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The visitor center space before renovation.                                                                       The permanent exhibits are arranged in a center-axis pattern
                                                                                                            that respects the hall’s classical symmetry, with enough room
                                             Photo courtesy of SmithGroupJJR                                between them to accommodate large crowds during peak tourist
                                                                                                            season. The display cases and seating benches are made of Corian
   The space following renovation.                                                                          and another synthetic material called 3form. “Corian is an opaque
                                                                                                            solid surface material, while 3form is a translucent solid surface
                                                                                 Photo © Maxwell MacKenzie  material,” Greenbaum explained. “Corian is very forgiving and
                                                                                                            can handle a lot of wear and tear, so we used it on surfaces that
events of 9/11, the facility’s mission evolved to primarily serve                                           were subject to high traffic. 3form was used on the central elements,
as an educational center for nearly 700,000 visitors per year.”                                             among other millwork, to create a softness to the linear forms.”
                                                                                                            The largely white color of the display cases and benches alludes to
      The renovated 16,000-square-foot facility, which opened in                                            the exterior color of the White House and provides a gentle contrast
September, includes permanent displays with interactive exhibits                                            to the grey limestone and the brown-toned coffered ceiling.
on the role of the White House as home, office, ceremonial stage,
and museum, as well as a space for temporary exhibits, a theater,                                                 “We purposefully, in working with the architectural team,
a retail shop, and restrooms.                                                                               talked about having a very minimalist palette,” said Cybelle Jones,
                                                                                                            principal and creative director at Gallagher & Associates and exhibit
                                                                                                            design leader. “I think that was driven, first, by differentiating new
                                                                                                            and old so that we weren’t competing with the decorative nature
                                                                                                            of the hall.” The resulting overall color scheme of a largely white
                                                                                                            insertion into a somewhat darker historic envelope is comparable
                                                                                                            to the highly regarded design for the Musée d’Orsay in Paris.

                                                                                                                  The tall windows running along the front of the Commerce
                                                                                                            Department building bathe the great hall in a gentle northern light.
                                                                                                            That’s a nice feature for an artist’s studio, but for an exhibit space,
                                                                                                            it can create a design challenge.

                                                                                                                  “Typically, exhibits are done in a black box environment,”
                                                                                                            Greenbaum said. So the question became, “how can we do
                                                                                                            exhibits with an interior historic hall using daylight? That was
                                                                                                            something that we started to look at with the Normandy American
                                                                                                            Visitor Center.”

                                                                                                                  “Usually, in exhibits that have beautiful artifacts and collections,
                                                                                                            you want to have a rather dramatic setting for those objects,” Jones
                                                                                                            said. But in this case, “we couldn’t fight the daylight. So we tried to
                                                                                                            use materials and backlit panels that created this kind of luminosity
                                                                                                            and this very brilliant, subtle light, so that nothing was overwhelmed
                                                                                                            or spot-lit, [and the light instead] creates this very lovely backdrop
                                                                                                            of glow.”

                                                                                                                  The two-year renovation “was accomplished while respecting
                                                                                                            the historic fabric of Baldrige Hall and in compliance with the
                                                                                                            Secretary of the Interior's Standards for the Treatment of Historic
                                                                                                            Properties,” Greenbaum, said. “Because every surface was an
                                                                                                            original, historic finish, no new construction attaches to the historic
                                                                                                            finishes anywhere in the space.” The design “exemplifies the
                                                                                                            National Park Service’s larger mission of preservation of the
                                                                                                            nation’s heritage, stewardship of the environment, and accessibility
                                                                                                            for all visitors.”

                                                                                                                  The project incorporates sustainability features such as energy-
                                                                                                            efficient LED lighting and low-flow faucets and toilets in the rest-
                                                                                                            rooms, and is aiming for LEED-CI Silver certification. The design
                                                                                                            is also highly ADA compliant. “When I think of universal design,
                                                                                                            it’s better design for everybody, said Jonathan Cantwell of
                                                                                                            SmithGroupJJR. “One of the things that I always like to say is to
                                                                                                            design for your future self.”

                                                                                                                  The total cost of the Visitor Center was $12.5 million, with
                                                                                                            $7.5 million provided by the White House Historical Association,
                                                                                                            and the remaining $5 million by David M. Rubenstein, a prominent
                                                                                                            businessman and philanthropist who has funded a number of
                                                                                                            civic and cultural projects in the Washington area.

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