Moving Buildings To Save D.C.'s Historic Foundation A few months ago, six old brick buildings in the nation's capital were picked up and moved. Literally. Five of them will return as parts of a sleek new office building, re-creating the old streetscape while also transforming it. The massive project raises a question: What's important to keep in a city, and what should just be replaced?
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Moving Buildings To Save D.C.'s Historic Foundation

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Moving Buildings To Save D.C.'s Historic Foundation

Moving Buildings To Save D.C.'s Historic Foundation

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This is ALL THINGS CONSIDERED from NPR News. I'm Robert Siegel.


I'm Melissa Block. And today, we get back to the NPR Cities Project.


SIEGEL: Last week, we heard about neighborhood revitalization. Today, preservation. And, Melissa, where have you gone?

BLOCK: Well, we've busted the travel budget for today's story, Robert. I've gone about, I'd say, five entire feet behind our NPR headquarters here in Washington. I'm looking across K Street where an entire block that's been dilapidated for decades is being transformed. It's been demolished and also preserved at the same time.

SIEGEL: Yes, we've been watching this out our windows for months.

BLOCK: Right.

SIEGEL: They've been moving buildings around.

BLOCK: That's right. This used to be a block of 19th, early 20th century brick buildings. And now, I'm looking at an empty plot of dirt. There are a bunch of buildings that have been moved; jacked up one by one and rolled out of the way. Now, they're going to build a huge office building for the Association of American Medical Colleges. It's going to be 300,000-or-so square feet, 11 stories tall, price tag more than $200 million.

But what's interesting is that workers are going to bring five of these old brick buildings back and incorporate them into the new building. There will be restaurants and retail, and they'll be lined up facing the street.

SIEGEL: Yes. And one of the questions we've been asking is why save those rundown buildings?


BLOCK: We've been trying to figure that and we're going to try to answer that question, why save them. But first, a little bit of the how. All of these buildings have seen far better days, as you know. There was at one end a hulking, two-story, yellow brick garage built in 1918. At the other end, a car wash - a squat car wash that was once an auto shop.

And in the middle of the block, there were a couple of faded Grand Dames built with when this was a thriving German immigrant neighborhood; three skinny Victorian-era row houses, and most recently one of them was known to be a brothel.

TYLER ANDERSON: I just told my guys, don't touch anything.

BLOCK: I found Tyler Anderson outside that narrow three-story house. His company was reinforcing it so it could be moved without falling apart.

ANDERSON: There were saunas and whirlpools and walk-in showers, all on every floor. It was like oh, my God.

BLOCK: Really?



BLOCK: We were year as the first building was about to be moved, the carwash, a one-story brick box.

UNIDENTIFIED MAN #1: Tighten that (unintelligible)

BLOCK: And to look at it, you wouldn't think, hey, that's a great building, let's save that. But move it, they will.


BLOCK: Think the time has come, the building is about to move. The crew from Expert House Movers has jacked the car wash up about six feet. They run long girders through it and bound it was cable to hold it together. It weighs about 60 tons.

UNIDENTIFIED MAN #2: All right, let it go.

BLOCK: The whole building is perched on a remote-controlled wheels, the size of tractor trailer tires.

GABRIEL MATYIKO: These are hydrostatic, self-propelled dolly wheels.

BLOCK: That's Gabriel Matyiko, vice president of Expert House Movers.

MATYIKO: You know, it allows us to maneuver the building in a lot tighter spaces and give us a little bit of traction control, too.

BLOCK: So it's just going to go.

MATYIKO: It's just going to go.

BLOCK: Sort of like an electric toy car.

MATYIKO: Yeah, it's kind of like, you will know, Atari or something. It's got a joystick and a little handle for the brake.

BLOCK: Matyiko says this job is pretty small potatoes. They've moved lighthouses, even an airport terminal in Newark, New Jersey.

MATYIKO: It was a foot shy of a football field and weighed over 9,000 tons.

BLOCK: Still, it takes hours to move this small building 40 feet. I find crew member Kevin Kolb on a break and ask him, why bother? When he looks at this building, what does he see?

KEVIN KOLB: Brick is solid. It wears. It has age, you can see. It's like an old man's face. There are lines and wrinkles in it. But you know, you can power-wash that away and clean it. So, you know, it's something that can be fixed - I think.


KOLB: You'd be surprised.

UNIDENTIFIED MAN #3: Leave that. Leave it. All right, go. Chalk them. That's it.

BLOCK: That's it? She's here?

KOLB: The building is moved. She's here.

BLOCK: What's really interesting is that it's not just the fa├žade of being preserved. They're keeping most of the depth of these buildings to. And Rebecca Miller, with the D.C. Historic Preservation League, likes to see that.

REBECCA MILLER: Facade jobs kind of became rampant in Washington in the '80s.

BLOCK: Facade jobs?

MILLER: Facade jobs, they describe them as facadetomies or facadectomies.

BLOCK: So if it's done badly, it's basically like a bad facelift - you can tell right away.

MILLER: You can tell right away, definitely. The facade just kind of sticks out in like a sore thumb, and you kind of think it looks strange. And it's not good historic preservation.

BLOCK: So why save these buildings? What's their historic value?

MILLER: As they always say, you can't judge a book by its cover, a lot of things have to do with the history of a building. So there could be some very nondescript building and have this wonderful history behind it.

BLOCK: And then Miller says these nondescript buildings tell the story of a once-thriving German immigrant neighborhood and the early automotive era, as nearby streets became a commuter corridor. Miller's organization thoroughly researched these buildings and prepared paperwork to nominate them for national historic status.

Preservation can really complicate developers' plans with the restrictions, permits, legal fees. So, that paperwork gives Miller leverage. In this case, there was a negotiation, not a fight. The Preservation League compromised with Douglas Development Corporation on saving these structures without historic status. And it wasn't too contentious. It turns out this developer likes saving old buildings.

PAUL MILLSTEIN: This is amazing.


MILLSTEIN: Absolutely just amazing.

BLOCK: Meet Paul Millstein, the gung-ho head of construction at Douglas Development.

MILLSTEIN: I love it.


MILLSTEIN: It's big toys to me. It's the ultimate. You're moving buildings. You know, people move a house, they move a table. We're moving buildings. I mean, what could be more exciting? The whole concept is just amazing to me.

BLOCK: And a lot of them.

MILLSTEIN: And a lot of them, which makes it even better. Anybody could move one. We wanted to move a lot of them. So it makes it a lot of fun.

BLOCK: Millstein admits projects like this one, combining old buildings with new, are impractical and they scare lenders away.

MILLSTEIN: There is not an institution or financer or lender out there that we've ever been able to convince these make sense. We've had to do these hand-to-hand combat, a bank, a private investor; take this back, scrap it together...

BLOCK: So if you're lender looking at a project like this - that involves shoring up historic buildings, moving them, fixing them up, putting them back - what's the risk there? Why don't they like it?

MILLSTEIN: It's too many parts and pieces. There's so many things that can go wrong, from moving structures, these could collapse; delays in schedule. We've encountered numerous environmental issues that we didn't know were there. You know, just all these unforeseens that consistently gets you.

BLOCK: But Paul Millstein says even though it's costing millions to move these old buildings and incorporate them into new ones, there is a real benefit.

MILLSTEIN: I think it makes the buildings richer. It gives them a better feeling. They have the feng shui to them.

SHALOM BARANES: It's a little bit like placing a speck of sand in an oyster.

BLOCK: Shalom Baranes is the architect of the new building. His sweeping contemporary design has space carved out for this motley assemblage of old brick.

BARANES: It deforms the ultimate structure, the ultimate being of the oyster. And...

BLOCK: You're saying deforms in a good way.

BARANES: In a very positive way, exactly. And, you know, I think historic buildings can do the exact same thing. I think it makes for a much more exciting urban landscape. You sense time. You know, I think one of the great things about living in the city is that it has this fourth dimension of time. You know, as you walk down the street, you sense what was done 100 years ago, 50 years ago, and those are things we don't want to lose.

BLOCK: Day by day, as the old buildings have been rolled away, a man has come around to capture the smaller increments of time passing. I found him outside the chain-link fence taking pictures with his cell phone.

KEBRAB TEKLA: I'm taking a picture of the history.

BLOCK: Kebrab Tekla is an immigrant from Ethiopia. He lived on this block for 25 years, back when the neighborhood was a crime-ridden wasteland. Tekla was the last property owner to sell, and his house was demolished. But he did manage to save a bit of it.

TEKLA: You know, I saved some of my house bricks. So...


BLOCK: You did?

TEKLA: So I have contact with them every day.

BLOCK: You saved some of the bricks.



TEKLA: It's history. Because all my children born in this house. And my father, he died in this house. So it's a lot of history on there, to me, to that house.

BLOCK: And that history is being rewritten as this part of Washington, D.C., undergoes massive change with new development built around signposts of the city that used to be.

I'm at the corner of Seventh and K Streets, Northwest here in Washington heading back up to the studio.

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