Obsolescence and Renewal: Transformation of Post War Concrete Buildings

In this thesis I investigate issues of post-war concrete buildings and how we can both add value and make adaptable what we have traditionally defined as not valuable and not adaptable. 55% of United States’ commercial building stock was built between the years of 1960 and 1980, leaving 36 billion square feet of building material to be adaptively reused or at the bottom of a landfill. Currently, our culture does not value many character defining features of these buildings making the preservation of these buildings difficult, especially at this 50 year critical moment of both the attribution of a “historic” status and time when major renovation of these buildings needs to occur. How can architects add value to a building type, sometimes called “brutalist”, that building culture currently under values and thinks is “obsolete”? I tested this hypothesis using the James Forrestal Building in Washington D.C. After close study of the obsolescence, value,history and existing conditions, I propose a design that adds value to Southwest Washington D.C. and may serve as an example for post-war renewal around the country.

Phase II Archaeological Excavations at 99 Main Street, 18AP21 (Sign of the Whale), Annapolis, Maryland

Historical Annapolis Foundation (HAF) conducted terrestrial archaeological investigations at site 18AP21 in the city of Annapolis, Maryland. Excavations were carried out at this National Register site ostensibly as a Phase II project to evaluate the site and assess the need for further work. The site is at 99 Main Street in the center of downtown Annapolis, near the Annapolis waterfront. The project was carried out as part of the advanced work for the Annapolis History Center project, to be built in the adjoining buildings of 99 Main and 196 Green Streets. The buildings are the property of the Historic Annapolis Foundation and located in Maryland Research Unit 7. The excavations were undertaken by HAF, and funded by HAFF. The work was conducted for HAF and MHT, who holds an archaeological easement on the property. This preliminary phase of work included stratigraphic excavation of two testpit units. These two units revealed that the site of the existing 99 Main Street building was the location of three previous constructions. The current building at 99 Main Street, built in 1791, was preceded by an earlier brick dwelling, evidenced by a stout pier of bricks, which was attached to a wooden-sided structure that stood on a foundation of brick and stone. Ceramics indicate that these buildings date to the early-middle of the 18th century. A third structure of post-in-ground construction, evidenced by recovery of burned posts and wood fragments, likely existed prior to these, but evidence was scant. These excavations reveal that the site of 18AP21 holds potential for understanding Annapolis's early cultural developments, especially in the area of initial settlement and the origins of waterfront commerce. The assemblage of artifacts recovered includes a broad sample of common 18th century pottery such as creamware and Chinese export porcelain, and also includes some early colonial types such as tin-glazed earthenware and various red-bodied slipwares. The excavations do not provide conclusive evidence of the construction sequence. Consultation with MHT representatives indicates that further work at the site will likely be needed before modifications to the floor of the building can progress.

Report on Archaeological Investigations Conducted at the St. Mary's Site (18AP45), 107 Duke of Gloucester Street, Annapolis, Maryland, 1987-1990

In celebration of the 250th anniversary of the birth of Charles Carroll of Carrollton, Archaeology in Annapolis was invited to excavate the Carroll House and garden on 107 Duke of Gloucester Street in Annapolis, Maryland. The site, named the St. Mary's Site (18AP45) for the Catholic church on the property, is currently owned by the Redemptorists, a Roman Catholic congregation of priests and brothers who have occupied the site since 1852. Prior to the Redemptorists' tenure, the site was owned by the Carroll family from 1701-1852 and is perhaps best known as the home of Charles Carroll of Carrollton (1737-1832), signer of the Declaration of Independence. Excavations at the site were conducted during four consecutive summer seasons from 1987-1990. The investigation focused on three research questions. The first line of inquiry were questions surrounding the dating, architectural configuration, and artifact deposits of the "frame house," a structure adjoining the west wall of the brick Carroll House via a "passage" and later a three story addition. The frame house was partially demolished in the mid-nineteenth century but the construction was thought to pre-date the brick portion of the house. The second research question was spurred by documentary research which indicated that the property might have been the location of Proctor's Tavern, a late 17th-century tavern which served as the meeting place of the Maryland Provincial Assembly. Archaeological testing hoped to determine its location and, if found, investigate Annapolis' early Euro-American occupation. The third research question focused on the landscape of the site as it was shaped by its occupants over the past three hundred years. The research questions included investigating the stratigraphy, geometry, and architectural and planting features of Charles Carroll of Carrollton's terraced garden built during the 1770s, and investigating the changes to the landscape made by the Redemptorists in the nineteenth and twentieth centuries. While no structural evidence associated with Proctor’s Tavern was uncovered during limited excavations along Spa Creek, the historic shore of Spa Creek was identified, buried beneath deep fill deposits laid down during construction of the Carroll Garden. Features and deposits associated with this period likely remain intact in a waterlogged environment along the southeastern sea wall at the St. Mary’s Site. Evidence of extensive earth moving by Carroll is present in the garden and was identified during excavation and coring. This strongly suggests that the garden landscape visible at the St. Mary’s Site is the intact Carroll Garden, which survives beneath contemporary and late nineteenth century strata. The extant surviving garden should be considered highly sensitive to ground-disturbing activities, and is also highly significant considering demonstrable associations with the Carroll family. Other garden-related features were also discovered, including planting holes, and a brick pavilion or parapet located along Spa Creek to the south of the site. The Duke of Gloucester Street wall was shown to be associated with the Carroll occupation of the site. Finally, intensive archaeological research was directed at the vicinity of a frame house constructed and occupied by the Carrolls to the east of the existing brick house, which was replaced by the Redemptorists in the nineteenth century with a greenhouse. These superimposed buildings were documented in detail and remain highly significant features at the St. Mary’s Site.

Selected Piano Works by Schumann, Liszt, and Brahms Incorporating or Based on Pre-existing Music

This dissertation shows how Schumann, Liszt and Brahms composed piano works based in a variety of ways on other music that already existed. My idea to do this project came through my fascination with Brahms’s Variations on a Theme by Paganini, which was the first piece selected. Brahms composed six sets of variations for solo piano, and I also chose Variations and Fugue on a Theme by Handel. Besides the variations, I included Brahms’s Ballade in D minor, Op. 10 No. 1, based on the Scottish ballad “Edward”. This piece demonstrates that Brahms applied pre-existing music not only in the form of variations, but also in other genres. Among Romantic composers, Schumann and Liszt are two others besides Brahms whose music frequently quotes pre-existing materials. In Schumann’s output, the inspiration from Clara Wieck is significant. The best examples may be the Impromptus Op. 5 and the third movement of the Grand Sonata No. 3, Op. 14, in which Schumann quotes the music by Clara Wieck as the theme of the variations and in the other movements as well to unify the entire piece. In addition, Schumann quotes the old German folk song “Grossvater Tanz” (Grandfather Dance) in the finale of Papillons. The same tune also appears in Carnaval for a programmatic purpose. These two pieces are a clear illustration that Schumann applies pre-existing music, and in addition they represent the spirit of literary reference. Liszt is well known for his superb transformations of other composers’ works into glorious piano compositions. Liszt drew his inspirations from different genres, including both vocal and instrumental music. His ability to turn earlier musical materials into virtuosic solo piano pieces that demonstrate his brilliance in creating imaginative keyboard sounds is remarkable. Among those pieces composed by Liszt, terms such paraphrase, reminiscence, or fantasy frequently appear as titles. I selected two such pieces: Rigoletto: Paraphrase de concert, S. 434 and Rondeau fantastique sur un thème espagnol, S. 252. In addition, Liszt also uses variation form to explore the possibilities of pre-existing themes. The piece I chose to represent this is Variations on the Theme “Weinen, Klagen, Sorgen, Zagen” and Crucifixus from the Mass in B minor by J.S Bach, S.180. This dissertation comprises three piano recitals that were performed in 2010 and 2011 in Ulrich Recital Hall and Gildenhorn Recital Hall of the Clarice Smith Performing Arts Center of the University of Maryland. The recordings are documented on compact discs that are housed within the University of Maryland Library System.