PRESIDENTIAL DESIGN AWARDS ROUND FOUR ■ vm xGKBi ?* H WUi . \ m m W8* L£ I %-.v .uv» .■*•••■ ■''••■ •.•■''■ ■ ■:•'■■:•-■■ v\- ■ '■ -■ • »/''/£ 1 - PRESIDENTIAL £< vfX ft I SHE I I I t'j ■ 'Vv*:' >8 El I I ■ ■ ■ ■ Tn] ■ - 1 ■ ■ ■ 'V", H TO? ■ .v.'-*^'»,'*'.t.i' ■ (■■■^■1 ^ ■ ■ :i.f; ■ '~J>f Hi H ; I ■ .;'*>< ■ dM ■■ • ■ ■■1 I Bl PRESIDENT'S MESSAGE As the largest producer and consumer of designed goods and services in the world, the United States is committed to the highest standards of design excellence. Well-designed products, services, and communications bring economy, safety, ease, and beauty to our everyday lives. Design reaches into every sector of society and can even transform the way government works. By recognizing government agencies, federal employees, and private designers, the Presidential Design Awards promote awareness of the many ways design can make government better serve the American people. I commend the recipients of this year's awards for helping to enhance the quality of life in our nation. Your work exemplifies the ingenuity, creativity, and skill that has always defined the American spirit. / *\A/> CAjuuu^x^-^ R C As America nears the third millennium, the nation and the world face unprec- edented change. Frequently compared to the Industrial Revolution, the trans- formation we are experiencing today is a source of profound threats as well as daunting opportunities. To succeed in this environment, we must anticipate, shape, and respond with innovative products, communications, services, facilities, and environments. Design is the key to helping us meet this chal- lenge. It is a strategic national resource whose full potential is yet to be realized: Economically, design can enhance our nation's prosperity and opportuni- ties for employment by improving the global competitiveness of U.S. products and services, streamlining the manufac- turing process, and creatively refining the interface between human beings and technology. Environmentally, design is an essential element in providing a clean, safe, and sustainable environment, making contributions in such areas as recycling and pollution control as well as providing strategies for the wise long- term use of natural resources, land, infrastructure, and historic resources. Educationally, design is a tool for identifying problems, analyzing informa- tion, developing critical thinking skills, envisioning options, and communicat- ing solutions. The very process of design gives us the power to envision ideas from different perspectives while drawing inspiration from multiple disciplines. Socially, design can break down the physical and psychological barriers to full participation in society and open the way for a democratic and economic system that is truly inclusive. It does this by making products, communications, and environments universally accessible. The federal government is the nation's largest builder, printer, and user of design services and products. Ensuring that the federal government secures the best design is an integral part of respon- sible stewardship of public resources. Since the early 1970s, the Design Pro- gram of the National Endowment for the Arts has worked to keep good design at the forefront of federal activities through its Federal Design Improvement Pro- gram. In 1983 President Reagan estab- lished the Presidential Design Awards to encourage and recognize the design successes of federal agencies and to honor those individuals who have made outstanding contributions to federal design. In its second decade, the awards program has established itself as a bea- con for design excellence in the federal government. The Presidential Design Awards are administered by the National Endow- ment for the Arts and are presented every four years. The program includes two levels of awards: Federal Design Achievement A wards are merit awards given by the National Endowment for the Arts as its highest recognition of quality design; and Presidential Awards for Design Excellence are presented by the President of the United States for design of the highest quality in accordance with international stand- ards. This book recognizes the winners of the fourth round of awards. R C For design excellence to be achieved, design must be integrated into the product development process from the beginning, rather than being tacked on at the end as superficial styling. As a recognition of the connection between the process and the results, the Presi- dential Design Awards program salutes federal achievements in both design products and design activities in the areas of architecture, landscape architec- ture, urban design and planning, his- toric preservation, interior design, engineering and energy conservation, industrial and product design, and graphic design. Design products include completed and implemented design works in any of these eight categories. Products are the tangible results of a design process such as a building, landscape, bridge, dam, exhibit, or poster. Design activities include admin- istrative or management programs, processes, and policies that develop, foster, or sustain design excellence such as design awards programs, research and educational activities, master plans, or design guidelines. Activities provide opportunities to institutionalize good design practices and achieve consistent design excellence, rather than focusing on one-time achievements. They em- phasize the collaborative and interdisci- plinary nature of design and provide a framework for approaching design challenges. All federal employees and federal contractors, state and local govern- ments, and nonprofit organizations are invited to participate in the Presidential Design Awards program. The principal requirement is that the work entered was authorized, commissioned, produced, or supported by the federal government and was completed within ten years before the call for entries. Round Four focused on works completed and in use between June 1, 1984, and June 1, 1994. It involved four juries of private sector design experts reviewing 420 entries from more than 90 federal entities. The juries focused on four broad areas of design: architec- ture and interior design; graphic design and product/industrial design; landscape architecture, urban design and planning; and engineering. They selected 75 projects to receive Federal Design Achievement Awards. Of these, nine were recommended to receive Presiden- tial Awards for Design Excellence. The criteria which guided the awards jury in making its selection were: Purpose. The undertaking must have made a contribution that improved the federal government's ability to fulfill its mission. Leadership. The undertaking must have established exemplary design practices, standards, or guidelines that can serve as models for federal and private sector design activities. Cost. The undertaking should have been cost-efficient on an environmental and life-cycle basis and should have demonstrated careful design and plan- ning without sacrificing performance or quality. Aesthetics. The undertaking must have demonstrated aesthetic sensibility and have been appropriate in image, form, and context. Performance. The undertaking must have demonstrated a high level of technical and functional proficiency in all aspects of performance. This book honors the 75 award-winning projects by highlighting the elements of good design and discussing the benefits that federal agencies, the nation, and its peoples receive from well-designed buildings, landscapes and urban spaces, interiors, communications, products, and services. Many of the winning projects demonstrate how good design is the result of a collaborative, interdisci- plinary process, often involving citizens and consumers, and how it can help us expand our creative potential and learn to appreciate our built and natural environments. The award-winning projects and those individuals responsible for creat- ing, administering, and advocating these works demonstrate that excellence can flourish in the federal environment. The achievements of those honored in the pages that follow will serve as an inspira- tion and guide for excellence in federal design activities. The President, the National Endowment for the Arts, and the awards jury congratulate and com- mend the member c of the federal design community who work hard to secure our nation's prosperity and quality of life through good design. Donlyn Lyndon (chair) Principal, Lyndon/Buchanan Associates, Berkeley, California JURY MEMBERS Architecture and Interior Design Graham Gund (chair) President, Graham Gund Architects, Cambridge, Massachusetts Beverly Russell President, Beverly Russell Enterprises, New Paltz, New York Adele Naude Santos Principal, Adele Naude Santos and Associates, San Diego, California Dr. Sharon E. Sutton Professor of Architecture, University of Michigan, Ann Arbor, Michigan Jane Thompson Principal, Thompson and Wood, Inc., Cambridge, Massachusetts Cynthia Weese Dean, School of Architecture, Washington University, St. Louis, Missouri Amy Weinstein Principal, Weinstein Associates, Architects, Washington, DC Graphic Design and Product/Industrial Design Richard Saul Wurman (chair) Chairman, Technology, Education, Design (TED) Conferences, Newport, Rhode Island Bryce Ambo Principal, Bryce Ambo Graphic Design, Arlington, Massachusetts Robert Brunner Director of Industrial Design, Apple Computer, Cupertino, California Matthew Carter Principal, Carter 8c Cone Type, Inc., Cambridge, Massachusetts Nancye Green Partner, Donovan &: Green, New York, New York Richard Poulin Principal, Richard Poulin Design Group Inc., New York, New York Patrick Whitney Director, Institute of Design, Illinois Institute of Technology, Chicago, Illinois Lorraine Wild Partner. Re Verb, Los Angeles, California Landscape Architecture, Urban Design and Planning Everett L. Fly (chair) Principal, E.L. Fly 8c Associates, Inc., San Antonio, Texas Michael Barker Executive Director, American Planning Association. Washington, DC Catherine Brown Senior Fellow, Design Center for American Urban Landscape, University of Minnesota, Minneapolis, Minnesota Engineering Guy Nordenson (chair) Founding Principal. Ove Amp 8c Partners, New York, New York Joseph P. Colaco Partner-in-Charge. CBM Engineers. Inc., Houston, Texas Virginia Fairweather Editor-in-Chief. Civil Engineering. New York, New York Joe Passonneau Principal, Joseph Passonneau &: Partners. Washington. DC I Digitized by the Internet Archive in 2012 with funding from Boston Library Consortium Member Libraries http://archive.org/details/presidentialdesiOOnati PRESIDENTIAL AWARD Focus: HOPE Center for Advanced Technologies Detroit, Michigan The vision of Focus: HOPE Center for Advanced Technologies (CAT) was to take an abandoned fragment of an indus- trial city and transform it into a symbol of progress and a gateway into a better life. The CAT has turned a lifeless 50- year-old Ford engine plant, in a section of Detroit where the unemployment and labor dropout rate averages 45 percent, into a state-of-the-art, computer-inte- grated manufacturing and learning center. Only modest changes have been made to the outside of the building, but the interior incorporates the latest manufacturing technology suited for low-volume, high-skill production. The factory floor is organized into six neigh- borhoods composed of high-tech manu- facturing cells producing one or more products. People and materials move through the neighborhoods on "streets" while utilities are delivered via sub-floor "alleys." The visual focus of each neigh- borhood is a power tower with services and mechanical equipment on the ground and third floors and a training/ conference room in between. The three-story office block in front of the manufacturing floor has been remodeled to include an electronic library, learning center, meeting rooms, cafeteria and visitors platform projecting into the factory. A new central stair with a large window connects the second and third floors and symbolically opens the factor)' - with its new jobs and careers - to the people living in the surrounding area. More pragmatically, the plant has been thoroughly insulated and employs a cogeneration strategy to reduce energy consumption significantly. Hands-free amenities such as sliding doors, ambient lighting and drinking fountains help deliver the message that this facility looks to the future. In an era when industry is moving to the suburbs, exacerbating urban sprawl and dispersing jobs, this project demon- strates the viability of rehabilitating older inner-city factories and communi- ties. The CAT maintains its exterior as a reminder of the factory that discarded the neighborhood, while inside, the dramatic design matches the vitality of the program and confirms the potential of its workers to contribute to this country's industrial rebirth. It embodies two essential elements of any living community - continuity and change. In the final analysis, this is a facility that makes a profound statement about human empowerment. Credits: Department of Commerce, Economic Development Administration, Chicago Regional Office Focus: HOPE Smith Him Iimkui & Grylls Associates, Inc. PRESIDENTIAL AWARD The Byron White United States Courthouse Denver. Colorado Courthouses are no ordinary buildings. They embody die two great distin- guishing characteristics of democracy - equality and justice. Their design must be "of the time", able to relate to every citizen, and "for all times", inspiring a sense of respect and civic responsibility in each generation. The Byron White United States Courthouse, as a result of the commitment of the General Services Administration (GSA) and the imagina- tive intervention of its designers, epito- mizes what a courthouse should and can be in America. The preservation of this early 20th century courthouse illustrates a strategy which combines a deep respect for the past with the thoughtful integration of new spaces for new uses. Built from 1910 to 1916 as the Federal Courthouse/Post Office, the 244,000 square-foot structure became known as "The Mile High City's grandest Neoclassical Structure". Its Renaissance Revival interior was espe- cially noteworthy for its abundant natu- ral light, most evident in its massive skylights and interior courtyard. How- ever, despite this rich design heritage, by the late 1980s, the grandeur and natural light had been eclipsed by layers of insensitive remodeling. So much of the original architecture had been destroyed or compromised that, when the need for new court facilities arose, serious consideration was given to building a new courthouse. Instead, at the urging of a Judges' Restoration Committee, GSA acquired the derelict building in 1988 with the goal of restoring it to serve the needs of a 21st century judiciary. The architects used generous vol- umes and natural light, as well as classic proportions and simplified details to recreate the original spirit of the build- ing. The exterior was completely cleaned, with minimal repairs to the marble in order to preserve as much of the original fabric as possible. The former post office lobby, now called the Grand Hall, was restored. The main corridor of the second floor, which had been reduced to a fluorescent five-foot corridor in the 1960s, was restored to its original proportions, lit once again by the natural light of the interior courtyard and by recreations of the original cast bronze sconces. All five courtrooms are new, even the Ceremonial En Banc Courtroom centered in what was once the main post office work area. Although the massive sky lights are not visible, light from them suffuses the translucent panels. At a cost of $1 15 per square foot, the building has the same estimated useful life as new courthouses currently being built at $200 per square foot. Currently valued at $200 million or $820 per square foot, the Byron White Court- house is proof that good design is good business, increasing the economic value of our federal assets while enriching our communities and our national spirit. Credits: General Services Administration, Rocky Mountain Region Michael Barber Architecture 10 11 PRESIDENTIAL AWARD United States Holocaust Memorial Museum Washington, DC The United States Holocaust Memorial Museum represents one of those rare moments in architecture where stone, steel, glass and other materials used in the fahri cation of a building are trans- formed into an experience that must be described as "transcendent." Here design becomes a bridge linking history- to the present, melding cold and horrify- ing facts with overwhelming emotions and presenting a challenge to respect and treasure the diversity- of humankind. Located on a mid-block site just south of the Mall in Washington, DC, the museum's massing, limestone and brick facades, and references to neoclas- sicism are appropriate to the scale and style of federal buildings that surround it. While the building acknowledges its context, it also disengages itself from the institutional urban fabric. The east facade is hallmarked with a dramatic stone screen that moves in a great arc onto the sidewalk. The west facade has a plaza to welcome visitors. A grand hexagonal pavilion off to one side con- trasts with the brick towers and glass- enclosed catwalks on the other side. The entry- point is the three-story Hall of Witness where a stair cuts into the space on a diagonal, a trussed sky- light wraps overhead, and industrial metal braces and vents disconcert with- out literally- recreating a particular Holo- caust site. The overall intent is clear, but those who enter this hall and the exhibits that unfold in a sequence of bright and dark, tall and low chambers, catwalks and towers that follow, are prompted to interpret this as personal experiences rather than as a prescribed recounting of history-. In this structure, architecture, materials and light are integral dimen- sions of the displays which are key- elements in the museum's poignant message. The culmination of the visitors passage is the Hall of Remembrance, a broad and skylit hexagonal room designed for prayer and contemplation. Programmatically. this Holocaust memorial is much more than a museum. Approximately 25 percent of its space is dedicated to permanent exhibits with 12 another five percent allotted to tempo- rary installations. In addition, the build- ing houses a major research library and archives for scholars, a cinema, theater, a 10,000-square foot conference center, an interactive computer learning center, classrooms and areas for impromptu discussion. This building represents the power of design to give form to human experience so that others might learn and understand. Credits: United States Holocaust Memorial Museum Pei Cobb Freed & Partners 13 PRESIDENTIAL AWARD ,, United States Holocaust Memorial Museum Permanent Exhibition Washington, DC The most difficult task of the design for the permanent exhibition of the U.S. Holocaust Memorial Museum was to engage visitors in the extremely sensitive subject matter without sensationalizing or trivializing it. The success of the design can be measured by public reac- tion. During the first year, 1 .3 million people visited the permanent collection staying for an average of three hours, twice the typical museum visit. Focusing on individuals within the larger context of the Holocaust, the designers have created a restrained presentation, taking into account visi- tors' ages and tolerance levels. Within this context, the designers have success- fully integrated 2,500 photographs, 1,000 artifacts, 53 video monitors, 30 interactive stations, and three video projection theaters. Because of scheduling constraints, the entire project was completed in half the usual time. Coordination with the architect allowed the exhibition design- ers to modify the architectural space even after the construction drawings were complete. Design development and fabrication also overlapped with approximately 200 square feet designed every three weeks and built within the following two months. By confronting moral issues in his- tory and creating a new paradigm for museums that integrates architecture and exhibits into a total experience, the museum has helped advance design. Using the model of a storytelling walk- through, a number of cultural history facilities dealing with issues of ethics and values have emerged across the country. The close working relationship between the museum designers and the United States Holocaust Memorial Council, the federal organization result- ing from the legislation authorizing the museum, allowed the designers to work through several difficult agendas. The result was the unusually rapid develop- ment of a remarkably successful federal design project. Credits: United States Holocaust Memorial Museum Ralph Appelbaum Associates Incorporated 14 15 PRESIDENTIAL AWARD The Double Arch Bridge of the Natchez Trace Parkway Franklin, Tennessee Since the late 1930s, the National Park Service has been constructing the Natchez Trace Parkway, a two-lane roadway that runs from Nashville, Tennessee to Natchez, Mississippi. This roadway closely aligns with the historic Natchez Trace - the most highly traveled wilderness trail of the old "Southwest". The parkway is an unhur- ried connection between Natchez and Nashville that offers a sense of the his- torical significance of the Trace, while preserving the character and natural beauty of the surrounding landscape. The design and construction of the Double Arch Bridge, spanning a large valley across Tennessee Route 96 near Franklin, Tennessee, represents one of the final links of the 50-year parkway project. The major goal of the project was to preserve and enhance the area's natural beauty while maintaining a high stan- dard of economic and environmental responsibility. A particular challenge to the designers was the sensitivity of the steep slope of the valley. Equipment could not be placed there without caus- ing damage. The double arch design was selected to complement the natural beauty of the area and create a focal point for the northern portion of the parkway. As it crosses the valley, the bridge spans more than 1,600 feet and rises to 155 feet above the valley floor. The design of the bridge was innova- tive in a couple of ways. First, rather than using the spandrel columns traditionally used in arch bridges to evenly distribute the weight of the deck, the Double Arch Bridge concentrates the weight near the crown of each arch, creating an altered geometry with the arches being thicker at their crowns than at their bases. The result is a strong, clean profile for the bridge, set against its natural landscape. Second, the bridge's arches, decks and piers were constructed out of precast segments, representing the first time precast segmental technology was used in an arched bridge in the United States. The total project time was only 25 months. Effective communication and inter- action among the National Park Service, Federal Highway Administradon, and contractor resulted in a project that was completed on time and without legal claims, cost increases, accidents, or permanent damage to the environment. Traffic on Route 96 was not interrupted. All this was accomplished while achiev- ing National Park Service requirements for functionality and aesthetic appeal. 16 Credits: Department of Transportation, Federal Highway Administration, Eastern Federal Lands Highway Division Department of the Interior, National Park Service, Denver Service Center, the Southeast Region and the Natchez Trace Parkway Visitor Center Figg Engineering Group 17 PRESIDENTIAL AWARD 3§fc " Interstate 90 Completion Project Seattle, Washington The Interstate 90 Completion Project demonstrates that through careful plan- ning and creative application of land- scape design, a highway can knit com- munities together rather than tear them apart. The seven-mile multimodal transportation corridor includes 200 acres of park and roadside development, 12 miles of bicycle/pedestrian trails, 31 acres of landscape development on concrete covers or "lids" over the high- way, and four acres of new wedands in three urban communities. The old 1-90 freeway separated communities with a broad expanse of pavement, noise and vehicular pollu- tion. Now, the communities have been physically and emotionally reconnected by lowering die roadway to reduce its visual and noise impact and by using wide, landscaped bridge structures and lids to cover the freeway with park space. The new open spaces created by the lids and bridges now contain parks, tennis courts and ball fields that bring residents together. The project is the result of vision, perseverance, and design excellence by landscape architects, civil and structural engineers, artists, and countless citizens and public leaders who were involved in more than 30 years of planning, design and implementation. Technical excellence is demon- strated in the innovative use of the lid structures that crown the lowered high- way. The fids gready reduce the traffic noise and cover the visual impact of the highway. Irrigation systems were de- signed to provide plants with moisture during summer droughts, with an inno- vative computer system automatically adjusting watering frequencies. Other innovative technical solutions included the design and construction of the two largest concrete floating bridges in the world, a new wedand in Mercer Slough, and the largest in diameter, soft- ground tunnel in the world. Also, the lowering of the roadway required vari- ous retaining wall applications to re- spond to unique soil conditions. Aesthetic excellence also abounds. The planners coordinated wall configu- rations, signage and illumination to ensure continuity throughout the corri- dor. Wide landscaped medians and planting pockets within the lowered roadway provide delineation of traffic lanes and tie the project to the surround- ing environment. A viewpoint was created to take advantage of the spec- tacular view of the floating bridges, Lake Washington and the Cascade Mountains from the east portal of the tunnel at Mount Baker Ridge. The Interstate 90 Completion Project successfully provides creative solutions to multiple design issues. It makes and maintains pedestrian connec- tions between existing neighborhoods and is a model for collaboration and coordination of an extremely large and complex project. Credits: Department of Transportation, Federal Highway Administration, Washington Division Washington State Department of Transportation 18 19 PRESIDENTIAL AWARD River Relocation Project Providence, Rhode Island Moving rivers might appear to be a Herculean task to some, but in Provi- dence, Rhode Island, city planners have done just that and in the process have knit together the urban fabric of their city. Not far from the spot where Roger Williams first stepped ashore in 1636, the Woonasquatucket, Moshassuck and Providence Rivers have been reconfigured, creating a "Y-shaped" landscaped river corridor at the center of the city connecting existing parks and accommodating both boat traffic and a pedestrian walkway. The river-moving is just part of a major urban revitalization plan that includes removing acres of roadway decking and interstate access ramps that obscured the rivers, providing naviga- tional lanes for small craft, improving pedestrian access, clarifying traffic patterns and beautifying what had previously been an eyesore. Seven distinct new bridges have been designed to accommodate vehicles, and five other new bridges are dedicated for pedestrian use. The bridges collect and distribute \ \ /• • «,*) v- 4. Kv-rf.rr 1 i]Ti f^-K" in i r-^s^h — fin & ^ If Cm «£' • ;; --- < t: -{ V \ traffic from the core of the city and tie into the interstate system. A four-acre park called Waterplace at the western terminus of the new walkway system contains a visitor center, amphitheater, fountain and several small plazas. The project's ability to bring aes- thetic beauty to a great variety of large and small elements is remarkable. The new bridges have been designed with gentle arches that reflect in the water and allow small boats to pass through. Pedestrian walkways along the river- banks have been paved with cobble- stones from an old city street, and large granite blocks from a demolished rail- road viaduct line the river walls. Even the smallest details have been carefully considered for their beauty and func- tionality. Public participation has been the hallmark of the design process dating from the initial 1983 waterfront study that launched the effort. A design advi- sory committee composed of citizens and public agencies participated in the 20 design process on a regular basis. In addition, several public workshops and hearings were conducted. The River Relocation Project is an ambitious and thoughtful effort that succeeds in improving the city's infra- structure and traffic problems while turning around the image of the water- front, drawing business and pedestrians to its beauty and amenities. Credits: Department of Transportation. Federal Highway Administration, Region 1 Rhode Island Department ol Transportation William D. Warner. Architects & Planners Maguire Group, Inc. 21 PRESIDENTIAL AWARD The Cooper- Hewitt, National Museum off Design, Smithsonian Institution New York, New York The Cooper-Hewitt, National Museum of Design, Smithsonian Institution, has consistently advocated the importance of design in our lives by including a broad audience in a discourse covering a wide range of design issues. Through the outstanding use of design and de- signers in its own publications and exhibits, the museum serves as a role model in fostering good design and informing the public about design. The museum's exhibitions have ranged in their focus from an examina- tion of a single object to displaying some of its most rare collections. With "A Royal Gift: The 1862 Porcelain Jewel Cabinet," the goal was to focus on one extraordinary object from the museum's permanent collection - a six foot tall jewelry cabinet made at the Sevres factory in Paris during the 1820s. In 1992, the Cooper-Hewitt introduced the Ludmilla and Henry Collection of Soviet propaganda porcelains in the exhibition and accompanying catalogue to "Revolution, Life and Labor: Soviet Porcelains 1918-1985." The Cooper-Hewitt also examines the design process behind different types of objects, their development, and the impact they have in our daily lives. Demonstrating the importance of maps as a form of visual information design, The "Power of Maps" exhibition re- vealed the particular point of view and specific interests behind the creation of maps. The exhibition, "Packaging the New: Design and the American Consumer" brought the relationship between the designer, the advertiser and the consumer into focus, exploring the results of 40 years of consumer culture in America. This critical stance was also a key factor in the exhibition, "Mechanical Brides: Women and Machines from Home to Office" which examined how design meets functional or practical needs while simultaneously creating cultural identities. Through well-designed, striking exhibitions and publications covering a wide range of topics, the Cooper-Hewitt is playing a vital role in educating the general public about the importance 22 of design. The museum should be applauded for the high standards that have been set in developing such cre- ative and imaginative projects. By serv- ing as a model for other institutions in the use of good design practices, the Cooper-Hewitt fulfills its role as a national design advocate. Credits: Smithsonian Institution, Cooper-Hewitt. National Design Museum -'■ PRESIDENTIAL AWARD FDA Food Label Design One of the central challenges of graphic design is how to create a design that expedites the understanding of informa- tion. Rarely has there been a more formidable federal design challenge than the redesigning of the nutrition labeling for package foods. The redesign of the labeling was mandated by the Nutrition and Labeling Act of 1990, and as a response to a public becoming increas- ingly more concerned about the nutri- tional content of the food products they buy. The responsibility for the new labeling system fell to the Food and Drug Administration, the branch of the Department of Health and Human Services that regulates nutritional infor- mation. The design had to attract the atten- tion of an enormously diverse target audience, as it competed with the dra- matic design of product packaging, in a severely restricted amount of space. Complex nutritional data had to be presented in a clear and simple format in order to assist this audience in making 24 The New Food Label at a Glance The new food label will carry an up-to-date, easier touse nutrition information guide, to be required on almost all packaged foods (compared to about 60 percent of products up till now). The guide will serve as a key to help in plan- ning a healthy diet.* Serving sizes are now more consistent across product lines, are stated in both household and metric measures, and reflect the amounts people actually eat. The label of larger packages may now tell the number of calories per gram of fat, carbohydrate, and protein. The list of nutrients covers those most important to the health of today's consum- ers, most of whom need to worry about getting too much of certain nutri- ents (fat. for example), rather than too few vitamins or minerals, as in the past. Nutrition Facts Serving Size 1 cup (228g) Servings Per Container 2 Amount Per Serving Calories 260 Calories from Fat 120 % Daily Value* Total Fat 13g 20% Saturated Fat 5g 25% Cholesterol 30mg 10% Sodium 660mg 28% Total Carbohydrate 31 g 10% Dietary Fiber Og 0% Sugars 5g Protein 5g Vitamin A 4% Vitamin C 2% Calcium 15% • Iron 4% Percent Daily Values are based on calorie diet. Your daily values may or lower depending on your calorie Calories: 2,000 a 2,000 be higher needs: 2,500 Total Fat Less than Sat Fat Less than Cholesterol Less than Sodium Less than 2,400mg Total Carbohydrate 300g Dietary Fiber 65g 20g 300mg 25g 80g 25g 300mg 2,400mg 375g 30g Calories per gram: Fat 9 • Carbohydrate 4 • Protein 4 New title signals that the label contains the newly required tnforma tion. Calories from fat are now shown on the label to help consumers meet dietary guidelines that recommend people get no more than 30 percent of the calories in their overall diet from fat. % Dally Value shows how a food fits into the overall daily diet. Dally Values are also something new. Seme are maximums, as with fat (65 grams or less.); others are mmimums, as with carbohydrate (300 grams or more l. The daily values for a 2.000- and 2.500- calorie diet must be listed on the label of larger packages. This label is only a sample. Exact specifications are in the final rules. Source: Food and Drug Administration, 1994 quick, informed decisions that will ultimately affect their health. After a three-year design process that included the study of designs from other coun- tries, numerous public hearings, over 1.200 consumer interviews, and the analysis of more than 40. 000 comments, the FDA created a new standard for package food design with the new Nutrition Facts label. By introducing a new nutrition tool called "daily value" in conjunction with a carefully chosen set of rules ami type- faces, the new labels let consumers quickly and easily assess the amount of a particular ingredient as it relates to their overall daily diet. In a time when the public is exposed to large amounts of complex information that is often disorganized and difficult to inteqjret, the FDA's efforts to clarify the under- standing of nutritional data are excep- tional. The FDA estimates that as much as $27 billion in healthcare costs will be saved over the next 20 years as the result of Americans making better choices about their diets. Credits: Department of Health and Human Services. Food and Drug Administration Greenfield/Belser Ltd. "We're witnessing a public health milestone and a victory for consumers." Michael Jacobson, Director The Center for Science in the Public Interest "For the first time, the food industry, government and health professionals are singing the same song." Joan I Iorbiak, President Health and Nutrition Network "With large type and revealing figures, the new food labels take much of the myster) out of nutrition." Time Magazine 25 L. XV FEDERAL DESIGN ACHIEVEMENT AWARDS 19 9 5 ARCHITECTURE Barataria Environmental Education Center Jean Lafitte National Historical Park and Preserve New Orleans, Louisiana A prominent example of ecologically- sensitive design, Barataria Environmen- tal Education Center was designed to provide the public with a safe place to learn about and experience the 20,000- acre Jean Lafitte National Historical Park and Preserve in New Orleans. Blending into the diverse natural and cultural environments native to the Mississippi River Delta, the 8,600- square-foot building is surrounded by bayous, shaded by pecan and oak trees, and set back into the undergrowth to mask its size. Facilities are organized along a central spine and include a library, amphitheater, workshop/labora- tory, kitchen, office, and audio/visual area, each gently tucked among the trees of the pecan grove. Amplifying this closeness to nature, skylights, translucent roofing materials and walls treated as grids of windows or framed openings create spaces where inside and outside seem to merge. It is a collection of tranquil spaces, dappled with sun and shadow, that is so thought- fully woven into the forest that no major trees had to be removed to accommo- date the design. In a structural approach typical of delta architecture, the entire center and adjoining pathways are lifted above the swamp on concrete columns to preserve existing drainage patterns, minimize damage to plants and animals, and elevate the floors above flood level during hurricanes. The Barataria Envi- ronmental Education Center is an excel- lent example of how design can create public spaces that both celebrate and respect our nation's cherished natural environments. Credits: Department of the Interior, National Park Service, Denver Service Center and the Jean Lafitte National Historical Park and Preserve Eskew Filson Architects The Architectural Advisory Board The presence of United States embas- sies abroad provides our country with the opportunity to establish a strong positive image in host countries throughout the world. The architecture of the buildings that house our foreign missions must strike a delicate balance between presenting a strong visual symbol of the values we wish to project to the world while remaining sensitive to the design traditions of each country. For more than 40 years, the Archi- tectural Advisory Board of the State Department's Office of Foreign Build- ings Operations (FBO) has helped produce an impressive body of work that has received acclaim from host countries and architectural critics throughout the world. The Architec- tural Advisory Board's primary mission is to examine conceptual designs for new embassies and provide design guidance to the FBO and its architects. The board is composed of three interna- tionally acclaimed architects and archi- tectural educators who serve three-year terms. Over the years, its membership has included architects such as Pietro Belluschi, Eero Saarinen, Charles Moore, Harry Weese, and Thomas Beeby. In a process that emphasizes 28 ARCH T E C T U R E creative dialogue, the board participates in the selection of a design firm, pro- vides a critique of two or three design alternatives for the project, and, finally, works with the architects to address unique building requirements, security- criteria, architectural quality, and un- foreseen challenges that inevitably arise as a design evolves. The Architectural Advisory Board has, with great success, fostered an excellence in embassy design that has communicated openness, goodwill and dignity, thereby enhancing our nation's image throughout the world. Numerous award-winning buildings attest to the long-term success of the board. The program opens up communication between the client and the architect and establishes benchmarks of excellence that encourage designers to do their best. This is a model program for other federal agencies. Credits: Department of State, Office of Foreign Buildings Operations Daybreak Grove/ Sunrise Place Escondido, California These two low-income housing projects are models for what imaginative and carefully planned design can do to create vital and colorful living environ- ments diat celebrate community and family with limited resources and bud- get. Built for about $50 per square foot, each project supports and enhances family life in innovative ways. Daybreak Grove has been designed for single-parent families, providing a world of security and stability for fami- lies determined to make it back into the mainstream. Inspired by the traditional California bungalow court - a central space surrounded by clustered build- ings - each of the 13 units is configured around a small internal patio which provides the family with private outdoor living space and ensures natural light and cross ventilation in every room. Each apartment's compact size is en- hanced by a variety of outdoor spaces including both front and back porches and yards. At Sunrise Place, the focus is on the multigenerational family. Here, the three-bedroom townhouses are orga- nized around a central courtyard - the social center of the community - recall- ing the plazas of Latin America. Flexible unit plans respond to the changing needs of families, with extra space for .mother bedroom, office space or living area. Double-height stairs and loft spaces make the compact plans spacious and airy. In both projects, the orientation of each kitchen to the courtyard acknowl- edges its prominence as the focus of family life and provides parents with the opportunity to supervise their children while preparing meals. The exterior spaces support community interaction and include grassy play areas, laundro- mat, outdoor theater, fruit trees, and vegetable gardens. Both projects are humane, affordable and welcoming environments that have a wonderful sense of scale and create nurturing public spaces. Credits: Department of Housing and Urban Developuicnl. Pacific/Hawaii Field Office North County Housing Foundation Davids Killorv J" ARCHITECTURE Independence Square Washington, DC The challenge for the architects of Independence Square was to design on a narrow lot 150 feet wide and 1,100 feet long the headquarters for two fed- eral agencies with very different needs and identities, creating a visually unified whole. The buildings for the Office of the Comptroller of the Currency and the National Aeronautics and Space Admin- istration (NASA) relate to one another through the use of similar materials, color and textures. Individual identities are established by differences in size, variations in detail and subtle design elements such as the curved wall at the end of the NASA building. Independence Square is also remark- able for its thoughtfully designed pedes- trian streetscapes and its interior and rooftop spaces. Lobbies combine stone, wood and metal details, as well as art and special lighting effects, in ways that are simultaneously impressive and inviting. Roof gardens for occupants offer dramatic views of the Capitol and other landmarks. The design of Independence Square is both functional and practical. Built by a private developer and leased to the General Services Administration, the partners were able to meet the federal government's needs and keep construc- tion costs in the low to moderate range without compromising quality. Not only are the buildings aesthetically compel- ling, but they are also energy efficient, fully American for Disability Act (ADA) compliant and flexible enough to accom- modate future changes in technology and layout. Credits: General Services Administration, National Capital Region National Aeronautics and Space Administration Boston Properties, Inc. Kohn Pedersen Fox Associates, PC Lowell Performance Pavilion Lowell, Massachusetts This project is a wonderful example of civic architecture. With its modest scale and chaste detailing, the Lowell Perfor- mance Pavilion makes the point that good building does not have to be grand or flamboyant to be successful. Running 140 feet along a canal, the open-air steel structure defines a critical edge for two urban spaces: the canal walk on one side and Boarding House Park on the other. As a stop on the trolley line, it becomes a ceremonial portal. It is also a pleasant pedestrian link between two major park buildings of Booth Mills and the re- stored Boarding House. Finally, it is a landmark serving as the preferred venue for celebrations and cultural events. Functionally, the pavilion supports many activities that encourage the kind of vigorous public life that is essential in a democratic society. Facilitating perfor- mances, the trellis incorporates the structure and power supply for theater lighting, sound equipment and scenery. With vines growing up the columns and around the arches, the building is a 30 ARCH T E C T U R E relaxing and sheltered resting place. With temporary kiosks and booths, it is transformed into a festival marketplace. The choice of steel as a material is a welcome counterpoint to the long brick facades of old industrial buildings, adding a sense of excitement and vitality to the environment. The pavilion offers an effective hierarchy of major and minor spaces. And while the framing and arched motifs recall eras past, these elements are in no way sentimental but ultimately convey their contemporary roots. Credits: Department of the Interior, National Park Service The Lowell Historic Preservation Commission Brown & Rowe, Inc. William Rawn Associates, Architects Lucerne Gardens Boston, Massachusetts In spite of the need, truly creative solu- tions to the low-income housing prob- lem are hard to come by. That is what makes Lucerne Gardens so special. In a deteriorated and long-neglected area of Boston, this undertaking is a symbol of hope, and design has played an impor- tant role in its realization. To reinvigo- rate a sense of community and maintain the scale of the neighborhood, Lucerne Garden's 45 two- and three-bedroom units are distributed among 1 8 residen- tial buildings that, along with a separate community center, fill city blocks and reclaim the street as a place for people. The gabled roofs, clapboard siding, dormer windows and porches reflect the architectural details of the area. The community center is reminiscent of a New England carriage house and provides an inviting environment for pot luck suppers, block parties and local celebrations such as student apprecia- tion night. Overall, Lucerne Gardens conveys a sense of quality and solidity. This effort was realized through a partnership among private and public- lenders and was designed with signifi- cant input from the community. To contain costs, units were standardized and grouped together in three- and four- story buildings. In addition, significant parts of the framing were prefabricated. All structures are energy efficient and were built over an 1 1 -month period. To help assure that the development meets its social objectives, a resident coordina- tor assists families needing community services. The combination of good design, affordability, long-term owner- ship opportunities, resident services and a centrally located community center are transforming this area into a stable neighborhood. Credits: Department of Housing and Urban Development. New England Area City of Boston. Public Facilities Department il ARCHITECTURE Oakland Federal Building Oakland, California It takes talent and expertise to add nearly a million square feet of office space to a city center in a manner that truly enhances the urban environment. The General Sendees Administration (GSA) and its architects meet the chal- lenge successfully in the new Oakland Federal Building. The GSA focused on the needs of building users, the sym- bolic nature of the federal government and courts system, the investment of taxpayer dollars, and the potential of the building to revitalize Oakland's strug- gling downtown. The complex houses a courthouse, offices for 26 different federal agencies, a multipurpose auditorium, and a con- ference center. The scale of the federal building is appropriately monumental - a symbol of strength and stability - incoqjorating elegant stone and metal details as well as fountains, frescoes and sculptures that continue a tradition of crafted construction common to gov- ernment buildings from eras past. Two high-rise towers balance the geometry of surrounding high-rise buildings, while the more relaxed four- and two- story pavilions of the courthouse and conference center provide a transition to nearby Victorian residential areas. The twin, 18-story towers add a pleas- ing and distinctive profile to the skyline. An inviting landscaped plaza, dramatic, glass-enclosed entrance rotunda with vistas to the Victorian houses of Preser- vation Park, and artwork integrated throughout the design provide amenities enjoyed by citizens, employees, pass- ersby and numerous visiting school groups. The building is among the first lease-purchase projects undertaken by the GSA and is an example of successful public-private cooperation that yielded superior quality and flexibility at a price competitive with the existing market for office space. Credits: General Services Administration, Pacific Rim Region City of Oakland Kaplan McLaughlin Diaz Master Facilities Program for the National Museum off the American Indian Washington, DC Although seldom acknowledged, design excellence is generally supported by thoughtful and imaginative planning. The Master Facilities Program for the National Museum of the American Indian is an outstanding example of this earliest and least understood stage of the design process. The document is notable for its comprehensive analysis. It reviews the proposed sites - new exhibition facilities to be built on the Mall in Washington, DC, and storage and support space on the Smithsonian campus in Suitland, Maryland. The program comments on the breadth and quality of the collections, explains how materials might be used and displayed, and proposes a detailed set of design guidelines. All this was achieved as a collabo- rative effort with expert contributions from many areas. The most valuable input came from Native American representatives, who conveyed key facts about the meaning, rituals and traditions surrounding objects in the Smithsonian's possession. This, in turn, led to modifi- cations in the program. For example, the Mall facility emphasizes developing exhibits and demonstration spaces that show relationships among materials and 32 ARCHITECTURE cultures rather than the compartmental- ization of information. In Suitland, the building is redefined as an interactive center that goes beyond the housing and care of collections to incorporate research and activities related to the preservation of Native American culture. And finally, a "museum without walls" - based on telecommunications technol- ogy - is added to the proposal as a way to link Native Americans throughout the hemisphere to the Smithsonian facilities and events. Without this thorough investigation, critical needs of the National Museum of the American Indian would probably have gone undiscovered and opportuni- ties for innovation would have been lost. In design areas not commonly explored, this kind of creative analysis and plan- ning is absolutely essential. Credits: Smithsonian Institution, Office of Design and Construction Venturi, Scott Brown and Associates, Inc. Thurgood Marshall Federal Judiciary Building Washington, DC This major federal building was com- pleted four months ahead of schedule and ten percent under budget. More- over, it was built by a private developer/ architect team without capital funds from the government and will revert to federal ownership at the end of a 30-year lease. Certainly these facts merit recog- nition, but over the long-term, the Thurgood Marshall Federal Judiciary Building in Washington, DC, will be remembered and honored because of its extraordinary planning and design. Located on Columbus Circle, a prominent public space hallmarked by a grand fountain and a vista down Delaware Avenue to the Capitol, the Marshall Building, and the City Post Office frame Union Station, the Beaux Arts gateway to the nation's capital. The building follows the street line, creating a critical architectural edge that defines and contains the east side of the circle. The building uses a contemporary vocabulary of volumes and openings that respectfully recalls the caden< e, rhythms and structure of the station without becoming a pastiche of historic elements. Equally important is the way the building responds to the scale ot its surroundings. Upper floors are terraced back behind a strong cornice so the building does not appear too massivc or tall. Adjacent to the station, facades are relatively solid and highlighted with arches. Along the street, facing a row of traditional Victorian townhouses. the facade has more glazing and is articu- lated with layers of well-proportioned rectangular openings. The public entrance to the Marshall Building is a landscaped atrium that provides an attractive view for interior offices. With other employee-friendly amenities such as a daycare facility and fitness center, this edifice creates a model work environment. Credits: Architect of the Capitol Boston Properties, Inc. Edward Larrabee Barnes/ John M. Y. Lee & Partners ARCHITECTURE U.S. Border Station International Falls, Minnesota Crossing a border can sometimes be an uncomfortable, tense and unpleasant experience. To help alleviate this anxi- ety, the design of the U.S. Border Sta- tion in International Falls, Minnesota, is playful. Located in an industrial zone, the site features railroad tracks, elevated pipe lines and warehouses. Faced with limited Rinding and a harsh winter climate, the General Services Adminis- tration requested that the building be "as functional as possible" and con- structed with materials "selected for their ability to withstand the elements." The designers responded to these challenges with a blend of pragmatism, joy and finesse. To avoid interfering with utility easements on the property, the station is conceived of as a bridge to minimize ground use. Next, to infuse the project with color and vitality, the architects exploit references to the American flag as a theme for building details. Tower elements are a deep blue accented with a regular pattern of white squares. The exterior of the bridge space is red with white stripes. Interiors are developed with a similarly bold vocabulary. And in the most literal allusion to the flag, the red and white stripes of the main inspec- tion canopy wave over and symbolically shelter all who enter the United States as they drive through the inspection lanes. It is important to understand that this optimistic expression of the Ameri- can experience was achieved within the original strict parameters of the commission. Brightly colored surfaces are coated with durable resins and polymers for longevity. The entire structure is well insulated, and windows are designed to maximize views while keeping heat loss to a minimum. The total cost of the project was slightly below budget. Credits: General Services Administration, Great Lakes Region Architectural Resources. Inc. United States Embassy Chancery Muscat, Oman Given the high potential for terrorism around the world today, U.S. embassies must be safe and secure. As a result, security measures for U.S. embassies read like the program for designing a fortress: perimeter walls surrounding a complex must resist breach by vehicles, climbing, prying, hammering and saw- ing; access must be channeled through a minimum number of controlled en- trances; only 15 percent of each exterior structural bay can be glazed; building service systems must be designed in parallel networks with utilities that serve secure areas made accessible only to U.S. personnel with security clearances; and the list goes on. In this context, the chancery in Muscat, Oman, demon- strates that it is possible to meet these stringent requirements and still create a 34 ARCHITECTURE facility that is both sensitive to its cul- tural setting and establishes a positive image for the United States. Responding to guidelines intended to ensure the Islamic character of public architecture in Oman, the chancery is enriched with arched openings and colorful tile and marble details that give the structure an appropriate monumen- tal profile while providing a play of human-scaled geometric patterns throughout the complex. As in other buildings in the hot climate, facades are layered so windows are shaded by loggias and have their vistas framed by piers and arches. The plan, with its series of courtyards and gardens, also reflects the regional style, creating many pleasant, even intimate, enclosed spaces graced with plants and pools of water. In the final analysis, the chancery re- spects the local traditions of the workers and visitors who will use the facility, without compromising the forward- looking character of its mission and the innumerable security measures essential in the contemporary political climate. It complements the culture of Oman while making an architectural statement that expresses America's ideals and values. Credits: Department of State, Office of Foreign Buildings Operations Polshek and Partners Architects Women's Rights National Historical Park Wesleyan Chapel Block Seneca Falls, New York The simplicity of this memorial is its strength. The Women's Rights National Historical Park, built around the ruins of Wesleyan Chapel (home of the first women's rights convention in the United States held during July 1848), blends into the Seneca Falls townscape, much as the chapel did when it was originally constructed in 1843. Preserv- ing the existing fragmentary nature of the historic building is a symbol of the intermittent attention historically de- voted to the struggle for the rights of women. A roof shelters the ruins and stone walls, marks the street edge and creates a gateway to the park. Off to the side, terraced seating and a sloped lawn articulate a resting place where individu- als might take a moment for quiet medi- tation or groups might gather to cel- ebrate and continue the tradition of public dialogue that has hallmarked the history of this site. An additional exte- rior feature is a Milestone wall along the edge of the lawn where, as a focus for contemplation, water flows over an inscription of the Declaration of Senti- ments - the centerpiece manifesto of the 1848 convention. To complete the experience, the Village Hall that adjoins the open space is now used as a visitor and administrative center. Everything about the project is modest - even its final cost was ten percent below budget. But great skill lias been used to bring together elements of urban planning, architecture, preserva- tion, art, landscape and interpretive design to create a powerful landmark that captures the history of this place without sentimentally reconstructing it. In the end. those who pass through this park leave with the understanding that the struggle for women's rights is an integral and ongoing facet of the pursuit of civil rights for all Americans. Credits: Department of the Interior. National Park Sen ice. Denver Service Center Ann Wills Marshall Ray Kinoshita Robert Silman Associates A. E. Bye Associates. Landscape Architects The Stein Partnership, Vn him ts 15 PRESERVATION Spreckels Temple of Music San Francisco, California In a few years, people will be making plans to celebrate the centennial of the Spreckels Temple of Music, the elegant Beaux Arts backdrop for outdoor music performances and civic events in Golden Gate Park. Not so long ago, however, it wasn't certain that would be the case. Designed in 1899, this home for Opera in the Park and Sunday Band Concerts was damaged during the 1906 earthquake and repaired, and then damaged again in the 1989 Loma Prieta quake. After this last disaster, it was fenced off and went unused for more than four years. There was concern that the brick and terra-cotta band shell would not survive another seismic jolt. Pairs of columns - which in plan ex- tended more than 50 feet to either side of the stage - had shifted noticeably from their original positions. In 1990, a combination of federal and local funds became available to repair and stabilize the Temple. But there was a dilemma: should the sand- stone columns, which needed to have 36 their cores drilled and strengthened with reinforced concrete, be dismantled and rebuilt, or should this work be implemented in place? The columns also needed re-plumbing and re-centering. After significant debate, it was decided to preserve everything in place, and the contractor completed the upgrade without causing further damage. Other improvements were also executed, including reinforcing the dome of the band shell, adding a new roof slab and refurbishing details of the building. On July 3, 1994, Spreckels Temple of Music reopened. Visibly, the exterior has not changed. But within, a new structural skeleton provides assurance that people will be enjoying this civic landmark as it gracefully crosses the threshold into the 21st century. Credits: Federal Emergency Management Agency, Region IX The City and County of San Francisco Bureau of Architecture Cygna/Olmm/Pegasus Carey & Company Wiss Janney Elstner Associates Page and Turnbull Rehabilitation of the Old State House Boston, Massachusetts This building, constructed in 1713, is a jewel in Massachusetts and a part of American history that has survived numerous transformations. Originally the seat of colonial government, the Old State House has served as the city hall, a commercial center, and the venue for state government. Its charred roof beams attest to damage from several fires, and in the early twentieth century, two floors were raised to accommodate subway construction. Since 1881, the structure has been maintained by the Bostonian Society as a museum of Boston history. In 1987, the city and the National Park Service decided the landmark needed a major restoration. But in a building with many lives, what is the appropriate restoration strategy and to what extent can contemporary technol- ogy and accessibility standards be intro- duced? Responses to these questions came from a team of specialists who P R E S E R V A T O N determined that the best approach should be to maintain the overall integ- rity of the original design, to enhance the current use of the Old State House as a museum, and to acknowledge the building's rich history. To these ends, brick and woodwork as well as the decorative Royal Lion and Unicorn symbols were restored, air conditioning and a sprinkler system were unobtru- sively installed, lifts were incorporated to provide first-floor access for wheel- chair-bound visitors, an 1830s clock was remounted on the facade and interi- ors were refurbished to demonstrate how, over the past 110 years, the colo- nial rooms had been "restored" in three very different ways. It was a complex job handled with sophistication and good judgment while respecting the past and providing for the future. Thus, as the Old State House completes three centuries of service, it remains an example of living architec- ture. Credits: Department of the Interior, National Park Service, Denver Service Center, the North Atlantic Region and the Boston National Historical Park Goody, Clancy and Associates, Inc. The City of Boston The Bostonian Society A.J. Martini, Inc. Washington Monument Entry Level Lobby Renovation Washington, DC In design, little things really do mean a lot. Looking at size and budget alone, the Washington Monument Entry Level Lobby Renovation is quite modest. In terms of impact, however, this restora- tion/interior design project greatly enhances the character and quality of one of the nation's most familiar land- marks. The objective was to redesign the Washington Monument's entry lobby - an area that had been modified at various times since opening in 1888 - in a way that was more respectful of the historic and symbolic significance of the space. At the East Portal and West Cham- ber, hung ceilings and marble wainscot- ting were removed to reveal the full height and original dressed marble walls of these impressive spaces. Then, blend- ing art and architecture, the West Cham- ber was used as the setting for a life-size bronze statue of George Washington. In the South Corridor waiting room, the 1904 marble details were cleaned, new light fixtures installed, and the walls adorned with bronze garlands in a motif recalling designs from Mount Vernon. Finally, an Egyptian-styled limestone surround as well as bronze doors and a bronze relief sculpture were used to distinguish the elevator as a monumental gateway. Innovative historical research was conducted to evaluate the feasibility of all these changes. Fiber optic cable and a video camera were used to get a "pic- ture" of the space behind various mate- rial layers to determine the condition of finishes and how to remove them and make sure modifications would not compromise the integrity of the struc- ture. The overall effect is a processional which imparts a sense of awe and quiet reverence that makes a lasting first impression as the entry to tliis treasured monument. Credits: Department of the Interior, National Park Sen ice, Division of Exhibits, Harpers Fern Center Notter + Associates, PC Skylight Studios. Inc. ;: INTERIOR DESIGN Freer Gallery of Art: Restoration and Reinstallation Washington, DC The Freer Gallery of Art. known for its fine collection of Asian and American art, had not undergone major renova- tions since it opened in 1923. In the intervening years, the building's systems and general appearance had slowly deteriorated, and curatorial, technical and visitor requirements had changed significandy. To address these problems comprehensively, the museum was closed to the public in 1988 to update the systems, refurbish 25,000 square feet of public space, and reinstall all 20 galleries of exhibits. The objective was to maintain the character and spatial qualities of the Italian Renaissance-stvle structure while creating a truly modern facility. Plaster walls were removed and replaced with walls of more durable and easily repaired materials. The building's 1,550 skylight units were redone with glazing that reduced harmful emissions and mini- mized seasonal changes in illumination. Spotlights were installed to emphasize individual works of art. Another major facet of the project was to develop an exhibition case that was both more secure and easily acces- sible. The result - which has attracted the interest of curators from around the world - is a beautifully crafted walnut cabinet base built around an aluminum frame with dust-proof glass tops that are raised and lowered on treaded stainless steel supports. Other refinements to the interior include new corridor fighting fixtures that show off the vaulting of the hallways, a graphic design strategy that covers everything from signage to bro- chure panels, a revised gallery color scheme, and restoration of the museum's courtyard and landscaping to the design originally proposed. The modifications, while subtle, are impor- tant improvements to the museum. The project was completed under budget, and since its reopening in 1993 the number of visitors has nearly doubled. Credits: Smithsonian Institution, Freer Gallery of Art and Arthur M. Sackler Gallery and the Office of Design and Construction Exhibition Design at the National Gallery of Art Washington, DC The Department of Design and Instal- lation at the National Gallery of Art designs and installs from 15 to 25 major special exhibitions each year. The nine exhibitions submitted, dating from the years 1991-1994, were selected to represent the range, diversity and quality of their installations. During the past quarter century, the department has designed more than 300 exhibitions and through its many innovative achieve- ments has been recognized as a world leader in museum installation design. Museum policy mandates that each exhibition be experienced in a setting appropriate to the aesthetic, art histori- cal, and architectural approach of the installation design. The results of this approach are as varied as the themes of the exhibitions and the works of art they contain. Using the extraordinarily flex- ible spaces in both the modern I.M. Pei East Building and the neoclassical John Russell Pope West Building, the designs 38 INTERIOR DES G N and their educational dimension engage the visitor in a dialogue between objects and ideas. The visitor moves through spaces that are detailed to reflect the concepts of the exhibition. Many of the exhibitions represented in this selection used innovative lighting technology such as fiber optics, as well as state-of-the-art conservation environ- ments for particularly fragile pieces. All exhibitions at the National Gallery are designed for accessibility, with special attention given to pedestal heights, label sizes and adequate lighting. Efficiencies in building techniques and the recycling of cases and architectural elements have become an integral part of the design process in order to reduce costs. Incor- porating economy, technology', accessi- bility and a strong underlying didactic theme has placed exhibition design at the National Gallery of Art in the fore- front of its field. Credits: National Gallery of Art. Design Department National Postal Museum Washington, DC If the idea of a postal museum conjures up images of tweezers and magnifying glasses, be prepared for a suqirise. This lively gallery is located in the atrium of a landmark building that has been reno- vated for use as 850,000 square feet of prime federal office space. From the street entrance, the visitor moves through a grand Beaux Arts lobby and down escalators to a courtyard occupied by a horse-drawn carriage, a railroad mail car, and a couple of suspended airplanes. Visitors can actually use the full-service post office that is part of the design, research a particular question in the library and special collections area, or wander through exhibits ranging from "Moving the Mail" to "Customers and Communities" to "Stamps and Stories." All around are architectural elements that recall materials and systems related to the post office. The ceiling over the escalators is embossed with graphics and perforations that mimic a sheet of stamps. Metal frames and trusses refer to gallery catwalks above sorting rooms and the conveyor systems used to move mail. Railings arc detailed as cancella- tion marks. In addition, an abundance of historic photos, postal artwork and post office paraphernalia complement the overall design. The merit of this scheme, however, goes beyond the quality of the museum itself. Here is a gallery - a part of the prestigious Smithsonian Institution that, because of its location in a major office building, becomes an integral part of everyday life. The exhibits contribute a unique dynamic experience to a tradi- tional building program. This is a mu- seum people can actually enjoy on their way to work. Credits: United States Postal Service, National Postal Museum Smithsonian Institution, National Postal Museum Hines Interests Limited Partnership Florance Eichbaum EsocojfKing Architects Miles Fridberg Molinaroli 19 ENGINEERING Environmental River Engineering on the Mississippi The Environmental River Engineering project was implemented in 1970 by the St. Louis District of the U.S. Army Coqis of Engineers to correct the lack of biodiversity in the Middle Mississippi River area. In the early nineteenth century, the river was narrow and deep, contained by stable banks lined with vast forests. As these forests were cleared, the banks deteriorated, the river wid- ened and grew shallow, and navigation became dangerous. Near the turn of the century, the Corps of Engineers began a bank stabilization program to ensure safe river traffic. The navigational struc- tures imposed upon the river ensured a clear channel for shipping but severely damaged the river's ecology. The Environmental River Engineer- ing project's goal was to reverse man's destruction by stabilizing the river banks with navigational structures that work in harmony with the natural laws of the river. The river presents a dynamic and fast-changing set of conditions calling for a great number of specific solutions. Each navigational structure was designed individually, to fit specific locations along the river. Many newly designed structures were model tested before being installed in the river, avoiding the cost risks associated with field testing. Tests conducted by the Illinois and Missouri State Departments of Conser- vation show that the variety of dikes, revetments, and side channel improve- ments implemented over the past 20 years of the project's history have radi- cally improved the biological conditions along the Middle Mississippi. This envi- ronmental goal is being accomplished without impeding traffic through the main navigation channel. The project's success makes it a model for other major river systems. Credits: Department of Defense, U.S. Army, Department of the Army, Corps of Engineers, St. Louis District Marathon Battery Superfund Site Design Cold Spring, New York At the Marathon Battery plant in Cold Springs, New York, one of the North- east's worst hazardous waste sites, contamination from toxic heavy metal waste discharges threatened local resi- dents and a pristine Audubon wildlife sanctuary. Through the Comprehensive Environmental Response, Compensa- tion, Liability Act (Superfund), the Environmental Protection Agency and U.S. Army Corps of Engineers jointly administered and managed an effort to develop a cost-effective design to clean up the site. The Marathon Battery project took advantage of several innovative, cost- saving features. A sophisticated soil, water, sediment and vegetative plan, coupled with geostatistical modeling, sharply reduced project scope and cost. Value engineering, a formal evaluation process developed for large-scale waste water treatment projects, identified $8 million of savings. A generic fixation 40 ENGINEERING technology was developed that elimi- nated the need for expensive proprietary formulas, thereby expanding competi- tion among construction contractors and reducing costs. The Marathon Battery Superfund Site epitomizes the success of both federal and private sector partnerships with interagency partnerships. This project moved forward on budget and schedule, achieving technical goals and objectives. The remedial design success- fully applied innovative management, engineering and technological advances to clean up a hazardous waste site that threatened nearby residents and ecosys- tems. Credits: Department of Defense, U.S. Army, Corps of Engineers, Kansas City District and the New York District Environmental Protection Agency Malcolm Piniie, Inc. Point Marion Lock Cofferdam Point Marion, Pennsylvania The construction of an entirely new lock to replace the 70-year-old Point Marion lock and dam facility along the Monon- gahela River in Dunkard Township, Pennsylvania, had the potential to cause serious interruption of commercial river traffic. It also would have involved the excavation of more than a mile of river bank and required the relocation of portions of both a state highway and railroad tracks. The U.S. Army Coqjs of Engineers decided instead to integrate the new lock into the existing lock and dam system. The new lock is located ten feet landward and 1.3 feet below the existing lock's wall and foundations. To prevent collapse of the old wall and ensure its continued use during construction of the new system, project engineers used more than 500 large capacity 250-ton rock anchors to prevent the wall from sliding or overturning onto the excava- tion for the new lock, /vii extensive computer instrumentation system was implemented to continuously monitor the cofferdam for structural integrity. The innovative use of the anchor and monitoring systems advanced the knowledge and expertise of the Army Corps in river engineering while produc- ing significant cost savings. The innova- tive approach to design combined with site measurement ot performance proves an excellent model for future projects. Credits: Department of Defense, U.S. Army, ( !orps of 1 ogineers, Pittsburgh District 11 ENGINEERING United States Naval Academy Bridge Annapolis, Maryland The U.S. Naval Academy Bridge is the first successful major bridge design competition project to reach completion in the past 100 years. It is the culmina- tion of the extraordinary collaborative efforts of federal and state agencies to involve leaders in the bridge engineering field and to challenge them to think in technical, economic and aesthetic terms. The Federal Highway Administra- tion typically requires the preparation of at least two independent designs and construction bids for a bridge project of this magnitude. In view of the state's desire to implement the competition process, the Federal Highway Adminis- tration agreed to accept the winning concept from the competition and to forgo the requirement for alternative proposals. The planned bridge was required to carry Maryland Route 450 through the Naval Academy grounds and over the Severn River, serving as the eastern gateway to Maryland's historic capital of Annapolis. The site required a structure that would suitably respect and enhance the historic and scenic nature of the site and enrich the area environmentally while maintaining a 75-foot minimum clearance. The Maryland State Highway Administration and the Governor's Office of Art and Culture cosponsored an international design competition. The jury included four bridge engineers, an architect, a landscape architect, a sculptor, and representatives of environ- mental groups, historic groups and the local community. Credits: Department of Transportation, Federal Highway Administration, Maryland Division Maryland State Highway Administration Greiner, Inc. Solar Energy Research Facility Golden, Colorado The Solar Energy Research Facility was designed and built as a model to help realize the National Renewable Energy Laboratory's mission to develop renewable energy technologies, improve energy efficiency, advance related science and engineering, and facilitate commercialization. Twelve energy-saving technologies are used in the facility, resulting in significant operating cost savings. These technologies include daylighting, energy-efficient fluorescent lighting, evaporative cooling, a trombe wall, and an exhaust heat recovery system. Some of these technologies will pay for them- selves in three years or less and represent a 30 percent reduction in operating costs when compared to a similar, conventionally equipped facility. The facility's design also emphasizes functionality and flexibility. It incorpo- rates three contiguous modules built along the natural contours of the land. Each module contains an office pod and a laboratory pod. The laboratories are uniform and could, within a given group, be easily used for other purposes. Of- fices and laboratories are clustered for 42 ENGINEERING maximum synergy and efficiency. The facility uses state-of-the-art safety fea- tures in building air management and utility efficiency. The philosophy behind the distinc- tive design and energy-conserving features is one of devising and deploying technologies in harmony with the natural balance of ecosystems. It is more than a cost-effective building with an innova- tive modular design. It is truly a labora- tory of the future - one that successfully achieves our nation's goals of a clean environment and energy efficiency. Credits: Department of Energy, Golden Field Office, National Renewable Energy Laboratory Anderson DeBartolo Pan Talmadge Memorial Bridge Replacement Savannah, Georgia The Talmadge Memorial Bridge Replacement Project demonstrates that a beautiful bridge ecjual to the best in the world can be designed and constructed using the most economical materials and pragmatic methods. The Federal Highway Administration, the Georgia Department of Transportation and a group of private design consultants engaged in a partnership to replace the old Talmadge Memorial Bridge with a bridge that would provide increased access by ship to the Port of Savannah without limiting access to the City of Savannah by automobile. A cable-stayed structure was deter- mined to be the most economical means of meeting functional requirements, aesthetic goals and site restrictions. This state-of-the-art structural system has rarely been employed in the United States. Formal design guidelines had not been established for such systems. The unique structural system employed precast, prestressed concrete members erected in segments, then post tensioned together. The completed bridge spans 7,500 feet with a main navigational passage 1 .100 feet wide and 185 feet high. The new structure removes all piers from the river channel and pro- vides a modern four-lane highway into the city. The bridge meets stringent func- tional requirements through an inspiring level of mastery in a technology that is relatively new to this country. The bridge also acts as a powerful new gateway to Savannah, synthesizing the best in new construction technologies into a visually integrated form. Credits: Department of Transportation. Federal Highway Administration, Georgia Division Georgia Department of Transportation. Office of Bridge Design DRC Consultants. Inc. Parsons Brinckerhoff Quade & Douglas i; INDUSTRIAL DESIGN Amtrak AMD- 103 Passenger Diesel Locomotive The first locomotive specifically designed for passenger service in more than 40 years, the Amtrak AMD-103 Passenger Diesel Locomotive incorpo- rates new safer)-, modeling, environmen- tal and operating features. Because the locomotive meets maximum weight allowances and universal clearances, it can operate on any route of the Amtrak national railway system. Using a lightweight, aerodynamic car body, the locomotive can reach a maximum speed of 1 03 miles per hour. Integrating the fuel storage tanks within a new structural system, the designers removed five tons of dead load and raised the height of the tanks from eight inches above the rail to 2 1 inches above the rail. By using the structural beams as walls, the thickness of tire fuel tanks was increased threefold. The diesel engine's new design increased horsepower by 33 percent with the same total weight as previous locomotives and, as a result, the Amtrak AMD-103 Passenger Diesel Locomotive has had an average of 20 percent savings in fuel consumption. As fuel costs contribute significantly to the cost of Amtrak service, the locomotive plays a significant role in reducing the growth rate of Amtrak" s federal operating grant. The design process included exten- sive user consultation. Officials within the Federal Railway Administration, the National Transportation Safety Board, the Association of American Railroads, the Transportation Research Board, and the Brotherhood of Locomotive Engineers were all consulted to review the design for operating comfort, visibil- itv. crash worthiness, and occupational safer\'. Credits: Department of Transportation. Federal Railroad Administration National Railroad Passenger Corporation. Office of Engineering/Mechanical Services General Electric Transportation Systems 60K Loader Cab Interior Organizing and positioning more than 100 interface items, such as switches, knobs, and dials, the 60K Loader Cab Interior meets the needs of a variety of operators in a tightly restricted work- space. The 60K. an aircraft loader built for the U.S. Air Force, required an ergo- nomic cab interior that was safe, com- fortable and capable of accomodating a variety of operators. .AH this had to be accomplished in a very small space while working within the restrictions of a predetermined cab size. The cab interior was developed during the Persian Gulf War. As a result, the designers had limited access to users and little time for field testing. They used interviews, photographs and videotapes to assess the problems with current aircraft loading equipment and built an ergonomic model in which all the controls could be easily adjusted. With input from both engineers and users, the designers made appropriate adjustments and moved readily from the preliminary model to full scale CAD drawings. The design team then incor- porated feedback from the manufacturer of the cab. This research and model based design process proved highly effective. For example, one of the interesting discoveries made during the research phase concerned visibility. .Although aircraft loaders traditionally had been designed to be operated while looking out tire front window (like a truck), the designers found that operators actually leaned out of the right window 70 per- cent of the time in order to monitor their 44 INDUSTRIAL DES G N loads and communicate with people on the cargo deck. Taking advantage of their ergonomic modeling process, the designers made the right wall of the prototype cab adjustable, enabling the team to determine which angle would be best for allowing the operator to lean out of the cab easily. The open, participatory product development process allowed the Air Force user-advocate, who had operated similar equipment for over 10 years, to influence product development. Because re-configurations were simple to make during the design phase, the team was able to produce a superior product that effectively and economically meets the needs of the Air Force. Credits: Department of Defense, U.S. Air Force, System Program Management Fitch, Inc. Teledyne Brown Backpack Personal Cooling System The Backpack Personal Cooling System is a lightweight, form fitting and low profile unit that resulted from a unique partnership between the design commu- nity and the federal government. Using technologies originally developed for astronauts, and modified for race car drivers, the system was designed for soldiers using chemical weapon en- sembles in the Persian Gulf, allowing them to stay cool in temperatures reach- ing 130 degrees. This new design, in turn, is being considered for several civilian applications. "Design driven", rather than "engineering driven", the 16.5 pound personal cooling system responds to a variety of human factors. Working with the project's federal program manager, the design team surveyed previous cooling system designs and field test data, incorporating new concepts such as mobile modularity into the backpack. Rather than having to return to a repair station, the modular cooling system allows the user to remove the battery or refrigeration section without tools in as little as ten seconds. In addition, the system is compact, easy to use and clean, and comfortably fits both men and women. The project fulfills two important goals for the Department of Defense. First, the Backpack Personal Cooling System contributes to the department's development of the most technologically well-equipped soldier in the world. Conflicts such as the Persian Gulf War, where the threat of chemical weapons existed, make this kind of equipment essential. Second, the project is aligned with government programs intended to move Department of Defense technolo- gies to the commercial sector. By selecting a design team with a unique background (one which had experience developing equipment for the racing community rather than the military), the Department of Defense created a situation that allowed it to take a fresh look at the problem. The result- ing solution is an excellent example of innovative and responsive design. Credits: The Department of Defense, U.S. Army, \nm Natick Research, Development and Engineering < lentei and the U.S. Army Soldier S> stems ( lommand Carlson Technology Incorporated 15 GRAPHIC DES G N Exhibition Catalogue for Carlos Collazo 1956-1990 Exposicion Homenaje San Juan, Puerto Rico Carlos Collazo was a Puerto Rican painter, ceramist, and graphic designer who died of AIDS at the age of 34. Designed for people without access to the artist's work or his contribution to our society. Exhibition Catalogue for Carlos Collazo 1956-1990 Exposicion Homenaje is a unique contribution to the history- of art in Puerto Rico. Reflecting the social and artistic context of the artist, the catalogue incorporates traditional oral history with theoretical background. The initial investigation and documentation of the artist's work, as well as biographic material, had to be assembled by the designer. By making the investigation of the artist as thorough as possible, the catalogue can be used as a reference for further studies. Limited to an edition of 1,000 copies, the catalogue utilizes a riveted binding to withstand intensive library use. By establishing different levels of discussion within the format, the text mirrors the artist's ability to work in different disciplines. To navigate the material, the designers have created a unique system of iconography. The chronological display of the artist's work also demonstrates the changes in Collazo's work after he was diagnosed as HIV positive. With a scarcity of books on Puerto Rican art, Exhibition Catalogue for Carlos Collazo 1956-1990 Exposicion Homenaje is an opportunity for the public to understand the artist's work and his relationship to our society. Credits: National Endowment for the Arts, Museum Program Instituto de Cultura Puertorriquena J TP # IRS Customer Service Guide The IRS Customer Service Guide is the culmination of extensive efforts by the IRS to develop an easy to use job aid for taxpayer assistors who answer mil- lions of taxpayer questions every year. The guide is technically accurate, easy to understand, and logically designed. Originally an unwieldy, ten-pound loose-leaf binder, the guide now has a professional appearance that belies its ability to withstand the duress of daily use. Before the guide was developed, the assistor had no standard tool from which to work. User participation was an essential part of the design process in the form of focus groups, special testing, surveys, and questionnaires. Changes in the guide's accent color reflect yearly revisions while the use of crack-and-peel sheets allows for updates during the year. Designed for optimum use in a small workspace, the guide uses typo- graphic and color coded indicators to 46 GRAPHIC DESIG N help assistors provide timely, accurate and consistent answers to taxpayer questions. Limiting topics to one page wherever possible and providing enough space for the assistor to add comments expedites finding the correct information. The new guide has resulted in a more productive assistor, better public perception of the IRS, and more accu- rate and consistent answers. In 1988, the national accuracy rate for technical and procedural questions was 52 per- cent. By 1994, the accuracy rate had risen to 91 percent. In testimony before Congress, the General Accounting- Office credited the new guide for the improvement in accuracy. Credits: Department of the Treasury, Internal Revenue Service, Taxpayer Services Cox 8c Associates, Inc. Exploring Maps Teaching Packet Based on the history of cartography, the Exploring Maps Teaching Packet was designed to accompany the U.S. Geo- logical Survey's (USGS) traveling ex- hibit Visual Geography. The poster and teaching modules are interdisciplinary and can be used for high school classes in geography, English, science, math history and world studies. The two posters form a ten-foot timeline of maps from prehistoric times to the space age. The back of the posters includes two timelines: one with literary excerpts on mapping, exploration, and geography and a blank timeline that students can use to complete their own topics. Each panel on the back of the poster is in 8 1/2 x 1 1 format for easy reproduction. One of the missions of the USGS National Mapping Division is to provide educational outreach that relates to earth science and mapping information. Stafl from the National Mapping Division advised on the content of the posters and teaching modules and organized the permissions necessary for image repro- duction. The maps were developed in consultation with geography teachers and the National Council for Geo- graphic Education. The federal government is one of the largest producers of maps in the world, and the art and science of cartography— a unique expression of culture— is now being recognized in exhibitions at muse- ums like the Smithsonian Institution and the Museum of Modern Art. Credits: Department of the Interior, U.S. Geological Survey, National Mapping Division and Maps Application Center Douglas | Gallagher 17 GRAPHIC DESIGN History of American Agriculture Poster By organizing significant events in the development of American agriculture according to subject, A History of American Agriculture, 1776-1990, illustrates the evolution of U.S. agricul- ture in one accurate, attractive sweep. The poster, designed for both students and the general public, uses a timeline structure to present a decade-by-decade account of developments in areas such as economic cycles, agricultural trade, farm machinery, and technology. Based on a popular timeline poster published in 1976, the research infor- mation was assembled, edited and prepared by the Department of Agri- culture's Economic Research Service. The poster, which includes an analysis of agriculture, economic and social science information, depicts the intricate developments of American agricultural history. Given the problem of attracting the audience's attention while describing a number of subjects simultaneously, A History of American Agriculture, 1 776- 1990, displays a vast amount of informa- tion clearly and logically. The designers, taking advantage of electronic design capabilities, expedited the project by using a working poster at 50 percent of the final size. Public response to the poster has been overwhelming, with sales surpass- ing those of all other Economic Research Service publications. The department's Agriculture in the Classroom program is adopting the poster for distribution to schools around the country. Credits: Department of Agriculture, Economic Research Service Chaparos Productions Ltd. A History of American Agriculture 1776-1990 «=* rm-M im mo na hm iw 1110 1MB 1«M WW *sa iffe> &'■ :t3 Wm . ™ '-■ if ■ i A*** ■&—*■■; . *& ■ Vlgv ?£"■■ f< •*0 /t»t\ .. HMB — ms^-i. ^ EC f- _msk ~*&k z> * =3= ^**^*- ._a_J?* 3 *** ft Jl it % M 5* i — . ■ a ■ - m a M e Mission to Planet Earth Posters The result of a collaboration between the Corcoran School of Art and the National Aeronautics and Space Admin- istration (NASA), the Mission to Planet Earth poster series highlights environ- mentally important images of the Earth collected by both satellite platforms and the space shuttle. The posters use visu- ally striking images to examine global changes - El Nino, the ozone layer, the biosphere, global wanning, polar ice, clouds, and volcanoes - currently being discussed in earth science debates. Designed to communicate a visual understanding of the earth sciences through remote sensing data images, diagrams and text, the posters allow the user to view the issues surrounding a given problem in their entirety. While one side of the poster diagrams a core scientific concept, the other details why it is being studied from space. The poster format also allows the images to Pi "™ 48 GRAPHIC DESIGN be large enough to reveal important details. The project itself offered the rare opportunity for design students to work with scientists from both the Goddard Space Center and NASA headquarters to achieve a high standard in visual communication for the poster series. The posters bring technically complex information to the general public, explaining why it is so important to study the Earth from space. Credits: National Aeronautics and Space Administration, Mission to Planet Earth Office Corcoran School of Art, Graphic Design Department FDIC Employee Handbook Created in 1933, the Federal Deposit Insurance Corporation determines the safety and soundness of banks while solving the problems created when these institutions become insolvent. To meet the demands of their work, FDIC em- ployees must be familiar with how the corporation is organized and how it performs its various functions. The redesigned FDIC Employee Handbook focuses on these employee needs. The new handbook provides infor- mation about administrative and em- ployment issues for both new and vet- eran employees, helping them integrate into the FDIC work environment. Because FDIC employees are given a number of publications during any given year, it was essential to design a document that would be well organized and easy to use. Breaking the topics into individual section areas met this de- mand and improved the manual's role as a valuable reference guide. The poor reception of the previous version of the handbook led to a rethink- ing of the entire document. Using an album format and a distinct pallet of cool tints, the designer has created an engaging and inviting publication. By carefully editing the content of the manual, the FDIC staff has eliminated language that would date the material, making the handbook useful for many years. The design also facilitates any updates required by subsequent edi- tions. Credits: Federal Deposit Insurance Corporation, Office of Corporate Services, Design Unit o LL T B * Ethic TDI Ybu' fcftwriQ L !^TZ *L E m p I o y e e Handbook 19 GRAPHIC DESIGN Modernism at Mid -Century: The Architecture of the United States Air Force Academy The design and construction of the U.S. Air Force Academy represents one of the federal government's largest and most important postwar architec- tural projects. A thorough and unique case study of the relationship between the federal government and the design community, Modernism at Mid-Century documents the complex story of the academy and how it relates to architec- tural, military and post war history. The layout, punctuated with photographs and drawings, provides a coherent and ordered format for the vast amount of information covered by the book's authors. The designers adopted a system of four typefaces set against a broad interior margin to give form to the material. Two-and three- page sidebars are set against a grey ■ /i,ir.!,.». t..'. i — !i | ■: I -■ ■ background, making them easy to distinguish from the larger essays. The designers' visual acuity reflects their genuine interest in the topic. Be- cause so much of the book is a discus- sion of the international style, the layout had to provide a complementary means of presentation. While it would have been logical to adopt a graphic style contemporary with the International Style, the designers instead used a contemporary format which works with, rather than against, the interpretive voice of the text. Beyond the initial public reaction to the design of the academy, little has been written about this significant fed- eral design project. By presenting this material in a clear and balanced format, the designers have ensured that Modern- ism at Mid-Century will stand as an exceptional model for similar projects aimed at documenting our national design history. Prisoners off Time Report On January 30, 1991, Senator Jeff Bingaman of New Mexico introduced legislation to create a National Educa- tion Commission on Time and Learn- ing. On June 27, 1991, the Education Council Act of 1991 was signed into law. The following April, the commis- sion began the work which culminated in the visually compelling Prisoners of Time Report, which deals with the time constraints put on students as they learn. The designers created a report that goes beyond the standard white paper format typically used for this kind of document. By turning abstract con- cepts into effective visuals, the report PRISONERS OF TIME Credits: Department of Defense, U.S. Air Force, U.S. Air Force Academy, Department of Civil Engineering The University of Chicago Press ReVerb 50 GRAPHIC DESIGN has reached a broad and diverse audience. Taking advantage of current elec- tronic communication, imaging and printing technologies, the report was produced in an efficient, cost-effective manner that allowed the commission to understand exactly how the report would appear before it was sent to the printer. The success of the report can be measured in the breadth of its circula- tion. Distributed throughout the United States, the report has also been sent to Canada, Germany and Japan. More than 2,000 articles about the report have appeared since its publication, including articles in the New York Times the Wall Street Journal and The Washington Post. Credits: Department of Education, National Education Commission on Time and Learning Carter/Cosgrove and Company Planetary Maps Poster Planetary mapping by remote sensing has played an integral role in the devel- opment of current environmental map- ping and global change studies, yet the planetary mapping program of the U.S. Geological Survey (USGS), which has its origins in the Apollo Space Program, remains obscure. By describing the types of planetary maps available from the USGS, the Planetary Maps Poster both outlines the history of planetary mapping and details current uses of remote sensing techniques. Working closely with the federal employees who served as managers, writers and editors for the project, the designers have created an information resource immediately appealing and educational. Complex information on subjects such as extraterrestrial topogra- phy and mapping the solar system are presented, demanding extreme care in layout and design. By using the history ofplanetar) exploration as a basis for the poster, the designers have made the materia] avail- able to a wider audience. The Planetary Maps Poster includes information on the technologies used in developing the maps, as well as describing the planets of our solar system in minute detail. Among the most stunning graphic design projects supported by the Ameri- can public, the USGS Planetary Maps display both technical sophistication and visual grandeur. The popularity of the poster has brought a relative!) unknown national resource to the atten- tion of the American public. Credits: Department of the Interior. U.S. Geological Survey, National Mapping Division and the Mapping Applications Center Chaparos Productions Ltd. '.I GRAPHIC DESIGN Cooper-Hewitt: A Design Resource New York, New York Founded in 1897, the Cooper-Hewitt Museum, now the National Design Museum of the Smithsonian Institution, was created by the Hewitt sisters as a visual library for students and workers in the decorative arts. Since that time, the museum has become an important resource for designers and scholars throughout the world with nearly a quarter of a million objects in its collections. From March 1991 to August 1992, the Cooper-Hewitt held a marathon exhibition, Cooper-Hewitt: A Design Resource, which displayed close to a thousand objects. The exhibition repre- sented four curatorial departments - Decorative Arts. Drawings and Prints, Textiles, and Wallcoverings, as well as the museum's library and archives, re- displaying a wealth of objects over an extended period of time, the exhibition narrated the history of the museum and demonstrated the significance of its collections. Using text panels at the entrance to each gallery, the curators presented the development of the philosophy behind the museum's collection. After concentrating on European ornamenta- tion and decoration, the museum's focus shifted to modernism, then to universal design and finally to the design process. The combination of objects and text in Cooper-Hewitt: A Design Resource revealed the changes in the way the museum chose objects over the course of nearly one hundred years and em- phasized its role as a national design resource. Credits: Smithsonian Institution, Cooper-Hewitt. National Design Museum Drenttel Doyle Partners Kiss + Zwigard Revolution, Life and Labor: Soviet Porcelains (1918-1985) New York, New York The Ludmilla and Henry Shapiro collection of Soviet Propaganda porce- lains, housed at the Cooper-Hewitt. National Design Museum, is the only one of its kind in the United States. Consisting of 250 plates, vessels and figurines, the collection brilliantly docu- ments the major themes and motifs important to Soviet design between 1917 and the mid 1980s. In 1992, the Cooper-Hewitt introduced the Shapiro collection to the American public with an exhibition, Revolution, Life, and Labor: Soviet Porcelains (1918-1985). As a compan- ion to the exhibition, a catalogue featur- ing some of the most important pieces from the collection was also published. The research for this catalogue was done by the exhibit's curator and colleagues in Russia and represents a significant cooperative effort in the study of Soviet design. Because the budget of the catalogue would not allow for every piece to be illustrated in color, the curator, designer, and printer worked closely together to 52 GRAPHIC DESIGN design a catalogue, with a limited use of color, which conveys the strength and importance of the porcelains. An introductory essay provides historical background for the porcelains and discusses their artistic, social and political significance. The historic nature of the material in Revolution, Life, and Labor: Soviet Porcelains (1918-1985), its political significance, and its artistic strength are shown without compromise and reflect the achievement of everyone involved in the design of the catalogue. Credits: Smithsonian Institution, Cooper-Hewitt, National Design Museum Pentagram Packaging the New: Design and the American Consumer 1925-1975 New York, NY Examining the evolution of consumer culture in America, the Packaging the New: Design and the American Consumer 1925-1975 exhibition at the Cooper-Hewitt, National Design Museum provoked visitors to think about the objects they buy and why they buy them. The exhibition brought the relationship between the designer, advertiser and consumer into focus and explored the results of 40 years of consumer consumption in America. Beginning in the Great Depression, industrial designers quickly joined forces with manufacturers and advertis- ers to stimulate the economy. By intro- ducing new products which were made to entice consumers to buy their way to a better life, designers like Raymond Lowey, Walter Dowin Teague, Henry Dryfuss, Norman Bel Geddes and Donald Desky introduced style as the driving force behind consumerism. The exhibition, divided into galler- ies, took advantage of existing exhibi- tion cases and stock materials to eco- nomically create a space which related to the decade represented. Because the Cooper-Hewitt is located in a 1903 neo-Georgian mansion, the designers had the additional challenge of configur- ing the spaces to prevent the elaborate woodwork and ornamentation of the mansion from competing with the exhibition. Walking through the corridors of Packaging the New: Design and the American Consumer L925-1975, visitors had the opportunity to see how they participated in America's obsession with newness and examine the persua- sive power of design. Credits: Smithsonian Institution. Cooper-Hewitt, National Design Museum Alexander Isle) Design Boym Design Studio -<; GRAPHIC DESIGN The Power of Maps New York, New York Demonstrating the importance of maps as a form of visual information design, the Power of Maps exhibition at the Cooper-Hewitt. National Design Mu- seum also revealed the particular points of view and specific interests behind the creation maps. By providing a critical reading of the map design process, the exhibition examined the way in which maps are constructed. The exhibition arranged more than 300 maps, ancient to modern, into thematic groups. By coordinating the maps with printed materials as well as a \ideo, computer mapping software and a Map Resource room, the curators were able to reinforce the exhibition's message. Current mapping projects were included to show how maps can be used to shape public opinion on environmental, health, and urban issues. By using a wide variety of maps and related materials, The Power of Maps appealed to a wide audience. The exhibition's achievement can be mea- sured not only in the media coverage and critical success but in the presenta- tion of an expanded version of the exhibition at the International Gallery of the Smithsonian Institution. Credits: Smithsonian Institution, Cooper-Hewitt, National Design Museum Pentagram A Royal Gift: The 1862 Porcelain Jewel Cabinet New York, New York The goal of the exhibition A Royal Gift: The 1862 Porcelain Jewel Cabinet was to focus on one extraordinary object from the Cooper-Hewitt, National Design Museum's permanent collection. By inviting visitors to enjoy the aesthetic experience of the jewel cabinet and related objects, the curators presented a fascinating study of both the cabinet and the design process that produced it. The central object in the exhibition was a six-foot-tall jewelry cabinet made at the Sevres factory in Paris during the 1820s. Presented by King Charles X of France as a state gift to King Francis I of the Two Sicilies, the cabinet is com- posed almost entirely of large painted porcelain plaques held in an ornate gilt- bronze framework. The exhibition also included 40 other objects, all made in Paris during the 1820s ranging from 54 GRAPHIC DESIGN porcelain tablewares, silk textiles, wall- papers and fashion prints, to jewelry, buttons and fans. The exhibition focused on four main avenues of design exploration for the cabinet: Historic Context, Craftsman- ship, Function and Fashion, and Image and Interpretation. The cabinet and other objects were arranged thematically around these topics. A central, faceted kiosk presented introductory informa- tion using both text and images. A Royal Gift: The 1862 Porcelain Jewel Cabinet included a free handout composed of a post-card size box that opens to reveal six cards, each illustrat- ing a part of the cabinet on one side and a written description on the other. This type of small, inexpensive, in-house exhibition featuring the Cooper-Hewitt's collections serves as a model for future programs. Credits: Smithsonian Institution, Cooper-Hewitt, National Design Museum Carbone Smolan Associates Mechanical Brides: Women and Machines from Home to Office New York, New York Mechanical Brides: Women and Ma- chines from Home to Office, an exhibi- tion at the Cooper-Hewitt, National Design Museum, critically examined the ways in which people use design to meet practical needs and create cultural identities. Linking the history of design and technology with contemporary research in cultural studies, women's history and sociology, the exhibition's thesis stated that seemingly neutral objects are central to the cultural defini- tion of women's roles. The curators of the exhibition were faced with the challenge of juxtaposing three-dimensional objects and media images to illustrate the story of women in the ideal American home and office. By examining design from the users' perspective rather than concentrating on production or aesthetic values, the curators reached a wide audience. The exhibition was divided into three basic sections: the home, the office, and the telephone which linked the two. By presenting the material in a concise manner and in a number of media, the displays provided a number ways for the visitors to enter the exhibit. Using the techniques of modern adver- tising and environmental graphics, the exhibition stimulated thought and conversation. Mechanical Brides: Women and Machines from I tome to ( HHce gave a vivid, accessible form to the body of feminist scholarship that lias been pro- duced on women, work, and design. By linking objects with media images and experiences of users, the exhibition demonstrated the cultural life of indus- trial design. Credits: Smithsonian Institution. Cooper-Hewitt. National Design Museum Boym Design Studio Design Writing Research M E C H A N I C A L s77s L y ^Y/y/x/? \ 1 WL^^p^^M Jjl JEl^EL. ^ jjta ^fta HI 55 GRAPHIC DESIGN The Edge off the Millennium: An International Critique of Architecture. Urban Planning, Product and Communication Design New York, New York A compilation of 298 essays by archi- tects, designers, critics, philosophers, historians, and design consultants from around the world, The Edge of the Mil- lennium is a book based on the convic- tion that designers are accountable for the effects, messages, products and cities they design. The breath of experi- ence among the contributors provides a multidisciplinary cross-section of reflections on contemporary life. Developed out of a January 1992 conference, the book asks what value the design professions will have in the next millennium. In the spirit of the National Endowment for the Arts Federal Design Improvement Program, the four day, intensively speculative, conference included a wide range observations. A close working relationship between the book's editor at the Cooper-Hewitt. National Design Museum and the de- signer resulted in a lively and engaging text that is visually stimulating and coherently structured. Each section begins with an analytical overview, and carefully chosen images comple- ment the text throughout the book. Enhancing the international influence of the Cooper-Hewitt, and anticipating many of the issues which will confront us at the turn of the century, The Edge of the Millennium stresses the impor- tance of design in shaping the civic realm, and has proven to be popular among students, design professionals, cultural historians and all those inter- ested in design. Credits: Smithsonian Institution, Cooper-Hewitt. National Design Museum ReVerb United States Holocaust Memorial Museum Artifact Posters Washington, DC The Holocaust Memorial Museum's primary mission as a national educa- tional institution is to educate the American public about the history of the Holocaust and its implications. Using materials supplied by the museum, the U.S. Holocaust Memorial Museum Artifact Posters present a wealth of information on the compli- cated issues relating to the history of the Holocaust and resulting in an important new resource for study. Successful design is often the result of interdisciplinary collaboration. In this case, the project began with input from teachers as to what format would be most appropriate to present specific themes from the Holocaust. After the poster format was chosen, the designers worked closely with experts and 56 GRAPHIC DESIGN researchers on the museum staff, allow- ing them to use the most appropriate and effective materials for the posters. The goal was to create materials that could supplement a fully developed curriculum. Designed for a broad range of students - from middle school to the college level - this set of nine posters provides unique background informa- tion on the Holocaust using artifacts, documents, and photographs from the museum collection. Additional materials include a set of caption cards and a teacher guide. Carefully designed to complement each other and promote student inquiry, the additional materials provide historical background, sugges- tions for further readings, and questions for classroom discussions. Through good graphic design, the message about the Holocaust and the resources of the museum are being made available to students across the country. SPIDERS! Washington, DC Civen the mission of bringing a "better understanding of basic spider biology and spiders' indispensable role in main- taining our ecosystem" to the American public, the designers of the National Museum of Natural History's SPIDERS! exhibit faced a formidable challenge. Using visual and participatory design elements, they succeeded in creating a playful and dignified entreaty for spiders and their impact on the environment. Designed as a 5,500-square-foot traveling exhibit, SPIDERS! had to last through ten venues and withstand trans- portation by truck. The exhibit endured not only the demands of moving from site to site, but the traffic of 800,000 visitors over the course of six months at the Museum of Natural History. The design team brought text, visu- als and interactive displays together in a meaningful way. While not overwhelm- ing to the average visitor, the scientific material was detailed in its presentation of the dangers spiders can pose to human beings, as well as to the harm caused by an unreasonable fear of these insects. The exhibit breaks with the tradi- tion of didactic natural history displays and presents its subject in an upbeat yet serious tone. The designers of SPIDERS! took special interest in appealing to younger visitors, and a companion "Spider Lab" - a staffed, hands-on exhibit area - was especially designed for children under the age ofl2. Credits: Smithsonian Institution, Office of Exhibits Central Credits: United States Holocaust Memorial Museum, Education Department Pat Taylor, Inc. Adina Conn 8c Associates "-7 GRAPHIC DESIGN Produce for Victory: Posters on the American Home Front, 1941-1945 Designed for display in small rural communities. Produce for Victory: Posters on the American Home Front, 1941-1945 was a response to the Congressional mandate to reach out to previously neglected audiences in America. The low cost, lightweight display is engaging, intellectually rewarding, and sets a new standard for traveling exhibits. Using design parameters developed by the Smithsonian Institution Traveling Exhibition Service, the Smithsonian's Office of Exhibits Central created a display with the look of a Smithsonian product and the advantages of a trade- show exhibit. The show is durable, portable, and at the same time elegant and clean. The exhibit consists of 50 panels. 55 connectors, and a banner - all of which travels in six, wheeled crates. Construction drawings - including isometric, plan and elevation views - instruct the exhibitor on how to install the displays. The graphics include color reproductions of original vintage post- ers, black-and-white photographs, and World War II objects. Produce for Victor)': Posters on the American Home Front. 1941-1945 involved the exhibitors in all aspects of the project, from the choice of topic to its final design. The result is a blueprint for future exhibits in the same format, three of which are currently being devel- oped by the Smithsonian's Office of Exhibits Central. Credits: Smithsonian Institution. Office of Exhibits Central Publication Design at the National Gallery off Art Washington, DC In helping to cam- out the mission of the National Gallery of Art and support the gallery's programs, the publications of the gallery disseminate information to the general public, provide faithful color reproduction of artists' work, contribute to scholarly research, and serve as a record of the gallery's temporary exhi- bitions and permanent collections. "Publication Design at the National Gallery of Art: A Selection" documents how the gallery has committed itself to the advancement of design standards. Within the restrictions of tight deadlines and limited budgets, the gallery produces twenty to twenty-five major publications every year. A sample taken from works printed during the last four years illustrates the gallery's com- mitment to producing printed materials that are appropriate to the works of art 58 GRAPHIC DES G N they exhibit. Carefully considering each element of the design as it relates to a specific group of objects, the gallery brings together words and images in a clear and interesting manner. Constantly striving to improve the publication process, the gallery has significantly updated electronic publish- ing capabilities, resulting in increased efficiency, improved quality control, and significant cost savings. Publications continue to be completed on time and within budget. The success of the gallery's work can be measured La high catalogue sales, excellent teacher evalua- tions, positive reviews from the press, and the gallery's many visitors. Credits: National Gallery of Art, Editors Office Design Pur Bruce Campbell Design Three Communication Design Grafik Communications, Ltd. -,'t LANDSCAPE ARCHITECTURE Arizona Interstate Rest Area Program Recognizing that the rest areas along Arizona's interstate highways had reached the end of their life cycle of providing safe, comfortable and relaxing settings for travelers, the Arizona De- partment of Transportation invited a team of landscape architects, artists, architects, engineers and tourism ex- perts to create unique, user-friendly sites. While traveler safety and security were paramount concerns due to the remote location of the sites and minimiz- ing the costs of maintenance and oppor- tunities for vandalism was crucial, the state wanted the rest areas also to serve as "tourism ambassadors." Today, information displays and welcome centers at the sites allow the traveler to learn more about the area and make plans to visit attractions. The designers also drew upon the remote desert landscape to demonstrate innova- tive approaches to sustainable and responsive design, such as passive cool- ing systems and arid site landscaping. To ensure safety, the bathrooms are visible from the parking areas as well as to the highway patrol. Traveler polls at the new rest areas confirm that the designers have achieved a unique balance that incorporates aesthetic appeal, functional practicality, and environmental sensitivity. In addi- tion, they have helped to improve tour- ism in the state. Credits: Department of Transportation, Federal Highway Administration, Region 9 Arizona Department of Transportation, Roadside Development Section Cella Barr Associates Charles Robert Schiffner Architects Ltd. Enid A. Haupt Garden Washington, DC The Smithsonian Institution's Enid A. Haupt Garden ties together three dis- parate historic landmark buildings - the Smithsonian Castle, the Victorian Arts and Industries Building, and the Neo- classical Freer Gallery of Art. All are linked by a 4.2-acre site, which also includes the entrance pavilions to the underground quadrangle complex housing the Arthur M. Sackler Gallery of Asian Art, National Museum of Afri- can Art, and S. Dillon Ripley Center. The design creates a composition of delightful garden rooms, each with a distinct image and character. Together, they form a sophisticated public garden that is intimately scaled and well detailed, in the tradition of grand estate gardens of America and Europe. Formerly a parking lot, the garden achieves a remarkable reconciliation of opposing and conflicting elements through a unifying theme of symmetry, balance, texture, and proportion. The plantings in each area reflect the differ- ent typological origins of the garden 60 LANDSCAPE ARCHITECTURE rooms - a brick-walked Victorian gar- den leading from the street to the castle, a peaceful Oriental garden with moon gates and circular island next to the Sackler, and a lively Islamic garden with bubbling fountains adjacent to the African Art museum. Utilitarian structures scattered around the site, such as stair towers, large skylights, exhaust vents and a loading dock, are hidden behind care- fully arranged plantings and garden walls. The garden exemplifies the ability of landscape architects to connect and enhance disparate visual elements through unifying forms and elements. Credits: General Services Administration, National Capital Region Smithsonian Institution, Office of Design and Construction Shepley Bulfinch Richardson and Abbott Sasaki Associates Dorst Campground Sequoia/Kings Canyon National Park. California The reconstruction of this 1930s camp- ground and picnic area to accommodate contemporary camping styles was ac- complished economically and with great sensitivity to its history. Built by the Civilian Conservation Corps during the Great Depression, Dorst Campground was rebuilt to mitigate the impact of development on the park's Giant Forest, protecting the treasured giant Sequoia trees. The number of campsites was increased by 80, to a total of 240, with nearly half of the sites reserved for recreation vehicles. Despite this enor- mous growth, the site does not feel crowded due to carefully placed native stone retaining walls. Natural materials were used in a functional and aesthetic manner. Circu- lation was improved to reduce vehicle impact on vegetation and camps. Since the integrity of the natural vegetation was a major concern, erosion control blankets were used on slopes and drain- age courses rather than seeding with commercial grasses. The alignment of new roads enhance drainage and the visual quality of the roadscape. A new bridge of rustic design recalls an earlier time when only natural materials were used, out of necessity, in remote parks. Members of the design team, all of whom were experienced campers, ably demonstrated their appreciation for the past, their knowledge of campers' aes- thetic and physical needs, and technical knowledge in this project The project demonstrates that the National Park Service can upgrade the function and utility of existing park facilities for a growing population without losing the qualities that made this environment memorable for previous generations. Credits: Department of the Interior. National Park Service, Denver Service Center, and the Sequoia/Kings Canyon National Park Department of Transportation. Federal Highway Administration (il LANDSCAPE ARCHITECTURE Hirshhorn Museum Plaza Washington. DC Working with a complex site that had become badly worn and bad never successfully addressed architect Gordon Bunshaft's 1974 circular Hirshhorn Museum, the Smithsonian Institution hired a landscape architect to create an urban oasis. The 2.7-acre plaza is now a pleasant shady spot for weary visitors to contemplate the museum's renowned sculpture collection while also being more technically functional. With a clear sense of respect for the integrity of the original design, the designer retained the symmetry and geometric focus of the site, including Bunshaft's circular fountain in the plaza's center. Key to the success of the design was the decision to add greenery to the outside quadrants. Areas of plant- ing and low walls subdivide spaces into smaller units to create "rooms" for the sculpture, representing a total shift in the concept of how visitors use the space. These garden areas are defined by rows of trees, lawns, gende slopes, benches and granite rises that also provide seating. A granite paved walk- way circumnavigates the site, making the sculptures accessible to visitors in wheelchairs. The plaza actually serves as the roof for the museum's lower level. The structural, mechanical, waterproofing, drainage and grading work, which was crucial to the performance of the build- ing, remains invisible to plaza users. Today, die Hirshhorn plaza grace- fully and sensitively relates to the mu- seum while immensely improving the relationship between visitors and the monumental building. Credits: Smithsonian Institution, Office of Design and Construction and the Hirshhorn Museum and Sculpture Garden James Urban, ASLA Cannon/Faulkner Kenilworth Marsh Restoration Washington, DC Kenilworth Marsh is the last remaining freshwater tidal wetland in the District of Columbia. Massive urban develop- ment, storm water runoff, sedimentation and years of neglect had reduced the once expansive marsh to barren flats at low tide. The marsh clearly needed to be restored and kept navigable while transforming the mud flats into function- ing wetlands. Restoration of the marsh was accom- plished through intergovernmental cooperation between the National Park Service, U.S. Fish and Wildlife Service, Army Coqis of Engineers, Metropolitan Washington Council of Governments, and District of Columbia Department of Public Works. Wetlands form an integral part of the watershed's self-cleansing system. They serve as biological filters for the silt, nutrients and pollutants that wash down from thousands of sources. In addition, they help reduce riverbank erosion and flood damage, improve water quality, and provide essential habitat for fish and wildlife. One mea- sure of the success of this project is the 62 LANDSCAPE ARCHITECTURE dramatic increase in marsh flora and fauna. Before the restoration, visitors could count the number of snowy egrets on one hand, today they number close to 100. A major innovation was the first application in the nation of water tubes and straw bales to contain the dredged material. These appropriate low-tech- nology solutions kept the costs low and avoided the use of heavy equipment that might disturb the habitat. Canals were cut into the restored marsh to enhance tidal water flow and allow canoes to navigate through the area. Credits: Department of Defense, U.S. Army, Corps of Engineers, Baltimore District Metropolitan Washington Council of Governments Biohabitats, Inc. Cottrell Engineering Corporation Chris Athanas 8c Associates, Inc. Sentinel Bridge Yosemite National Park, California Tasteful and restrained defines the design approach of this functional, unobtrusive bridge. This structure enhances its setting and introduces an attractive man-made element that inter- acts with the spectacular views of the Yosemite Valley. Sentinel Bridge spans the Merced River with a shallow posttensioned concrete arch. The arch enables visitors to view the landscape uninterrupted by piers while providing a dignified sense of crossing. Granite facing echoes the natural materials of the mountains. The various approaches to crossing the bridge and the parking areas are integral parts of the design. Whether on foot, horseback, bicycle or automobile, the traveler can conveniend) cross the river, reveling in one of the grandest views of Half Dome. The extra-wide sidewalks on either side of the bridge enable photographers, pedestrians and w luelchair users to reflect on the natural beauty of the site without impeding the passage of others. The parking area is partially screened from the road. Large granite boulders located throughout the area help direct pedestrian traffic and provide seating while visitors wait lor the shuttle bus. This project clearly illustrates that good infrastructure design can enhance the experience of the park for visitors. Credits: Department of the Interior. National Park Service, Denver Service Center Department of Transportation. Federal Highway Administration 63 LANDSCAPE ARCHITECTURE Loess Hills Scenic Byway Program Western Iowa The Loess Hills region of Western Iowa is a unique geologic land form compris- ing 640,000 acres and spanning seven counties. What began as a local attempt to boost tourism and economic develop- ment in the region turned into a nation- ally significant program that involved hundreds of volunteers from the area and led to tremendous tangible and intangible results. The former is demon- strated by a nearly 250 percent increase in tourism, and the development of a new organization - The Loess Hills Alliance - to preserve and protect the future of the region. The latter is best characterized by the new-found pride residents have discovered, thanks to their role in surveying and researching the area. The project literally began from scratch since the state did not have a scenic byways program. Staff from the U.S. Department of Agriculture's Soil Conservation Service created a program that relied heavily on the participants of local residents. The SCS developed an innovative scenic route selection process specifically tailored to rural Iowa. The process used techniques such as visual resource inventories, overlay mapping, public polling, and computer visual simulation. Volunteers w T ere trained to collect data on potential routes. Com- mercial sendees were inventoried along these routes to determine the suitability to serve visitors. During the project, more than 140 volunteers logged over 1.100 hours and hundreds of miles on their own vehicles. Fresh from their new-found apprecia- tion of their environment, residents undertook a large-scale landscape re- source study that inventoried the natu- ral, cultural and historic resources of the entire area. The result is a model program establishing scenic byways based on citizen involvement. With strong volun- teer participation throughout the pro- cess, the project ensured that residents would be the best ambassadors for their land, setting the stage for implementa- tion and management of the region's future planning and design. V—S.T) J ^-%_ ;'' W ■'- \ m .... ^_ LOESS HILLS SCEHIC BYWAY ] fA I ^"1 j > v_\ wo 5 V- ; Credits: Department of Agriculture. Natural Resources Conservation Service. Iowa State Office and the Midwest National Technical Center National Endowment for the Arts, Design Program Golden Hills Resource Conservation and Development 64 LANDSCAPE ARCHITECTURE Sepulveda Basin, Lake Balboa Park and Wildlife Area Los Angeles, California Sepulveda Basin, Lake Balboa Park and Wildlife Area has sensitively balanced the needs of an urban populace for recreation facilities and a wildlife habitat while fulfilling its original role as a vital unit in a flood control plan in the Los Angeles County drainage area. Created in 1941 by the Army Corps of Engineers for Los Angeles County flood control, the Sepulveda Dam and Reservoir has taken on many other functions as the region's population soared in the post- war years. Approximately two-thirds of the 2,100-acre site is leased to the city Department of Recreation and Parks, which maintains its parks, golf course and play fields. Lake Balboa Park and the Wildlife Area was designed to meet the needs of an urban population of about 1.5 million which previously had litde access to open space. The objectives of the designers for Lake Balboa Park included: to preserve views, use native plants to form natural areas, create mixed use areas that would complement the recreation lake, block distracting views of nearby streets through the use of earth mounds, and create a natural appearance for the lake. As a result, a 26-acre fishing and boating lake, trails, picnic areas and a children's play area were created for the enjoyment of area residents. All the landscaping and recreational features were designed to withstand possible floods. The wildlife area - with its large pond, oak woodland and native grass- lands - is a habitat for more than 200 varieties of local and migrator) birds. Trails created around the lake offer viewing blinds and open benches for viewing the migratory' water fowl in and around the pond. Incorporation of native plant materials, combined with innovative water handling treatment strategies, has resulted in increased numbers and varieties of wildlife. In addition to creating a wildlife sanctuary, the project established an experiential learning environment for visitors. The lake and recreation area has proved to be an attractive and popular destination for area residents. A result of a partnership between city and county agencies with the Army Coq>s. Lake Balboa Park and Wildlife Area has greatly enhanced the community's enjoyment without sacrificing its ecological purpose. Credits: Department of Defense. U.S. Army. Corps of Engineers, Los Angeles District Brockmeier Consulting Engineers, Int. . IHTMC CUM OOU COL* ..■III IM IIHIIIMOIM SEPULVEDA BASIN MASTER PLAN (>". URBAN DESIGN Augusta Canal Master Plan Augusta. Georgia The Augusta Canal system winds its way through a wilderness corridor. developing three separate branches that traverse historic neighborhoods and urban landscapes before flowing back into die Savannah River next to Augusta's historic downtown area. The canal master plan identifies actions to preserve and interpret the endan- gered canal and its related resources. The process to create the plan was a catalyst for the entire City of Augusta, bringing together previously divisive factions with the unified vision of a revitalized community. At the outset of the study, significant polarization and mistrust divided the conservationists, private developers, and public agencies. Moving from confrontation to consen- sus building was a major defining aspect of the plan. The planning process made the citizens and leaders of Augusta aware of die central role they would have to play in implementing the plan. Using the city's heritage to create a strong vision for the future. Augusta citizens demon- strated that they could create a third life for their city through the canal, just as their forefathers did in the 1840s when the canal was conceived as a transporta- tion corridor and again in the 1870s when the canal was enlarged to accom- modate post Civil War industrialization. Residents have gained new amenities, recreational opportunities, and revital- ization of their neighborhoods while preservationists have seen historic structures saved through reuse, and conservationists have secured critical natural settings. In addition, educators have new teaching environments and property owners have realized increased value. Credits: Department of the Interior. National Park Service/SERO CityDesign Collaborative. Inc. The Augusta Canal Authority The Office of ThomasJ. Martin Peter H. Hand Associates. Inc. W. R. Toole Engineers. Inc. Bi -State Development Agency/Arts in Transit St. Louis. Missouri Arts in Transit was established to help design St. Louis's new 18-mile light rail system. A team of six visual artists were brought in to work with Metro Link's architects and engineers to design the infrastructure of the system. The team's objective was not to decorate spaces but to develop a comprehensive and coher- ent system that would be visually appeal- ing within the existing construction budget. The result is an innovative public works project as well as a collabo- rative work of public art. Design goals included developing a composition of related components, creating a sense of dynamism through changeable elements, and using ver- nacular forms and materials. Solutions include unique bridge piers, unconven- tional passenger shelters for outdoor stations, underground tunnel stations that maintain the character of the his- toric space, and preservation of original architectural remnants. Stations share 66 URBAN DESIGN design qualities such as the curve in- spired by the Mississippi River and the Gateway Arch. Built along a railroad right-of-way, Metro Link is the first light rail system to reuse existing infrastructure extensively as an integral part of its design. It travels through historic, industrial, residential and commercial neighborhoods, and even runs across the Mississippi using the historic Ads Bridge. The LaClede's Landing Station incorporates old brick walls whose arched windows were opened to allow views of the Gateway Arch and Mississippi River. Credits: Department of Transportation, Federal Transit Administration, Region VII National Endowment for the Arts, Visual Arts Program Bi-State Development Agency Arts in Transit Sverdrup Corporation Kennedy/Associates/ Architects, Inc. Booker Associates, Inc. Kuhlmann Design Group Booz, Allen & Hamilton, Inc. LS Transit Systems, Inc. Todd Williams and Billie Tsien Austin Tao and Associates Fort Belvoir Master Plan Fort Belvoir, Virginia Fort Belvoir's mission has changed substantially in recent years. What started as an engineer training center has evolved into a regional, multimission center for the U. S. Army. The master plan was undertaken to guide the fort's managers in achieving its new, broader mission. Located on the Potomac River in a rapidly growing area outside Washing- ton, DC, Fort Belvoir is the largest single tract of land controlled by a single owner in Fairfax County. Considerable effort was made to promote the participation of all entities that would be affected by the plan. These included Fort Belvoir resi- dents, military officials, two county and one city government, as well as the area's commuter rail organization. Interviews and charrettes were conducted to discuss environmental, utility, commercial, transportation, and quality of life issues. The plan identifies eight separate mis- sions: military, administrative, logistics support, recreation, education, housing, military community support, and envi- ronmental stewardship. Among the unique issues addressed by the plan was the preservation of the historic view corridor from George Washington's home, Mount Vernon. The plan also took into account environ- mental issues related to the Chesapeake Bay. Environmental overlays and other constraint analyses were digitized over up-to-date existing base mapping, pro- viding efficient visualization and handling of large quantities of diverse information. The Army received unanimous approval to implement its master plan, giving the post clear guidelines for its land use, including traffic and utility programs for the next 20 years. The Fori Belvoir Long flange Plan is a model for military planning. Its exemplary level lit participation coupled with its com- prehensiveness present a logical course of action to manage the development of land, facilities, resources and infrastruc- ture for this and other complex military bases. Credits: Department of Defense, U.S. Army, Corps of Engineers, Baltimore District and the Fort Belvoir Directorate of Public Works VVoolpert Consultants. Alexandria Woolperl ( lonsultants, ( Ihariotte Woolperl Consultants, Dayton (-7 URBAN DESIGN Historic Family Quarters Preservation Program U.S. Army Military District of Washington, DC Many U.S. military bases were estab- lished before World War I and contain numerous types of historic structures. Historic base housing is often seen as a nuisance by military personnel because of high upkeep costs, numerous techni- cal problems, and demanding compli- ance procedures. The high cost of maintaining these structures led the Department of Defense to develop the Historic Family Quarters Preservation Program. This comprehensive manage- ment program for the maintenance and repair of historic military family quarters is recognized for balancing historic preservation goals with the ongoing functional needs of housing for military personnel. As one of the earliest preservation initiatives of the Defense Department, this program is a model for preserving the historical resources of military installations. Using three locations within the Military District of Washing- ton, a task force developed a set of stewardship standards for exterior and interior treatments that comply with the Secretary of Interior's Standards for Rehabilitation. They also produced a set of guidebooks providing direction on the repair or replacement of specific components from lighting fixtures to roofing. Since most historic military housing was built from standardized plans, many identical quarters exist on military bases across the country, mak- ing the guidebooks applicable to at least 48 installations with the same types of buildings. Another critical component of the program was the development of a Maintenance Management Plan for the quarters. The plan prioritizes mainte- nance tasks and recommends preventive maintenance procedures that extend the useful life of building materials and reduce the possibility of sudden system failures. Credits: Department of Defense, U.S. Army, Military District of Washington Hanbury Evans Newill Vlattas & Company National Law Enforcement Officers Memorial Washington, DC Graceful and elegant are the words most often used to describe the National Law Enforcement Officers Memorial in Washington, DC. Located in Judiciary Square, the memorial is surrounded by large historic buildings. Rather than competing with the massive Italian Renaissance style National Building Museum or the classical judicial build- ings, the memorial creates unity and context where once there was none. Unlike most memorials, which commemorate specific events or persons, this is an ongoing memorial created to honor future, as well as past, fallen officers. Their names are inscribed on gently curving low stone walls that envelop the square. Befitting a living memorial, the site is also a park with pergolas, benches, reflecting pool, and a variety of seasonal and perennial plantings. The memorial is free from heavy architectural structures which might intrude upon the sight lines and 68 URBAN D E S G N compete with the buildings that so beautifully frame the space. The location over a Metrorail station required that the design integrate those existing structures. The elevators were, therefore, incorporated into the pergola, and the air relief vents were repositioned within the landscaped lawn areas. Working with six federal and eight local agencies and review bodies, the architect successfully navigated the maze of reviews and approvals required for Washington memorials. The design contains a number of innovative fea- tures. For example, the pergola struc- tures have acute angles on the upper bars to deter roosting pigeons. This project is a fine example of how neglected urban spaces can, and should, be used for civic purposes. Credits: Department of the Interior, National Park Service, National Capital Region National Law Enforcement Officers Memorial Fund Davis Buckley, Architects and Planners James Urban, ASLA Raymond Kaskey, FAIA Petersen Air Ferce Base Comprehensive Plan Peterson Air Force Base, Colorado Located in a rapidly growing area out- side Colorado Springs, Peterson Air Force base occupies 1,278 acres and is home to the U.S. Space Command and the Air Force Space Command. The comprehensive plan was undertaken to establish a baseline planning document that would guide the facility as it pre- pares for the future and copes with its ongoing growth. Faced with a tight deadline since earlier work on a previous plan had been stopped, the designers of the new Base Comprehensive Plan (BCP) established an in-house management team that provided a flexible process for managing the base's growth and integrated its planning efforts with those of the sur- rounding communities. The team iden- tified four basic planning principles for the long-term BCP effort: developing a team concept, establishing a project management plan, applying partnering techniques and incorporating total quality management to document devel- opment. This teamwork process was highly successful, providing easier access to military and civilian leaders and establishing a broader base of expertise and contacts. The plan's environmental design guidelines were a pioneering effort for the Air Force. Since there were no existing models, Peterson Air Force Base created one. The base was in urgent need of this design control tool to bring visual and functional order to its envi- ronment, including landscape treat- ment, signage, lighting, street furnish- ings and waste management features. Using computer mapping through- out the project was also an unprec- edented and innovative outcome of the planning process, providing a pow- erful interactive medium to maintain an up-to-date planning document/ database. This has been integrated with other data sources, leading to safer and more cost-effective facility placements and allowing faster identification of natural and man-made constraints. Credits: Department of Defense. U.S. Air Force. Peterson Air Force Base. 2 1 st Space Wing. 2 1 st Support Group and 21st Civil Engineer Squadron Higginbothani Briggs &: VssO< iatea Leigh, Scott Ji; Clean . Inc. (i ( > URBAN DESIGN Presidio General Management Plan San Francisco, California Presiding over one of the most outstand- ing vistas in this country, the Presidio is at a turning point in its history. The 1995 closure of the military base that has been located on that site for 220 years set in motion a major planning effort by the National Park Service, which will take over its management. In addition to its magnificent view of the Golden Gate and San Francisco Bay, the 1,480 acre area contains an enormous wealth of cultural, natural and recreational resources. The Presidio planning process has been one of the most open and partici- patory endeavors ever undertaken by the National Park Service. It has in- volved individuals throughout the country and enlisted many groups not traditionally involved in park planning. The planning team employed vision workshops, newsletters, concept work- books, and numerous public meetings as part of the public review process. Among the challenges faced by the planners were determining appropriate treatments for the vast number of his- toric resources contributing to the Presidio's national historic landmark status, transportation planning in an area where traffic congestion is already a serious concern, and developing a strategy to meet operational and finan- cial challenges of implementation. The resulting plan breaks from traditional park planning, calling for innovative approaches to management and prescribing a bold vision for the Presidio. The entire site is to become a model of sustainability and innovative technology. It will be the setting for programs that promote stewardship of global resources, provide youth with skills and commitment to public service, and explore methods to improve the health of people and the planet. In short, it will be a model urban national park for the 21st century. Credits: Department of the Interior, National Park Service, Denver Service Center and the Presidio Project Office Redesign of Diggs Town Norfolk, Virginia Like many of this country's public housing projects, Diggs Town was plagued with the worst of society's problems: unemployment, crime, drugs and decay. The 1950s-era complex in Norfolk, Virginia, leveraged public housing modernization funds from the U.S. Department of Housing and Urban Development (HUD) to transform a "project" into a neighborhood. HUD and city government officials worked with the design team and Diggs Town residents to create cohesion, bolster safety and foster a sense of com- munity pride. Principles of traditional American urbanism were applied to this distressed complex. Limited funds supported minimal structural changes, yet they had enormous physical and psychological effects on the complex and its residents. Front porches were added to the low-rise, multifamily units, encouraging residents to communicate and get to know each other. Fences secured private spaces, giving residents control over the outdoor areas that previously had been claimed by gangs. And new, small-scale streets provide parking, public security and the pride of having a "street address." Residents also worked with city and federal officials to establish a drug elimi- nation program and create over 20 jobs with the project contractor, as well as plan early childhood education and recreation programs. In fact, the resi- dents were key to defining the problems and establishing the process that led to 70 URBAN DESIGN the redesign of Diggs Town. "Village meetings" with the designers and gov- ernment managers were conducted regularly in resident back yards over six months to create the plan. The process at Diggs Town demon- strates how the involvement of residents and creative design solutions can make "neighborhoods" out of "projects." Credits: Department of Housing and Urban Development. Virginia State Office Norfolk Redevelopment and Housing Authority Diggs Town Tenant Management Corporation UDA Architects CMSS Architects Staples Street Station Corpus Christi, Texas Staples Street Station is in downtown Corpus Christi, Texas, amidst the city's municipal complex. It is also the city's most heavily used bus transfer point. Before the station was built, transit passengers were required to rush across busy traffic intersections to make their connections at five separate locations and to wait for their buses on congested sidewalks. The new station consolidates the stops, allowing passengers to alight from one bus and immediately board the next. The structure's design is in the Spanish Colonial style, with golden-tan stucco and arches, complementing the city hall building across the street. The station has a friendly, welcoming feel that is enhanced by the cheerful decor. Following a number of citizen and business-leader meetings organized by the Regional Transit Authority to dis- cuss the development of the station, it became clear that residents wanted the station to reflect the community. To accomplish this, the local arts center created a means for residents literally to make their mark on the new station. The 1 .500 ceramic tiles that grace the station were designed and painted by residents. Personal safety also was a high prior- ity so the designers minimized structural elements to create a large open space and increased the normal level of light- ing. Customer comfort was accommo- dated with many seating areas, maxi- mum shade, water fountains, and con- cise information displays. The design even includes spaces for street vendors who sell refreshments to transit riders. This bus station demonstrates the value of a well-planned outreach effort - a friendly, functional, attractive and cost-effective public space that benefits the entire city. Credits: Department of Transportation. Federal Transit Administration. Region VI Corpus Christi Regional Transportation Authority Creative Arts Center Projects for Public Spacf Aloe Tile Works Progressive Structures. Inc. 71 URBAN DESIGN Visual Clutter: D Utility systems located underground. D Improved circulation/channelization by Introduction o( bermed median. a Visual distractions screened/site choracter Improved by landscape design. D Scale ot parking reduced by planted islands/fingers'. O Pavement graphics used where possible. TRADOC Communities of Excellence Program The U.S. Army Training and Doctrine Command Fort Monroe, Virginia The United States Army Training and Doctrine Command (TRADOC) is made up ofl 8 installations and several Army service schools whose mission is to provide basic and advanced training to officers and enlisted personnel. These installations provide more than just training. They are communities, not unlike cities and towns, and have a direct link to the morale, welfare and sense of well-being of its residents. Recognizing growing disrepair on the bases and lack of investment in their surroundings by residents, TRADOC established its Communities of Excel- lence Program to improve the quality of life and urban environments of the installations. The program faced the challenge of integrating community involvement and stewardship practices where they were not normally recognized or promoted. The implementation approach was designed to reach a broad audience of military personnel and "non-designers." An annual training program outlined guidance by which installations pre- pared for annual evaluations. Manuals that graphically depict design standards and illustrate various levels of design quality were produced for a wide variety of facilities, including transient quarters, commissaries, and outdoor training areas. This program has facilitated an awareness of urban planning and identi- fied continuous community and quality' improvements as an integral aspect of planning on all TRADOC installations. The program has raised expectations command-wide and created informed, demanding and involved citizenry who have become part of a TRADOC community's planning process. Credits: Department of Defense, U.S. Army. Training and Doctrine Command E.L. Hamm and Associates, Inc. Williams. Tazewell and Associates, Inc. Teaching with Historic Places, National Park Service Our nation's historic places are invalu- able teaching tools, but until recendy, there was not a systematic way for teach- ers across the country to use them in conjunction with existing lesson plans. Recognizing the potential to provide students with an understanding of the nation's cultural diversity and historic traditions, to help communities appreci- ate and protect their unique character, and to foster stewardship among young people and citizen groups to assist in protecting historic resources, Teaching with Historic Places was created joindy by the National Park Service's National Register of Historic Places and the National Trust for Historic Preservation. Lesson plans for Teaching With Historic Places had to be integrated into existing course structures, so extensive research was conducted on the various opportunities to add a preservation component to curricula in subjects such as history, social studies and geography. A team of nationally recognized preser- vationists and educators recommended development of an ongoing series of 4, ■ ■» I WO ' 72 URBAN DESIGN classroom-ready lesson plans, educa- tional kits consisting of several themati- cally-linked lesson plans, audiovisual materials, a teacher guide, and a techni- cal assistance kit on how to teach with historic places. Teacher training oppor- tunities are offered several times a year to disseminate the program's methodology. The lesson plans are based on prop- erties listed on the National Register using an array of maps, readings, visual documents and activities to develop and strengthen critical and analytical think- ing skills. At least one activity in every lesson plan leads the students into their own community to find and research similar themes and historic places. Teaching with Historic Places provides a national model that establishes a mutu- ally beneficial partnership between educators and preservationists, making students more aware of their cultural heritage. Credits: Department of the Interior, National Park Service, National Register of Historic Places/ Interagency Resources Division National Trust for Historic Preservation Daydream Design Walnut Street Bridge Chattanooga, Tennessee Built in 1891 as an engineering marvel, the Walnut Street Bridge today is a testament to the citizens of Chattanooga and their commitment to preserving their past while creating a vibrant new public space. Deemed unsafe when closed in 1978, the bridge faced demoli- tion until concerned city residents stepped in and had it placed on the National Register of Historic Places. Popular support grew as plans unfolded to transform the bridge into a rather unusual park. Today's traffic on the bridge is not from automobiles, but that of pedestri- ans, cyclists, readers, kite-flyers and roller-skaters - to name a few. The bridge is fully accessible to the wheel- chair bound, with careful attention given to connecting the roadbed and cantile- vered sidewalks with transitional ramps. Benches, planters and new lighting encourage recreation and leisure activi- ties. With funds from the Federal High- way Administration, the engineers developed a posttensioned cable system for the project that has become a model for restoring historic bridges. Its virtual invisibility has minimal impact on the span's historic character, yet makes it stronger than when originally built. In homage to the original bridge, a wooden deck was created and all existing orna- mental railings were restored. The engineers also used an innovative steel grit blasting technique to recycle the grit after separating the toxic lead, saving hundreds of thousands of dollars in landfill costs for contaminated sand blast material. The Walnut Street Bridge is now a key element in the city's river front revitalization. Credits: Department of Transportation. Federal Highway Administration, Tennessee Division Garnet Chapin Architects A. G. Lichtenstein & Associates, Inc. 73 NDEX OF AWARDS Architect of the Capitol Thurgood Marshall Federal Judiciary- Building, Washington, DC, p. 33 Department of Agriculture A History of American Agriculture, U76-1990, p.48 Loess Hills Scenic Byway Program, Western Iowa, p. 64 Department of Commerce Economic Development Administration * Focus: HOPE Center for Advanced Technologies, Detroit, Michigan, p.8 Department of Defense Department of the Air Force 60K Loader Cab Interior, p. 44 Comprehensive Plan for Peterson Air Force Base, Colorado, p. 69 Modernism at Mid-Century: The Architecture of the United States Air Force Academy, p. 50 Department of the Army Backpack Personal Cooling System, p. 45 Environmental River Engineering on the Mississippi, p. 40 Fort Belvoir Real Property Master Plan. Fort Belvoir, Virginia, p. 67 Kenilworth Marsh Restoration, Anacostia River Maintenance Dredging, Washington, DC./?. 62 Marathon Battery Superfund Site Remedial Design, Cold Spring, New York. p. 40 Military District of Washington Historic Familv\Quarters Preservation Program, Washington, DC, p. 68 Point Marion Lock Cofferdam. Point Marion, Pennsylvania, p. 41 Sepulveda Basin: Lake Balboa Park &c Wildlife Area, Los Angeles, California, p. 65 TRADOC Communities of Excellence Program. Fort Monroe, Virginia, p. 72 * Recipient of a Presidential Award for Design Excellence Department of Education Prisoners of Time Report, p. 50 Department of Energy Solar Energy Research Facility, Golden, Colorado, p. 42 Department of Health and Human Services Food and Drug Administration * FDA Food Label Design, p. 24 Department of Housing and Urban Development Daybreak Grove and Sunrise Place, Escondido, California, p. 29 Lucerne Gardens, Boston, Massachusetts, p. 31 Redesign of Diggs Town, Norfolk, Virginia. p.70 Department of the Interior Geological Survey Exploring Maps Teaching Packet, p. 47 Planetary Maps Poster, p. 51 National Park Service Augusta Canal Master Plan, Augusta, Georgia, p. 66 Barataria Environmental Education Center, Jean Lafitte National Historical Park and Preserve. New Orleans. Louisiana, p. 28 Dorst Campground, Sequoia/Kings Canyon National Park, Three Rivers, California, p. 61 * The Double Arch Bridge of the Natchez Trace Parkway, Franklin, Tennessee, p. 16 Lowell Performance Pavilion. Lowell, Massachusetts, p. 30 National Law Enforcement Officers Memorial, Washington, DC, p. 68 Presidio General Management Plan. San Francisco, California, p. 70 Rehabilitation of the Old State House, Boston, Massachusetts, p. 36 Sentinel Bridge. Yosemite National Park, California, p. 74 Teaching with Historic Places, Washington, DC, p. 72 Washington Monument Entry Level Lobby Renovation. Washington, DC, p. 37 Women's Rights National Historical Park, Wesleyan Chapel Block. Seneca Falls, New York,/). 35 Department of State Office of Foreign Building Operations The Architectural Advisory Board, Washington, DC, p. 28 United States Embassy Chancery, Muscat, Oman, p. 34 Department of Transportation Federal Highway Administration Arizona Interstate Rest Area Program, p. 60 Dorst Campground, Sequoia/Kings Canyon National Park. Three Rivers, California, p. 61 * The Double Arch Bridge of the Natchez Trace Parkway, Franklin, Tennessee, p. 16 * The Interstate 90 Completion Project. Seatde, Washington, p. 18 United States Naval Academy Bridge, Annapolis, Maryland, p. 42 * River Relocation Project, Providence, Rhode Island, p. 20 Sentinel Bridge. Yosemite National Park. California, p. 74 Talmadge Memorial Bridge Replacement, Savannah, Georgia, p. 43 Walnut Street Bridge, Chattanooga, Tennessee, p. 73 Federal Railroad Administration Amtrack AMD-103 Diesel Locomotive, p. 44 Federal Transit Administration Bi-State Development Agency/Arts in Transit, St. Louis, Missouri, p. 66 Staples Street Station, Corpus Christi, Texas, p. 71 Department of the Treasury Internal Revenue Service IRS Customer Service Guide, p. 46 74 INDEX OF AWARDS Environmental Protection Agency Marathon Battery Superfund Site Remedial Design, Cold Spring, New York, p. 40 Federal Deposit Insurance Corporation FDIC Employee Handbook, p. 49 Federal Emergency Management Agency Spreckels Temple of Music, San Francisco, California, p. 36 General Services Administration * Byron White United States Courthouse, Denver, Colorado, p. 10 Enid A. Haupt Garden, Washington, DC, p. 60 Independence Square, Washington, DC, p. 30 Oakland Federal Building, Oakland, California, p. 32 U.S. Border Station, International Falls, Minnesota, p. 34 National Aeronautics and Space Administration Independence Square, Washington, DC, p. 30 Mission to Planet Earth Posters, p. 48 National Endowment for the Arts Bi-State Development Agency/ Arts in Transit, St. Louis, Missouri, p. 66 Carlos Collazo 1956-1990 Exposicion Homenaje, San Juan, Puerto Rico, p. 46 Loess Hills Scenic Byway Program, Western Iowa, p. 64 National Gallery of Art Publication Design at the National Gallery of Art: A Selection, p. 58 Exhibition Design at the National Gallery of Art: A Selection, October 1991- May 1994, p. 38 Smithsonian Institution Enid A. Haupt Garden, Washington, DC, p. 60 Produce for Victory: Posters on the American Home Front, 1941- 1945, p.58 SPIDERS!, p.57 * Cooper-Hewitt, National Design Museum, p. 22 The Cooper-Hewitt Collections: A Design Resource, p. 52 The Edge of the Millennium: An International Critique of Architecture, Urban Planning, Product and Communication Design, New York, New York, p. 56 Mechanical Brides: Women and Machines from Home to Office, p. 55 Packaging the New: Design and the American Consumer 1925-1975, />.55 The Power of Maps, p. 54 Revolution, Life, and Labor: Soviet Porcelains (1918-1985),/). 52 A Royal Gift: The 1826 Porcelain Jewel Cabinet, p. 54 Freer Gallery of Art and Arthur M. Sackler Gallery Freer Gallery of Art: Restoration and Reinstallation, p. 38 Hirshhorn Museum and Sculpture Garden Hirshhorn Museum Plaza Renovation and Landscaping, p. 62 National Museum of the American Indian Master Facilities Program for the National Museum of the American Indian, Washington, DC, p. 32 National Postal Museum National Postal Museum, Washington, DC, p. 39 U.S. Holocaust Memorial Museum * U.S. Holocaust Memorial Museum, p. 12 * U.S. Holocaust Memorial Museum Permanent Exhibition,/). 14 U.S. Holocaust Memorial Museum Artifact Posters, p. 56 U.S. Postal Service National Postal Museum, Washington. DC, p.37 75 CREDITS This publication was produced under a cooperative agreement between Community Ventures, Forrest City, NC, and the Design Program of the Nadonal Endowment for the Arts. Senior Editor and Writer Thomas B. Grooms Editors Judith Binder Lily Leiva Writers Ned Cramer Susan Hyatt A. Benno Schmidt Thomas Walton Design Cox 8c Associates, Inc. NATIONAL ENDOWMENT FOR ^0 T H E ARTS Presidential Design Awards National Endowment for the Arts Design Program The Nancy Hanks Center 1100 Pennsylvania Avenue, NW Washington, DC 20506 202/682-5437 ISSN-10490541X Photographs: Page 37 Page 56 Robert Creamer Ken Pelka (top) Page 8-9 United States Balthazar Korab Page 38 Holocaust Memorial Museum Freer Gallery of Art (bottom right) Page 10-11 (center left and top) Michael Barber Architecture National Gallery of Art Page 57 (bottom right) United States Page 12-13 Holocaust Memorial Museum Timothy Hursley Page 39 (top left) Page 1 4 National Gallery of Art (top left) Chip Clark (bottom right) Jeff Goldberg (bottom left) Hedrich Blessing Page 58 United States Holocaust (bottom right) Paul Sewell (bottom left) Memorial Museum (top right) Page 40 Page 60 Page 15 Malcolm Pirnie, Inc. Mark Boisclair (bottom left) Timothy Hursley (top right) Robert C. Lautman (top right) Page 18-19 Page 41 Page 61 Washington State Department Malcolm Pirnie, Inc. Robert C. Lautman of Transportation (bottom left) (bottom left) Page 22 Page 42 Page 62 Ken Pelka (bottom left) Marvin D. Blimline (top left) Celia Pearson (bottom left) Billjacobson (bottom center) Bob Harr (bottom right) Ken Pelka (top right) Page 65 Page 43 Lamb/Culver Page 23 Bob Harr (top left) Billjacobson Page 66 Page 44 Steven Ginn (top right) Page 29 Bob Johnston Davids Killory (bottom) Page 67 Page 45 Robert Pettus (bottom left) Page 30 Dennis Carlson (top right) Jock Potde (center left) Page 68 Steve Rosenthal (top right) Page 46 Greg Staley (top right) Larry Ruggeri (top right) Page 31 Page 69 Steve Rosenthal (center left) Page 47 Eric Taylor (bottom left) CWC Builders/J.D. Sloan Photo Link Higginbotham/Briggs 8c (bottom right) Page 48 Associates (top) Page 32 Jeffrey Wilkes (bottom) Page 70 Richard Barnes (top left) Corcoran School of Art Marti Knapp (top left) Smithsonian Institution (top right) Charles Kennard (bottom) (bottom right) Page 49 Page 71 Page 33 Paul Kennedy (bottom left) UDA Architects (top left - Smithsonian Institution Sam Collicchio (top) top and bottom) (top left) Ron Randolf Photography Jeff Goldberg (bottom right) Page 51 Jeffrey Wilkes (bottom center) (bottom) Page 34 Page 72 Peter Kerze (bottom left) Page 52 Beth Boland (bottom right) Jeff Goldberg (top right) Billjacobson (bottom left) John Parnell (top right) Page 73 Page 35 Bedi Boland (top left) Carl Stein Page 53 Garnet Chapin (bottom center John Parnell (bottom left) and right) Page 36 Howard J. Wong (top left) Page 54 Peter Vanderwarker Ken Pelka (center left) (bottom right) 76 ■ mgm D ■ - *tt ■ ■ i >, hk2 ■ ■ .f.-' ¥ \ ■ I ■ ^* ■ I wSMBS aft ■ ■ ■ ■ ■ .. 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