World War I tribute designed by UA grad over another hurdle

WASHINGTON -- The U.S. World War I Centennial Commission -- once it receives the necessary approvals from other agencies -- aims to break ground on a new national memorial on Nov. 11, the 99th anniversary of the armistice that halted the fighting.

The U.S. Commission of Fine Arts, a federal agency that must sign off on memorials in the nation's capital, approved the group's concept proposal at its May meeting.

The National Capital Planning Commission, another agency that oversees planning matters in the capital area, is expected to review the proposal when it meets next month.

Joseph Weishaar, a 2013 graduate of the Fay Jones School of Architecture and Design at the University of Arkansas, Fayetteville, won the international design competition in January 2016, beating more than 350 other entries.

Phoebe Lickwar, a professor at the Jones School, is the project's landscape architect. Sabin Howard, a New York City sculptor, will create the bronze wall that will be a focal point of the project.

Thomas Luebke, the Commission of Fine Arts' secretary, said the memorial had cleared a major hurdle, though a lot of work remains.

"Getting the concept approval is a very important milestone in the review process," he said. "They need the final approval in order to actually start construction."

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Before that happens, the fine arts agency must sign off on all kinds of details, including the topography, landscaping, lighting of artwork, and signs.

Established in 1910, the Commission of Fine Arts is an independent federal agency that advises the president, Congress and the federal and District of Columbia governments on matters of design and aesthetics as they affect the federal interest and preserve the dignity of the nation's capital, according to the agency's website. The agency reviews designs proposed for memorials, coins, medals and new or renovated government buildings, as well as some private properties.

On a major project, the creators will usually meet repeatedly with the seven-member board before the work is done.

In this case, the site is prominent -- on Pennsylvania Avenue, a block from the White House. The subject is also substantial -- one of history's deadliest conflicts.

"We're designing a monument for the ages so we're trying to get it right," Luebke said.

More than 16 million people perished as a result of the war. The United States lost 116,000 servicemen in the war.

Although it was the second-deadliest conflict of the 20th century, there wasn't an early groundswell of support for building a national memorial in Washington.

Survivors of World War II, Vietnam and Korea lived to see their monuments; all World War I veterans had died by the time their memorial was approved.

Edwin L. Fountain, the centennial commission's vice chairman, said progress is being made, noting that the efforts have been underway for nine years.

"We are pleased the [Commission of Fine Arts] endorsed our proposal to honor the service of 4.7 million Americans who served in World War I," he said in a written statement. "We look forward to working with the [Commission of Fine Arts], the public, and other stakeholders as we continue to develop the final design."

Weishaar and the sculptor have repeatedly revised their plans, making adaptations to satisfy the Commission of Fine Arts and others.

Weishaar said he's enjoying the process. "It's been really interesting and really something new," he said. "There hasn't been a dull day or moment on the project."

Rather than working with an empty plot of land, the architects are incorporating the memorial into Pershing Park, a 1981 park designed by M. Paul Friedberg, one of the nation's leading landscape architects.

The roughly 1.75-acre site, with a sunken plaza, water fountain and pool basin, was once a magnet for city residents. In the summer, lotuses and lilies flourished in its shallow waters and visitors relaxed on its concrete steps and lawn terraces.

The cascading water helped drown out the sounds of traffic while also helping to mitigate the summer heat.

In the winter, with the 20-foot waterfall stilled, the pool was used for ice skating.

Because of insufficient funding, the park fell into disrepair in recent years. The water is gone and many of the plants have died. Graffiti has marred the walls. Weeds infest the ground.

Initial plans called for much of the park to be razed. But Friedberg's defenders fought to preserve the existing space, arguing that it was culturally significant.

Charles Birnbaum, president and CEO of the Cultural Landscape Foundation, said it's important not to "radically alter" the Friedberg design.

His organization has urged the Commission of Fine Arts and the National Capital Planning Commission to prevent the destruction of Friedberg's park, arguing that it is one of his masterpieces.

Last year, the National Park Service agreed, ruling that Pershing Park was eligible for listing on the National Register of Historic Places.

Other officials are also calling for key portions of the park to be saved. In November 2015, the Commission of Fine Arts "expressed concern that the designs are excessively focused on completely reinventing the existing site without addressing the park's outstanding characteristics and vital role within a series of symbolic urban spaces."

The board said memorial planners should "enhance Pershing Park while rehabilitating or reusing elements of the original park design."

The centennial commission officials are heeding the recommendations.

Originally, they planned to eliminate the water features. Now, they've agreed to keep them, though the size may be reduced.

Initially, the plans included an 81-foot-long bas-relief sculpture named The Weight of Sacrifice that portrayed the war and its effect on the nation. After critics objected to its size and scale, it was reduced to 75 feet and then 65 feet.

"We're cautiously optimistic about how the edges have been treated," Birnbaum said. "We continue to have significant concerns about the treatment of the lower plaza basin water feature and memorial gesture."

But the design is better now than it was initially, he said.

"[I] remain cautiously optimistic that this will continue to move in a good direction," he said.

It's important to get the design right, he said.

"I think for any project that's in the public realm, let alone within the iconic National Historic Site that is Pennsylvania Avenue ... there should be high standards," he said.

While the project will continue to evolve, Weishaar said things are moving forward.

"Getting past the [Commission of Fine Arts], that was a big step. I'm glad we got it past because now we have a design that we can put in front of donors," he said. "We know what all the pieces will be. That just took us light years from where we were."

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