Posts tagged with "Washington, D.C.":

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The Hirshhorn Museum’s Sculpture Garden set for a Hiroshi Sugimoto overhaul

A year after the Japanese artist and architect Hiroshi Sugimoto completed his renovation of the Hirshhorn Museum and Sculpture Garden lobby in Washington, D.C., the museum has approved a sweeping redevelopment of the sculpture garden. A unanimous vote by the museum’s board of trustees this morning to advance the renovation was the culmination of two years of design studies on how the space could be better utilized. Sugimoto and his design team, the Tokyo-based New Material Research Laboratory Co., Ltd, and Brooklyn’s Yun Architecture have proposed further opening up the Gordon Bunshaft–designed garden to the National Mall. The sunken sculpture garden is currently difficult to see from the outside and receives little shade. Bunshaft had originally designed a larger, sprawling garden that followed the width of the Mall and featured a larger reflecting pool, but his ambitious design was cut down. The garden was originally opened in 1974 and was last updated following a 1981 renovation courtesy landscape architect Lester Collins. In the revised scheme for the garden, Sugimoto has proposed replacing the garden’s central patch of lawn with a reflecting pool. New trees, the aforementioned Mall entrance, and a reopening of the underground passage to the Hirshhorn’s plaza (part of Bunshaft’s original design) have also been included. “This project creates a ‘front door’ for the Hirshhorn on the National Mall,” said Hirshhorn board chair Dan Sallick. “I can think of no better way to expand our mission than by creating a 21st-century outdoor space for sculpture and performance that will become a beacon for many more visitors.” The Washington, D.C.–based Quinn Evans Architects will serve as the executive architect, and Rhodeside & Harwell Inc. in Alexandria, Virginia, will act as landscape architects. A public consultation meeting, where the museum will further update the public on the project’s finer details, will be scheduled for some time in the near future. After that, the garden renovation must pass muster with the National Capital Planning Commission and the Commission on Fine Arts. No timetable or budget for the garden’s overhaul have been made public yet.
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Over 600 citizen-architects meet with Congress members on Capitol Hill

Today more than 600 citizen-architects are lobbying on Capitol Hill in Washington, D.C., to advocate for public policies that promote school safety and improved energy saving in buildings across the United States. As part of Grassroots 2019, an annual conference for AIA chapter leaders, these architects will meet with 135 members of Congress and 197 Congressional staff spanning 358 House districts in all 50 states. This event comes after the AIA has become more vocal in recent years about amping up architects' role in policymaking. Under 2018 AIA President Carl Elefante’s leadership, the organization pushed for members to take a seat at the table by getting involved with local efforts to create safer, healthier, and more equitable cities. Through both the individual efforts of its members as “architect-activists” and the overarching authority of the AIA itself, the group has put more stake into the public realm than ever before. From most recently coming out in support of Alexandria Ocasio-Cortez’s Green New Deal, to proposing legislative ideas that ensure safe school design to senior cabinet members at the White House, the AIA has not been shy about making sure elected leaders hear from architectural experts regarding some of the country's biggest problems. In November, the organization outlined six key issues it would address with the new Congress in 2019, two of which are being tackled on the Hill today. Of course, not all of the AIA's outspoken moments have satisfied all of its members. At times, people have taken to social media and other venues to oppose the national group, or to castigate the group for staying silent on design-oriented national issues. In recent months, however, the organization has seemed to be more committed to political advocacy. Today's collective meetings bring AIA representatives from across the country—real, diverse practioners—to D.C. to share their experience both living and working in the built environment. Not only that, but hundreds of local architects are also meeting with state officials to discuss these issues while others are using the AIA's virtual portal to express their voices.
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The Senate starts its search for a new Architect of the Capitol

Know any architects looking for an extremely high-profile government job? Okay, so maybe not everyone wants to work for the federal government right now (thanks, 31-day government shutdown). Nevertheless, the search for a new Architect of the Capitol (AOC) is officially underway, reports Roll Call. Anyone who seeks to fill the position will be responsible for overseeing a multitude of preservation and maintenance projects on the Capitol’s campus. A few of those include the $752 million renewal of the Cannon House Office Building, the oldest structure on site, as well as updates to the Beaux Arts–style Russell Senate Office Building, also built over a century ago. The AOC will also be in charge of rehabilitating the Senate Underground Garage and Senate Park, both under construction through 2020, as well as overseeing the continued facade work on the Capitol Building itself. Not only that, he or she will manage all upgrades and maintenance to the Capitol Visitor Center, the Supreme Court Building, the Library of Congress, the U.S. Botanic Garden, and the Capitol Grounds. That’s 18.4 million square feet of federal facilities including 190 structures and 580 acres of landscape sprawled across Capitol Hill. Did we mention it’s full-time? The position is a 10-year term, currently held by Stephen T. Ayers. Nominated in 2010 by President Obama, Ayers oversaw the three-year, $59.5 million restoration of the Capitol Dome, which wrapped up in 2016. Ayers announced his retirement in late November and is leaving behind over $1 billion of deferred maintenance work and a $733 million budget for the new AOC to takeover.  The hunt for a new leader is being spearheaded by the Senate Rules and Administration Committee, a 14-person group that includes the Speaker of the House, the President pro tempore, the majority and minority leaders from both chambers, the chairs and ranking members of the House Administration and Senate Rules Committees, as well as the Appropriations Committee members from both chambers. The group is working with an executive search firm to find three candidates to recommend to President Trump. Once the president makes his pick, the Senate must officially confirm his or her appointment. The confirmed nominee will become the 12th Architect of the Capitol in U.S. history. Several past officeholders were actually not registered architects, which still isn’t a requirement to fill the position.
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Amtrak plans major update for Union Station in Washington, D.C.

Last week, Amtrak announced a call for contractors to bid on a proposal to modernize and expand the railroad’s main concourse at Union Station in Washington, D.C. Union Station is Amtrak’s headquarters and the second busiest train station in the country, yet its cramped and narrow concourse has been in desperate need of a face-lift since it was built in the 1980s. While the station has retail and food options, it is plagued with long lines and overcrowding, and lacks bathrooms. Union Station, which is swamped by nearly five million passengers each year, is known for its infamous train boarding process, where riders are forced to wait on the concourse instead of the platform of their specific train. The disorganized space often creates winding lines and very confused passengers. Amtrak's project aims to double the capacity of the 70,000-square-foot space by creating a more open, flexible, and spacious interior layout. The scheme will undoubtedly modernize the space which will no longer be confined by restrictive walls, doors, and hallways. Passengers will be able to flow freely throughout the open concourse, which should alleviate congestion and minimize the stress associated with boarding and queuing. The plans also involve a generous amount of glass and natural light, which will both brighten the space as well as improve overall aesthetics and comfort. The addition of more bathrooms and a luxury, 10,000-square-foot lounge will further provide visitors with a more positive, streamlined experience. This isn’t the first time Amtrak has sought to revamp Union Station. In 2012, the railroad service unveiled a multi-billion-dollar proposal to remodel the concourse. Without proper funding, the plans were scrapped. Construction of Amtrak’s most recent vision is anticipated to begin this fall, and completion is slated for 2022. While the news may be exciting for frequent passengers of Union Station, it still will not fix Amtrak’s inconvenient boarding process.
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Microsoft’s Redmond campus opens to the public…in Minecraft

The massive expansion of Microsoft’s Redmond campus—just east of Seattle in Washington—isn’t expected to wrap up until 2022, but curious gamers can get a sneak peek of the renovation four years early. LMNNBBJWRNS Studio, and ZGF Architects were originally tapped to upgrade 72 acres of the existing 500-acre campus and add another 1.8-million-square-feet of occupiable office space, all of which has now been recreated in Minecraft courtesy of Microsoft. The map can only be imported by users who have the Education Edition of the game (a modified multi-platform version meant for teachers) and can be downloaded straight from Microsoft Education. Minecraft might be known as the best-selling PC game of all time, but it’s also been held up as a teaching tool for getting children interested in architecture and planning. Players can use blocks to build whatever they’d like at any scale and then walk through their space, making it a simple and easy way to get up and close with a project like the Redmond campus. Over the years fans have used Minecraft to build out 500-square-miles of Game of Thrones’ Westeros, recreate the entirety of Denmark at full scale, and replicate a wide suite of architectural gems. The $250 million campus overhaul will add 18 new buildings, a soccer field, and a circular cricket pitch, which Microsoft claims is aimed at its increasingly diverse workforce; all are accessible in the current version of the Minecraft map. According to CNBC, Microsoft tapped Blockworks, an international collective of architects and artists who use Minecraft blocks as their medium, to recreate the campus from drawings provided by Gensler. The end result is an interactive map of the project that students and Microsoft employees alike can use to familiarize themselves with the new campus’s layout from a human perspective. The recreation is far from finished, and Andrew Yang, a project manager at Gensler, has promised a future update that will add more realistic interiors and more people to the campus. Minecraft: Education Edition is included in the Education edition of Office 365, but since the campus was created in a standard Minecraft map, it may eventually become accessible in the normal version of the game sometime in the future.
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SHoP Architects makes waves in D.C. with patinated copper and a trio of skybridges

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Located in the heart of staid Washington, D.C., SHoP Architects' 14-story Midtown Center establishes a prominent presence with a contorting copper-and-glass facade and a trio of sky bridges. Opened in September 2018, the one-million-square-foot project stands on the site of the former headquarters of The Washington Post.
  • Facade Manufacturer Oldcastle BuildingEnvelope, Tivitec, Soheil Mosun
  • Architects SHoP Architects
  • Facade Installer Oldcastle BuildingEnvelope, Clark Construction
  • Facade Consultants Curtainwall Design Consulting, Simpson Gumpertz & Heger
  • Location Washington D.C.
  • Date of Completion September 2018
  • System Oldcastle BuildingEnvelope WT-01 and WT-03
  • Products Pre-patinated copper components, Guardian Climaguard Premium 2T and AGC Stopray Vision 50T, Ipawhite Low-Iron Glass
Built according to a U-shaped layout, the street-facing elevations are defined by sawtooth protrusions on the curtain wall. The projections ripple across the elevation, originating from two corners of the facade and softening toward the center. Each of these three-dimensional units that hang off of the structure’s rectangular mass share a standard width of 5 feet and a height of up to 10 feet. While the use of a traditional material such as copper facilitates a stylistic link between Midtown Center and its historic surroundings, the metallic surface is also performative. The copper accretions are oriented toward the direction of the sun, reducing internal glare and solar heat. Each panel is clipped to the facade system with formed stainless steel angles and pop rivets. The three sky bridges that crisscross above the courtyard echo the use of copper as an exterior detail; approximately 350 vertical fins, two inches wide and five inches deep, line the skyways. Although the fins function as a brise-soleil for the suspended corridors, their primary effect is visual. A rich turquoise rhythm reflects off of the courtyard’s glass modules while ribs create a matrix of shadows below. The fins themselves are bolted to a substructure rail that is held three inches off of the glass by horizontal mullions running across the top and bottom of the sky bridges. To clad the bulk of the enclosure system, SHoP Architects turned to Spanish glass-fabricator Tvitec. For the 4,500 facade panels, the fabricator used Ipawhite low-iron glass subjected to multiple thermal coatings to ensure visibility while meeting thermal control standards. At the ground level, SHoP Architects collaborated with SCAPE to design the publicly accessible 15,000-square-foot courtyard. According to SHoP Founding Principal Gregg Pasquarelli, the design team "took inspiration from Washington's original master plan to create a building that allows the public to angle strategically across the site." Diagonal paths cut through the building, past sunken granite fountains and plots of landscaping.
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D.C.’s newest museum goes underground to explore the American police system

The new National Law Enforcement Museum isn’t easy to find, and that’s a good thing. Tucked beneath Washington, D.C.’s Judiciary Square, the 57,000-square-foot facility, which opened in mid-October, is only visible via two glass pavilions that mark its presence on the street. Driving, walking, or pedaling by, you’d never know that under the asphalt lies a structure that dives deep into the history of the policing profession in the United States. In a recent article, The Washington Post noted that the museum, designed by Davis Buckley Architects and Planners (DBA), “exhibits history with a light touch of controversy.” The architecture goes out of its way to minimize that controversy. An attention-grabbing, large-scale structure would have been a mistake given contemporary anger between local communities and law enforcement agencies. The museum goes underground in an apparent sign of humility, but also largely because of the federal building requirements already in place for that specific site. It’s located under a plaza in front of the historic District of Columbia Courthouse, a striking neoclassical building. The museum's pavilions rise 25-feet above the courthouse square, allowing the landmarked structure to retain clear sight lines of the adjacent National Law Enforcement Officers Memorial, which DBA completed in 1991. In an effort to respect this context and comply with public law, the museum was constructed below-grade, rendering it nearly invisible to the public. Despite this, the space is more rooted in light than shadow. The semi-submerged three-story building boasts ample natural light thanks to the aforementioned above-ground transparent boxes that serve as the entrance and exit. As the sole points of access to the outside world, these portals enliven what would have otherwise been a claustrophobic sunken space. The architects chose to make light a central feature of the design, which is helpful considering the sometimes somber nature of the museum’s content. DBA, a local firm, has plenty of experience with the difficult nature of designing commemorative architecture. Principals Davis Buckley and Tom Striegel have created award-winning designs all over D.C., most notably the National Japanese American MemorialTheir work is thorough and thoughtful, two major reasons why the non-profit organization in charge of the memorial plaza and garden, the National Law Enforcement Officers Memorial Fund, chose them again to build out the major exhibition space. The museum is the result of a near 20-year effort. In 2000, Congress passed a bill supporting the project that President Clinton signed it into law later that year. Though constructed on federal land and supported by the government, the $103 million museum was entirely funded through private donations raised by the Memorial Fund. Nearly a quarter of the money was raised through an annual police bike-riding fundraiser. This allowed the vision for the museum to be dictated solely by its supporters. Based on this timeline, the museum's creation was not intended to be a response to this current political moment, but it's hard to detach from the fact that it came online this year at the height of 21st-century racial tension and police brutality in the U.S. The exhibits, as well as, the building's design, don't explicitly confront these issues. Since the museum opened, it’s maintained a relatively low-profile for smart-but-obvious reasons. According to Rebecca Looney, lead director of exhibits and programs, it isn’t here to address current national politics but to give civilians a “walk in their shoes” experience of what it’s like to be in law enforcement. For all intents and purposes, the museum does just that. With an extensive collection of over 20,000 artifacts from historic moments in our nation’s history, such as the handcuffs used by police to arrest Robert F. Kennedy’s assassin to the bulletproof vest that Al Capone wore, anyone who is remotely interested in crime will be gripped. The curation even caters to pop culture enthusiasts with RoboCop’s full costume and clips of Brooklyn Nine-Nine. When a visitor steps into the facility, they get a sweeping view of almost the entire exhibition space simply from traversing the curved, second-floor walkway. With a sneak peek of what’s to come, people of all ages can zero in on the interactive exhibition they’d like to view first, whether it’s hearing about how cops train search-and-sniff dogs or taking a faux emergency call at a police dispatcher’s console. Many of these exhibits are laid out within a single, spacious room that makes other over-crowded local museums seem even more stifling. Several of the museum’s exhibits look at law enforcement through the lens of heroism, but none more respectfully than the small room known as the “Hall of Remembrance.” Photos of officers who have died this year in the line of duty are displayed in row after row on the room's back wall. It’s a startling view, given the wall is nearly full with well over 300 people. The headshots will rotate each year, according to Looney, and will play a special role in National Police Week every May when officers and their families visit for the first time. Other media exhibits show how law enforcement responded to and worked with communities after September 11, 2001, and the Emanuel 9 massacre, among other recent tragedies. One of the museum’s main offerings is a 20-minute introductory video that details the history of law enforcement and current issues officers face every day in police work. It’s set inside a striking, 111-seat theater with dramatic acoustics. According to Looney, weighty topics like police brutality and corruption within the profession won’t be explored in the museum’s main exhibits but will be part of educational programming and temporary shows when possible. Critics are already calling this a major flaw and a missed opportunity.   The National Law Enforcement Museum's completion comes on the heels of the David Adjayedesigned Smithsonian National Museum of African American History and Culture (NMAAHC), which opened in September of 2016. The two museums are starkly different. While the NMAAHC gives much more space to the Black Lives Matter movement and the relationship between the African American community and the police, the law enforcement museum only dips briefly into those issues, touching on the 2014 shooting and subsequent riots in Ferguson, Missouri. Maybe this will change, maybe it won't.   Regardless, the NMAAHC rightfully stands tall in all the glory that its 100-plus years of planning should produce. The Davis Buckley–designed museum for law enforcement—while hidden—is full of light, exuding a subtle poise, and perhaps providing a much-needed point of connection for the American people who are having trouble relating to or caring for law enforcement today. Only time will tell if it makes an impact on our cultural divide. At the very least, the museum will be a place of solace for friends and family who have lost loved ones in this profession, and for those who serve today. The National Law Enforcement Museum is located at 444 E St. NW in Washington, D.C. It’s open Sunday through Saturday from 10 a.m. to 6 p.m. and until 9 p.m. on Thursdays. Buy tickets here.
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Trump’s Parks Department explores restricting spaces for protest in D.C.

Public commentary ends tonight on a proposed rule that may restrict protests from occurring in front of the White House and along the National Mall in Washington, D.C. The Atlantic reported that the National Park Service (NPS), which manages those lands, put out a proposal in mid-August to revise special regulations concerning how certain landmark locations could be used in the future as spaces to exercise free speech, put on peaceful protests, and host sporting or entertainment events. According to the draft rule, the NPS aims to “provide greater clarity to the public about how and where demonstrations and special events may be conducted in a manner that protects and preserves the cultural and historic integrity of these areas.” These distinguished areas include the National Mall and Memorial Parks as well as President’s Park, the three connected landscapes surrounding the White House. Within that grouping is Lafayette Park to the north of the president’s home, a site that’s long been the stage of last-minute political gatherings and demonstrations. It’s bounded by Pennsylvania Avenue and the perimeter fence that separates the White House back lawn from the public. With the new rule, the NPS seeks to limit the number of people allowed in some of these areas and, in more extreme cases, prohibit public access altogether. The changes would specifically restrict access at the World War II Memorial, Korean War Veterans Memorial, and the Martin Luther King, Jr. Memorial. The same restrictions, made to “preserve an atmosphere of contemplation,” were placed decades ago at some of D.C.’s older monuments. Permanent security zones will also be set up in President’s Park (largely south of the White House) while Lafayette Park and the White House north sidewalk will remain places for planned demonstrations. In addition, the NPS wants to potentially increase the cost of permit applications for hosting demonstrations in the capital city and cap the amount of time needed for advance notice of such gatherings. Per the draft rule, this is all in an effort to recover the costs of event management, clean-up, and more. Public comment ends tonight at 11:59 p.m. So far, 36,596 comments have been received.
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Trump appoints opponent of Gehry’s Eisenhower Memorial to D.C. planning agency

President Trump has appointed National Civic Art Society President Justin Shubow to the U.S. Commission of Fine Arts, an independent federal agency that oversees the design and construction of all buildings, monuments, and memorials in Washington, D.C. Shubow will join six other presidential appointees on the commission to review all new projects in accordance with the 1901–1902 McMillan Plan, which laid out the National Mall and surrounding monuments. The commission was started in 1910 and has since assisted the District in building out its ever-evolving landscape.  Shubow made headlines in 2014 when he authored a 150-page critique of the controversial Eisenhower Memorial competition. The National Civic Art Society report detailed Shubow’s disapproval of Frank Gehry’s plans to design a monument dedicated to President Dwight D. Eisenhower. According to an executive summary of the document, Shubow and the Eisenhower family viewed the proposal as a disgrace to the 34th U.S. President:
“The Memorial’s titanic ‘columns’ tower over the stone reliefs of Eisenhower and the puny Ike statute. The result is a Leviathan Memorial swallowing a small-fry Eisenhower. The behemoth commemorates Gehry’s ego, not Eisenhower’s greatness and humility.”
In 2012, Shubow testified to the U.S. House Subcommittee on National Parks in an effort to pass a bill that would nix Gehry’s design for the memorial once and for all. The bill didn’t pass, and the Commission of Fine Arts approved a revised preliminary design for the project. Congress appropriated $150 million to the memorial in 2017 and the city broke ground on construction last fall. It is scheduled to be finished on May 8, 2020. Shubow has an extensive background discussing architecture, having written about the field for Forbes and served as the current executive director of Rebuild Penn Station. He’s also lectured widely on architecture at universities across the U.S., although he was not trained in the field.
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Artist to transform Hirshhorn Museum into responsive experiences

A new exhibition will bring the immersive environments of Mexican-Canadian artist Rafael Lozano-Hemmer to the Hirshhorn Museum in Washington, D.C. Rafael Lozano-Hemmer: Pulse will present several of the artist's responsive artworks that use biometric sensors to modulate visual and sonic effects. The works play with the growing ubiquity of public surveillance, frequently used to monitor and control large populations, a topic that designers and artists are increasingly exploring for its ethical and aesthetic implications. Lozano-Hemmer's works in the show record data like heartbeats and fingerprints from visitors and volunteers and translate that information into the gentle pulsing of a field of light bulbs, a projected grid of skin, or waves in a pool of water. The works play with the way sensors can transform biological phenomena into ephemeral robotic effects, in the process dehumanizing the lived experience. Rather than focusing on the political implications of big data collection, the works instead suggest that there might be something beautiful in the role of sensor technology in modern life and that people should feel empowered to assert control over when and how they give their information. The show opens on November 1 and will run through April 28, 2019. Rafael Lozano-Hemmer: Pulse  Hirshhorn Museum and Sculpture Garden Independence Avenue and 7th St Washington, D.C. 20560 Free admission
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Arlington National Cemetery adds 27 acres to extend its lifespan through 2050

A 27-acre expansion of Arlington National Cemetery opened yesterday in Arlington, Virginia, with a ceremonial burial for two unknown Union soldiers from the Civil War. The $87-million addition, designed by landscape firm Sasaki, design architect Beyer Blinder Belle, and Jacobs Engineering, added 27,282 interment spaces to the cemetery, including 6,000 pre-dug graves and 16,000 niche wall burial spaces for cremated remains, according to Military Times. The development, dubbed the Millennium Project, began nearly two decades ago when the cemetery announced it would likely run out of space to bury the nation’s veterans by 2040. Currently housing over 400,000 gravesites, Arlington only has about 100,000 spaces left, even after the addition, but the new land will extend the 154-year-old cemetery’s lifespan by 10 years. Construction on the project began in 2014 just above the northwestern part of Arlington’s current plot. The new section takes over land formerly used as a recreation spot for a nearby military base, the cemetery’s construction staging area, and woodlands owned by the National Park Service. The Millenium Project is the first time in 40 years the site has undergone any significant additions, and it won’t be the last. By 2025, another project called the “Southern Expansion” will add 37 acres of land to Arlington, taking over the location of the demolished Navy Annex building. Both projects will provide new, space-saving opportunities for the cemetery. The new addition features pre-placed concrete grave liners that ease grave openings and prevent major amounts of on-site excavation. They boast only a 3-by-8-foot footprint compared to the 5-by-10-foot footprints found throughout the rest of Arlington, wrote Military Times.   Shelters made of granite and concrete were also constructed for the expansion, along with new walkways, stainless-steel step railings, and stone gardens. The landscape additionally features new trees, plantings, and shrubs native to the region. 
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Library of Congress uploads massive collection of Frederick Law Olmsted papers

The Library of Congress announced last week that it has digitized its massive collection of personal papers and correspondence detailing the life and work of famed landscape architect Frederick Law Olmsted. ARCHITECT reported that the resource comes online ahead of the bicentennial of Olmsted’s birth, which will be celebrated in 2022. Olmsted is best known for designing both Central Park and Prospect Parks in New York, as well as the U.S. Capitol grounds in Washington, D.C., and the Biltmore Estate in Asheville, North Carolina. Many of his long-loved landscapes across the United States and Canada, including his designs for the 1893 Chicago World’s Fair and Montreal’s Mont Royal Park, are still vibrantly maintained and visited today. His vision for these sites and more can now be studied via the Olmstead Papers on the Library’s website. The collection includes about 24,000 items—that’s 47,300 images—dating from 1777 to 1952. The bulk of the papers, including family letters, journals, drafts of his articles and books, as well as correspondence with his clients and colleagues, spans from 1838 to 1903. The collection is organized online in eight sections and additionally unveils Olmsted’s project proposals, reports, drawings, speeches, lectures, and his legal and financial records. The papers were acquired by the Library as a gift from Frederick Law Olmsted, Jr. and other family members from 1947-1948 and 1968-1969. Laura Wood Roper, one of Olmsted’s first biographers, gave the Library nearly 3,000 items in 1975. Two additional items purchased six years later were transferred from the Miscellaneous Manuscripts Collection to the Olmsted Papers in 1996. According to the Library, the Olmsted Associates Records collection, which documents the work of the architect’s sons and their associates, will also be digitized ahead of the bicentennial celebration.