.C. 
 
The plan for Washington D.C. was 
established in 1791 by the French Engineer 
Pierre L?Enfant.  Boundaries included a ten 
mile square, with the Potomac River hugging 
its western border.  The city of Paris and 
Gardens of French chateaus inspired the 
design of the new capital.  The resultant 
street system consisted of diagonal boulevards and rectilinear streets.  Diagonal avenues 
allowed quick access to key points in the city, while the rationale of the grid system 
formed reasonable lots for development and an easily navigable street network.
1
   
                                                 
1
 Garvin, 76. 
Figure 1:  L?Enfant?s Plan for Washington, D.C.  
[LCAA website] 
Figure 2:  Comparison of Versailles, Washington D.C., and Paris.  [Peets 46] 
 4
  
 
 
 
 
 
 
 
 
 
 
 
 
The plan was strongly influenced by the topography of the site.  High points of 
the city were used to strategically locate the prominent buildings, resulting in vistas to the 
Potomac River.   The President?s House was to be located north of Tiber Creek, with a 10 
mile view to the Potomac River, while the House of Congress was to be situated on 
Jenkins Hill, to the east.  Monumental buildings were to be located between these two 
high points.  Avenues radiated from these, stimulating the juxtaposition of the orthogonal 
street grid with the diagonal avenues.  As stated by L?Enfant,  ?having first determined 
some principal points to which I wished to make the rest subordinate I next made the 
distribution regular with streets at right angles north-south and east-west but afterwards I 
opened others on various directions as avenues to and from every principal  
Figure 3:  10-mile square of Washington D.C.  [Peets 4] 
 5
 
Figure 4:  Topography of Washington, D.C.  [Peets] 
 
 
Figure 5:  Nodes within plan of Washington, D.C.  [Peets] 
 
 
Figure 6:  Vistas to Virginia, across the Potomac River.  [Peets] 
 
 6
 
 
space.?
2
  He mentioned the numerous functions of diagonal avenues:  to directly connect 
major points in space, to link orthogonal streets, to join significant spaces both visually 
and literally, contrast with regularity of grid, and to provide various lots and view 
corridors.
3
  Resulting spaces provided additional locations for key buildings within the 
city. 
Although the framework for the plan of L?Enfant has been implemented, many of 
his intentions went unrealized.  Because the plan was so comprehensive, it was 
unrealistic that original plans would be completely followed through.  For instance, the 
Washington Canal, rather than taking on its reason for being as an economic lifeline, 
became filled with trash and garbage.  Instead of the Mall as a ?Grand Avenue,? it was 
referred to as ?waste? space.
4
 
 The year 1900 marked the one hundred year anniversary of Washington, D.C. as 
the Capital, instigating attention to the decrepit state of the city.  Senator James McMillan 
formulated a commission which sought to revitalize its conditions.  He hired Daniel 
Burnham, Frederick Law Olmsted Jr., Charles Follen McKim, Charles Moore, and 
Augustus St. Gaudens to prepare the report on developing the conditions.  Park systems 
designed by Olmsted, Jr. emphasized the city?s topographical features, seeking to link 
neighborhoods and bring new life to the city. 
5
  Original intentions of L?Enfant began to 
be implemented as the national mall became a prominent axial link.   
                                                 
2
 Peets, 4. 
3
 Reiff, 6. 
4
 Washburn, 80. 
5
 Garvin, 77. 
 7
 The McMillan Plan helped the nation?s capital become the city it is today.  There 
are still isolated areas in need of repair, but the overall character of the city remains 
intact. 
 
 
Figure 7:  Bird?s Eye View of McMillan Plan, 1901-1903.  [Garvin 78] 
 8
HISTORY OF LOGAN CIRCLE 
Logan Circle, a result of L?Enfant?s Plan, is a 
primary landmark near the site for this thesis.  The statue 
found in the circle today was commissioned in 1891, 
demarcating its center.  President William McKinley 
dedicated the statue on April 9, 1901.
6
  In 1930, the 
circle was officially given its name, in memory of Civil 
War General and Senator John A. Logan.  He had lived 
at #4 Logan Circle for the year prior to his death.
7
   
Logan Circle is the only area in Washington D.C. 
which maintains some of its Victorian architecture.  The majority of the homes on the 
circle were constructed between 1874 and 1887, designed in an eclectic mix of styles 
including Second Empire, High Victorian Gothic, and Romanesque Revival.  They 
remain unified through consistent heights, setbacks, scale, and texture.  The intersection 
of the city?s gridded streets and diagonal avenues on the circle result in irregularly shaped 
building lots.  Therefore each home has distinct character, in contrast to adjacent streets 
where modest row houses are built in a repetitive fashion.
8
  
 
                                                 
6
 LCCA Website. 
7
 Greater 14
th
 Street and Logan Circle Brochure, 4. 
8
 Greater 14
th
 Street and Logan Circle Brochure, 4. 
Figure 8:  Statue @ Logan 
Circle.  [LCCA Website]
 9
HISTORY OF THE GREATER 14
TH
 STREET DISTRICT 
 
 The development of the Greater 14
th
 Street Area was not guided by formalized 
regulations, resulting in a diversity of housing types, residents, and income levels within 
the neighborhood.  The wider streets, such as Vermont and Rhode Island Avenues, 
provided the optimum location for wealthier residents.  The middle class gravitated 
towards the lettered and numbered streets, while the working class inhabited narrower 
streets and alleys, like Kingman Place.  A diverse cross section of residents therefore 
lived within the neighborhood.  Commercial activity tended to be located along the more 
heavily trafficked routes, such as 14
th
 Street.  The area characterizes the economic and 
racial diversity typical of nineteenth century urban development.
9
   
In 1862 Congress permitted the Washington and Georgetown Railroad Company 
to build horse drawn streetcar lines along 7
th 
and 14
th
 Streets.  The 14
th
 Street line 
provided transportation for residents and Civil War supplies.
10
  Since the streetcar line 
made the 14
th 
Street corridor easily 
accessible, it became an ideal location 
for commercial enterprises.  Between the 
1870?s and the 1880?s, the number and 
variety of commercial activity increased, 
creating competition between potential 
businesses.  Commercial storefronts with residences above provided shop owners the 
opportunity to live and work within one building.  Some shops were built in pairs, 
                                                 
9
 Greater 14
th
 Street and Logan Circle Brochure, 2. 
10
 Greater 14
th
 Street and Logan Circle Brochure, 2. 
Figure 9:  14
th
 Street streetcar, 1870?s.  [LCCA      
Website] 
 10
however generally each building was designed for a specific purpose and therefore had 
unique identity.
11
   
 In the 1870?s, Alexander ?Boss? Shepherd, the head of the city's Board of Public 
Works, commissioned a citywide improvement project for Washington D.C.  Streets were 
paved and graded; gas, water and sewer lines were implemented; and thousands of trees 
were planted throughout the city.  Population grew as dwelling units were built at an 
exponential rate.  Logan Circle in particular became a popular place of residency, and 
was then landscaped as a public park.  Additional streetcar lines were constructed along 
9
th
 and 11
th
 Streets, increasing access in and out of the city.   
The improvements to the Greater 14
th
 District as a result of these changes 
attracted speculative developers to the area.  They catered to the growing middle class, 
aiming to house government bureaucrats, office workers, and small business owners.  
The resulting architecture was characterized by a diverse mix of Italianate, Second 
Empire, Queen Anne and Romanesque styles.
12
 
The Greater Fourteenth Street District 
reached a state of transition as transportation 
systems improved.  The availability of the 
automobile in 1900?s made the suburbs a 
popular place of residence for the middle 
class.  At the same time, the city was growing 
northward along the streetcar lines, creating 
                                                 
11
 Greater 14
th
 Street and Logan Circle Brochure, 11. 
12
 Greater 14
th
 Street and Logan Circle Brochure, 11. 
Figure 10:  Fourteenth Street.  [Greater 
14
th
 St & Logan Circle Brochure] 
 11
another desired location for residency.  Abandoned houses plagued the area as 
commercial properties also weakened.
13
   
While residents were fleeing to more desired locations, 14
th
 Street prospered as a 
hub for automobile exhibition, with automobile showrooms rising along the corridor.  
During the 1900?s many existing Victorian homes and commercial structures were 
destroyed to make room for the new showrooms.  Fourteenth Street was quickly 
nicknamed ?Automobile Row,? as side streets became more oriented to the service of 
automobiles.  Repair shops arose on side streets such as Church Street and P Street.  The 
buildings were typically multi-storied brick structures with an industrial aesthetic.  Today 
there is not the same demand for such buildings and therefore many of these existing 
structures are presently vacant.  Some have been adapted to meet modern needs, such as 
at 1526 14
th
 Street.  This automobile showroom has been converted to a thriving Studio 
Theatre while maintaining its original character.  
                                                 
13
 Greater 14
th
 Street and Logan Circle Brochure, 11. 
Figure 11:  Cars on 14
th
 Street, 1930.  [LCCA 
Website] 
Figure 12:  DeSoto-Plymouth Dealership on 
14
th
 Street, 1935.  [LCCA Website] 
 12
Following the assassination of Martin Luther King, on April 4 1968, riots broke 
out along 14
th
 Street and quickly spread to other areas of the city.  The Redevelopment 
Land Agency estimated citywide damage at 13.3 million dollars, with nearly half of that 
amount from losses along Fourteenth Street.
14
  The corridor became a major target of the 
riots due to its abundance of commercial activity.  Destruction was concentrated on 
commercial buildings; apartment buildings were usually only affected as a result of the 
burning of commercial spaces below.  The losses during these riots greatly set back the 
development of this area of the city.  Many of the buildings that burned down were never 
refurbished or rebuilt, destroying the essence of the commercial corridor.   
                                                 
14
 Redevelopment Land Agency Document, 15. 
Figure 13:  1526 14
th
 Street in 1925.  [Greater 
14
th
 St & Logan Circle Brochure] 
Figure 14:  1526 14
th
 Street in 2003. 
Figure 15:  Image of 14
th
 Street after 1968 Riots.  [Redevelopment Land Agency Document 15] 
 13
Figure 16: Map of Citywide Damage  
 14
THE GREATER FOURTEENTH DISTRICT TODAY 
In 1972 the Logan Circle Historic 
District was listed on the National 
Register of Historic Places.  In 1994 the 
Greater 14
th
 Street was listed as well, 
overlapping the Logan Circle District.  
The site for this thesis falls within the 
boundaries of the Greater 14
th
 Street 
Historic District. 
Fourteenth Street has potential for 
future development.  Currently there is a 
movement toward the revival of this 
corridor, as developers are building on 
vacant lots and refurbishing old buildings.  
An increased number of residents are 
moving to the area as these revitalization                       
efforts are being continued. 
Figure 17:  Greater Fourteenth Street and 
Logan Circle Historic Districts[Greater 
14
th
 Street  and Logan Circle Brochure]
 15
SITE DESCRIPTION 
 The site for this thesis includes the 1500 block of 14
th
 Street in Washington, D.C., 
between P and Q Streets.  Logan Circle is located one block to the east of the site, while 
Dupont Circle is located five blocks to the west.  P Street connects the two circles, 
becoming a significant route of travel.  As 14
th
 Street extends to the south, it connects to 
Thomas Circle, another product of L?Enfant?s Plan for Washington, D.C. 
 
   
 
 
Figure 18:  Aerial Photo, including Thesis Site.  [D.C. Office of Planning] 
 16
WESTERN SIDE OF 14
TH
 STREET ? 1500 BLOCK 
 Several undeveloped lots disguise 
the continuity of the western side of 14
th
 
Street.  An extreme condition occurs at the 
western corner of 14
th
 Street and P Street, 
currently occupied by a surface parking 
lot.  This location is prime for its 
relationship to these major thoroughfares 
and should therefore be better utilized.
Figure 19:  Plan Highlighting Western Side of 
14
th
 Street 
Figure 21:  Western Side of 14
th
 Street, cont. 
Figure 20:  Western Side of 14
th
 Street 
 17
EASTERN SIDE OF 14
TH
 STREET ? 1500 BLOCK 
Currently the eastern side of the 
1500 block of 14
th
 Street also has several 
vacant lots and abandoned structures.  
With the exception of the Studio Theatre 
on the South corner, most buildings are 
vacant and/or in need of major repair.
Figure 22:  Plan Highlighting Eastern Side of 
14
th
 Street 
Figure 23:  Eastern Side of 14
th
 Street   
Figure 24:  Eastern Side of 14
th
 Street , cont. 
 18
CHURCH STREET 
Church Street once housed many 
automobile repair shops.  Presently these 
shops are vacant, providing opportunity 
for rehabilitation.  Vacant lots and 
abandoned buildings characterize the 
street.  However, the two buildings on the 
corner of Church Street and 14
th
 Street are 
presently being developed into market rate 
housing.
Figure 26:  Vacant lot on Church Street       Figure 27:  Development @ Church Street 
and 14
th
Street 
Figure 28:  Perspective looking down 
Church Street 
Figure 29:  Automobile Repair Shop on 
Church Street 
Figure 25:  Plan Highlighting Church Street 
 19
STUDIO THEATRE 
 In October of 1987 the Studio 
Theatre moved to its current location on 
the eastern corner of 14
th
 Street and P 
Street.  Once an automobile showroom, 
the building has been renovated to house 
the 200-seat Mead Theatre on the first 
floor, with office and classroom space 
above.  The Milton Theatre, also seating 
200 people, was added in March of 1997 
as part of a $5.5 million dollar renovation.  
With this addition, the Studio Theatre 
became a national model of the two-theater system. The theater has received national 
acclaim, receiving over 180 Helen Hayes Award nominations for artistic achievement.
15
  
The Studio Theatre enhances the artistic character of the neighborhood, while providing 
opportunities for those pursuing the art of entertainment. 
                                                 
15
 Studio Theatre Website 
Figure 31:  Interior 
Renovations, 1997. 
[Kfoury Website] 
Figure 32:  Exterior of the Studio Theatre  
Figure 30:  Plan highlighting location of the 
Studio Theatre 
 20
THE STUDIO THEATRE EXPANSION 
 The Studio Theatre is continuing 
its addition and renovation, an $11 million 
project that began on June 4 of 2003.  The 
acquisition of the two adjacent buildings 
on 14
th
 Street provides much additional 
space for the Studio Theatre.  Award-
winning Resident Designer Russell 
Metheny is heading the project, aiming to 
maintain the industrial aesthetic of the 
existing structures.  Interior spaces of the 
three buildings will be opened up to 
visually unite the interior, while providing a steady flow of traffic for artists, patrons and 
staff.  The addition will provide:  two new theatres, a new centrally located lobby, a 
marquee entrance on 14
th
 Street, five new studios for the Acting Conservatory, an 
expanded lobby for the Milton Theatre, and a glass rooftop atrium on the central 
building.
16
  Existing historic facades will be maintained while new architectural elements 
will be embellished to unify them. 
 
 
 
 
 
 
 
 
 
                                                 
16
 Studio Theatre Website 
Figure 33:  Plan highlighting location of Studio 
Theatre  Expansion 
 21
 
Figure 35:  Studio Theatre Expansion.  [Metropolis Development] 
Figure 34:  Existing Studio Theater and Two Adjacent Buildings 
 22
WHOLE FOODS MARKET 
The Whole Foods Market, located 
at 1440 P Street, is a significant 
destination within the neighborhood.  
Acting as an anchor, the store attracts both 
residents and visitors to the area.  Outdoor 
seating makes the store not only a popular 
place for grocery shopping, but also for 
eating, socializing with friends, and people 
watching.  Rooftop parking and two levels 
of subterranean parking address parking 
needs without overwhelming the site.  
Whole Foods becomes a destination fully integrated within its urban context.
Figure 37:  Entrance  
Figure 39:  Exterior of Whole Foods Market 
Figure 36:  Location of Whole Foods Market 
Figure 38: Outdoor Seating 
 23
SITE ANALYSIS 
REGIONAL
 
Figure 40:  Regional Diagram of Site and Context 
  
The Potomac River, which hugs D.C. on the west, branches off in Georgetown, 
flowing north through the city.  The site for this thesis is located in Northwest 
Washington, D.C., between Dupont and Logan Circles.  P Street runs between the circles, 
extending over the river to the west.  Rock Creek Park runs alongside the river; together 
they act as a magnificent amenity for the city.   
 24
MASS TRANSIT ? METRORAIL SYSTEM 
 
                 Figure 41:  Map of the Metrorail System 
The metro system running through the Metropolitan D.C. Area provides access to 
key points in Washington, Maryland, and Virginia.  Dupont Circle is the metro stop in the 
closest proximity to the site.   The stop is located on the red line, which runs from Shady 
Grove, Maryland, to Glenmont, Maryland.  The walk from the stop to the site is 
approximately .55 miles along P Street.  This portion of P Street is characterized by 
unique residences and lush landscaping.  
 25
 
Figure 42:  Diagram of walk from Dupont Circle Metro Station to the site, approximately .55 miles. 
 
 
Figure 43:  Lush landscaping typical of P Street (between Dupont and Logan Circles) 
 
 
Figure 44:  Row homes characteristic of P Street (between Dupont and Logan Circles).  Higher 
density housing occurs as well. 
 26
 
MASS TRANSIT ? METROBUS SERVICE 
 
 
Figure 45:  Map of bus lines running through and around the site 
 
 Metrobus service connects the site to various points throughout the city.  Stops are 
more frequent than those of the metrorail lines, and the lines run thorough more areas of 
the city. 
 27
FIGURE GROUND 
 
 There are distinct differences in scale between the blocks to the north of the site 
and those to the south.  Blocks to the north are made of a series of smaller buildings and 
row homes, defining a residential quality.  Buildings to the south of the site tend to be 
much larger in scale.  Large building masses clearly define Dupont Circle, to the west, 
while small scale buildings surround Logan Circle.    
 
Figure 46:  Figure Ground of Site and Greater Context 
 28
FIGURE GROUND REVERSAL 
 
 The majority of open spaces in this area of Washington, D.C. are primarily a 
result of the nodes formed by L?Enfant?s plan.  The diagonal avenues connecting them 
become of primary importance. 
 
 
 
 
Figure 47:  Figure Ground Reversal of Site and Greater Context 
 29
WALKABILITY ? FIVE MINUTE WALK FROM SITE 
 
Figure 48:  Five-minute walk diagram from the site 
 
 An abundance of residences are easily accessible within a five minute walk from 
the site.  Logan Circle is a major landmark close to the site, as is the Fresh Fields Market 
on P Street.  To the south, the Caribou Coffee House and small cafes help anchor retail 
beginnings.  The abundance of homes near the site will provide a substantial clientele for 
the scope of this thesis. 
 30
WALKABILITY ? FIVE MINUTE WALK FROM NODES  
 
Figure 49:  Five minute walk from nodes close to site (nodes from L to R:  Dupont Circle, Scott 
Circle, and Logan Circle). 
 
 Three nodes are in close proximity to the site for this thesis.  Each is within a five-
minute walk from the next.  Scott Circle, centrally located, is the most accessible from 
the other locations.   
 31
FIGURE GROUND 
 
 
 Building fabric ranges from large scale buildings to small blocks of row houses.  
Logan Circle is enclosed by these row homes, where other areas are more ill-defined.  
The disparate fabric along the 14
th
 Street corridor provides opportunity for development.  
Moving north along the street, the vacancies increase.   
There is also a pattern of east-west streets being defined by row houses, while 
larger structures are found on north south streets, especially along 14
th
 Street.  These 
streets act primarily as commercial corridors, accounting for the larger buildings.   
 
 
Figure 50:  Figure Ground of site and immediate context 
 32
FIGURE GROUND REVERSAL 
 Street frontage is very prominent in most areas, but there are several locations that 
are ill-defined.  Numerous corners are wasted with vacancies and parking lots.  The weak 
definition of these spaces causes them to blend together, masking the street grid.       
 
 
 
 
 
 
 
Figure 51:  Figure Ground Reversal of Site and Immediate Context 
 33
STREET HIERARCHY 
 
Figure 52:  Diagram of Street Network 
 
 A clear system of streets organizes the area.  Primary streets include diagonal 
avenues and north-south streets, evident in their width.  There is a system of secondary 
and tertiary streets running east to west.  Secondary east-west streets are wider and more 
continuous than the tertiary streets.  The complex street system forms clear primary, 
secondary, and tertiary streets, with resulting blocks running east to west.  
 34
VEHICULAR CIRCULATION 
 
Figure 53:  Diagram of Traffic Conditions Near Site 
 
 Vehicular circulation is made up of a series of one-way and two-way streets.  All 
north-south and diagonal streets carry two-way traffic.  One-way traffic occurs along 
east-west streets, primarily to the north of the site.  Church Street traffic, on access with 
the site, moves to the west.  Although cars cannot approach the site from Church Street, it 
is a frequent route of travel for pedestrians.  The street is therefore an important view 
corridor to the site. 
 
 
 35
BUILDING USE 
 
Figure 54:  Retail/restaurant and residential uses near the site 
 
 
Figure 55:  Civic buildings and churches near the site 
 36
BUILDING USE 
(cont.)
 
Figure 56:  Art/performance spaces and vacancies near the site 
 
 There is an abundance of residential units surrounding the site.  Retail activates 
the ground level of several apartment buildings, primarily to the south.  Based on the 
existing residential and retail uses that already occur within close proximity, a clientele 
already exists for the arts community.   
 Sixteenth Street, two blocks west of 14
th
 Street, becomes a major location for 
civic buildings.  Currently housing many embassies, the street is significant due to its 
location on axis with the White House.  Numerous churches are also scattered close to the 
site, accounting for the name given to ?Church Street.? 
A majority of vacancies near the region occur closest to the site, along Church 
Street and 14
th
 Street.  Art and performance spaces are primarily located along the 14
th
 
Street corridor, creating opportunity to expand on existing uses.   
 37
ZONING 
The site for this thesis is located within the Uptown Arts-Mixed Use (ARTS) 
Overlay District.  According to the District of Columbia Municipal Regulations, the 
purposes are to: 
? Encourage a scale of development, a mixture of building uses, and other attributes 
such as safe and efficient conditions for pedestrian and vehicular movement, all of 
which will be as generally required by the Comprehensive Plan; 
? Require uses that encourage pedestrian activity, especially retail, entertainment, 
and residential uses; 
? Provide for an increased presence and integration of the arts and related cultural 
and arts-related support uses; 
Figure 57:  Uptown-Mixed Use (ARTS) Overlay District 
 38
? Expand the area?s housing supply in a variety of rent and price ranges; 
? Expand business and job opportunities, and encourage development of residential 
and commercial buildings; 
? Strengthen the design character and identity of the area by means of physical 
design standards; 
? Encourage adaptive reuse of older buildings in the area and an attractive 
combination of new and old buildings; and 
? Foster eighteen (18) hours activity and increased public safety.
17
 
                                                 
17
 District of Columbia Municipal Regulations, Section 1900.2 
 39
PRECEDENT STUDIES 
ARTS DISTRICTS 
UPCOMING ARTS DISTRICT:  GATEWAY ARTS DISTRICT, by Artspace, Inc. 
Artspace, Inc. was created in 1979 to assist working artists pushed out of their 
homes in the historic Warehouse District of Minneapolis.  The company began by 
designing individual buildings in Minnesota for artists to live and work.  Their growth 
since then has led them to assist in the development of arts districts across the country, 
seeking to revive communities and provide positive live/work environments for artists.  
All projects completed by Artspace have produced positive cash flow, and therefore they 
have never had to provide additional assistance once their communities were fully 
operational.  Given the experience of the company, the studies and developments of 
Artspace, Inc. prove to be a valuable source for this thesis. 
Artspace, Inc. and 
Prince George?s County are 
currently working together on 
the development of an arts 
district along the Route 1 
corridor.  The boundary for the 
district begins at the District of 
Columbia boundary and 
extends northward for about 
two miles.  Included are the 
municipalities of Hyattsville, 
Figure 58:  Map of Gateway Arts District [Gateway Arts 
District Sector Plan and Sectional Map Amendment]
 40
Mount Rainier, Brentwood, and North Brentwood. 
 Four anchor projects are proposed to catalyze new art related development to the 
Prince George?s County Gateway Arts District.  They include spaces for artists to live 
and work in each of the four municipalities.  Incubator space for arts businesses will be 
incorporated into the Mount Rainer project.  The Brentwood live/work project will 
include a privately run community center.  Gallery space will be housed within the 
Hyattsville project.  North Brentwood will have a ?black box? rehearsal and performance 
theater and a museum.
18
  These four projects will begin to reach out to the greater 
community while forming the foundation of the arts district. 
Artspace, Inc. recognizes that these anchors alone can not create an arts district.  
The projects must be strategically connected and supported through additional 
programming.  Connection is important for visitors must feel they are in a unified area 
rather than visiting an isolated project.  Artspace, Inc. has proven over time that art and 
culture can revive a community.  According to the Gateway Arts District Planning Study, 
?Arts programming and cultural facilities development are place-making strategies and 
important components of a vital arts district; they contribute to economic revitalization 
and help reinforce community pride and cultural identity.?
19
   
Additionally, it is assumed that the development of the anchor projects will 
facilitate spin-off benefits for the community.  According to Artspace Inc., these benefits 
include: 
? Local and regional retail establishments that accommodate eating, drinking, 
convenience, and specialty shops. 
                                                 
18
 Gateway Arts District Planning Study, 19. 
19
 Gateway Arts District Planning Study, 14. 
 41
? Increased development of ?creative businesses? such as architecture firms, 
graphic design companies, cutting edge technology companies, etc. 
? Additional studio space beyond that planned by Artspace, Inc.
20
 
According to the planning study, a potential challenge of the project is its location 
in the urban fringe.  Typically, successful arts districts have been found in city centers.
21 
  
Currently the zoning along the Route 1 corridor does not permit all of the uses ideal for 
an arts district.  Ideally, the following uses would be found to create a viable arts district: 
? Art center 
? Art gallery 
? Art school (includes dance, photography, filmmaking, music, writing, 
painting, sculpturing, or printmaking) 
? Artist housing 
? Artist studio 
? Artists? supply store 
? Arts services, including set design and restoration of artworks 
? Concert hall or other performing arts space 
? Bookstore 
? Cabaret 
? Craftsman or artisan 
? Dinner theater 
? Drinking places, including bar, nightclub, or cocktail lounge 
? Legitimate theater 
? Movie theater 
? Museum 
? Performing arts ticket office or booking agency 
? Photographic studio 
? Picture framing shop 
? Record store, musical instruments store 
? Restaurant 
? Television and radio broadcast studio
22
 
 
 
                                                 
20
 Gateway Arts District Planning Study, 14. 
21
 Gateway Arts District Planning Study, 17. 
22
 Gateway Arts District Planning Study, 23. 
 42
EXISTING ARTS DISTRICT:  SHORT NORTH, OHIO 
 In 1920, High Street defined the Short North Area in Columbus, Ohio as a 
flourishing urban center.  However, after the construction of Interstate 670, the area 
quickly became defined by slum housing and neglected commercial buildings.  Crime, 
drugs, and prostitution plagued the area.  Revitalization began in the mid 1970?s as 
historic renovation became a popular trend in the neighborhood.  ?Urban homesteaders? 
began purchasing cheap dilapidated buildings to renovate, instigating the dramatic 
changes that have occurred over the past three decades.  Presently, the neighborhood is an 
active arts district, featuring restaurants, small boutiques and shops, art galleries, and 
residences.
23
 
The Short North Arts District lies within the city of 
Columbus, Ohio.  The district runs along North High 
Street, extending from 5
th
 Avenue to Interstate 670.  This 
distance is almost one mile long.  Downtown Columbus is 
located just south of the site, easily accessible by 
automobile.  To the east, Goodale Park provides the 
neighborhood with the amenity of a landscaped recreational 
area.   
Although Short North has Goodale Park in close 
proximity, pocket parks are utilized as a way to bring 
landscaping closer to the urban realm.  The Short North 
Special Improvement District (SID) defines a pocket park 
                                                 
23
 www.woodcompanies.com/History.htm 
Figure 59:  Map of Short 
North, arts corridor is 
highlighted. 
 43
as ?a tiny green space that can be found in an unexpected 
place.?
24
  Along the stretch of High Street that defines the 
arts district, there are at least 20 pocket parks.  Precedents 
for such green spaces can be found in cities such as San 
Francisco and Chicago.  Pocket parks in Short North are 
used as a way to continually redefine the city?s image by 
implementing public art and references to historical 
buildings into the spaces.
25
 
Programming along North High Street includes a 
mix of galleries, restaurants, and residences.  Similar to 
Arts Districts across the United States, Short North has a 
gallery hop on the first Saturday of each month.  The 
Short North Arts District is a prime example of how 
bringing art and historic preservation into the community 
can help in its revitalization. 
 
 
 
 
 
 
 
 
 
 
 
                                                 
24
 www.theshortnorth.com/pocketparks.htm 
25
 www.theshortnorth.com/pocketparks.htm 
Figure 60:  Goodale Park. 
[Short North Website] 
Figure 61:  Pocket Park.  
[Short North Website] 
Figure 62:  Street performers 
are popular in Short 
North.  [Short North 
Gazette Website] 
Figure 63:  Crowds at Gallery Hop.  [Short North 
Gazette Website] 
Figure 64: Arches on High 
Street.  [Short North 
Gazette Website] 
 44
ARTISTS STUDIOS/GALLERIES 
TORPEDO FACTORY ART CENTER 
The City of Alexandria purchased The Torpedo Factory in 1969 and converted it 
into an art center.  The building was used as a storage unit after the war when there was 
no longer a need for the manufacture of torpedoes.
26
  The spacious interior has proven to 
be an optimal location for the art center.  
Programmatic elements include: 
? 84 working studios  
? 8 group studios 
? 6 main galleries  
? classrooms for teaching & community 
outreach programs 
The art center provides studios for  
165 artists of various media.  
These include painting, pottery, 
photography, jewelry, stained 
glass, fibers, printmaking, and 
sculpture.
27
  Communication 
between artists and visitors makes 
the Torpedo Factory an interactive 
learning experience. 
                                                 
26
 Torpedo Factory Website 
27
 Torpedo Factory Website 
Figure 66:  Sculptural Stairs in Torpedo Factory 
Figure 65:  Target Gallery, national 
exhibition space.  [Torpedo 
Factory Website] 
 45
There are two main entrances to the 
Torpedo Factory.  One is located on the western 
side, along North Union Street.  The other is off 
of a plaza adjacent to the Potomac River.  This 
entry becomes much more prominent since the 
art center acts as a focal point within this plaza.   
 
 
Figure 67:  Diagram of Entrances 
Figure 68:  Eastern Entry- Plaza on Potomac Figure 69:  Western Entry- N. Union Street 
Figure 70:  Plan of Torpedo Factory 
 46
            The Torpedo Factory 
consists of three floors.  On 
the first two, an open atrium 
space promotes interaction 
and allows views between 
the floors.  Artists on the 
third floor have the most 
privacy; however this studio 
is not ideal because it 
becomes more of a 
destination for visitors.  They 
must seek them out, since 
views are minimal from one 
gallery to the next.   
 
Figure 73:  Section through Torpedo Factory 
Figure 72:  Third Floor Studios 
Figure 71:  First and Second Floor Atrium Space 
 47
VIADUCT DES ARTES 
In 1853 a 17-kilometer 
train line was built for Paris as 
part of Georges Eugene 
Haussmann?s plans for the city.   
The line linked the Bois de 
Vincennes, a park on the 
eastern edge, to the Place de la 
Bastille.  However, new metro 
service and train routes in Paris 
replaced the need for the train 
line by 1969.  The train line remained deserted for the following three decades.
28
 
In 1987 a plan was enacted to reuse much of the 
existing railway, including the viaduct, tunnel, embankments, 
and trenches.  A promenade along the top of the viaduct 
would become heavily planted to form a linear park system in 
the city.  Architect Philippe Mathieux and landscape architect 
Jacques Vergely designed the promenade as a way to remove 
pedestrian traffic off the ground plane and form a stretch of 
green space weaving through the city fabric.
29
 
                                                 
28
 Bastille, 70. 
29
 Amelar, 138. 
Figure 74:  Map of 12
th
 Arrondisment showing location of 
Viaduct de Artes
Figure 75:  Railroad 
viaduct with garden 
on top.  [Amelar 138] 
 48
A competition was held to determine how the viaduct would be renovated on the 
ground floor.  Architect Patrick Berger won the commission and has experience working 
in historical contexts and relating architecture and landscape.  
The viaduct originally consisted of an open arcade at street level.  In the three 
decades after the decline of the rail line, most of the 67 vaults became occupied by a 
disorderly collection of enterprises.  Auto repair, electronic shops, and other haphazard 
tenants occupied the spaces.  Competition officials evaluated the potential of each.  
Existing tenants were replaced with artisans practicing traditional crafts such as 
bookbinding, cabinetmaking, and furniture design.  Only one tenant, a caf? would stay in 
its current location.  The resultant viaduct would consist of one artisan per vaulted space, 
forming the ?Viaduct of the Arts.?
30
   
 
Figure 76:  Isometric, Part of the Viaduct.  [Viaduc 75] 
                                                 
30
 Amelar, 138. 
 49
Berger?s guiding principle in the 
process of the design was the ?expression of 
this beautiful tectonic shape, the great form 
of the vaults.?
31
  His attitude towards the 
historic preservation of the viaduct was that 
of a simplistic architectural language, 
focusing on the details and recalling the past.  To promote the original clean lines of the 
viaduct, the arcade remains unified, allowing flexibility of storefronts.  Top transoms and 
side window panels are prefabricated, and consistent with each arch.  However, the 
central panel can be manipulated and designed based on the needs and desires of the 
given artisan. 
32
  
Transparency of the public fa?ade was 
desired, to emphasize the original open vaults 
that existed.  The bottom portion of the arches is 
set in from the front fa?ade wall to create a sense 
of depth. The arched transom above is set almost 
two feet behind the lower portion, forming deep 
shadows on the glass.  By recessing the top 
portion of glass more than the bottom portion, 
the idea of an open arcade is maintained while 
maximizing floor space.
33
 
                                                 
31
 Amelar, 138. 
32
 Amelar, 140. 
33
 Amelar, 140. 
Figure 77:  Drawing of standard arch on 
viaduct.  [Viaduc 75] 
Figure 78:  Photo of storefront, showing 
setbacks of glass.  [Amelar 141]
 50
The interior of the vaults are designed to be flexible 
for different types of artists.  A basement level increases 
the usability of the vaults, and can be used for storage or 
additional work space.  An optional mezzanine level 
provides additional display space as needed for the artist.  
Therefore although the arches have a uniform appearance, 
the spaces within can be tailored as needed. 
The resulting Viaduct of the Arts has created a 
public amenity of the park, while assisting in the 
rehabilitation of the Bastille neighborhood.  Rather than 
placing upscale businesses in the vaults, artists bring a 
different and new life to the area.
Figure 79:  Artist working within vaulted 
space; note daylight pouring in transoms.  
[Amelar 142] 
Figure 80:  Section and floor 
plans of vaulted interiors. 
 51
HOUSING 
FUKUOKA HOUSING:  Void Space/Hinged Space Housing in Fukuoka 
The Fukuoka Housing, by Steven Holl, is located in Fukuoka, Japan.  Rather than 
creating an object building, Holl seeks to form spaces through the harmonious balance of 
solids and voids.  Four active north facing voids contrast the four quiet south facing 
voids.  The northern edge of the building is lined with shops, to transition from the urban 
realm to the private spaces within.   
 
Procession through the building becomes an 
important component of the design.  There are three main 
passages, which provide exterior access to each 
apartment.  The lower passage runs through the center of 
the building, visually linking the voids to the north and 
Figure 81:  Model of South (Private) Fa?ade.  [Holl 99] 
Figure 82:  Model of North (Public) Fa?ade.  Note that courtyard starts at the second 
level on public side.  [Holl 99]
Figure 83:  View of North 
fa?ade [Holl 95]
 52
south.  The northern passage gives the user a feeling of being suspended into the nearby 
park.  A view to the sky defines the upper most passage, under direct sunlight.
34
  
Twenty eight apartment units 
interlock in section like a complex 
Chinese box.
35
  There are 18 
variations of the fives types of plans:  
?L? (L-shaped plan), ?I? (straight 
plan), ?D? (double level), ?DI,? and 
?DL.?  The units interconnect both in 
plan and section, linking the court 
spaces on the north and south.
36
  The 
complex connection of the different 
unit types provides each with 
multiple exposures of north, south, 
east, and west light.  Each unit is  
unique in its layout and relationship 
                                                 
34
 Holl, 94. 
35
 Holl, 94. 
36
 Holl, 106. 
Figure 85:  Diagrammatic Section showing 
3 passages through building.  
Figure 84:  Diagrammatic Plan showing 3 passages 
through building.   
Figure 86:  Interlock of Unit Types  [Author?s 
drawing, based on Holl 106]
 53
of spaces.
37
 
However, all units within the building focus on Holl?s idea of ?hinged space.?  
The use of pivoting doors, panels, and cabinets makes the units easily adjustable due to 
diurnal and episodic changes.  Diurnal changes reflect the need for living spaces to 
adjust over the course of a day.  Living areas can be expanded during the daylight hours, 
while bedroom areas become the focus at night.  Episodic changes relate to the shifting 
needs of a family over time.
38
  For instance, rooms can be added or subtracted as new 
family members are brought into the family or aged children move out on their own.  The 
adaptability of the units provides users with a unique opportunity to stay in one place of 
residence as lifestyles change.  
 
 
Holl?s implementation of Void Space/Hinged Space forms creative spaces on both 
the interior and the exterior.  The balance between the two creates a building that can 
easily adapt to the needs of its user while providing significant exterior spaces. 
                                                 
37
 Holl, 94. 
38
 Holl, 94. 
                                        Figure 87:  3 different configurations of one unit plan (2 sets).  [Author?s drawing, based on Holl 106] 
 54
 
 
Figure 89:  Interior of Unit, Configured 
with panels closed.  [Holl 107] 
Figure 90:  Interior of Unit, Configured with 
panels open.  [Holl 106] 
Figure 91:  Interior of Unit, Configured 
with panels closed.  [Holl 106]
Figure 88:  Interior of Unit, Configured 
with panels open.  [Holl 107]
 55
MOUNT RAINER ARTISTS? HOUSING  
 
 The Mount Rainer Artists 
Lofts will be the first of four new 
buildings in the Gateway Arts 
District of Prince George?s 
County, Maryland.  Forty-four 
live/work units will be provided 
for artists, as well as 7,000 
square feet of commercial space 
to be leased to community-
oriented artists.
39
   The building 
will be the entrance to the new arts district, creating a node of art related activity.   
                                                 
39
 http://www.artspaceusa.org/inprogress/rainier_gateway/index.html 
Figure 92:  Exterior model of building.  [HGA Website] 
Figure 93:  Schematic Section through building.  [Courtesy HGA] 
 56
Transparency of the first floor greatly contrasts with those above, where private 
artist studios and lofts are located.  The street level is activated through the articulation of 
the fa?ade, embracing the public realm.  One can clearly see into the gallery space when 
passing by, prompting interest and engaging the public. 
Each unit within the building will have its own amenity.  Loft apartments have the 
luxury of multi-story space, while efficiencies and flats provide outdoor garden space.  
Sections of the units interlock so corridors are needed on only two of the four levels, 
maximizing living space.
40
 
 
 
 
 
 
 
 
 
 
 
 
 
                                                 
40
 Mount Rainer literature 
Figure 94:  Section ? Public Side 
Figure 96:  Plan Detail 
? Public Side 
Figure 97:  Partial Elevation - Public Side 
Figure 95:  Interior of Unit.  [HGA Website] 
 57
 
    Figure 98:  Study of programmable wall elements within units. 
 
 The use of programmable wall elements creates flexible units for different types 
of artists.  Units are designed to be adaptable for the changing working, living, and 
exhibition needs of the artist.  Therefore, the movable structures not only become useful 
for programmatic reasons, but they can also be used to define and adjust space as needed.   
Dwellings are designed to be 50 percent larger than typical affordable housing units to 
increase their flexibility. 
 Mount Rainer Artists Lofts was awarded $8 million dollars of federal tax credits 
by the Maryland Department of Housing and Community Development in January 
2002.
41
  Other sources of financing are currently being obtained to provide the necessary 
budget to begin construction in the summer of 2003.  The project is estimated to be 
completed in the fall of 2004. 
                                                 
41
 http://www.artspaceusa.org/inprogress/rainier_gateway/index.html 
 58
THEORY 
 Christian Norberg-Schultz reintroduces the Roman idea of genius loci, in The 
Phenomenon of Place.  Genius loci refers to the ?spirit of the place.?  He states, 
?Phenomenology?s potential in architecture [is] the ability to make the environment 
meaningful through the creation of specific places.?
42
  Therefore without a sense of place, 
spaces become insignificant and parallel.   
Lawrence Durrell makes a similar argument while referring to the everyday 
experience of a given place.  He says, ?As you get to know Europe, slowly tasting the 
wines, cheeses, and characters of the different countries you begin to realize that the 
important determinant of any culture is after all ? the spirit of the place.?
43
  Therefore the 
spirit of the place does not have to be dominant; it can be part of the culture and texture 
of the city. 
 Kevin Lynch, in The Image of the City, discusses ?paths, edges, districts, nodes, 
and landmarks as elements of urban planning.?
44
  He describes these physical forms as 
systems of orientation with which a city should be made.  Lynch writes, ?A good 
environmental image gives its possessor an important sense of emotional security.?
45
  
The system of these five planning principles makes a city memorable.  People visually 
connect the elements in their mind, creating an image of the city for them to remember. 
 The idea of place within the city can be defined by object and texture.  For 
instance, Lynch?s reference to the landmark discusses how it helps to orient people within 
                                                 
42
 Nesbitt, 412. 
43
 Nesbitt, 423. 
44
 Lynch, 46.   
45
 Lynch, 4. 
 59
the city.  An object that stands out within the city fabric brings attention to it and helps 
the user to associate with his surroundings.   
 The Arch de Triomphe in Paris, France, acts as a landmark within its 
surroundings.  It helps people associate with where they are, creating an imageable 
picture in their minds.  The avenues radiating from the Place de Charles de Gaulle create 
numerous visual links to the arch.  From a distance, the vision of the arch dominates the 
area.  Another memory is created from the vista from its roof.  Views down the avenues 
orient the viewer within Paris, while highlighting other landmarks within the city. 
 On a more intimate scale, the Dupont 
Circle fountain, in Washington, D.C., 
exemplifies the idea of place.  Although visual 
links are not as prominent, the landmark is 
evident from within the circle.  The fountain 
is a place people can meet at within the city 
fabric and relax.  This contrasts the Arch de 
Triumph, which 
Figure 101:  Artist drawing fountain @ 
Dupont Circle.  [D.C. Stock Photos]
Figure 99:  View from roof of arch Figure 100:  View to arch  
 60
defines the ?place? more visually than experientially.   The fountain creates a landmark 
within the fabric of Washington, D.C. 
The texture of the city fabric can 
help define a place without bringing 
attention to any one specific landmark or 
node.  For example, Madrid, in Spain, has 
many different types of city streets.  
Narrow medieval streets define the old 
part of the city with strait wide boulevards 
defining the new edges.   In the older 
portion, it is the circumstantial urban 
fabric that characterizes the place.  
Memory associated with Madrid can often 
consist of just the city streets alone. 
 Bringing art into the community also adds to its imageability.  In The Power of 
Place, Dolores Hayden develops this idea through the discussion of place and memory.  
There is not only the visual memory of an individual, but also the social memory through 
his interactions.  Artists have potential to engage the public, helping to create the social 
identity of a community.  Hayden argues that artwork can propose discussion and debate, 
thus blending it into the experience of the community.
46
  
 The Place de la Terte in Paris, France, brings the public together, acting as a 
destination point within the city.  The space is surrounded by restaurants and cafes, while 
                                                 
46
 Hayden 
Figure 102:  City street of Madrid 
 61
within the square art work is on display for viewing and purchase.  Artists paint and draw 
in various mediums, while onlookers peer over their shoulders.  The space becomes an 
area of interaction between the everyday person and the artists, a place which attracts 
people from a mixture of backgrounds.  The artistic experience within the space is what 
makes it memorable.  
Figure 103:  Artists and pedestrians in the Place de la Terte. 
 62
               Las Ramblas, in Barcelona, Spain has numerous street performers.  The 
architecture along the street is quite interesting and aesthetically appealing, but the 
memory of the place is more about the experience of the promenade.  Interaction of the 
performers and the pedestrians defines the image of the place. 
  
  
By elevating people?s sense of place, people will be more likely to inhabit the 
public realm.  Currently the 14
th
 Street area is lacking the sense of place it once had, and 
through revitalization it can gain that experience back.  This thesis will seek to reinstate 
the imageablity, sense of place, and diversity that the area had prior to the 1968 riots.   
Figure 104:  Views of Las Ramblas (L to R:  Street Performer, Pedestrian Promenade, Street 
Performer). 
 63
PROGRAM 
DESIGN OBJECTIVES: 
? To promote the area as a cultural and artistic center, using the existing Studio 
Theatre as a foundation; 
? To create a sense of community between artists by providing shared studio and 
gallery spaces, with living above; 
? To respect the existing context of buildings along 14
th
 Street by preserving their 
character and keeping the scale of new construction consistent with existing 
structures; 
? To preserve existing historic structures on site; 
? To create mixed uses for residents;  
? To provide adequate parking in such a way that does not overwhelm the site;  
? To incorporate green space into living units through the use of roof gardens as a 
secondary ground plane; 
? To  establish community within the larger context of the city; 
? To provide flexible space for artists; 
? To maintain diversity of area by not simply creating market value residences but 
catering towards the artistic community through creative financing and subsidized 
housing; 
? To promote pockets of cultural growth throughout Washington D.C. 
 
 
 
 64
Mount Rainer Brentwood Hyattsville 
75,000 SF 88,000 SF 97,000 SF 
44 live/work studios 46 live/work studios 58 live/work studios 
1
st
 floor commercial space  1
st
 floor commercial and/or 
community arts center 
1
st
 floor commercial space 
Table 1:  Statistics of Three Artist's Live/Work Housing projects.  [Artspace, Inc. Website] 
 
PRIVATE PROGRAM REQUIREMENTS 
The number of dwelling units will be explored through density and massing studies 
on the site.  Units should relate to studio work space in an effort to create a live/work 
environment, without isolating artists from one another.  According to Artspace, Inc., 
units for artists should be 50 percent larger than standard dwelling units, to account for 
work space and storage of supplies.  Units will be flexible to accommodate different 
types of artists, although some dwellings may be more specialized.  Each unit will 
include private outdoor space.   
? Dwelling Units:
47
 
o Efficiencies:                    825-930 s.f./unit  
o One Bedroom Flats:   1150-1390 s.f./unit 
o One Bedroom Lofts:   1400-1517 s.f./unit 
o Two Bedroom Lofts:   1723-1830 s.f./unit 
o Family Lofts:              2525-2630 s.f./unit 
? Outdoor Space Per Unit 
o Efficiencies:                    150-175 s.f./unit 
o One Bedroom Units:       200-250 s.f./unit 
o Two Bedroom Units:       250-275s.f./unit 
                                                 
47
 Square Footages for Units based on Mount Rainer  
 65
o Family Units:                  300-325 s.f./unit 
? Parking (subterranean): 
o .5 space per unit @  180 s.f. per space 
 
PUBLIC PROGRAM REQUIREMENTS 
 The first floor of the art center will incorporate uses to bring in the public, 
promoting their interaction with the artists.  Spaces within the buildings are to be flexible, 
to accommodate collections of different artists and different types of display. 
? Art Galleries: 
o Main Gallery                             1600-2000 s.f. 
o Adjacent Film Room                     600-750 s.f.    
o 2 Support Galleries                       600-775 s.f.  
? Caf?                                                      1600-1800 s.f. 
? Communal Studios                series @ 800 s.f./studio 
? Cyber Facilities                                    1000-1400 s.f. 
 
URBAN REQUIREMENTS ? 1500 BLOCK OF 14
TH
 STREET 
The block is to include services which reach out to greater community, while 
providing functions for artists living within block.  Primarily this will consist of boutique 
shops & cafes on ground stories with residential units above.  Requirements are as 
follows: 
? Approximate ground square footage of block:                                 85,500 s.f. 
 66
o Minus Studio Theatre                                  (16,500) s.f. 
o Minus existing building @ 14
th
 & Q Streets                       (6,000) s.f. 
o Total ground square footage available for development     63,000 s.f.  
The following uses are to be programmed for the block to assist in instituting the 
arts district.  However, they are not the focus for the design of this thesis.  Square 
footages are determinant on infilling within the existing fabric, and the adaptive reuse of 
existing buildings. 
o Art supply store   
o Offices w/ day care facility 
o Community Sculpture Garden 
o Classrooms for artists and residents of the neighborhood 
o Bar/Restaurant
 67
SCHEMATIC DESIGNS 
PARTI ONE ? POCKET PARKS 
 
Figure 105:  Plan of Pocket Park Parti 
 
Pocket parks are implemented into the block to create special ?places? within the 
city fabric.  Dimensions of the parks vary so that each can suit a different purpose or 
need.  The park on axis with Church Street creates potential to provide access to the alley 
side of the buildings, or the art production side.  The park on the northern edge is the 
largest of all, with potential to serve as a sculpture garden within the community.  It is 
bordered by housing on one side and gallery space on the other.  Ideally, as the arts 
 68
district grows, the idea of the pocket parks will be maintained through their 
implementation in the new areas of the artists? community.
Figure 106:  Diagram of Pocket Park Parti 
 69
PARTI TWO ? PROMENADE PARTI 
 
Figure 107:  Plan of Promenade Parti 
 
 This scheme incorporates residential units along Church Street for artists to live 
and work.  The buildings are smaller in scale than those on 14
th
 Street, and therefore have 
a much more residential quality to them.  They are setback from the sidewalk, but the 
edge is maintained through landscaping.  This provides opportunity for artists to set up 
outside on a nice day to produce and sell their work.  Potentially a nice promenade is set 
up, running from Church Street all the way to Logan Circle.  One would circulate down 
 70
Church Street, enter into a park on 14
th
 Street, and experience the art production side of 
the buildings, before moving towards the circle. 
Figure 108:  Diagram of Promenade Parti 
Figure 109:  Section through Church Street 
 71
PARTI THREE ? ?CATWALK PARTI?  
 
Figure 110:  Plan of ?Catwalk? Parti 
 In this scheme abandoned buildings are maintained and 
new ones are filled in.  From the exterior, the structures 
appear separate, but they function as one unit on the interior.  
A catwalk for residents occurs on the second floor of the 
buildings, connecting each of them.  The experience of the 
catwalk varies along its length, as it runs through the different  
buildings.  Main gallery buildings are linked by a second 
Figure 111:  Diagram of 
?Catwalk? Parti
 72
story bridge, which acts as a gateway to the arts district. 
 
 
 
Figure 112:  Section through Catwalk @ Cafe 
 
 
 
Figure 113:  Section through Catwalk @ Automobile Museum 
 
 
 
 
 
 73
SCHEMATIC BUILDING SECTIONS 
 
Figure 114:  Section showing interaction of gallery space with mezzanine above.  Units interlock in 
section to maximize livable floor area.   
 
Figure 115:  Section showing the two faces of art production:  gallery space on the public side, with 
studio and production space along the alley.  Units interlock to gain two-story space into each 
dwelling.  The top floor is set back, providing the amenity of a roof garden. 
 
Figure 116:  Building section showing opportunity of creating a setback.  Space is therefore formed 
on the public edge for artists to sell their work outside on a nice day.  This also shows the 
potential of a pocket park.  The building has more exterior walls due to the setback, resulting in 
maximum views into the space. 
 74
DESIGN CONCLUSIONS 
Throughout this thesis the goals for the project have remained consistent, 
although the scope has transformed.  Most importantly, the incorporation of this art 
center creates an image for the community.  In order to do so, there must be a public 
component that supports the live/work units for the artists.  The creation of a contextual 
art center which also leaves a lasting impression on the visitor has been two objectives 
for this thesis.  To create a beacon for the community, the northwestern corner of the 
block houses the significant public program.  Here, gallery and caf? space demarcate the 
corner.  The caf? is designed to operate as its own entity, or to service the gallery during 
its openings.   
The site presented several challenges throughout the semester.  Due to its east-
west orientation, only the short edge of the structure captures northern light.  In an effort 
to maximize the potential of the north face, two-story units run along that edge.  All other 
units, with 11-14 foot ceiling heights, are oriented to the east and west.  The 
incorporation of existing buildings was also challenging.  Several massing studies were 
executed to study the relationship of new construction with the old automobile 
showrooms.  In order to preserve the integrity of these buildings, new construction on the 
upper floors is setback from the street.  Each of the four structures can be read as 
separate, while still forming a coherent whole.  
Living units are designed to be flexible for different types of artists.  They have 
the option of placing either their sleeping room or their studio space on the window wall.  
Spaces are defined by movable panels for optimum flexibility.  The only true walls define 
poche zones and extra bedrooms.  The residents are provided the amenity of a roof 
 75
garden along the eastern side of the building.  Since the artists work within their living 
quarters, it is a place they can come together for social events and the sharing of ideas. 
 Overall, the Art Center for the Logan Circle Neighborhood provides a positive 
change for the character of the area.  Connecting to the larger community while bringing 
in a creative population helps give the district an identity.  The following drawings 
illustrate the conclusions of the design: 
 
Figure 117:  Section through entire building, including the 2 existing automobile showrooms on site. 
 
 
Figure 118:  Cross-section showing relationship of building to 14
th
 Street and the roof garden. 
 76
  
 
Figure 119:  First floor plan 
 
 
Figure 120:  Second floor plan 
 77
 
Figure 121:  Third floor plan 
 
Figure 122:  Plan of floor 3 ? (see Figure 116 for floor relationships) 
 78
 
Figure 123:  Fourth floor plan 
 
Figure 124:  Fifth floor plan 
 79
 
 
 
 
     
 
 
 
 
 
 
 
Figure 125:  Unit plans 
 80
 
Figure 126:  West elevation with context 
 
 
 
 
 
 
 
Figure 127:  West elevation 
  
 81
 
Figure 128:  North elevation with context 
 
Figure 129:  North elevation 
 82
 
 
Figure 130:  Perspective of Gallery/Caf? (Northwest corner) 
 83
 
 
Figure 131:  Perspective of main gallery 
 84
BIBLIOGRAPHY 
 
SITE: 
 
District of Columbia Municipal Regulations.  Chapter 19, Sect. 1900.2 
 
Garvin, Alexander.  The American City.  Mc-Graw Hill.  New York:  1996. 
 
Logan Circle Community Association (LCCA) Website.  LCCA.  1 Dec. 2003 
< http://www.logancircle.org>. 
 
Historical Society of Washington D.C.  The Dupont Circle Historic District.  (Pamphlet).  
Washington, D.C.:  Tanya Edwards Beauchamp. 
 
Historical Society of Washington D.C.  Greater Fourteenth Street and Logan Circle.  
(Pamphlet).  Washington, D.C 
 
Historical Society of Washington D.C.  Greater U Street Historic District.  (Pamphlet).  
Washington, D.C.:  Kimberly Prothro Williams. 
 
Project Profiles:  The Studio Theatre. Kfoury Construction Group.  22 Dec. 2003. 
 <http://www.kfoury.com/STUDIO.HTM> 
 
Peets, Elbert.   On the Art of Designing Cities:  Selected Essays of Elbert Peets.   M.I.T. 
Press.  Cambridge, Mass.:  1968. 
 
Reiff, Daniel Drake.  Washington Architecture 1791-1861.   U.S. Commission of Fine 
Arts.  Washington, D.C.:  1971.  
 
PRECEDENTS: 
 
Amelar, Sarah.  ?From Railway to Greenway.?  Architecture.  April 1997:  138-142. 
 
Artspace.  Artspace Projects, Inc.  20 Dec. 2003 
< http://www.artspaceusa.org/index.html> 
 
?Bastille Viaduct.?  Architecture and Urbanism.  Nov. 1999:  70-79. 
 
Gateway Arts District Sector Plan and Sectional Map Amendment.  Prince George?s 
County Planning Department.  22 Dec. 2003 
< http://www.mncppc.org/cpd/arts.html> 
 
Holl, Steven.  Steven Holl 1986-1996.  El Croquis.  Madrid:  1996. 
 
The Short North.com.  The Short North.com  15 Dec. 2003 
 
 
 85
The Short North Gazette.  The Short North Gazette.  15 Dec.  2003 
<http://www.shortnorth.com/index.html> 
 
?Viaduc de la Bastille in Paris.?  Detail.  July-Aug. 1996:  75-79. 
 
The Torpedo Factory Art Center.  The Torpedo Factory.  10 Dec. 2003 
<http://www.torpedofactory.org> 
 
THEORY: 
 
Chase, John, Margaret Crawford, and John Kaliski.  Everyday Urbanism.  Monacelli 
Press.  New York:  1999. 
 
Duany, Andres, Elizabeth Plater-Zyberk, and Jeff Speck.  Suburban Nation.  North Point 
Press.  New York, 2000. 
 
Lynch, Kevin.  The Image of the City.   
   
Hayden, Dolores.  The Power of Place.  MIT Press.  Cambridge, Mass.:  1995. 
 
Nesbitt, Kate.  Theorizing a New Agenda for Architecture:  An Anthology of 
Architectural Theory 1965-1995.  Princeton Architectural Press.  New York:  
1996. 
 
Washington, DC--Stock Photos.  Keith Stanley.  22 Dec. 2003 
 < http://www.kestan.com/dcstock/dupontcircle/> 
 
PROGRAM: 
 
Mount Rainer Literature