a&e features
Liz architect creates a building that fits in and stands out
Annabelle Selldorf honors the past while creating vibrant new spaces
There aren’t many buildings in Washington that are named after a movie star.
Or use an early 20th century garage as modern office space.
Or frame upper-level windows with all the colors of the rainbow
Those are a few of the characteristics of Liz, the mixed-use building on 14th Street N.W. that was named after Elizabeth Taylor and houses the administrative offices of Whitman-Walker Health, a leading health care provider for the region’s LGBTQ community and people with HIV/AIDS. It also has street-level retail space, more offices and 78 apartments.
Creating a building that meets the needs of Whitman-Walker Health and other occupants was the job of Annabelle Selldorf, a prominent New York-based architect who served as the lead designer.
Selldorf, the head of Selldorf Architects, is known for her work with high-profile clients such as the Frick Collection and the Neue Galerie in New York, the Museum of Contemporary Art San Diego and the soon-to-open Rubell Museum in Miami. Liz is her first completed project in the District of Columbia and her first project anywhere for a health care-oriented client.
Her approach was to combine historic preservation and new construction to arrive at a single interconnected structure that both fits in with the surrounding area and stands out as a significant addition to it — a game changer in the cityscape and new front door for Whitman-Walker.
Experienced in blending old and new, Selldorf created a composition in which the new construction is set back or clearly distinguished from the two historic buildings that were preserved as part of the project, so it doesn’t upstage or loom over them.
The goal, she says, was to honor the past while creating new spaces that will enable the city to grow and strengthen Whitman-Walker for the future.
“I’m deeply humbled by having been given the opportunity” to work on the project, she said at the ribbon cutting. “It’s humbling because … this is for people, and if it isn’t for people who are belonging into this place, and if you are not welcoming to everybody, what is the meaning of being an architect?”
Andy Altman, one of the principals of Fivesquares Development, a real estate company that worked with Whitman-Walker, said he and his partners were delighted that Selldorf agreed to take on the project, given her reputation. He said Selldorf is known for work that can be both dignified and playful, that provides a pleasing juxtaposition of old and new, and that’s what his group believed 14th Street and Whitman-Walker needed.
“Annabelle Selldorf is a world-renowned architect who does amazing commissions,” he said at the opening. “We went to Annabelle … and said we want a work that is going to be beautiful, exquisite, bold but subtle, not something ostentatious but that will really be of world-class stature for our city. Annabelle was the choice, and we were thrilled that she would do it.”
Named after Elizabeth Taylor, an actress and early AIDS activist, Liz is a collaboration of Whitman-Walker and Fivesquares, a for-profit, socially conscious developer and contractor that also has its offices in the building.
The completed project, which was dedicated on Nov. 6, occupies an entire city block in the 1700 block of 14th Street, N.W., between R and Riggs streets.
Whitman-Walker, a non-profit with a long history of providing health care for the LGBTQ community and people with HIV/AIDS, owned the block and had used the corner building as the main entrance and waiting area for the Whitman-Walker Elizabeth Taylor Medical Center, which opened in 1993.
When the medical center moved to larger quarters two blocks away several years ago, that freed up space for Whitman-Walker to redevelop its property at 14th and R.
Under its partnership agreement with Fivesquares, Whitman-Walker remained the majority partner in the project, a rarity in collaborations of this kind. Altman says he believes it is “a model of urban regeneration” and “a model for non-profits nationally and what they can do to sustain their mission and serve their needs.”
The initial plan was to build new administrative offices for both Whitman-Walker and Fivesquares, while adding rental housing and street-level commercial space that would generate revenue for the joint venture and add life to the street. As the design evolved, the project gained another component, a cultural center and meeting place that will serve the community at large, especially the LGBTQ community.
Today, the ground floor is occupied by retail tenants and the soon-to-open Whitman-Walker Cultural Center. The second floor is occupied by Whitman-Walker Health, including administrative offices, health and legal services, public benefits and research programs. The third floor is shared by the Goethe-Institut, a German language school, and Fivesquares’ offices. Floors four to seven contain the apartments.
Born in Cologne, Germany, the daughter of architect Herbert Selldorf, Selldorf came to the United States as a young woman to study architecture at Pratt Institute in New York. After working for others, she started her own firm in 1988. She’s part of a small but growing roster of women architects who lead or co-lead design firms in the U.S., along with Jeanne Gang, Elizabeth Diller, Deborah Berke and Billie Tsien.
Selldorf’s firm specializes in designing buildings for art and education, and it has worked internationally on museums, galleries and other cultural projects. Her firm also designed the Sunset Park Materials Recovery Facility on the Brooklyn waterfront, an award-winning garbage recycling center that’s been a popular stop during the annual Open House architectural tours in New York. Critic Paul Goldberger once described her work as “a kind of gentle modernism of utter precision, with perfect proportions.”
Selldorf said in a phone interview that she had no previous connection to Whitman-Walker or Fivesquares but was intrigued when members of the development team approached her about the commission.
Although she isn’t gay, she said she admires what Whitman-Walker does (and what Fivesquares does) in Washington and could tell they would be the sort of architecturally savvy clients with whom she’s accustomed to working. She was also eager to take on a health care related project, something new for her practice. And although she never met Elizabeth Taylor, she is certainly a fan. “After seeing ‘Cat on a Hot Tin Roof,’” she said,” how could you not be?”
The development team was required by the city’s historic preservation office to save two buildings on the site, the corner structure at 14th and R, which was the front door and waiting room for Whitman-Walker’s Elizabeth Taylor Medical Center from 1993 to 2017 and a flower shop before that, and a midblock building known as the Belmont Garage, significant as an early local 20th century structure with an auto-related use. The team was allowed to demolish a third building on the block that wasn’t deemed historically or architecturally significant
Selldorf said the team sought to maximize the amount of new construction it could build on the site but didn’t want to overwhelm the structures targeted for preservation. Working with CORE architecture + design, the executive architect, Selldorf preserved and renovated the two historic buildings on site and added a 150,000-square-foot structure containing the residences, stores, offices and community space.
“We explored how much space the property would yield,” she said. “We ended with a very happy solution to fully utilize the building envelope and yet come up with something that makes a lot of sense.”
The completed development has what appears to be two new twin structures facing 14th Street, each rising seven stories. They are actually projecting sections of a large building that fills the whole block, containing retail and office space on the lower levels and apartments above.
Along 14th Street, the seven-story sections are separated by the low-rise Belmont Garage, which has been recycled as office space. At the corner of 14th and R, the new construction is set back from the street and frames the historic structure that had been the main entrance to the Elizabeth Taylor Medical Center before it was relocated.
The new construction does not mimic the older buildings on 14th Street. It has clean lines and is free of applied ornament, making it clear what is new and what has been preserved. It’s an optimistic building that is very much about urban rebirth and the co-existence of old and new.
Selldorf hesitates to put any stylistic labels on her design, saying only that she wanted to create a “well-proportioned, contemporary building that takes its cues from the neighborhood in terms of materials and proportioning and has an overall connection” with it
To help the new construction fit in, she said, she specified limestone and terra cotta for the exterior, materials that are common on older buildings in Washington. In an additional nod to Whitman-Walker’s history of serving the LGBTQ community, Selldorf framed the upper-level windows of the new structure with a pop of color.
There are 12 colors in all, and they’re created by a process of glazing the chamfered terra cotta window surrounds with a succession of hues, like a color wheel, working their way around the building. The colors can be seen as a reference to the rainbow flag. They’re also an effective way to animate the facades and indicate that this is a welcoming place for the LGBTQ community.
“It was really a playful gesture,” Selldorf said. “It all has to do with the composition of the facades … I wanted there to be a relationship between the limestone buildings along 14th Street, and then I thought there was an opportunity to have something that wasn’t quite so conservative and old-fashioned.
“I’ve always enjoyed working with terra cotta, so we came up with this color scheme that would go around the windows. It gives the building a kind of lively and friendly and welcoming appearance. The idea is that the colors would graduate into one another and no two colors would not harmonize with one another.”
Another sign of Selldorf’s desire to create a composition that fits in with its surroundings is that she restored the corner building to the appearance it had when it was a flower shop years ago, recreating projecting windows that make it possible to see in and for people inside to see out.
“The corner building was in very bad shape, and so I convinced the client to give us the opportunity to make it as good as it could be and maybe better than it ever had been,” she said.
That transparency represents a symbolic break from the days when many gay people were ‘in the closet’ or shunted out of sight, especially if they were sick. The new windows make the corner building more inviting, while recreating its original look.
These changes are reinforced by a people-friendly design for the outdoor space around the building, by Future Green Studios, that includes generous planting, new seating and public art that encourages people to linger at the corner. The intersection even has graphic ‘bump outs’ on the street surface that appear to narrow the road and increase the amount of space for pedestrians.
“Everything we do is trying to bring people together and create agreeable, open, transparent spaces,” Selldorf said. “It’s not just one specific thing. It’s sort of an idea about how the building represents a kind of openness in the landscape. I think that makes a big difference. It signifies to people that you are welcome there.”
One big decision that grew out of the design process was the idea of recycling the corner building as a cultural center for the LGBTQ community.
Whitman-Walker and Fivesquares didn’t originally plan to have a cultural center as a component of the development. According to Abby Fenton, chief external affairs officer, Whitman-Walker CEO Don Blanchon and others suggested that use as a way to add a new dimension to what Whitman-Walker could do on the block.
The idea is for the cultural center to serve as a flexible meeting and exhibit space that can accommodate a wide range of activities, including talks, readings, art shows and performances of interest to the LGBTQ community.
Seldorf donated her design services for the cultural center component of the project as a way of giving back to the community. Whitman-Walker recently hired a staff curator to coordinate activities and events, and the center is expected to be in full operation by early next year.
“I think they realized how much this corner matters to people in the community and to their specific constituents,” Selldorf said of Whitman-Walker. “This will be an ongoing public service. They became very excited to let their clients have a voice in that way. It’s really a fantastic attitude, and I am very excited to see how it will turn out.”
At the ribbon-cutting, D.C. Mayor Muriel Bowser praised the decision to combine new apartments and medical care with a place for cultural activities.
“Let this project be a reminder that housing, cultural space, and medical care are imperative to how this city moves forward,” she said.
Elsewhere in the project, the designers tried to make it clear which areas of the building are new construction and which parts are old. In some cases, brick walls are left exposed to show that an area is part of a historic building. Other spaces employ colorful lighting and contemporary touches to indicate the space is new. Perkins and Will was the interior designer for Whitman-Walker’s second-floor space.
Whitman-Walker also has an art program in which works by various artists have been put on display to enliven its setting. The organization also displays artifacts salvaged from previous Whitman-Walker locations as a tangible reminder of its history. The largest work of art is an outdoor sculpture on the corner, a temporary installation by Yinka Shonibare.
Above the retail space and offices, on floors four to seven, the apartments include studios and one- and two-bedroom units. Sixty-six are market rate and 12 are considered affordable housing.
On the east side of the block, the building steps back from the alley. The setbacks make it less overwhelming for the smaller townhouse structures across the alley, while creating terraces for the apartment residents on that side of the block.
Yet another sign of Selldorf’s desire to be respectful of Whitman-Walker’s history is that she insists the name of the building is pronounced correctly. She points out that it’s not The Liz building or Liz Taylor Building, but simply Liz.
“I wanted it to be not too institutionalized,” she explained. “If you have to give a building a name, it makes it much more immediate.”
a&e features
Margaret Cho returns to music with ‘Lucky Gift’
Collection of pop tunes includes tribute to non-binary people
LOS ANGELES — It has been eight years since Margaret Cho released her Grammy-nominated “American Myth” album. She’s back to the music scene with her new album, “Lucky Gift,” an 11-track collection of anthems and pop tunes, a tribute to Robin Williams, and a shout-out to non-binary and gender non-conforming people.
The album captures the whirlwind that is Margaret and all of the different facets of her talents that have made her a powerhouse in entertainment and a leader in activism. In “Lucky Gift,” she’s getting her point across while having fun and getting glam.
We caught up with the activist and artist to chat about her music, our political climate, and the power of pop divas.
Known for her comedy, acting, and activism, she felt it was long overdue to get her music back out there too.
“I make music often. It’s a part of my daily life, it’s a big part of my social life, and it’s just something that I just love to do for my own relaxation and fun. I had enough for an album and I wanted to finally put them out. I was just really proud of how it all sounded together,” shares Cho.
“It’s a power pop record. For me, the songs are really meaningful. They’re all in their own way love songs. I’m a big fan of my own music (laughs), I really like the way that I sound and it’s really special to do. People know me as a comedian, and I have also made music for a long time, but it’s sort of a side project, and so it was time to put more out again.”
Her album also includes a touching tribute to Robin Williams. The entertainment community is finally more comfortable talking about mental health more openly. When relating mental health to her own life, Margaret, in true Margaret form, quickly turned the conversation to reflect today’s political climate.
“I have to maintain a level of peace and quiet and sometimes maybe get away from the news, although that’s tough because I am obsessed. I want to know what is happening. I’m really worried for our community, especially the trans community. I’m worried that this administration is trying to separate T and the Q from the LGBTQIA, and it’s really frightening.”
As an elder, Cho says she has to also remember that we’ve been through this before and it’s actually been much worse. As a community, we’ve been through a similar situation, and we were facing down a pandemic, which was killing us by the millions. So at least now we don’t have to fight AIDS as well as this onslaught of homophobia.
“We have fought for our rights, and we still have them, but we may not have them for long. So our mental health is very important to preserve now because we have to fight. The one thing to remember is they can’t do everything at once. They can’t take away trans rights, queer rights, gay rights, gay marriage, anti-depressants —ha — at the same time. So what we can do is just try to remain as calm as possible and fight as strongly as we can. But yeah, mental health is really vitally important right now.”
Margaret’s long history of queer activism stands for itself. She does not shy away from current issues, she uses her platforms to incite, educate, and question. For Margaret, there is no time off from being an activist. She was born into it, so to speak, being raised in San Francisco in the 1970s, her parents — the owners of a gay bookstore — and their employees followers of Harvey Milk.
“My activism is that I don’t have a choice. I’m going to be an activist no matter what. We’re doing this together, we’re going through this together. I will always be political. It’s just disheartening to see the ignorance of people and the lies that are being told that are believed.”
Margaret’s “Lucky Gift” comes at a perfect time when the queer community can come together over music. Cho looks at her album as a tool to empower an underdog community through the power of music.
“It’s the triumph of pop above all. We need to look to our pop divas above all. So now I’m more than ever, leaning on Madonna. [Thank God for Lady Gaga’s] “Abracadabra” because I think that things like that boost our community so much. When you can just get together and have a “brat summer,” that boosts our community so much in this togetherness, this explosion of excitement. I think Chappell Roan really ignited the pop capacity for healing. I love ‘Lucky Gift’ because it is my stepping into a pop diva moment. Pop divas should not be discounted for how important they are to our society and how much they lift us up.”
In addition to releasing her new album, Cho will continue to hit the road this year with her “Live and LIVID! Tour,” celebrating more than four decades of live stand-up shows. On this tour, she promises to rage about homophobia, sexism, racism, and the fight to stay alive. The five-time Grammy and Emmy-nominated performer is not holding back. According to her, the nation is not divided, just a little lost.
“We’re not divided. Everybody hates this. We all hate this. The fact is, the majority of the country does not want this. Unfortunately, a lot of people just didn’t vote because they just didn’t want to participate. That’s why we’re in the situation that we’re in. So to be on the road is a pleasure. And I rarely come against opposition. Every once in a while there’s something, but it’s something that we all handle. I think we all need a voice, a strong voice of reason to combat all of the hysteria.”
And her message to her fans?
“We’ll get through this. We’ll get through this with pop divas. ‘Abracadabra,’ learn the choreography, you do it sitting down. At least we have pop music, I have my hat in the ring here. But at least we have each other and we’re going to be OK. It’s going to be a ride, it’s going to be intense, but we can do this. We’ve been through this before and we are going to be fine.”
“Lucky Gift”is now available on all major streaming platforms.
a&e features
Meet the people giving a voice to LGBTQ truck drivers
‘Like therapy,’ finding solace in each other and the road
Before embarking on his weekly 2,000-mile trip as a truck driver, Derric Schmid sets up his smart TV and preps meals in bulk like ham and potatoes.
To some, long hours on the road away from family and friends sounds grueling. But for Schmid, it’s his way of life.
“I love the freedom,” Schmid said. “I get paid to go see the country. I’ve spent New Year’s Eve in New Orleans, I’ve spent it in St. Louis and this year I spent Christmas out in California exploring.”
Schmid is the vice president and senior diversity officer of LGBTQ+ Truck Driver Network (TDN), a nonprofit he runs with founder Bobby Coffey-Loy. TDN aims to foster inclusivity and safety in the truck driving industry by building a supportive network of allies and queer truckers.
The organization vets companies (Schmid says he calls 50-100 per week) to understand which are committed to creating safe spaces for drivers of all backgrounds. Schmid and Coffey-Loy also host the Big Gay Trucker Podcast, where they interview people who need advice or want to discuss taboo topics.
Coffey-Loy said meeting people from different walks of life, including trans people recovering from surgeries while on the road, inspired him to create TDN.
“It just opened me up to a whole group of people that just needed representation,” Coffey-Loy said. “There are groups out there on [social media] pages, but nobody actually took it as far as a nonprofit organization.”
Coffey-Loy drives with his partner of 17 years, Ricky, for a company called Luna Lines. Together they drive about 6,000 miles a week, taking turns sleeping or keeping one another company. On Monday, they typically start a load in Jacksonville and then drive to New Mexico, Chicago, Baltimore, Tennessee and end up back home in Palm Coast, Fla., by Friday. They even pay for all their gas and food while on the road.
Doing a weekly cross-country road trip in tight quarters with your partner can be trying, and Coffey-Loy will be the first to admit that: “Your partner is someone that knows how to push your buttons faster than anybody else,” he laughed.
But he also said starting truck driving together eight years ago is what made him and his husband closer. Before driving, he said it felt like life and jobs sometimes got in the way of their relationship. Going to trucking school together and being able to support each other on the road over the years has sparked a different kind of connection in their lives.
“We didn’t want to be apart from each other, so that’s what made trucking work for us,” he said.
For both Schmid and Coffey-Loy, truck driving runs in the family. Schmid, who’s been driving trucks for almost 24 years and with TDN for more than two, calls Jonestown, Pa., home –– a borough with a 2023 population of 1,645. He had three uncles and a grandfather who were truck drivers.
Coffey-Loy, born and raised in West Virginia, said his father and grandfather were truck drivers.
Continuing family tradition is respectable enough, but Coffey-Loy’s mission of creating a safe and supportive space for those in the industry was unique; it was difficult for his parents to accept his identity when he first came out.
Coffey-Loy’s parents passed away 11 months apart last year. He said they learned to grow to love him for who he was. When TDN started up, they became “mom and dad to everyone,” and even invited people with no familial structure to move in with them.
At get-togethers, his dad called everyone “sweetie” or “honey” to be respectful since he didn’t know how everyone identified.
“What they’ve taught me is, if they can change their mind and they can accept everybody, anybody can,” Coffey-Loy said. “I will cherish it forever. I miss them every day.”
And the impact of this lesson has been tried and true. TDN attended the Mid-America Trucking Show despite receiving death threats and facing extra security measures –– yet they ran through dozens of handouts before their station even opened. Another year, they handed out condoms to promote safe sex on the road and were met with backlash –– yet they went through a whole box on the first day.
The team behind TDN may be small –– about eight people –– but Schmid said their reach is wide. Thousands of people visit their social media pages from around the world and connect with each other, including a vocal German bus driver and a man from Africa trying to create more queer visibility in his area.
Coffey-Loy said many people contact him directly for support. There was a straight man who called who had trouble balancing his home life and truck driving hours and expressed suicidal thoughts. The man said he saw Coffey-Loy’s number and needed someone to talk to.
Moments like those are why Coffey-Loy emphasizes that the organization is there to support everyone, not solely the LGBTQ community. He recalled a bonfire gathering where people of different backgrounds and identities laughed and talked as friends.
“It’s why you do what you do,” Coffey-Loy said.
Although TDN has given many people a family away from home, it doesn’t make losing time with family and friends any easier. Coffey-Loy missed a family member’s funeral in West Virginia because he was in New Mexico and couldn’t abandon his load.
“He had already been buried before I could get back,” he said.
It’s a different way of life, but it’s not an impossible one. Schmid calls his mom and stepfather every morning and his mom again in the evenings. He gets on group calls with friends and TDN members. On weekends, Schmid sees some friends in person for dinners, and is able to visit with his family.
Truck driving may mean frequently saying goodbye to close people in his life, but it also opens the door to new connections around the country: “I got friends in every state,” Schmid said.
Although he’s constantly traveling, Coffey-Loy always feels at home. It’s those nights driving, with nothing but the roaring hum of the road filling the silence while his husband sleeps behind him, that fulfill him.
“Even though you miss so much of your everyday life, there’s something about trucking that is so freeing,” Coffey-Loy said. “The road can be so loud in your life, and it has a way to really sort out things. It’s like therapy for me.”
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Saldaña triumphs amid ‘Emilia Pérez’ collapse at Oscars
Karla Sofía Gascón loses top award to Mikey Madison after scandal
It’s no wonder the camera caught actress Michele Yeoh crying after watching queer singer Cynthia Erivo (nominated for best actress) and Ariana Grande (nominated for best supporting actress) perform one of the much-loved songs from “Wicked,” as they were simply magnificent.
Grande opened with Judy Garland’s “Somewhere Over the Rainbow,” and Erivo sang “Home” from “The Wiz.” That was one of the many bright spots in the 97th annual Academy Awards, which took place Sunday night at the Dolby Theatre in Hollywood.
While the duo sadly didn’t take away any awards, the magical film did — gay costume designer Paul Tazewell won the Oscar for Best Costume Design.
“This is absolutely astounding,” Tazewell enthused onstage, in his acceptance speech. “Thank you Academy for this very significant honor. I’m the first Black man to receive a costume design award for my work on ‘Wicked.’ I’m so proud of this.”
In the pressroom, Tazewell elaborated on his well deserved win.
“This is the pinnacle of my career. I’ve been designing costumes for over 35 years,” he said. “Much has been on Broadway and now into film, and the whole way through there was never a Black male designer that I saw that I could follow, that I could see as inspiration. And to realize that that’s actually me, it becomes a ‘Wizard of Oz’ moment, you know, it’s like no place like home. So to come back to the inspiration being inside of me was — is really remarkable.”
Tazewell said he achieved the award with the help of a lot of really amazing and talented costume artisans of all types and an amazing staff and assistants and crew.
“Because, you know, there’s no way for me to do it alone! And that also is my greatest joy — to be collaborating with other very talented artists, so I respect what that artistry is, and I share this with them because I value what their input is.”
The veteran costume designer knew the movie was going to be pretty spectacular, but he was “absolutely blown away,” because of their approach.
“We were working on two films at the same time. It wasn’t until I actually saw a pretty complete cut that I actually experienced the journey that we have created for audiences. And so, to experience that –I was beside myself. And it defined why I do costume design, why I am a costume designer.”
“Wicked” also won the Oscar for Best Production Design.
“Emilia Pérez,” Netflix’s mesmerizing Spanish language, trans crime musical, had a whopping 13 nominations, with first-time nominee Karla Sofia Gascón making history as the first trans woman to be nominated for best actress. This would have been the most nominated foreign film in the history of the Academy Awards.
Unfortunately, after the controversy surrounding her past tweets, the film only won two awards: for best supporting actress (Zoe Saldana) and best original song (“El Mal”).
While the U.S. is in an era of anti-trans political maneuvering, Sunday night’s broadcast included no mention of trans people.
In the pressroom, during an interview with “Emilia” composers Clément Ducol, Camille, and director Jacques Audiard, a journalist asked if anyone wanted to address what was happening.
Speaking in French via a translator, Audiard said, “Since I didn’t win Best Film or Best Director, I didn’t have the opportunity to speak, but had I had that opportunity, I would have spoken up.”
Saldaña, who starred as Rita, a lawyer who gets enmeshed with the trans cartel leader’s transition, was thrilled to win.
“I am floored by this honor. Thank you to the Academy for recognizing the quiet heroism and the power in a woman like Rita. And talking about powerful women, my fellow nominees, the love and community that you have offered me is a true gift, and I will pay it forward. Thank you so much Jacques Audiard, you are forever a beloved character in my life. Thank you for taking the interest, thank you for being so curious about these women to tell this story to my cast and my crew of ‘Emilia Pérez.’”
Saldaña’s nephew is trans; a few weeks ago, while winning the best supporting actress at the BAFTAs, she told journalists that she was dedicating the award to him.
“I’m dedicating all of these awards and the film ‘Emilia Pérez’ to my nephew, Eli. He is the reason — they are the reason — I signed up to do this film in the first place,” she said. “So as the proud aunt of a trans life, I will always stand with my community of trans people.”
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