”People are tired of endless grid-crunching,” Moore said. ”Baroque deals with modern design’s fear and loathing of the curve – just what I think is missing in modern design.’
As one of Washington’s most esteemed architects, Arthur Cotton Moore (this is a dated article, but a good introduction), is a sixth-generation Washingtonian. Moore has contributed to major renovations at the Phillips Collection, the Library of Congress, and other projects. He is probably best known for expanding the purview of the country’s nascent Preservation Movement, from the restoration of historic manor houses to re-purposing urban industrial structures. His first project––Canal Square, in Washington D.C.’s Georgetown neighborhood––was the earliest recognized manifestation of combining an old mercantile building with major new construction.
Moore is the architect responsible for designing Rizik’s iconic storefront. The boutique, located at the corner of Connecticut and L Streets in Washington, DC, is an embodiment of Moore’s embrace of Modernism coupled with Baroque sensibilities. Some have referred to this style as “post-postmodernism.” It is considered a lighter interpretation of a style that flourished in Europe from the middle of the 17th century.
Other works he is known for include the Washington Harbour development on the Potomac River in Georgetown, Washington, D.C., the Goh Annex of the Phillips Collection also in Washington, D.C., and the renovation and modernization of the Thomas Jefferson and John Adams buildings of the Library of Congress, the Old Post Office building on Pennsylvania Avenue, and the renovation of Washington D.C.’s tallest residential building, the Cairo Hotel.