By now you may have heard that Trump’s fantasy ballroom is back in the news if only thanks to his ham-fisted changing of the subject when asked on Air Force One about his contradictory answers to questions about his war on Iran.
Occurred to me months ago when we were still grieving over the demolition of the White House’s East Wing, all of our objections were based on historical perception. Nothing wrong with that, and it should have been enough to point out that the White House is the people’s house, and the president but a tenant.
But what of architectural perception?
For that, it is my pleasure to introduce you to Randy Johnson of Natick, Mass., a senior partner in Resolution Architects who has done some consulting work here in the Lower Merrimack Valley, and a friend of mine since his nephew and my daughter hauled their families to each other’s college graduation parties down in the Hudson Valley back before the turn of the century. He also writes about local architecture for a newspaper in the section of Massachusetts known as Metro-West. When his editor preferred not to run this non-local piece, he asked my advice.
As soon as I began reading, I knew that it had to have circulation. By the time I finished, I decided that unless we could find a larger platform, I would offer to make it Mouth of the River‘s first “guest blog.” Back in the day when newspapers still had freelance budgets, this would have landed in a Sunday “Ideas” section as soon as an editor received it. To compensate for that, I’d just ask that if you know people who are into historic preservation, building design, or who simply appreciate handsome, functional architecture, please pass this on:
Last Straw Ballroom
by Randy Johnson

Knowing of the ornamentation now slathered on the walls and mantels of the Oval Office, I wasn’t surprised to see a lot gold in the renderings of the proposed White House ballroom.
Of course, that wrecking ball news immediately drowned in the media zone flooded by Epstein, Iran, Venezuela, Greenland, Minnesota, yet more Epstein, and even another architectural foray-sure-to-be-folly to defile the Kennedy Center.
Keeping track of President Trump’s ballroom project is a challenge, but an addition to the White House will get built. A legal objection has been raised by the National Trust for Historic Preservation, but obstacles like this have not stopped other questionable Trump activities. Construction will proceed as legality is sorted out. Work on the foundation has already begun. The train has left the station.
Trump has fired the entire U.S. Commission on Fine Arts, and loaded it with his appointees. Among the new members is the ballroom’s initial architect. Likewise, the National Capital Design Commission is staffed with a handful of loyalists. The project, officially called the “East Wing Modernization Project,” was presented to the NCDC by the new architect in January; the Commission seemed to reach a consensus that the design program makes sense. After all, a great country shouldn’t hold its official gatherings in a tent, with porta-potties for sanitary facilities.
The East Room was way too small for big events. The White House public-visitor reception process was characterized as confusing and undignified, definitely in need of improvement. All the commissioners thought these sensible reasons for something new, in the tradition of previous modifications to the White House. The project was characterized as fostering “diplomacy, celebration and unity,” with a “respect for collaboration and tradition.” No mention of grandiosity, or conveying the wrong message.
What’s on the table is huge: 89,000 sq. ft., of which 22,000 sq. ft. is the thousand-guest ballroom. Beneath the main floor is the kitchen, along with a spacious First Lady office suite. The movie theater will be reconstructed. The NCDC presentation did not discuss how supplies will be delivered; as with the bunker design, loading docks must be among the top secret security concerns.
None of the NCDC commissioners seemed to question the scale or validity of the program. All acknowledged the experience and competence of the new architect. Only one quibbled with the design, expressing concern about the overall size and cornice height, and asking if reduction to the footprint were possible given the reported foundation start. To provide some balance to the design’s relationship to the residence, the architect’s mitigation proposal is to add volume to West Wing, another step in turning the White House into an American Versailles. The hearing ended with the understanding of “more details to follow.” The project is not on the Commission’s February agenda. It is not on their website’s listing of “Major Projects.”

The project is a perfect representation of where our nation is headed. You saw this first with the gaudy golden gee-gaws in the Oval Office, so it wasn’t surprising to see the amount of gold in the drawings of the ballroom’s interior. Even the dining chairs had a precious-metal look. The Trump style is heavy on gilding; it’s the mark of an imperial ruler. The design strives to create a suitable stage for our autocrat to impress his peers.
The exterior design is in keeping with the priorities of the administration. An executive order called “Making Federal Architecture Beautiful Again” dictates what any new federal building should look like. Bring back those columns and pediments, harkening to the good old days of ancient Rome and Athens. No room for other ideas that would compete with this vision. Building grandiose buildings is what Mussolini and other bullies did to further their agendas. Kudos to the American Institute of Architects for their opposition to MFABA, noting the “directive would replace thoughtful design processes with rigid requirements that will limit architectural choice.”
The ballroom facades mimic the adjacent Treasury Department building. The proposed main entrance has temple-like features, with ceremonial steps, columns and pediment, fitting for a place in which to pay homage to an autocrat, curry favors and make deals. Maybe the president is figuring that at $10,000 a plate, the scheme will gross $10 million for each chicken dinner. The ballroom might be Trump’s most lucrative deal.
In addition to the hollow, spiritless architectural vision, there’s the financing. The claim of “no taxpayer money” is fraudulent. Sure, private citizen billionaires have lined up to donate funds, getting both their name on a plaque and presidential access. But as any competent real estate developer knows, there’s the matter of ongoing operating costs, like heating the white elephant as it sits vacant 99% of the time. When Trump is gone, donors won’t be lining up to fund the power washing of all that marble.
Where’s DOGE when we need it?
Then there’s the mendacity. Beyond the financing myth, what about the promise of no demolition and a freestanding structure? Oops! It stings to think that one twisted mind can do so much damage to “the people’s house.”
What we need are forceful and respected voices to explain how this project runs counter to our national mythology. The design should put less emphasis on exclusiveness, power and opulence, and more on an image that speaks of our egalitarian roots, in keeping with the “People’s House” to which the East Wing is connected. The Trump brand will eventually fade away, but let’s not be left with a reminder of its shallow history in such a significant, prominent location.
The entities reviewing the East Wing Modernization design see it as a sensible response to the requirements of a functioning White House. But the key word is House. A project of this scale turns the property into more of an events center than the home of the president and family. For a president that primarily resides off-site, this shift is inconsequential.
For future presidential families, the shift in balance will be a loss. The program should ideally create a better residence, support the administrative needs of the executive branch, and establish the architecture for a dignified reception of the public and official visitors. The huge ballroom does not fit in. Do the big parties off site. Something will get built. If Trump gets his way, it will be a neo-classically correct reproduction of what he and his minions think Washington, D.C., buildings should look like.
If built, the best hope for a ballroom is adaptive re-use, like conversion to a 300 bed shelter for all the families
made homeless by the Trump Economy. When asked where they reside, the previously unhoused occupants could respond that they are staying at the Last Straw Ballroom.
Instead of that bleak future, the better approach is to stop construction and conduct a thoughtful re-evaluation of what is really best for our White House.
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