Posts tagged with "Memorials":

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Finalists announced for Boston’s new Martin Luther and Coretta Scott King memorial

A new monument dedicated to Martin Luther King, Jr., and Coretta Scott King is coming to Boston—the city where they first met—and five teams are in the running to design it. This week, MLK Boston, the organization spearheading the effort, announced the finalists chosen for the project. The official memorial will sit in Boston Common, the oldest park in the United States, where King marched and addressed the public on April 23, 1965. Within the 50-acre space are other monuments and landmarks including the Shaw Memorial and the Parkman Bandstand. The Boston Capitol Building, the Freedom Trail, as well as the Black Heritage Trail also surround the 384-year-old site. To provide context for the new memorial, MLK Boston asked participants to create a site-specific permanent installation that would incorporate engraved phrases of the Kings’ seminal texts and speeches, and would use digital technology to enhance users’ experience. With the park serving as an everyday gathering place and home to many notable historic rallies, the memorial is meant to both inspire and engage the local community to reflect upon the pairs’ contributions to the Civil Rights Movement and the future of equality, peace, and justice in the United States. Through October 16, the public can review each of the proposals and submit feedback. All designs are also on view at the Boston Public Library in Copley Square and the Bolling Building in Roxbury. Check out the five finalists below: Avenue of Peace Yinka Shonibare and Stephen Stimson Associates This memorial walk in Boston Common will center around a towering fountain covered in a colorful mosaic. Set inside an oval reflecting pool lined with black granite, the sculpture will include the names of the pioneering Civil Rights activists as well as an olive branch design, signifying their commitment to peace. Twenty-two inscribed benches will be built along the walk and an interactive app will be available for download, telling the individual stories of King and Scott before they met in Boston, as well as their life together afterward. Boston’s King Memorial Adam Pendleton, Adjaye Associates with Future/Pace and David Reinfurt Inspired by Dr. King’s 1968 speech, “I’ve Been to the Mountaintop,” this design provides a panoramic view of Boston Common via an elongated overlook made of black stone. The open structure bridges serve as handicap accessible walking paths descending from Beacon Street, while the sloped stone sculptures on the lawn provide public seating and form a radical amphitheater, according to the architects. Engraved on the surface of each stone is text from the Kings’ most famous speeches. A digital platform for mobile devices will accompany the memorial and provide additional transcripts, audio, and images. The Embrace Hank Willis Thomas with MASS Design Group This stand-out sculpture symbolizes the love and commitment that Dr. King and Coretta Scott had for each other, while simultaneously reminding visitors of the power of protest in the fight against injustice. Set atop a gentle incline, the 22-foot-high arms of the couple will be built with a mirrored bronze finish, allowing the reflection of both passersby and the surrounding park to be seen in the sculpture. People can walk through The Embrace and inspect it close up as well. The site will be split into two plazas and form an axis from the Capitol, to the Parkman Bandstand, and to Dudley Square where a proposed MLK education center may be built. Empty Pulpit Monument Barbara Chase-Riboud Set inside an undulating landscape of rolling hills, the focal point of this design is a truncated stone pyramid that forms a beacon of light at night. The towering structure is constructed out of granite and bronze and is inspired by a 17th-century wood pulpit, symbolizing MLK’s silenced voice. Visitors can walk underneath the monument via a passageway to see engraved images detailing the diaspora. On the back of the bronze sculpture will be the Kings’ most powerful quote, according to the designer, “I have decided to stick with LOVE, HATE is too great a burden to bear…” Bronze plaques with other famous phrases by the pair will be embedded into the surrounding greenery. The Ripple Effects Wodiczko + Bonder/Maryann Thompson Architects with Walter Hood The Ripple Effects showcases the impact the Kings’ leadership has had on future generations and their role in the emancipatory process in Boston, across the U.S., and around the world. Centered around two beacon towers that serve as a reminder of the couples' continuing presence, the memorial's ground rises from the plaza with terraced green spaces for seating. It would culminate in an empty, shaded platform for gathering and reflection. The bridge above would lead visitors across the Common and feature inscribed text chronicling emancipatory events from the 19th century to today. Below the bridge will be a glass wall where visitors can literally and figuratively reflect on their own role in this ongoing process of emancipation and activism.
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William & Mary solicits ideas for a memorial for the school’s former slaves

The College of William & Mary in Williamsburg, Virginia, has announced an open call for a competition to design a memorial honoring the African Americans enslaved by the school upon its founding in 1693 until the Civil War. The public university welcomes conceptual ideas for a physical memorial that provides an area of community and contemplation for students, teachers, and staff to reflect on its former reliance on slave labor. The forthcoming memorial must engage with the school’s Historic Campus, a two-acre, diamond-shaped site situated around The Wren Building—designed by English architect Sir Christopher Wren and the oldest college building still standing in the U.S. The adjacent President’s House and the Brafferton make up the heart of William & Mary’s colonial campus where the memorial may be constructed. “This memorial is such an important project for our community,” said current President Katherine A. Rowe in a press release. “African Americans have been vital to William & Mary since its earliest days. Even as they suffered under slavery, African Americans helped establish the university and subsequently maintained it.” The project falls under the larger umbrella of a long-term initiative by the university to research its own history with slavery. As the second oldest higher education institution in the country, it used slaves for not only construction, maintenance, and service, but for funding the college in general. King William and Queen Mary of England specified in a charter that the school would be built off the profits of slaves working in tobacco fields of Virginia and Maryland. The college even owned its own plantation, the Nottoway Quarter. In 2007, the William & Mary Student Assembly called for the college’s Board of Visitors (BOV) to create a commission to research the full depths of its contributions to slavery. They also asked that a public memorial be built as an apology and as a source of remembrance. Under the purview of The Lemon Project, which the BOV established in response, the school has been exploring these ties to slaveholding as well as its current relationship with the African-American community of Williamsburg, Virginia, for several years. Sponsored classes, research studies, symposia, and more have encouraged students and faculty to spread awareness and dive deep into the topic despite its difficult truths. The Lemon Project Committee on Memorialization (LPCOM) was founded out of this commitment after a fall 2014 course where students considered how a memorial design might convey the history and memory of the school’s racially fraught past. The committee has spent the last several years discussing how to best approach the memorial competition, which was announced last week. Interested participants must submit a design plan and a 500-word description of their concept by October 12 at 5 p.m. To learn more about the submission process, go here. A jury of alumni, staff, faculty, and students will choose three ideas to show President Rowe, upon which, if the design is ready, she will share with the BOV during its February 2019 meeting.
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Alternative Grenfell Tower memorial design calls out those responsible

British architecture organization Architects for Social Housing (ASH) has published an alternative take on the Grenfell Tower memorial proposed by architecture studio JAA earlier this month. While JAA's proposal covered the shell of the burned-out building in slabs of black concrete, ASH's vision covers JAA's design with the names of public and private officials ostensibly responsible for the disaster. JAA's design was put forward by the architects as a conceptual exercise that had no backing from the government. As the architects said in Dezeen, the intent for such a design was to give enduring visibility to the tragedy and to encapsulate the event in public memory so that its lessons would not be forgotten. Reactions were mixed; one minister of parliament scorned it as "misery porn." The ASH proposal taps into public outrage surrounding the event. In its aftermath, many of those affected and others across the U.K. accused the local authorities and Prime Minister Theresa May of being insufficiently concerned about the wellbeing of the residents of public housing projects like Grenfell. A public inquiry into the causes of the 2017 disaster, in which 71 people died, started this summer, but no one has been held responsible.
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What is the future of death? A gallery solicits design responses

Art Omi, an arts nonprofit based in upstate New York, has issued an open call for an upcoming exhibition that will explore the future of design for death. Exit Architecture: Speculations on the Hereafter will showcase proposals that present critical and speculative looks at both present and future visions of post-mortem architecture and “new ways of marking our exit” from this world. Organized by Warren James, Julia van den Hout, and Kyle May, it’s the first curated exhibition put together by Art Omi’s architecture program. Art Omi facilitates projects for architects that integrate experimental and innovative landscape, architecture, and art ideas. According to a press release, the purpose behind Exit Architecture is to uncover designs that go beyond traditional memorials and religious symbolism, and ones that react to the changing landscape of modern life on Earth.   As the curators note: “The realities of the world today have imposed additional restrictions and opportunities on internment: rapid population growth, densifying urban areas, limited space, environmental concerns, and digitization—all factors that could lead architects to reimagine our own exit.” The chosen works will be on view at Art Omi’s campus in upstate New York at the Newmark Gallery in the Benenson Center from January 12 to March 3, 2019. It will then begin touring on March 15. Architects and architectural teams from any part of the world are invited to propose an idea for the exhibition. See submission guidelines here.
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Winning design chosen for Sandy Hook memorial

A final design has been unanimously selected for the Sandy Hook memorial in Newtown, Connecticut, the Newtown Bee reports. On Friday, the Sandy Hook Permanent Memorial Commission announced that out of the top three concepts unveiled in May, The Clearing by Ben Waldo and Daniel Affleck of SWA Group will be presented in front of the city’s Board of Selectmen at the end of this week as the commission’s official recommendation. The board is slated to make the final approval this month. It’s been five years since the commission was created to establish a public memorial honoring the 26 victims and survivors of the 2012 shooting at Sandy Hook Elementary School. From 189 international submissions, Waldo and Affleck’s vision for the 5-acre site became the top choice after a July 17th presentation by the three final teams. The Clearing features a sprawling landscape of winding pathways, trails, lakes, and flowery woodland centered around a young sycamore tree planted in a fountain. The names of the victims are prominently carved into the fountain's stone edge. The latest design iteration, which the team updated for the most recent presentation, includes an added manmade pond and an alternative entrance and pavilion. It also includes more details on the proposed materials for the site. Waldo and Affleck are based out of SWA Group’s San Francisco office. The design team also includes Justin Winters of SWA/Balsley, Jim Garland, AIA, of Fluidity, as well as Jason Loiselle, principal at Sherwood Design Engineers and his colleague, design engineer Gabe Duque. The Board of Selectmen will meet Friday, August 9 to review the commission’s recommendation.
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onePULSE Foundation is soliciting ideas for a memorial to victims of Orlando shooting

Today, the onePULSE Foundation launched its Ideas Generator, an open call for designs for a permanent memorial and museum dedicated to the 49 lives lost in the 2016 Pulse nightclub tragedy. The June 12th attack in which a gunman opened fire in the Orlando nightclub, killing dozens and injuring 68 others, was considered a terrorist attack on the United States and an act of hatred against the LGTBQ+ community. The planned memorial and museum is set to honor the lives affected by this event, including the survivors, victims’ families, first responders, and healthcare professionals. According to onePulse Foundation board member Hilary Lewis, today’s announcement is meant to spark a national conversation on the need for the project and how it might turn the site of a crime scene into a place of hope and reflection. "We are looking for the most innovative way to combine the idea of a memorial, a museum, and a gathering place,” Lewis told The Architect’s Newspaper. “The need is for something uplifting and we’re looking to create a space that moves the discussion forward in a positive way, while also helping us understand how to make the world a better, more inclusive place.” The Ideas Generator invites people from around the world to present ideas related to architecture, landscape, urbanism, and artistic intervention. The open call asks for both rough ideas and polished proposals. The Foundation recently opened its interim memorial in Orlando, which features interactive wall exhibits, lighted benches and a steel fence where visitors can attach messages and mementos. The design and program of the new memorial and museum will possibly feature these elements as well, but the Foundation has yet to release an official RFP for the actual project.  “We recognize that the greatest talent out there may come from people who we haven’t heard of yet,” said Lewis. “If someone wants to submit a conceptual idea, whether it’s a sketch on a napkin or a poem, we’d like to see it. The Ideas Generator is designed to open the lines of communication so we can figure out the best way to develop the RFP and make sure we’re on the right track.” Last fall, the Foundation hosted a public, online survey pertaining to the look and feel of the future memorial, as well as what issues it should address and whom it should honor. Answers from the family members of the victims and survivors were given top consideration. Many cited the Vietnam War Memorial and the Holocaust Museum in Washington, D.C., the Oklahoma City National Memorial, and the National September 11 Memorial in New York as inspirations for the future Pulse project. Potential plans to demolish the former nightclub or keep it standing are also discussed. You can read their individual thoughts in the survey here. The Foundation will be accepting ideas through August 31 and begin developing an RFP this fall. To learn more about the Foundation's vision for the project as well as Points to Consider when submitting ideas, go here.
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Sandy Hook memorial moves forward with three potential designs

Three teams are in the running to design a memorial honoring the victims of the Sandy Hook Elementary School shooting in 2012. The top groups are set to present their concepts to the memorial commission on Tuesday, July 17 in Newtown, Connecticut. The chosen teams, representing various cities and firms throughout the U.S., were selected out of 189 international submissions due last December and were narrowed down from 13 shortlisted designs in May. The project is the result of a five-year-long development by the memorial commission which was established in late 2013.  Per the submission guidelines, entrants were asked to envision a public memorial that stretched across five acres of donated land located a quarter of a mile from the elementary school. Designers were challenged to consider the existing site’s rural setting and to maximize the use of its woods, wetlands, and ponds as well as to include native plants suited to the region and microclimate. In addition, entrants were asked to incorporate the “sacred soil” of incinerated items such as stuffed animals and flowers that were left as temporary memorials throughout the town following the shooting. Up until this summer, all submitted designs were kept anonymous as the family members, public and memorial commission reviewed them privately. Now that the design teams have been made public, each group will present updated iterations of their initial proposals below at Tuesday's meeting.   The Clearing was designed by Berkeley-based designers Ben Waldo and Daniel Affleck. It features an encircling landscape of winding pathways and trails that wrap through a flowery woodland. At the center is a young Sycamore tree planted inside a fountain with the names of the 26 victims of the shooting engraved around the stone edge. According to the team, the design symbolizes that the healing process does not end, but rather continues to grow and bring people closer together. The inspiration behind the Sandy Hook Memorial Garden revolves around 26 gardens and miniature fountains, each dedicated to the individual lives lost that day. A 36-inch-tall stone wall will be erected at the edge of the site and will include four separate dedications to the town of Sandy Hook, the first responders, the surviving teachers, and classmates as well as the American community who offered loved and support after the shooting. The concept was created by Justin Arleo of Arleo Design Studio LLC from Tempe, Arizona. Let the Earth Hold Us + Heal Us features six experiential elements including an open green space dubbed the Breathing Field, a Memorial Grove, a Reflection Pool as well as a Belonging Bench and Community Arbor. The project was conceived by Joan MacLeod of Damon Farber Landscape Architects, Teri Kwant of RSP Architects, and Julia McFadden of Svigals + Partners, who worked on the design for the new elementary school. Once the memorial commission reviews the designs above, the chosen proposal will go before the Newtown Board of Selectman. A final decision will be announced in August.
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Absence is made tangible at the new national memorial to lynching victims

Absence is not abstract. It is felt and perceived. Absence implicates all of us inasmuch as it confounds the very writing of our stories. To see absence is to have our limits revealed, not as if in a mirror, but in a manner that shows that we are entangled with distant tethers that keep our bodies, our histories, in check. Absence, when made visible, is not observed immediately. It takes time. The April 26 opening of the National Memorial for Peace and Justice and the Legacy Museum in Montgomery, Alabama, is perhaps one such catalyst for the effacement of the visitor with respect to the racial terror that led to the loss of thousands of lives through lynching. Lynching victims who were burned alive, hanged, shot—murdered—in and along the towns and byways of our nation from 1877 until 1950, are documented in this memorial initiated by the Equal Justice Initiative (EJI). Such violence continues today in the form of excessive imprisonment; by the murders of black women and men by the police; by the enforcement of state-sanctioned economic violence. By crafting spaces in which the subtractive is both a tool and a frame, the design of this memorial signals the recuperative agency of building as a means to affect the erasable and irascible conditions that established and purvey hatred, fear, and ignorance in this country. Here, looking away is not conscionable, as it moves against the habitus of memory, where our own individual pasts intersect with the Past. That the National Memorial for Peace and Justice and the Legacy Museum are realized in this, the 50th anniversary of the Memphis Sanitation Workers’ Strike and the Fair Housing Act of 1968, is indeed an extraordinary feat indebted to the efforts of many individuals that came before. However, I would be remiss in not reminding readers that in recent reportage, including The New York Times and Rolling Stone, there is scant mention of the architects. During the spectacle of the opening ceremony, EJI’s Executive Director, Bryan Stevenson, acknowledged builders, contractors, laborers, and “local” architects—but did not name the project architects, MASS Design Group. Only on the EJI website can we find mention that the Initiative had the “assistance” of MASS Design Group. It feels purposeful, and we are thus left to speculate. I am left wondering: Are architects supposed to fade away in the fashioning of a memorial? I can think of recent examples for which this is clearly not the case. What has been wrought in other locations, including Washington, D.C., Berlin, Johannesburg, New York City, and Birmingham, all speak through their authors. And, in varying degrees, formal aspects of each of these memorial spaces are present now in Montgomery. Memorials render ghosts. And Boston-based MASS Design’s work with the EJI on the design and building of this structure is no less haunted by the iniquities of American history. With distant views of limpid hills and a semiformal state capitol town center with its empty shops, deserted lots, 59 Confederate markers, and recent loft conversions, the Memorial for Peace and Justice is adjacent, without irony, to the storefront of the State of Alabama Office of Pardons and Paroles Day Reporting Center. From the street below, the memorial structure is partially indiscernible due to its horizontal profile cutting across the sightline, but it may also be read as an empty pedestal through and on which the lives of so many passed, passed away, disappeared. One climbs farther up the hill alongside a boundary wall upon which a series of chronological narratives is posted to convey the story of “Why here?” and “Why now?” The manifestations of slavery, of incipient racism that persist today, are described as a backdrop to an unfolding of both landscape and architecture as marked sites for unceasing brutality. We are soon confronted by a bronze sculpture of humans in chains by Kwame Akoto-Bamfo. The signs begin too high to be read easily and meet our eyes as we climb the hill. A sharp corner, and one rises again to the structure while unfortunately overlooking the conclusion of the memorial space one floor below. There is no fixed entrance, per se, except a momentary pause with a large fire extinguisher. Stepping onto a timber floor, one is immediately surrounded by a dense array of body-size steel casks hung from pipes that disappear into a paneled metal ceiling. One moves cautiously through a grid of “bleeding” Corten steel containers, each incised with the name of the county and names accompanied by dates, including those unknown, of the lynched. The floor gradually descends as the casks remain above our heads; their intact volumes remain whole. By moving downward, one returns into the ground. The horizon has been excised. Gravity is idle. A series of narratives printed on thin metal strips is hung in a similar manner to the initial chronologies, describing in the briefest of ways the events of individual lynchings. The blunt quotidian language, their facticity, arrests our movements. At the next corner, one is presented with two very large indictments. A cascade of water pushes across the adjacent wall, merging with, not obscuring, an extended text. The temperature changes. Two choices are apparent: Climb a ramp or stair into the center of the quadrangle or leave. The empty center, while perhaps disguised as a space of confrontation, is more like a cloister in which condemnation is subdued, internalized; here it is possible to see across through the casks while observing others. It is not a sanctum. Greeting one’s unceremonial departure from the memorial upon moving outside, another sliver of text is located across from the pipes and pumps of the interior waterfall. This is not as much a “door of no return,” as merely a way out. This non-exit merges with an unmarked landscape of horizontal metal casks, akin to those held inside the structure—a topology of loss. Despite being worrisome for those who might wish to touch one of the steel containers after a hot day, one walks between their seemingly geographic order(s) locating states and counties, and names. Farther on, a series of bronzes by Dana King, depicting Rosa Parks and her heroic companions leading the Montgomery Bus Boycott, intersects the path. A small circular garden of mushroom-like concrete stools is sited nearby and is unlike anything seen elsewhere, with no explanation as to its role. One moves across on pathways above, around, and below another bronze, this one by Hank Willis Thomas, spelling bodies of containment, of stability falling away. With the building of such thresholds for historical reckoning, the arc of our knowing also asserts unknowing; absence lingers. The National Memorial for Peace and Justice and the Legacy Museum attest to our own entanglements with reconciliation and truth. Memorials, like museums, are structures that attempt to keep us in their grasp as long as possible, allowing for the disclosure of our interior selves with multiple worlds. Such “new worlds” are partially uncovered at the intersection of reflection and remembrance, yet allow for and point to the rupture of what our passages have been and continue to be.
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America’s first memorial to victims of lynching opens in Montgomery

On April 26, the National Memorial for Peace and Justice, the first memorial in the U.S. dedicated to African American victims of lynching and continued discrimination, will open to the public in Montgomery, Alabama. The memorial, designed by Boston-based MASS Design Group, will open in tandem alongside The Legacy Museum: From Enslavement to Mass Incarceration, also located in Montgomery, which will chart the history of African American segregation from slavery to the present day. Both projects stem from the Equal Justice Initiative (EJI), a nonprofit group that works to right racial injustices, advocates for those in racially or economically segregated communities, and provides legal representation for the illegally arrested or abused. The memorial itself, located in the middle of six acres of hilltop in Montgomery, is a square-shaped, open-air pavilion dedicated to the more than 4,400 victims of lynching in America. Their names are inscribed across over 800 six-foot-tall, rectangular columns wrapped in Corten steel and hung from the ceiling of the memorial. Each of the columns represents a county where the lynchings listed took place, and replicas of each are located outside of the pavilion for their respective counties to come and claim; the columns left behind are meant to be a public reminder of which county has failed to engage with the memorial. Visitors just outside of the pavilion’s entrance will be confronted by a sculpture from Ghanian artist Kwame Akoto-Bamfo of a mother in chains, crying out while cradling a baby under her arm. A sculpture by Dana King dedicated to the women who kept the Montgomery Bus Boycott alive will also be located near the “town square” memorial. “Our nation’s history of racial injustice casts a shadow across the American landscape,” said EJI Director Bryan Stevenson. “This shadow cannot be lifted until we shine the light of truth on the destructive violence that shaped our nation, traumatized people of color, and compromised our commitment to the rule of law and to equal justice.” The Legacy Museum is only a 15-minute walk from the memorial, and the two-story, 11,000-square-foot brick building sits on a site that had historically been used to warehouse slaves. Inside, the museum will use videos, photography, and research materials to introduce visitors to first-hand accounts of the domestic slave trade. From there, sculptures from Titus Kaphar and Sanford Biggers, among other mixed-media works and photographs, will paint a portrait of life under enforced segregation in the Jim Crow South. Through a range of mediums including animation and paintings, the museum hopes to create a full timeline of racial segregation in America. According to the EJI, design and artistic partners for the museum also include Local Projects, Tim Lewis and TALA, Molly Crabapple, Orchid Création, Stink Studios, Human Pictures, HBO, and Google. The April 26 opening ceremony will be followed by several days of panels, presentations, and concerts at the museum.
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Orlando approves permanent Pulse nightclub memorial

The Orlando, Florida city council has unanimously approved a permanent memorial to the victims of the June 2016 Pulse nightclub shooting. The just-approved labyrinthine memorial builds on a design in Colonialtown Square Park that was already in-progress at the time of the massacre. Forty-nine pavers, one for each of the victims, will coalesce around a shattered heart that shares a rainbow color palette with the #OrlandoUnited symbol. Plans on file with the city list local firm KZF Design (also known as KMF Architects) as the architect. Installation will be complete by next week, and the city plans to hold a dedication on December 20. In October, city officials approved benches, a fence, and new landscaping on Pulse's property, the first step towards another permanent commemoration. Pulse owner Barbara Poma's onePULSE Foundation is behind that project.
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Is D.C.’s WWI Memorial moving to the National Mall?

What is going on with Washington, D.C.'s World War I Memorial? On November 9, the World War I Centennial Commission hosted a symbolic groundbreaking for the WWI Memorial in Pershing Park, a public square designed by M. Paul Friedberg just blocks from the White House. The groundbreaking last week, a day ahead of Veteran's Day (observed), was purely ceremonial, as the project hasn't gotten the requisite approvals or permitting. Some say that the WWI Centennial Commission, the government group in charge of the memorial's construction, is now looking to place the memorial at the National Mall, but the Commission maintains that there are no plans to relocate the memorial at this time. It was just in July of this year that D.C.'s planning board, the National Capital Planning Commission (NCPC), voted in favor of adding a memorial to Pershing Park, and allowing the memorial to move forward from its concept stage to design development. The vote allowed the WWI Centennial Commission and the National Park Service to work with the winning design team to refine the memorial. (At press time, the NCPC could not be reached for comment on the memorial plans.)

The winning design for the WWI Memorial, selected in January 2016 after a two-phase competition, is titled The Weight of Sacrifice, and was submitted by GWWO Architects, New York sculptor Sabin Howard, and Chicago architect Joseph Weishaar. Their proposal would replace an onsite kiosk and cut a path through Friedberg's concrete pool, a defining feature of the 1.8-acre park.

While many in landscape architecture and preservation circles acknowledge the importance of a WWI memorial, they believe the memorial design will alter Pershing Park beyond recognition. In a letter to the NCPC, Friedberg called the memorial's defining feature "a persistent and intrusive one note wall that’s being forced into the space, thus obliterating the scale and meaning of the original design.” The U.S. Commission of Fine Arts had told the WWI Commission in March of this year to come up with a design that wouldn't overshadow the original late modern landscape. For his part, the director of the WWI Memorial Foundation would like a memorial on the National Mall, not Pershing Park. "We're 100 percent for the National Mall," said David DeJonge, president and co-founder of the WWI Memorial Foundation. The park, he said, is a half-hour walk from the other war memorials on the mall, and the park's landmark protections would make it hard for the memorial to be realized in the way stakeholders desire. At the ceremonial groundbreaking last week, Dejonge told Curbed DC that the WWI Centennial Commission had nixed Pershing as the site for the memorial. However, the WWI Commission's Colonel Tom Moe said Pershing is still under consideration as a memorial site. WWI Memorial Foundation Co-Founder and Centennial Commission Vice-Chair Edwin Fountain added that the group hopes the memorial will remain in the park. The WWI Centennial Commission echoed Colonel Moe's statement. "No. We are not moving the memorial. That is an erroneous blog post," said Chris Isleib, director of public affairs at the WWI Centennial Commission, referring to the Curbed piece. To support his statement, Isleib emailed a resolution to The Architect's Newspaper (AN) from a March 22, 2017 Centennial Commission meeting that outlined the group's stance on the National Mall location: "We would obviously like to consider the option of being on the National Mall, but Congress ultimately decides the issue of the memorial's location. ... Congress authorized the memorial for Pershing Park." At the meeting, the 12-member commission voted to consider the National Mall—if the option becomes available. However, shortly before the November 9 groundbreaking last week, according to DeJonge, the WWI Commission again discussed moving the memorial to the National Mall. Isleib at first declined to comment on the encounter, then followed up to say he did not know if any conversation had taken place. DeJonge is hoping to leverage federal law to site the memorial on the National Mall. The former Main Navy and Munitions Building, which sits over Constitution Gardens, was home base for WWI planning headquarters, and given the connection between WWI and the Mall, DeJonge believes a section of the Antiquities Act of 1906 could be leveraged to build the memorial. Among other provisions, the law allows presidents to create national monuments on federal property. To that end, his group is petitioning President Donald J. Trump to authorize the building of the memorial on the National Mall, which is overseen by the National Parks Service. (He outlined the Foundation's plans in a press release last week.) As of now, the memorial is the early stages of design development, and it hasn't gotten final approvals from two key agencies, the NCPC or the U.S. Commission of Fine Arts. Nor have any building permits been issued. Any D.C. memorial must comply with the Commemorative Works Act, a federal law that guides the construction of monuments on the National Mall and other areas, and gain approvals from the National Capital Memorial Advisory Commission (NCMAC). Whatever site is selected, the WWI memorial still faces a stringent and lengthy approvals process moving forward.

Monument, Myth, and Meaning

In light of recent events in Charlottesville, Virginia and other cities across the nation, a panel discussion on Civil War Monuments has been planned in Cooper Union’s renowned Great Hall, on the subject of their meaning, the complex histories that surround their realization, and the current socio-political conditions that are causing their very existence to be reconsidered. Should these monuments be saved? Should they be torn down? Is it possible—or even appropriate—to make thoughtful, informed interventions into these works of public art that can preserve their history, diffuse the myth and polarization that surround them and serve as teaching moments for future generations? These and other questions will be posed during the program. Panelists include:
  • Stony Brook University Professor Michele H. Bogart, whose teaching areas include the social history of public art and urban design and commercial culture in the United States;
  • Executive Director of the American Historical Association James Grossman whose work has focused on various aspects of American urban history, African American history, the place of history in public culture, and more;
  • Julian LaVerdiere, a 1993 graduate of The Cooper Union School of Art and co-creator of the Tribute in Light Memorial;
  • Visual journalist and former CNN correspondent Brian Palmer, who has photographed Virginia's neglected African American cemeteries and more;
  • Columbia University Professor of Architecture, Planning and Preservation Mabel O. Wilson, whose design and scholarly research investigates space, politics and cultural memory in black America and race and modern architecture;
  • Mya Dosch, faculty member of The Cooper Union’s Humanities and Social Sciences who is teaching the fall 2017 course “Take ‘em down: Monuments, Artist Interventions, and the Struggle for Memory in the Americas,” will moderate.