https://www.citylab.com/design/2017/06/the-dark-architecture
-of-national-security/529302/


The Dark Architecture of National Security

How the built environment of the security state reflects the anxieties of
the modern age.

   - *KRISTON CAPPS* <https://www.citylab.com/authors/kriston-capps/>
   - Jun 8, 2017

·

·

What's going on in there? (National Security Agency)

All that is known about this photo for sure is that it was taken after
1986. The Headquarters Building for the National Security Agency is the one
in the back, a modest nine-story structure that resembles an anonymous
apartment complex. It was completed in 1963; the lower, mall-shaped
building, Operations Building 1, predates it by a decade. The more
prominent towers—a pair of blue-black boxes, Operations 2A and 2B, clad in
copper to block electromagnetic signals, like a Faraday cage—were finished
in 1986.

That much is knowable thanks to a 2012 document published by the NSA for
its 60th anniversary. The agency itself would not confirm when the
buildings had been finished (or if they even were), according to Jack Self,
a writer for the U.K. magazine *Dezeen*
<https://www.dezeen.com/2015/03/26/nsa-headquarters-fort-meade-maryland-privacy-home-jack-self-opinion/>
who
dug into the history of the NSA campus a couple years back, revealing the
unlikely architects behind the structures.

Mirrored and forbidding, the NSA campus stands as a fortress surrounded by
a moat of parking. The public knows almost nothing about what happens
inside: As Self writes, “the authorised information available on the
building could practically be published in a single tweet.”

A 2007 photo of the National Security Agency Headquarters Building, which
was built in 1963. (Charles Dharapak/AP)

The NSA dominated headlines this week after *The Intercept*
<https://theintercept.com/2017/06/05/top-secret-nsa-report-details-russian-hacking-effort-days-before-2016-election/>
published
agency documents on June 5 that detailed Russian efforts to hack the 2016
election. An hour after the story went live, the FBI arrested Reality Winner
<https://www.nytimes.com/2017/06/05/us/politics/reality-winner-contractor-leaking-russia-nsa.html?hp&action=click&pgtype=Homepage&clickSource=story-heading&module=first-column-region&region=top-news&WT.nav=top-news>,
an intelligence contractor and the alleged source of the leaked report.
Winner, who may be released on bond on Thursday, is expected to plead not
guilty
<http://www.npr.org/2017/06/07/531956597/reality-winner-accused-nsa-leaker-to-enter-not-guilty-plea>
to
charges of “removing classified material from a government facility and
mailing it to a news outlet.”

Photos of Winner, a 25-year-old woman who lives in Augusta, Georgia, are
circulating widely. So is the official photo of the NSA campus in Fort
Meade, Maryland—one of the most striking architectural images of the
moment. It is a reminder that the built environment of the security state
has taken dark turns over the last 30 years.

There is a through-line from the federal government’s most secretive and
ominous buildings to its most noble and idealistic ones. The NSA’s
Operations 2A and 2B buildings were designed by Eggers and Higgins, a New
York architecture firm named after Otto Eggers and Daniel Higgins—the
architects who completed the National Gallery of Art and the Thomas
Jefferson Memorial. (The firm has since changed names through mergers and
acquisitions. Eggers and Higgins were longtime associates of John Russell
Pope, the original designer of these classical projects; Pope died before
they were constructed.)

Like the FBI Building, the NSA headquarters is a metaphor for the agency it
hosts.

The NSA headquarters building is as compelling as it is unsettling—much
like the J. Edgar Hoover Building
<https://www.citylab.com/design/2014/07/requiem-for-fbi-hoover-building/375279/>,
the headquarters for the FBI. The hundreds of cars parked around the
building stand in for the thousands of intelligence workers inside—the
serfs of the deep state, as it were. The photo anonymizes them: It’s not
possible to make out the make or model of most of the vehicles, much less
any information about the lives of the employees who drive them. Dots of
colors of vehicles reflected in the mirrored building envelope betray
nothing about what happens inside. Fort Meade looks like it might be the
end of the earth, an exurb you never hope to have reason to visit. Like the
FBI Building, the NSA headquarters is a metaphor for the agency it hosts.

The Bureau of Alcohol, Tobacco, Firearms and Explosives headquarters,
pictured in 2008. (Ketzirah Lesser and Art Drauglis/Flickr
<https://www.flickr.com/photos/wiredwitch/2509575163/in/photolist-cVL3M1-5tbJcw-4MxM8E-7f71KK-4MsZcM-22PRW9-4W9gnr-M261cx-sHC6yq-e4MQd2-a8Eda2-e4Tspo-e4Tsi9-N9PcaP-93z2ZR-4PLegi-8jruSj-6tSkfW-4Q7CSF-Q86Acq>
)

The Bureau of Alcohol, Tobacco, Firearms and Explosives headquarters in
Washington, D.C., is another piece of security architecture with a design
pedigree. It was built by Moshe Safdie, who is best known for designing Expo
67
<https://www.citylab.com/design/2017/04/a-look-back-at-expo-67s-us-pavilion/524589/>
in
Montreal and Crystal Bridges <http://crystalbridges.org/> in Bentonville,
Arkansas. Elsewhere in D.C., he designed the U.S. Institute of Peace
<https://www.washingtonpost.com/lifestyle/style/not-at-peace-with-buildings-style/2011/05/17/AFsPuy7G_story.html?utm_term=.02578d6b905e>,
a building that is more frequently mentioned in connection with Safdie’s
name locally than the ATF Building.

But the latter is absolutely more distinctive, especially as an example of
security theater in the built environment. ATF’s headquarters, completed in
2008, was the first to abide by new security standards set forth for
federal buildings after the Alfred P. Murrah Federal Building bombing in
Oklahoma City in 1995. Blast-resistant glass is a defining feature, as are
deep setbacks—a “landscaped demilitarized zone between the building and the
street,” as critic Witold Rybczynski once put it. Much of the ATF campus is
given over to pure design: Two giant arching wings form a crescent “garden
wall” along the north and west sides of the building, which face out to the
busy intersection of New York and Florida Avenue NW. (A grave concern, then
and now: As far back as 2003, al Qaeda was pledging that “cars of death”
<https://www.theguardian.com/politics/2003/nov/23/terrorism.turkey> would
rain destruction down on D.C.)

The Embassy of the United States in London, designed by KieranTimberlake.
(KieranTimberlake)

A paranoid style is easy to spot in even the more sophisticated national
security designs from the post–9/11 era. Consider the forthcoming U.S.
Embassy in London, a $1 billion landmark designed by KieranTimberlake.
While (soon-to-be former) Rep. Jason Chaffetz described the project’s glass
curtain wall as “opulent looking,”
<https://www.c-span.org/video/?401738-1/hearing-building-new-us-embassy-london>
his
comments came during a discussion about whether Congress could rely on
claims that this façade would be utterly blast proof. As my colleague Amanda
Kolson Hurley
<http://www.cnn.com/2017/05/04/architecture/us-embassy-design/index.html>
explains
for CNN, critics say that the embassy—which also gets its own moat—is too
forbidding. The architecture of the security state is awesome: terrible in
its implications, but also an almost poetic reflection of national anxiety.






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