Washington, D.C

National World War I monument made in Englewood is unveiled in Washington D.C.

Published

1 year ago

September 14, 2024

Press Room

National World War I monument made in Englewood is unveiled in Washington D.C.

‘A Soldier’s Journey,’ the centerpiece of the nation’s World War I monument, was five years in the making in New Jersey by artist Sabin Howard

With candles glowing and trumpets blowing, in a ceremony that combined stirring music and somber reflection, America’s World War I memorial was officially dedicated Friday night in Washington, D.C.

“The greats of the Italian Renaissance and their lineage played forward to create excellence in this memorial, and I know they are watching tonight,” said Sabin Howard, who assembled the mammoth bronze frieze over a four-year period in a 5,000-square-foot studio in Englewood.

He was speaking to the crowd of about 1,000 military veterans, politicians and the lay public, gathered at the recently created National World War I Memorial Urban Park — formerly Pershing Park — abutting the Federal Triangle in downtown Washington.

“This memorial is like a wedding ring,” said Joseph Weishaar, the architect of the project. “It is a symbol honor and fidelity and commitment that has remained vibrant for nearly a century between the nation and the men who served in the first world war.”

“A Soldier’s Journey,” the centerpiece of the nation’s World War I monument is a sculpture that tells a story.

So it was fitting that sculptor himself should be on hand, to narrate.

“This is a story of what happens to one family and one soldier when he enters into service for his country.” Howard said in a recorded narration during the presentation. “The soldier is an allegory for the United States. It explains the hero’s journey through World War I.”

In the presentation, called “First Light,” the crowd was taken, panel by panel, left to right, through the 58-foot long, 10-foot high bronze frieze.

As first one section and then another lit up, Howard — his recorded voice — told the story. The father, being handed a helmet by his little daughter, going off to war. The soldier, now one among many, in an agonizing tableau of bayonets and bombs, with fellow doughboys screaming and nurses caring for the wounded. And finally — in the last panel — the returning civilian handing the helmet back to his little daughter.

Then, after the crowd had a good look, sequentially, at the 38 figures, all the lights went up. And there it was, all complete: “A Soldier’s Journey,” dedicated on General John J. “Black Jack” Pershing’s 164th birthday, and the new main attraction in what used to be called Pershing Park on 11th Street.

It is now the National World War I Memorial Urban Park — the $40 million project of the World War I Centennial Commission (the war ended Nov. 11, 1918) and paid for largely through donations.

An appropriate setting

The sculpture itself, the largest freestanding bronze relief in the western hemisphere according to Howard, is just part of the project.

The whole square has been re-landscaped, with fountains, a reflecting pool, and berms on three sides to dampen the traffic noise and create a quiet atmosphere for contemplation. An existing statue of General Pershing by Robert White (grandson of architect Stanford White), on site since 1983, has been worked into the new scheme.

“It’s a very serene place,” said Joseph Weishaar, the architect of the park. “Especially with the fountains going. You have the roar of the water, evocative of the sounds of war.”

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It was Weishaar, winner of a design contest by the Centennial Commission for his submission “The Weight of Sacrifice,” who brought Howard on board as his sculptor of choice.

“His accomplishment is one of amazing craft,” Weishaar said. “I don’t think it’s rivalled anywhere. My role is like a jeweler making a ring. I made the ring. But Sabin is the diamond. The sculpture is the diamond. That’s the piece that everybody is going to be wowed about.”

On the reverse side of the tableau is inscribed part of a poem by Archibald MacLeish:

“Whether our lives and our deaths were for peace and a new hope

or for nothing we cannot say; it is you who must say this.

They say: We leave you our deaths. Give them their meaning.

We were young, they say. We died. Remember us.”

Howard’s sculpture, like this verse, is not jingoistic. But neither is it cynical. It invites viewers to ponder the first modern war, the “war to end all wars” that killed 116,516 Americans (40 million worldwide) in a global cataclysm that was viewed by many afterwards as a tragic, senseless waste.

“As an artist, I’m very anti-war,” Howard said. “I didn’t make a sculpture about the glorification of war. I made a sculpture about human beings that are there in a very noble and heroic act of being in service to one’s country. This is their story. It’s to honor them. And I’ve had hundreds of letters from military families saying thank you, finally, for acknowledging us. The cool part is, they’re saying thank you for your service.”

That was, in its way, heroic too.

A long term project

For five years, Howard, his assistant Charlie Mostow, and a handful of others put in long days in the Englewood studio. For hours on end, models posed, Howard sculpted, and his wife, filmmaker Traci Slatton Howard, documented.

One by one, Styrofoam “maquettes” were covered with clay to create the figures, which were then transferred through a silicon mold to wax, which in turn became the ceramic shell. These were sent over to England to be cast in bronze. For the last month, on and off, Howard has been on-site in Washington D.C., supervising as the pieces were put in place with cranes, in the setting that Weishaar created for them.

“The reassembly was incredible,” he said. “Four panels, 38 figures, and everything has to fit. If it doesn’t, what are you going to do — chop away the stone or something?”

“A Soldier’s Journey” is a monument, in more than one sense.

To all the soldiers and civilians who served and died in World War I, certainly. More, to all soldiers, in all wars (veterans of the Iraq and Afghanistan wars served as models).

But additionally, it’s a monument to an idea: Sabin Howard’s fervent belief that modern America needs a public, neo-classical art. An art that unifies rather than divides. An art that can ennoble our squares and promenades, the way Michelangelo’s and Donatello’s sculptures adorned the piazzas of Florence.

“In the Renaissance, they used to make sculptures like the David, and they would put it in the square,” said Howard, who trained in Italy and at the Philadelphia College of Art (now the University of the Arts).

Such art, he said, uplifted. “It was a symbol of rising to the occasion, as a nation, and on a citizen level,” he said. “This is the exact same damn thing. I made a sculpture with 38 figures that shows a tapestry of the United States and its variety, with women, children, Democrats, Republicans, all under one flag as Americans. We are one unified country. That’s what the sculpture is.”

African Americans, Asians and Native Americans are included among the figures (though Howard takes the liberty of showing Black soldiers fighting alongside whites; the U.S. army was then segregated).

“This is something that brings us together,” Howard said. “Most modern art brings us apart.”

Aftermath of war

Ironically, it was World War I itself, and the ensuing cynicism about war and sacrifice, that gave rise to the iconoclastic modern art movements that dominated Western culture for the last 100 years. With “A Soldier’s Journey,” Howard wants to use that same war as a jumping off place, to bring the heroic back to art. “This is an American cultural renaissance,” he said.

His next project is also in that vein: an “American Exceptionalism Arch” project in Dallas, which will probably be completed 10 years from now. It too, will uplift and ennoble. “It’s another epic sculpture, which this many figures and this amount of story,” he said.

One thing he says he learned from working with veterans during the World War I project: the notion of being “in service of.”

“I feel that my work is in service to something greater than myself,” he said. “That’s what I’m so excited about.”

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Washington, D.C

Army Corps: Reservoir expansion ‘doesn’t fix, but improves’ DC’s drinking water supply for future Potomac River emergency – WTOP News

Published

10 hours ago

March 2, 2026

Press Room

Army Corps: Reservoir expansion ‘doesn’t fix, but improves’ DC’s drinking water supply for future Potomac River emergency – WTOP News

Developing a regional solution to enable all local water companies to share drinking water in the event of a future Potomac River emergency remains a long-term challenge facing the U.S. Army Corps of Engineers. But the Corps is leaning-in to near term solutions, for now, because current issues “are quite, quite dire.”

In an interview with WTOP, Trevor Cyran, Chief of the Civil Works project management office of the Baltimore District Corps of Engineers, elaborated on the Corps’ ongoing three-year feasibility study funded by Congress and the Metropolitan Washington Council of Governments.

Last week, during a House Transportation and Infrastructure Committee hearing, lawmakers pressed the U.S. Army Corps of Engineers to explain what’s being done to secure solid backup options for the D.C. region’s drinking water.

D.C. Del. Eleanor Holmes Norton challenged the Corps after learning that the study that Congress authorized to identify a secondary water source for the region was being narrowed to only expanding the current Dalecarlia Reservoir, adjacent to the Washington Aqueduct, which remains the only source of drinking water for D.C., Arlington, and parts of Fairfax County, Virginia.

“Expansion of the reservoir is not a secondary water source,” Norton said. “With only a one day of backup water supply, human-made or natural events that make the river unusable would put residents, the District government and the regional economy at risk.”

Cyran said the U.S. Army Corps of Engineers doesn’t disagree.

“We’re trying to find a quick win that addresses some of the near-term issues, because they are quite, quite dire,” Cyran said. “The Dalecarlia expansion would add approximately 12 hours of water storage into the system,” he said. “So, while we know that doesn’t fix the problem, it improves the situation.”

Recently, drinking water in D.C., Northern Virginia and Maryland has remained safe because the January collapse of a portion of the aging Potomac Interceptor regional sewer line happened downstream of the main Potomac River water intake serving the Washington Aqueduct.

“We’ve moved forward with the Dalecarlia expansion, as our most probable recommendation,” said Cyran. “The Corps is laser focused on delivering something right here, right now that can actually help with the issue, while still exploring some of those long term solutions.”

Cyran said the dangers to public health and the economy are substantial, with the Potomac as the sole drinking water source. “It’s not a great situation — we’ve seen a very real risk come to fruition recently, with the spill.”

While drinking water has been unaffected by the spill, the advisory for the public to avoid contact with the Potomac River remains in effect in the District and Montgomery County, where the Potomac Interceptor spill happened, along the Clara Barton Parkway.

The advisory is expected to be lifted Monday, by the D.C. Department of Health, as E. coli levels have recently returned to the typical range for D.C.’s rivers. The District’s Department of Energy and Environment is now doing daily testing of the Potomac and Anacostia Rivers.

How would increased storage at Dalecarlia Reservoir look?

According to the Army Corps, expanding the Reservoir over 54 available acres would provide approximately 70 million gallons per day, doubling the capacity at Dalecarlia. Since the land is already owned by the Washington Aqueduct, it would not require acquiring any land.

Cyran said it’s not yet certain whether the expansion would provide an extra 12 hours of storage of raw water from the Potomac, or finished water, after it had gone through the Washington Aqueduct’s water purification process.

Regardless, either option would result in the Aqueduct having more water on hand, if drawing water from the Potomac was suddenly unsafe.

Another near-term option that wouldn’t require land acquisition would be advanced treatment, Cyran said.

“We could implement something that allows us to treat for a wider array of contaminants, if you had a spill,” said Cyran, although noting the recent spill from the Potomac Interceptor, which poured approximately 240 millions of raw sewage into the Potomac, “might not be a good example” of how the technology would work.

The Army Corps list of possible solutions includes reusing water. In November 2025, DC Water outlined its own plans to recycle water from the utility’s Blue Plains Advanced Wastewater Treatment Plant, the largest of its kind in the world.

Quarry storage cannot happen quickly

During its ongoing study, the Army Corps has identified possible long term regional solutions, including the potential use of the Travilah Quarry in Montgomery County, Maryland, and two quarries in Loudoun County, Virginia, owned by Luck Stone.

10 years ago, in December 2016, WTOP first reported that the Travilah Quarry, located on Piney Meetinghouse Road in Rockville, was quietly being considered by DC Water, WSSC Water, and Fairfax Water, as an alternative source of water, if the Potomac River were unavailable.

“The three utilities, and the Interstate Commission on the Potomac River Basin, along with the Metropolitan Washington Council of Governments have been working over the last several years to look at alternatives to get better interdependencies, to have more resilience in our system,” said Tom Jacobus in 2016, while he was general manager of the Aqueduct.

Now, a decade later, the logistical, real estate, and financial challenges of obtaining a quarry which could be interconnected between DC Water, WSSC Water, and Fairfax Water remain.

“We’re not saying they can never happen, we’re just saying they cannot, in any way, shape, or form, happen quickly,” said Cyran. “Travilah is still an active quarry, so that can’t even be considered for storage until they’re done mining, which might be 30 years from now.”

The Dalecarlia Reservoir expansion would not be regional solution, Cyran said.

“That would only benefit folks who are tied directly to the Aqueduct at this time,” he said. “However, while we’re going to be looking at other alternatives that we could potentially spin off and continue to look at, that would address some of those more regional issues.”

‘We can’t hand half-baked ideas to Congress’

While an interconnected, resilient system, that could provide additional water sources and storage to DC Water, WSSC Water, and Fairfax Water would be optimal, Cyran said the Corps is limited by a Congressional paradigm that limits its feasibility study to four years and five million dollars.

“We can’t hand half-baked ideas to Congress,” Cyran said.

With the Corps’ current focus of implementing near-term improvements, quickly, the agency will continue to use its expertise to envision a more resilient, long term solution.

“We are committed to looking at this issue and try to explore some regional solutions, within the paradigms of the legislation that we have to operate within,” said Cyran. “If Congress wants to consider something else to expand our authority, we could maybe look at a bigger solution, with more time and money.”

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Washington, D.C

New AAPI-led Jaemi Theatre Company launches in DC

Published

23 hours ago

March 1, 2026

Press Room

New AAPI-led Jaemi Theatre Company launches in DC

Jaemi Theatre Company, a new AAPI-led theater company based in Washington, DC, officially launches this spring with its inaugural project, BAAL, a staged reading at the 2026 Atlas INTERSECTIONS Festival on Friday, March 6, at 7:30 PM at the Atlas Performing Arts Center.

Jaemi Theatre Company co-founder and playwright Youri Kim

Founded by Artistic Director Youri Kim and Artistic Associate Juyoung Koh, Jaemi Theatre was born out of a recognition that DC, one of the largest theater markets in the United States, had no company dedicated to centering Asian stories or led by Asian artists. The name “Jaemi” comes from a Korean word meaning “fun,” and in its Sino-Korean form, 在美, means both “to live in America” and “to live in beauty.”

“I kept hearing from companies that it was hard to find Asian actors, and I heard it so often that I started to believe it myself,” said Youri Kim. “But through building community with other AAPI theater artists in the area, I realized the talent was always here. What was missing was the infrastructure to connect us. Jaemi is that infrastructure.”

BAAL, an original work written by Youri Kim (not to be confused with Bertolt Brecht’s 1918 play of the same name), is a body horror drama set in a dystopian city where the air is toxic and birth is outlawed. In the city of Baal, citizens are forced into an impossible choice: terminate or sacrifice a family member. The play uses the language of biological mutation and bodily control to examine how systems of power decide who gets to exist and on what terms, questions that resonate deeply within AAPI and immigrant communities navigating structures that seek to define, contain, and assimilate them. The staged reading features a cast of seven and an original sound design.

BAAL plays as a staged reading Friday, March 6, 2026, at 7:30 PM in Lab Theatre II at the Atlas Performing Arts Center (1333 H St NE, Washington, DC). Tickets ($29.75) are available online.

Looking ahead, Jaemi Theatre plans to host a founding party and fundraiser this fall, and will launch an Asian Writer Play Submission program in the second half of 2026. The program will pair playwrights from selected Asian countries with Asian playwrights based in DC for a workshop development process, building a pipeline that connects diasporic voices across borders.

For more information, visit yourikimdirector.com or follow @jaemitheatre on Instagram.

About Jaemi Theatre Company
Jaemi Theatre is a newly formed AAPI-led performance initiative based in Washington, DC, co-founded by Artistic Director Youri Kim and Artistic Associate Juyoung Koh. “Jaemi” is Korean for “fun” and, in its Sino-Korean form, means “to live in America” and “to live in beauty.” The company creates interdisciplinary performance rooted in diasporic imagination and radical storytelling. Jaemi is a home for the unfinished and the unassimilated, where performance holds contradiction without needing to resolve it.

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