We received a telephone call from a realtor… her clients were due to make an offer on another house the next day, but were at an uncomfortable crossroad. They loved their current Virginia home and its lovely, deep lot, filled with mature hardwoods and gardens tended with great care.

However, they had consulted several firms who had disappointed them in their desire to create a sensitive addition. Would we take one last look at the home, and offer an opinion?

Driving by that afternoon, it was clear that this home had the perfect beginnings for a complimentary addition, offering a number of ready clues as how to approach the design task.

We called the realtor immediately, saying that I was sure a sensitive addition could be done. The client decided to stay, and put their home in our hands.

There were several unique features to this house: the front door was centered on a shading porch, but the actual entry was to the side. The porch’s cedar shingle clad piers framed bold openings, and provided a rhythm that could be repeated. A shallow shed dormer provided the only relief to a swayback slated roof. 

Once inside the home, one noticed the stair tucked into the far right corner, served from the living room, without the typical foyer space of its own. 

These were all unusual elements, and completely charming.

Our concept for the addition began simply.

We repeated several of the strongest elements: the openings to the porch created the dimensions of our addition, the roof slopes were matched, and the lines of the new eaves and ridges were aligned with the old. The notion of a modest shed dormer was shared.

We deferred to the main house volume, tucking our addition just behind the chimney. Flanking the chimney's interior fireplace, we added two new fifteen-light doors, one to the new family room, and the other stationery, acting as a fixed window but balancing its twin and providing a more formal dining room ambiance.

Of course, some design skill and a bit of sleight-of-hand was required.

We did repeat the dimensions of the existing porch bays, embedding the "piers" into the wall of the addition facade, allowing us the rhythm that we desired. But this alone would give us a space that was much too large for the desired family room. So, look closely at the last window on the left of the addition: its a real window, just like those next to it, but this one actually serves the screened porch, tucked into the gable end of the addition.

This little move allows us to have a just-right size family room that doesn't seem too small to the exterior, with a full-size screen porch that doesn't seem too large.

We have also introduced a new steep roof slope, seemingly giving us the height that we need for the two-story addition. 

Actually, the "dormer" here is the principal roof, and the steep roof that it "dormers" is really only serving the master closet and the screen porch. It's the matching of the "dormer" roof slope and the aligning of the eaves that make it all work.

We also allowed ourselves some design license in the details, with the new oval window set beside the fireplace giving a romantic light to the school-age daughters' shared bathroom. 

The little round window above the screen porch gives just enough natural light, and a view, to the walk-in master closet above the porch.

We think that allowing this family to stay in the home they love (even more now) is a job well done.

Photo Credits : : Shawn Glen Pierson

The fine art of custom retail design involves a creative partnership with the client, definition and enhancement of the product, identification of and engagement with the customer, and the ability to recognize and maximize the essence of the retail location.

The two projects presented here showcase each of these necessary elements of effective retail design, while emphasizing that no two projects need offer the same design response, even, and especially, when the product is by most measurements nearly identical.

The product: Coffee

The customer: Urban commuters

The location: Washington DC center-city business district

Shawn Glen Pierson’s role: Consultant to DZYN Interior Design

First we acknowledge that even as most of our customer base has graduated from a kitchen-percolated cup of tin-can Maxwell House to a home-brewed heated carafe of Mr. Coffee drip, and again to a French-press of their fresh-ground regional favorite whole-bean to start their day, many will have their first or second cup of Joe after embarking from home and before arrival at work, with perhaps a fast-escape coffee break outside of the office again during the course of a hectic day.

But we also know that every customer does not need or wish to default their allegiance to only the Starbucks mega-brand experience.

As ably demonstrated by our clients, the Mom and Pop retail experience can still hold its own, compete well and indeed thrive in our increasingly homogenized retail world of globally dominant, intensely marketed, endlessly repeated retail regimes.

We believe that the retail design experience can also express and promote the values and message of the client, and that good design can help to motivate and empower managers and employees, and reinforce the process to achieve the results desired by the ownership.

We also must recognize that the modern national and multi-national corporate retailers have in many ways raised the bar relative to the individual customer’s personal shopping, purchasing and consuming experience and expectations. All savvy retailers must constantly reinvent to keep up, catch up or to stay ahead.

This includes creating an environment that is studiously designed to attract the customer, focus and hold their attention, reinforce their decision-making, and offer comfort and efficiency in both the transaction and consumption of the product.

As practiced today, brand identity, as well as the retail “look and feel”, is expected to welcome, respect and reward the customer. 

We believe that the retail experience can and should, by design, both complement and compliment the consumer.

In our examples, as the custom retail experience continues to evolve toward a more educated consumer, a smaller and more connected world and a more democratic and representative workplace, new trends, issues and potentials arise such as: emerging markets, transparent borders, free and fair-market enterprise, organic goods and systems, energy and ecological awareness, and green and sustainable practices. 

Leading designers are inherently aware of, and integrally interrelated with and sensitive to each of these concerns, and can help the client anticipate and respond on a proactive and continuing basis to what might otherwise be unforeseen new challenges as well as rewarding possibilities.

Our first location is the frenetic downtown sidewalk of K Street, an alley of modern office buildings housing lobbyists, professional service firms, and ground-floor expense-account restaurants and retail establishments. Near two Metro stations, we will catch the attention of rush-hour commuters on their walking sprint to get to the office before the nine o’clock bell.

Here at Rockets Café, our composition and palette responds to this fast-paced place, with street-like monolithic terrazzo flooring and bright primary hues applied to wall and ceiling in metallic-sheen automotive paints. 

If, as influential Swiss modernist Le Corbusier proclaimed, a house is a “machine for living” then the retail space is certainly a “machine for selling”.

We share valuable experience gained through careful attention to what works and what does not, in past projects as well as through continuing and current research, so we have come to understand that in spaces such as these, client success can depend upon the efficiency and effectiveness of each and every personal interaction. And we know how design can help.

For the Rockets retail experience, we selectively placed objects that shine and reflect, and an eye-catching and calculated mix of cool and hot colors that both attract the eye, and keep the eyes moving through and around the retail space. This is carefully designed to counter the size and most effectively utilize the tiny floor plan, as well as to respond to the speed and modulate the perception of the occasional impatient customer.

Our design allows the customers to be visually busy even as they cue for their selection and purchase. Menus and pricing are purposefully displayed to the side and front-of-counter, to discourage customers from premature forward movement into the close transactional area.

As surfaces become near to the customer’s body or to food elements, the colors warm and the textures scale down visually into more intimate modules, creating interest and comfort. Fine details emerge: the particular selection of the Milanese espresso machine, the interjection of lighting and even the Pininfarina-inspired vent slots in the custom cabinetry.

Our design for Racheli’s Café responds to a different set of influences. With a location on a busy side street near a mid-town intersection and aside the entrance of a mid-rise office tower, our customer is not just the rushed commuter, but also the informal business meeting, the lunch crowd, the occasional first-date couple, and the pedestrian at leisure.

With just enough space for a small and efficient full kitchen, our client can offer light fare prepared on premises, as well as gourmet coffee, specialties, desserts and promotional products. The space has effectively three means of access: an entry from the glass storefront that our design promotes as the preferred entrance, a secondary storefront glass door that our design encourages as an after-purchase exit, and a nondescript side door to the building lobby that is a quick retreat back to the office for in-building regular clientele.

Our plan responds with a three-part strategy: the space as signage and marketing, the space as preparation and interaction, and the space as engagement and enjoyment.

Customers are attracted and oriented by a diagonal floor plan that provides freedom of movement and flexibility where desired at the entrance and where paths cross, defines a precise functional path for behind-the-counter servers, and creates visual interest. 

For Racheli’s, we provided a highly efficient behind-the-counter plan based on a micro-study of the human processes and utilization of machinery required to prepare and serve.

Our front-of-counter design allows for easy understanding and selection of offerings, with a custom-designed menu that curves to address each side of the space. We provide visual clues that move people in the direction desired by the client to allow for decreased sales transaction time, as well as for increased sales of primary, value-added and accessory products. And, we encourage customer enjoyment and interaction in the space.

We designed a transition space where the decision to purchase is made, and a resting place where the purchase is enjoyed while the customer continues always to be influenced by visual marketing around them.

Continuity and comfort is created with several reinforcing visual elements: the floor and ceiling tie together and provide the perception of more open space while directing movement, lighting focuses attention where desired on signage and product while suggesting placement of new items as well as places for customers, and strong background elements placed on a visual axis draw customers through the space and create destinations.

Near the entrances and at the window wall, seating areas are placed to interact with both the interior product marketing and with the streetscape and sidewalk, utilizing customers to attract more customers, as they become part of the marketing concept. The seating is low and light, allowing a view from the exterior through and to menu items and product display.

Flanking the primary central interaction, unique design elements offer product venues. At one end of the space, a recessed magazine wall is framed by dancing, backlit colored glass blocks while opposite, a water main riser is concealed in an attractive curved column in cherry wood veneer supporting a maple and copper lunch counter and a matching shelf of over-and-under product displays. Throughout the space, freestanding custom cabinets display newspapers, dry goods and products adorned with the store logo.

We selected and utilized warm food-friendly materials of maple and cherry wood, introduce accessory finishes complimentary to the human complexion such as burnished natural tile and copper, and selectively interject the definition of clean lines in glass, steel and stone.

In good measure thanks to standout design, careful attention to detail and close supervision to insure quality construction, our projects for Racheli’s and Rockets earned praise for our clients as “Best of Washington” and as “Hot Business”, in feature articles and repeated mentions in prominent local and regional publications including The Washington Post and Washingtonian Magazine.

Design may the single most effective and direct tool available to communicate what your company is to the customer.

As has been said many times, “Good Design is Good Business”.

Interior Design : : Shari Daniels for DZYN

Photo Credit : : Libby Cullen

The clients decided to make the move from a modest suburban townhouse to an ambitious full renovation of one of the larger homes on one of the larger lots in the trendy Clarendon neighborhood of Arlington, Virginia.

The original house was a Dutch Revival colonial, in need of upkeep long delayed.

The new owners loved the neighborhood and the property, but wanted a different kind of house: a new design following the popular Craftsman style.

We removed the remnants of the Dutch Revival roof, along with the colonial entry, adding both lower and upper bay windows on each wing of the house, with a new front porch and center round bay tucked into the porch’s roof-line above. The front gate and masonry pillars were replaced by a low retaining wall with a natural stucco finish, and new natural stone steps upgraded existing concrete.

The house’s existing masonry wall parged finish was replaced with a new design: horizontal lap siding on the lower level to help visually ground the house, with vertical board-and-batten above to lift the eye and lighten the second story.

On the North side, where there had been a screened porch, we enclosed that existing space to create a new dining room, with French doors opening to the front and rear yards.

On the opposite South side, we removed a one-story sunroom, and provided a new two-car garage with studio and bath above. An outdoor room was created under roof, featuring seating around a cook center with grille, sink and open-air fireplace.

We added a new wing perpendicular to the main house volume, expanding the existing kitchen and adding a great room. A master suite with private deck above, and a lower level entertainment room, bedroom suite, exercise room and wine cellar complete the addition.

At the connection of the two volumes, a new tower encompasses an all-glass breakfast room sitting below a master bath perch. Both the family room and breakfast room open to a new swimming pool, with adjacent spa and outdoor shower.

The existing entry hall was dominated by a narrow rising stair that divided the space, and created a dead-end corner and a dark stair to the basement. So, we removed this stair, opening the now-generous entry hall to the breakfast area and through to the new poolside pergola beyond. 

The too-tight existing stair was relocated from the center of the hall to immediately beside it. This new open custom stair, designed in careful full-scale drawings, created generous light from top to bottom, and patterned refractions with the addition of a custom-designed art glass skylight above.

We traded the outdated existing kitchen for a new state-of-the-art space for creating and entertaining. 

With every modern amenity, open to the family and breakfast areas, with wide views to and light from the South-facing pool and pergola, the generous new kitchen helps transform the home. Detailing in the kitchen and adjacent service bar and pantry update the Craftsman motif.

An existing small parlor off the center hall was transformed into a handsome study, including built-in custom cabinetry and a cozy window seat.

Upstairs, bathrooms were similarly updated, to include opportunities for more natural light and to continue the styled detailing. 

Elements such as a child's bedroom and bath benefit from the new space and light created within the projecting bays.

Exterior detailing carried the theme through each element, material and joinery, as seen in stone walls, 6 x 6 posts, Brazilian Ipé flooring and solid plank railing of the front porch.

Careful attention to detail is evident at each window and roofline, even to the composition of out-of-view facades, not considered in most house design.

The terrace and cedar pergola adjoining the pool and great room, and auxiliary spaces such as outdoor shower, were tied into the whole.

The design, scale and placement of every board and each light fixture are carefully considered. Details such as the connection of post, girder and beam speak to design integrity.

Every consideration was given to making this well-crafted house a welcome home.

Kevin Young and Brian Mulligan of Young & Mulligan Construction, General Contractors brought our designs and details to life.

Shawn Glen Pierson worked as project consultant and in collaboration with Richard D. Wieboldt of Richard Wieboldt & Associates Architects PC.

Additional interior design by Shari Daniels, principal of DZYN Interior Design.

Photo Credit : : Shawn Glen Pierson

The James M. Thresher photograph featured on the front page of The Washington Post greeted me as I looked over the shoulder of a fellow Metro commuter the morning after the fire. The headline read “Fire Destroys Mansion on Embassy Row”. Prior to the fire, our office had been designing the historic rehabilitation of the Argyle House.

"Embassy Row" refers to Massachusetts Avenue extending from Dupont Circle toward the National Cathedral, location of many of the District's foreign embassies.

Considered the city's premier residential address in the late 19th and early 20th centuries, Massachusetts Avenue became known for the mansions of the city's social and political elite. The segment from Scott Circle to Sheridan Circle was termed "Millionaires' Row". 

In "Best Addresses: A Century of Washington's Distinguished Apartment Houses" (Smithsonian Institution, 1988), author James M. Goode profiled the most architecturally significant apartment buildings in Washington, DC. The Argyle House, completed in 1901, is prominently featured as a “Best Address”.

The Argyle House was designed by nationally prominent architect Paul Johann Pelz, associate architect of the Library of Congress of 1897. Pelz in 1898 had also proposed a design for a new White House, to be located on Washington’s Meridian Hill. The Argyle House, the city’s only surviving residential structure designed by Pelz, is listed as an important contributing structure within the Massachusetts Avenue Historic District.

Designed in the Chateauesque style with twin towers, central spire, dormers and fireplaces, the Argyle was likely inspired by the Chateau de Chenonceau in the Loire valley of France.

Of post Civil War Washington, Anthony Trollope, in North America, wrote: “Massachusetts Avenue runs the whole length of the city, and is inserted on the maps as a full-blown street, about four miles in length. Go there, and you will find yourself not only out of town, away among the fields, but you will find yourself beyond the fields, in an uncultivated, undrained wilderness. Tucking your trowsers up to your knees you will wade through the bogs, you will lose yourself among rude hillocks, you will be out of the reach of humanity...”

In 1900, in accordance with the L’ Enfant Plan, Washington City ended at Boundary Street, known today as 22nd Street Northwest. The Argyle House, located at 2201 Massachusetts Avenue Northwest at the corner of 22nd Street, is not only architecturally but also historically significant to the city, due to the coincidence of both its unique location and the timing of its construction.

The World’s Columbian Exposition held in Chicago from 1891-1900 spawned the City Beautiful movement, and with the appointment in Washington in 1901 of the MacMillan Commission, a Plan was drafted that extended the City along Massachusetts Avenue. One block West of Boundary Street, to honor Union Civil War General Philip H. Sheridan, Sheridan Circle was named. It featured a bronze equestrian statue designed by Gutzon Borglum, sculptor of Mount Rushmore, immortalizing Sheridan astride Rienzi reversing retreat at the battle of Winchester. General Sheridan’s widow resided at 2221 Massachusetts Avenue, overlooking the circle, until her death in 1938.

So, at the turn of a new century, as the city began its stretch beyond Boundary Street, The Argyle House (then the Commander Miller Residence) acted as the city’s gateway to the West.

Pelz was likely commissioned by the original owner, Commander Frederick Augustus Miller, a prominent naval captain, by virtue of the architect’s association with the United States Light House Board, including as recipient of a first prize in the Worlds Fair of Vienna “on account of the novelty and superior qualities of the types of Light House structures designed by him”.

The Argyle House was filled with sea-inspired details, including terra cotta exterior ornamentation, stained glass windows of underwater scenes, nautical motif plaster and carved wood wall and ceiling relief, and forged-bronze serpent door hardware.

From A History of Washington, Its Men and Institutions: “Frederick Augustus Miller...is one of the staunchest believers in the future of Washington, which he predicts will in the course of a few years not only be the most beautiful city on the world, but is fast becoming the Mecca for the wealth, fashion and culture of the United States. With the courage of his convictions, within the past few years Captain Miller erected at the northwest corner of Massachusetts Avenue and Twenty-second Street one of the most beautiful homes in the national capital. No expense was spared in the work, and the house stands boldly forth on the bluff it occupies, as one of the best examples of the architect’s art and skill…

The hand carving which adorns the newels, cornices and arches are works of art, while in design it is plainly discernible that Captain Miller’s beloved profession furnished the theme.

The house was owned by Commodore Miller through his death in 1909, and by his daughter, Countess Alice de Castellane until 1913. The building accommodated several private residential owners until 1923, then served as home to the Costa Rica and Salvadoran Legations. 

Following its ambassadorial use, the house reverted to a private residence until 1949, then transitioned to use as a rooming house operating under the name The Argyle Terrace Guest House, and into a long decline.

Within twenty-four hours of the fire, the city Fire Marshall ordered that the building be either demolished or shored, and Argyle owner Scott McLeod made the decision to try to rebuild. Atop a parked car in front of the building, structural engineer Alan Kilsheimer drew a freehand plan for the structural framing that would hold the Argyle’s walls in place.

Our firm, Richard Ridley + Associates, previously concerned with interior renovations and repairs and the redesign of only relatively minor elements of the structure, now had the challenge of a full historic rehabilitation including the complete restructuring and reconstruction of what remained of the historic façades.

The project was undertaken under the Historic Preservation Tax Act. All work must be done in accordance with the Secretary of the Interior’s Standards for Preservation. Our first task was to demonstrate to the Historic Preservation Review Board that there was enough of the historic fabric of the building remaining to be still deemed of historic importance.

Our efforts required a fine balance between the demands of historic preservation, zoning and building codes, and economic market planning. The interests, jurisdictions and authority of Neighborhood Advisory Committees, the Commission of Fine Art, and City and Federal inspectors, often conflict but all must be satisfied for success.

Shawn Glen Pierson measured each elevation on-site and created drawings to scale, and designed a system of detailed drawings that provided keys to each lost element requiring reinstallation, replacement, repair or substitution. Each element in turn was drawn in large or full-scale details, all by Shawn Glen Pierson.

The central ornamented pediment was completely destroyed by fire. This element, farthest from the eye, was simplified in its reincarnation. Note the high front porch stonework, scarred and its relief flamed to smoothness by the extreme heat of the fire.

Slight differentiation in color is seen from the original stone and terra cotta ornament to new synthetic replication. Molds were created from existing pieces found on site to recreate the voussoir lintels, shell and ribbon frieze, dentil cornice and swag and scroll panels.

Most of the South elevation collapsed during the fire, and is mostly new masonry and replicated detail. Fortunately, we were able to reintroduce the original scroll pediment dormers, destroyed in a 1945 roof fire.

The lost original roof presented design opportunities. We added a foot to the headroom of the full story below the cornice, and subtly provided a steeper roof and new hidden skylights, greatly increasing and improving the usable space within.

The alert stone ship's cat perched on the rear gable shoulder, a celebrated neighborhood mascot, fell during the fire and was found unscathed by workmen buried a foot underground in fire-hose soaked earth. Here, it celebrates a new life. Note the 1945 shed dormer, a not architecturally sensitive replacement due to a fire at that time.

The photographs of the completed rehabilitation illustrate the careful placement of new roman brick within the existing, a closer view of the synthetic slate utilized for the rehabilitation, and the straight modern windows that replaced the curved glass windows, unfortunately lost, of the original.

Our office was honored to receive the Dupont Circle Conservancy Historic Preservation Award.

Original Drawing by Shawn Glen Pierson.

First Floor Survey Plan by J.L.S. Jennings, Jr. for HABS, the Historic American Buildings Survey.

Photo Credits : : Exterior colour photographs by Shawn Glen Pierson.

Black + White Photographs by Jack E. Boucher for HABS, the Historic American Buildings Survey.

Tiny Jewel Box was near to celebrating its 80th Anniversary. 

The original mom and pop store was founded by Monte Rosenheim in 1930 in a tiny downtown Washington space at 1327 ½ G Street, specializing in estate and antique jewelry. In 1958 the shop moved to a bit larger space at 1105 Connecticut Avenue, and again in 1969 to a 1500 square foot boutique at 1143 Connecticut Avenue.

There, Tiny Jewel Box became an established Washington institution, where the powers that be gather to select important stones and glittering gifts for the lucky few that receive the signature red box. At this enduring family business, Monte’s son and grandson work side by side.

With the leadership of the next generations, Jim and Matthew, Tiny Jewel Box is tiny no more. The offerings have expanded to include leading contemporary designers, gifts and accessories, with merchandise imported from over twenty countries. A strategic move to the corporate gift realm necessitated commensurate space for display and client consultation, as well as for expanded corporate offices, and in-house marketing and sales personnel.

The privately held firm acquired 1147 Connecticut Avenue Northwest, originally the Elizabeth Arden Building and the first Arden location outside New York. The 1925 Colonial Revival building, designed by architect Mott Schmidt, is listed on the National Register of Historic Places. At 12,500 square feet and six stories, the building has grown the Tiny business space by eight hundred percent.

But the building wasn’t yet ready for business. The entire interior was gutted, as outdated structural, mechanical, electrical, fire protection and egress systems were replaced. The building was readied for the demands of a business whose first and every impression is critical to client satisfaction and business success.

As primary consultant to interior design firm Drysdale Design Associates, Shawn Glen Pierson developed conceptual and final detailed construction drawings for each retail interior floor, including woodwork, as well as coordination with engineering, historic preservation and lighting design consultants.

A particular challenge and singular success, though not seen, is the critical integration of complex structural, mechanical, plumbing, fire suppression, alarm, electrical and lighting systems throughout the showrooms. All these systems were effectively sandwiched and intertwined within the limitations of extremely tight, historically set dimensions. Thus we allowed every available inch of interior space for the desired physical and psychological comfort of clientele as well as for generous yet intricate designs for merchandising.

Drysdale Design Associates developed the retail space plan with the client, and selected all interior finishes, including special paints and fabrics, for all display casework and furnishings, as well as the design of all custom floor vitrines. The soft, serene palette of creamy limestone is designed to envelope the senses, surrounding the classical columns, pilasters and walls and flowing across and into display cases and coffered ceilings.

In the central entrance foyer, a brass globe chandelier is suspended through the ceiling opening to the Second Floor above, bringing light and focus to the space, while immediately suggesting to the new client…there are more jewels to see on the Second Floor.

The exterior skin and classical façade give today’s visitor a glimpse at its luxurious physical past, as the storefront windows and custom lighting evoke the richness and élan that more usually accompany New York’s Fifth Avenue grand boutiques.

The project design team included Oehrlein & Associates Architects as consultants for Historic Preservation, who provided the base building plans, drawings for building permit, and design and construction documents for the front façade rehabilitation and for each of the non-retail (office, and storage) floors.

A key element of the exterior was in finding just the right place for TJB’s signature red. The awnings, custom designed to enhance the delicate architecture, effectively wrap the wrought-iron arrow-spoke half-round windows above the jewelry shadowboxes.

Perhaps more than any other single business trait, Tiny Jewel Box is a people business. Personal relationships, and the comfort created for the customer within that relationship, are keys to successful retailing at the highest level. 

We took special care in the design to include a variety of planned spaces to encourage and reward these personal bonds.

Central and axial views are visually reinforced through the design of wall and floor vitrines, details and finishes, placing both product and client at the welcome center of attention. Intimate desks and seating arrangements are provided for delicate quiet deliberations, while other fine jewelry consultations are necessarily private, with interior rooms providing a review and close examination of important pieces for important clients.

The Second Floor existing windows formed a grid of steel squares. This gave us the perfect opportunity and an appropriate location for the Tiny Jewel Box new collection of light and contemporary offerings, as well as jewelry considered right for business attire and everyday wear.

Again, we sought to take advantage of the natural light afforded us by the wall of windows of the Second Floor, making that borrowed light available to this Third Floor giftware and accessories showroom.

Some store owners might decry any “loss” of square footage, but this strategic opening between Second Floor and Third Floor moves the eye as well as the light, showing each customer: yes, there is more merchandise to see on the floor above or below. 

In such a project, we always keep in mind that each design element is there to reinforce the business, to allow the customer to be more content, to motivate and reward each customer and each employee, to assist and promote the marketing aims and themes of the business, to allow flexible response to change, and to be a practical, efficient and effective partner.

The Tiny Jewel Box project was the recipient of the Washington Building Congress Craftsmanship Award.

Photo Credits : : Daytime Exterior Photos by Shawn Glen Pierson.

Portrait of Jim and Matthew Rosenheim by Greg Whitesell for The Examiner.

Interior Photographs by Susan Biddle for The Washington Post.

Our challenge in this project was to bring the structural details to life in this new summer and vacation residence in Prout’s Neck, Maine, as Mary brought to life the decorative details of custom furnishing, fabrics, finishes and accessories. 

Working closely with Mary and the Drysdale Design Associates staff, as well as with local Maine architects of record, consultant Shawn Glen Pierson provided complimentary design and detailing.

All drawings required for featured elements, including woodwork, fireplaces, stairs, columns and special ceiling treatments, were developed by Shawn Glen Pierson at full scale to insure uncompromising design decisions and exact fit in the field.

In this dining room image, details personally drawn by Shawn Glen Pierson include the columns and pilasters, doors and windows, as well as the coffered ceiling and all custom moulding details.

As shown in each of the images, all furnishings and window treatments were either selected or specifically designed for this project by Drysdale Design Associates. 

Custom-designed and hand-crafted slipcovers and pillows, including the Drysdale signature appliqué, were each created by the Drysdale staff, and fabricated and upholstered by Washington DC craftspersons under Drysdale Design Associates supervision.

All fireplace detail drawings were completed by Shawn Glen Pierson in consultation with Drysdale Design Associates regarding design theme and room décor.

Each fireplace design spoke to the scale, as well as to the formal or informal nature of its room.

Selections, specifications and schedules for all exterior doors and windows throughout the project were developed and documented by Shawn Glen Pierson.

Kitchen cabinetry, hardware, fixtures, fabrics and accessories were designed or selected by Drysdale Design Associates.

The custom stairway design and details as featured on the cover of Traditional Home were developed and documented in full scale drawings by Shawn Glen Pierson.

Photos Credit : :  Peter Vitale.

“Pour Olga, Ton Ami, Pablo”

The Argyle Carriage House was chosen as the Washington piéd-a-terre for international modern art collector and museum benefactor Olga Hirshhorn. Dubbing her 500 square foot triplex “The Mouse House”, the space we have created by joining the automobile house and adjacent courtyard is filled with pieces by Picasso, Calder, Man Ray, Giacometti, O’Keefe, Matisse, Daumier, Kenneth Noland, Ben Shahn, Jean Dubuffet, and Willem De Kooning.

The Argyle House featured the first “automobile house” in Washington DC. By engaging the adjacent open courtyard under roof, and by tucking a steep dormer to the rear of the garage, we were able to more than double the available interior space and thus provide additional separate living quarters to the project.

Our office was honored to receive the Dupont Circle Conservancy Historic Preservation Award.

Original hardline elevation drawing by Shawn Glen Pierson.

Photo Credits : : Exterior photographs by Shawn Glen Pierson.

Interior Photography by Gordon Beall for Architectural Digest magazine.

Nancy and Rusty made their home in a handsome contemporary Tudor just off River Road in Bethesda, Maryland, around the corner from Congressional Country Club. Designed by the talented architectural designer Bob Gray with his customary integrity, the home is a blend of clean lines and exceptional detailed work in stucco, brick and stone.

Nancy and Rusty were working on an ambitious backyard landscaping project that would include a new swimming pool, spa, putting green and sport court area. The pool was nearly complete, but somehow the design for the new buildings just wasn’t clicking. They had decided to be open to someone new for the project: would we be interested?

We discussed the desires and inspirations that Nancy and Rusty brought to the project and what the work should accomplish, as well as my own design and service philosophy. It was a difficult puzzle, since a number of discreet functions were required to coexist and be coordinated within a very rigidly defined space between the new pool edge and the zoning setback requirement. And, of course, it had to look as good as it behaved.

Our requirements consisted of a primary entertaining space with a kitchen, bar and indoor and outdoor seating areas, a guest changing room, a powder room, indoor and outdoor showers, storage for pool toys and accessories, a space for the pool mechanical equipment, a large outdoor cooking grille, a greenhouse cutting shed with sink, family bicycle storage, perhaps a play space for children, and a two-car garage. On a site that sloped down into the rear yard at pool’s edge, we had a lot to do and a small space in which to accomplish it all.

The Pool House took its design clues from three important on-site sources: the pool itself defined a comfortable width of the pool-facing spaces; the style, materials and finishes complement the home; the private and service functions are stacked vertically to take advantage of sloping grade. The stone for walls are from a quarry adjacent to the property.

The garage side wall straddled the setback line, and the functional space requirements of the two bays defined the garage width. That left just enough space to fit a galley kitchen and entertainment space, with a cozy but comfortable outdoor space to the pool’s edge. To create a more open feel in just-enough space, the door facing the pool is ten feet wide.

The entertaining area is also two stories tall, lending airy spaciousness to an otherwise small space. A variety of openings play with natural light and creates many moods throughout each day: tall high casement window face the pool, ten square decorative glass clerestory windows bring dappled light into the sides of the tall center space, and skylights in the two low-ceilinged side seating areas capture sun and view overhead. A secret stair allows the children to access the loft play space above the garage, with a balcony overlooking the adult’s social space below.

It seemed natural to separate the public and social spaces from those allowing solitude, reflection and privacy. Across a breezeway from the pool house proper and garage, a small stone house contains a generous open-air shower with views to the landscape, and adjacent central sink and vanity area, a private changing room with wardrobe closet (again overlooking the gardens though a multi-paned window), and indoor shower and toilet rooms, each behind walls of obscure glass block.

A low stone wall separates the pool terrace from steps down to a landing, where a bench and sculpture sit to one side, opposite the path to the greenhouse. On the terrace, against the stone wall, the grille cooking area is convenient to, but separate from, the dining area.

Opposite the greenhouse on the stone house’s flank, a little bicycle garage is tucked under a painted standing seam metal roof. Stairs from the lower grade lead to the cellar of the stone house and the pool pumps, heaters and filters. A small cupola conceals the equipment exhaust, and brings light into the changing rooms from above.

Toys and furniture are stowed via generous doors in the breezeway to garage storage rooms.

Details that help coordinate the overall design include the custom-designed wrought-steel railings at the pool house clerestory. These relate to pool gates and fences throughout the project, designed together in a system, from simple and utilitarian to light and decorative.

A personal touch from the clients can be noticed throughout the work as well: their fondness for glass block is interwoven where most appropriate: in the clerestory, the shower, the rest room, the cupola (serving as a “light chimney”) and in the service approach to the pool house, where the view from the social area to the service area is discouraged in favor of a view to the pool. A 48 - pane clear glass window exactly corresponds to the 8” x 8” grid of glass blocks in the opposite wall. Even the service approach is approached with design in mind.

Our design thinking continues from a good first impression, to the last.

Photography by Shawn Glen Pierson.

In the heart of Capitol Hill on Washington’s Massachusetts Avenue and just two blocks from the United States Capitol, this influential conservative political foundation informs and advises members of Congress, employs experts who provide media commentary and publish policy papers, sponsors resident scholars and interns, provides venues for lectures and forums, and supports related organizations that promote the foundation’s political and philosophical views on issues ranging from national defense to poverty to relationships between nations.

Due to the nature and mission of the foundation, two central requirements also were ideally to be met: that all facilities were brought in - house and that the location was within minutes of the US Capitol. The shared in - house facilities allow all functions and personnel to communicate freely and more effectively with each other, and the short walking distance allows visiting lawmakers the ability to cast votes in Congress on a few moments notice.

Supporting these activities requires a physical presence that includes executive and staff offices, boardrooms and conference centers, reception and lecture halls, television and radio studios, publication and printing facilities, catering kitchens, apartment housing, health and recreation facilities, and a myriad of service spaces for systems and equipment.

The location, moments from the US Capitol, encourages frequent visits from members of Congress and policy leaders, while indicating the political access that the foundation enjoys and relies upon.

In need of expansion to house its wide-ranging multi-function, multi-media organization, as well as to incorporate in-house the formerly outsourced accommodations for visiting scholars and interns, the foundation sought new space on Capitol Hill.

As former Tennessee Senator Fred Thompson phrased it:

“Success often creates unique challenges. It became clear that Heritage would have to expand. And that would mean moving from their current location in the not too distant future. The problem: Heritage’s location is one of its biggest assets. Heritage President Ed Feulner knew he faced a dilemma. Heritage had to grow but he didn’t want to give up his location. He needed a miracle, and he got one. The gift of the building came at just the right time.”

Edwin J. Feulner, Ph.D., President, Heritage Foundation:

“Right now we’re one block away from the Hart Senate Office Building, and just a short walk away from the Capitol itself. There is simply no place else that we could be that would put us any closer to our key target audience. And that’s why it’s so important that we’re able to stay here.

How important this building is to the future of the Heritage: to transform our offices into a 21st century headquarters... the tremendous opportunities we have to double the size of our headquarters and to expand our effectiveness. As good fortune would have it, an eight-story apartment building was next door, and the building’s owner wanted to donate the building to the foundation. Thus, an additional 63,000 square feet of new space was available, with internal links possible from the existing headquarters building to spaces to be planned within the new building.”

United States Senator Fred Thompson:

“Let me tell you how Heritage plans to use the new building. Their plans are really exciting. About half the building will be used for intern housing, which will provide interns with safe affordable housing. What a great opportunity”.

“The top two floors of the new building will house the new Douglas and Sarah Allison Auditorium. But first they have a lot of work to do. Frankly, they have to virtually gut the entire building.”

As seen in the photos on the preceding pages, the existing building is immediately adjacent to the new, with a common wall separating the two. Each building will have independent entrances facing Massachusetts Avenue. 

The existing top two floors, having conventional walls, corridors and ceiling heights common to the former apartment building uses, were removed to make way for the auditorium and a two-story reception space, affording abundant natural light and expansive views from these public spaces to the US Capitol and the city’s monumental core. 

The design of the resulting façade, accomplished by Hickok Warner Fox Architects, offers a newly proud public face to what had been a featureless statement.

Internally, the buildings open to each other in two key public spaces: on the public ground floor, and at the top levels, where the executive suites and board rooms will have ready access to the new auditorium spaces. 

John Von Kannon, Heritage Foundation Vice President and Treasurer:

“The floors will still be there. But we have to redo the elevators, redo the air conditioning, redo the heating, redo the wiring, install computers, a total renovation of the building. We’re going to have to spend about nine and a half millions dollars. That’s a lot of money, but when we’re done with that, what the experts tell us, is that we’ll have a building worth about thirty million dollars.”

United States Senator Fred Thompson:

“I’m sure you can see why everyone is so excited about this new building.

The completed design is seen as the realization of the complex construction sequence illuminated by the photographs in the preceding pages, taken from the same vantage point. The planning and coordination of competing yet interdependent structural, mechanical, electrical, lighting and finish systems are a key element to creating success in a project.

The original Hickok Warner Fox plans included the design of the auditorium. However, their design drawings indicating a typical, predictable and uninspiring rectangular box, with minimal relationship to the potential for views and natural light.

The box was abandoned in favor of a new design.

This new design, with Richard Wieboldt & Associates Architects PC (RWA), advocated a dramatic tension between a curved auditorium element and the resulting vibrancy of the open volume.

RWA was assigned to develop the plans for all interior architecture, to be coordinated with the base building (engineering and building core systems, elevators, and exterior façade and roof) design responsibility of Hickok Warner Fox Architects.

Shawn Glen Pierson worked as consultant to RWA, responsible for developing designs and details within the exterior building envelope. 

Shawn Glen Pierson’s work included custom woodwork, paneling, stone and ornamental metalwork developed in full-scale drawings, and coordinated in the review and development of shop drawings by the individual fabricators.

Lighting design for the project was provided by D. Gilmore/Lighting Design Inc. in consultation with Richard Wieboldt & Associates Architects.

John Von Kannon, Heritage Foundation Vice President and Treasurer:

“A two-hundred seat, state of the art auditorium, named after Doug and Sarah Allison of Michigan, who donated two million dollars to build this auditorium…will allow us to have even more events for members of Congress, with congressional staff and with journalists; events that we can broadcast throughout the country and in fact throughout the world.”

For a project such as this, symbolic imagery can be an important element in advancing the overall goals of the client. In this case, the client seeks to create the idea of a link to the notable events, greatest leaders and most eloquent words of the American founders. As guest speakers, often presidents and vice presidents, cabinet secretaries, members of Congress, and American and foreign dignitaries address their audience, they can be seen under a visual reminder of Liberty. In the President’s conference room, the dome of the US Capitol is framed by windows leading to the private balcony as guests are reminded of the foundation’s proximity to power in the United States Capitol, as well as its close relationships with Members.

Often, abstraction, symbol and metaphor are parts of the modern architect’s art.

Projects such as this rely upon, serve and seek to acknowledge the members and constituents who make the designs and buildings possible. We were asked to provide a suitable design for the recognition of the donors to this endeavor. 

A project-within-a-project, the concept of a Founders’ Wall as conceived, developed and detailed by Shawn Glen Pierson would literally bring the viewer into the Scene at the Signing of the Constitution of the United States.

The oil-on-canvas painting by Howard Chandler Christy, depicting the Constitutional Convention signing the United States Constitution at Independence Hall in Philadelphia, is one of the most famous and important depictions of the American Revolution, and the original is displayed in the House of Representatives of the US Capitol.

We obtained a photographic transparency of the original from the Architect of the Capitol. A digital file was made of the transparency, and a wall-to-wall, floor-to-ceiling print was created on textured fabric. 

Encasing the scene are five glass panels, reverse-engraved with the gold filled names of the donors. The type size of each name corresponds to that individual’s level of contribution. As the viewer reads the names, the viewer’s image is reflected in glass, and in this way the viewer enters the scene, visually and conceptually becoming one with the nation’s founders.

Even the smallest details were thoughtfully considered, as twenty-first century innovation inhabits eighteenth century evocation.

Heritage Intern James Swynford, College of William and Mary: “I can only imagine what a new building would mean.”

Shawn Glen Pierson worked as project consultant to and in collaboration with Richard D. Wieboldt of Richard Wieboldt & Associates.

Interior design for the executive suite was provided by Linda L. Kreidler, ASID, Kreidler Design Associates, Inc.

Photo Credits : :

Interior Photography by Michael Dersin.

Interior construction photography by Richard Wieboldt.