Room & Board Offer a Sneak Peak of DC Store

The Washington metro area's first Room & Board store is scheduled to open June 14th, but here's a first look, courtesy of Room & Board.



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DC's West Elm to Shutter

We've just learned via DCist and Washington Business Journal that the DC location of West Elm will be closing in the next month. According to store manager Dion Barela, " This location was just not as successful as they’d hoped.” Citing less than estimated tax revenues, the closure appears to also be due in part to the weak economy. Sadly large furniture retailers and smaller shops as well have not always had such an easy time making it in the District. Brazilian furniture store Artefacto had a similarly brief presence in Georgetown, and back in Penn Quarter it has come to light that Apartment Zero has not only relocated, but shifted their focus away from retail sales. And while the Penn Quarter location may not be as ideal for residential shoppers as other locations (such as what is becoming a fairly solid home furnishings district along 14th and U Streets, NW) the aforementioned Artefacto was across the street from Georgetown's popular Cady's Alley. Certainly there is hope that this is not a sign of turmoil for other furniture retailers, especially as the DC area's first Room & Board is slatted to open on 14th Street this spring, weeks after the West Elm closure.
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Bad to the Core

Despite Multiple Bites at the 'Apple', Design Still Floundering

What happens when modern technology gets put into older, traditional, even historic surroundings? The answer has a lot to do with how well the integration of the old into the new is executed. In some cases the modern interventions adversely affect the existing, such as in old offices and homes where wire mold raceways run along baseboards and up wall surfaces, or in older retail establishments where acoustical ceilings conceal not only ductwork and conduit, but often beautiful tin ceilings. Bad examples of integrating old and new have certainly given rise to a fair number of critics of modern design. Likewise, many methods have been devised at hiding 'unsightly' modern amenities in our homes. However, there are also countless examples where these modern interventions are done well. Certainly when there is thoughtful integration, and the design of the object is as important as the function it performs, then the results are often a pleasing interplay of old and new. This is evident in everyday life, where well-designed objects become more than just functional. They help to transform our surroundings. The glossy kitchen appliance becomes a showpiece in our kitchen and the flatscreen TV no longer need be relegated to a cabinet. Even plumbing fixtures have become design stars in that most basic of functional spaces.

Yes, when we accept that advances in technology have manifestations in our daily lives, and further accept that our environments are adaptable to these (provided that the design of these objects is thoughtful and beautifully executed) then the enrichment that these provide is not simply limited to the conveniences they provide, but is also evident in the contribution they offer to our built environment.

If there is one company that understands how to make a design statement out of technology it is Apple. From their release of curvaceous CPUs in an array of bright colors to the most recent iPod, which has become as much accessory as music player, the rest of the industry has had to follow suit. Apple gets that the design of the object can elicit the senses as much as the technology its flashy sheath contains. It is surprising then that the designs for the proposed Apple Store in Georgetown fall so flat.

There is, of course, another part of the equation. That being the Old Georgetown Board (with emphasis being placed on 'Old' -- at least as far as the members' interest in design are concerned). Perhaps then we should not have been too surprised to see that the first design presented to the board featured cornice and trim detailing borrowed from the neighbors. Apple's architects, like many a designer working in the District, apparently started with a dumbed down, safe approach, something intended to satisfy the OGB's obsession with historical mimicry. Fortunately, this design did not pass muster with the board. Nor should it have. The board's comments were actually on the money. The openings (especially at the ground floor) are too wide. The proportions are all wrong. The failure of this first design (and a few subsequent iterations) did not occur due to a difference of opinion at the review meetings, but rather on the drafting board. Even without the tacked-on ornamentation, the building proposed fails to acknowledge the existing rhythm of the adjacent facades. Rather than conveying the proportions of its three-story neighbors, the proposed infill places an awkward row of windows at its upper second floor, aligning with nothing. At the entry level, the glass storefront is too much of nothing, and does not jive with the rest of the facade.

What Apple and their architects have failed to do is to apply the same rigor given to the design of their products and packaging. Let's start with the basics. Apple is proposing to demolish the existing building on the site fronting Wisconsin Avenue and replace it with a new building. Why then does the rendered design attempt to evoke the past with ill-fitting traditional motif that even the foremost po-mo designer would have considered bad form? This is a new building in historical clothing (and that clothing is a straitjacket!)

Something good might have happened, then, after that first meeting. Design concept 2 actually succeeds in a way that designs 1, 3, and 4 never can. Why? Because design concept 2 actually accepts that it is not an old building. It does not do a half-assed job of conforming. Rather, it does what modern interventions into a historic landscape should do. It creates dialogue. At its core, unlike its sibling proposals, concept 2 has the right idea. Unfortunately, this concept is not without its own flaws. Here the integration is lacking completely. There is no apparent attempt to relate the mass to its neighbors. The design is too stubborn for its own good. Rather than rendering a thoughtful dialogue between the old and new, concept 2 is cacophonous and jarring. What is warranted is contextual modernism; what is delivered is apathetic modernism. Unfortunately this concept died a premature death in the OGB's court.

Concepts 3 and 4, by contrast, are dead on arrival. Concept 3 at least can be credited by attempting to push the limits within the perceived constraints of the historic district, but here branding goes a bit awry, as though an Oldenburg-sized PowerBook has been opened up on the avenue. (It is at once both Venturi's proverbial 'duck' and 'decorated shed'.) As if taking the worst aspects of concept 2, there is no reference to the rhythm of the street (beyond height), and any level of detail is non-existent. Despite even Steve Job's blessing, concept 3 is a dud.

Regrettably, this has all been followed up by a fourth concept that, were this Microsoft, might be referred to as Concept 1 'Vista'. It seems we have returned to the safe approach, and yet still missed the mark.

There is one main thing spoiling the bunch. Apple appears clearly perplexed in this situation to do what, in the design of its objects, seems modis operandi: to produce a design where outward appearance is as important as its content while integrating itself into its surroundings. Instead, Apple has tried to blend in via overt reference, in a way that might be characterized by offering iPods in houndstooth or denim patterns, or Macs in woodgrain. The result is a design that is neither Apple or Georgetown. The applique of ornament is too shortsighted to appease anyone. What Apple must do here, as with their products, is to put emphasis on the form and scale of this design. How does it relate to its context? How does it fit into its site? These are fundamental to creating a successful design in any environment, but especially when working within a historic context. The design must walk the line of being thoughtfully progressive and respective of the historic context. Should such a design arise, this will not only work to Apple's advantage by giving them a building that reflects their brand, but will also help to accentuate the nature of this part of the city by refusing to give it what it does not need: another stale, neo-traditional bore.

Update: OGB has rejected the fourth iteration of the design: Washington Post


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H is for Housewares!

For those of us urbanites involved in the constant hunt for modern, handcrafted, chic, and useful elements to furnish our homes with, I have recently discovered a new boutique that is a must see. Nestled inside a new storefront on the bustling 14th Street NW corridor, Timothy Paul Bedding + Home welcomes the window shopper by allowing them to, for a few moments, peer at the window displays and feel as though they are looking in at a shop in SoHo. The goods are plentiful. Everything from hand crafted beds, tableware, bedding, seating, mirrors, and some of the most incredible glassware that can be found anywhere in the city is bursting with energy inside. Trends and Classics mix well with bright colors, luxurious materials and finely crafted elements. The design of the store itself follows the theme of well crafted design. The wall system is composed of perforated metal shelving anchored to a more organic composite wood that is sleek with a high gloss finish. The metal racks which delicately display the bed linens are also crafted to an organic curve to soften the structured and orderly display. The service desk is a rigid metal frame wrapped in screenwork. The countertop is a study in concrete surface that is somewhat bleached and embedded with glowing light blue shards of recycled glass. The three materials of dark metal, polished concrete and shards of glass all compose a very elegant and functional piece for the store, on casters no less! Do yourself a favor and stop by 1529A 14th Street, NW and indulge in the great eye candy on display and take a step further and indulge in that perfect piece to bring to your own home.

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Getting GREENER

Finally "green" design is beginning to appear all around us; from Hybrid cars, restaurants supporting local organic and sustainable farms, interior finishes that are made of recycled or sustainable materials, and more LEED certified buildings. It has been difficult for the typical individual to have easy access to the materials and fixtures that allow for the "greening" of their own homes and offices. This is where Greater Goods on 1626 U Street, NW comes into play. Peer through the storefront and at first it might seem to be just another hardware store. Sure, you can buy shower heads, light bulbs, and cleaning supplies, but when you see that they are high pressure low flow shower heads, compact fluorescent light bulbs, and biodegradable cleaning supplies it is clear that this is not your typical store. While peering in the window, look up at the roof of the storefront, and you will see a "green" roof beginning to take root. Walk in and you will not only be greeted by Stella the friendly store mascot, but also by products that will cut your electric, water, and gas bills while looking modern, streamlined, and urban. These products are showcased on a system of shelves that are constructed out of sustainable materials and are built into a functional modular system for adaptability. The aesthetic comes off as a more simplified and "green" Charlotte Perriand, who also explored prefabrication and modular designs. This simple and useful design becomes a very hip setting for the goods. Bland and typically ugly fluorescent tube lighting on the ceiling is masked and made into a quick and inexpensive fixture by draping corrugated translucent plastic panels below. This store is a great example of how you can create an intelligent, functional and modern interior on a budget. It is all about low end costs and a high end product. I highly recommend everyone to check out this store and to go "green", because everyone is doing it.

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MODERN KICKS

Urban grit mixed with sleek modernism is a favorite. Take the shell of a turn of the century commercial space, strip the interior to the raw structure, leave all of it exposed, and add glossy high end luxury pieces of modern furniture to the scene and you get a very chic urban space. Palace 5ive gives street culture some serious attention. Whether you are a seasoned skater or an edgy fashionista, this storefront shop will provide for your urban wardrobe and gear needs. Exposed brick walls, concrete floors, and rough open joists combined with modern furniture donning high gloss laminates and fluid designs creates an energized high / low contrast. This is just the platform created for showcasing the goods. Skateboards and full wall graffiti are the high art on display. Urban gear from the latest sneaks to uniforms for the street are at their best. This is a Palace where anyone part of the urban street culture will feel like royalty.

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SWEET SHOPPING

DC has recently become a hot spot for excitingly chic new stores. Storefronts are popping up with everything from Nom de Guerre jackets to vintage Saarinen sidetables. A new contender in this arena of super-chic and in-the-know boutiques is RCKNDY at 1515 U Street. DC design-a-holics now do not have to travel all the way to Manhattan to get their fill at Moss in SoHo, they just have to pay a visit to this trend-setting storefront that is inspired by a candy store of times long past. Enter the store, walk past modern sofas and chairs that should be found in any urban loft, and you see the bubble gum pink candy counter complete with glass candy jars filled with all of your childhood favourites. Designers and mass production artists have their sweet goods all over this place. Everything from ceramic pistol vases to vintage inspired wall clocks to super graphic textiles and ghost acrylic candelabras can be found here. Almost any piece of vintage inspired ironic modernist decor can be seen. The experience can at first can be overwhelming due to the vast amount of "eye" candy on display, so make sure you have some time to browse, or just plan on making several visits. We thank David Dennis, owner and visionary, for the opportunity to incorporate highly intelligent and ironically modern design into our DC lifestyles.
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