The Woodley

2700 Woodley Road NW
Washington, DC

In the world of real estate development, a property’s list of amenities and features is what sets it apart from the rest. Sure, they enhance sales, but furthermore they enhance the quality of life for residents.

For a luxury property in Washington, D.C., the developers took the list of features to the next level, opting to include a curated collection of fine art originals throughout the residence’s common areas.

Curated by Farmboy Fine Arts (FBFA), the collection at The Woodley is comprised of an eclectic mix of 45 paintings, photographs and mixed media pieces. Representing 32 artists from nine countries, the collection is elegant and expressive—and artfully juxtaposed against the property’s meticulous millwork.

Knowing the target market for the property was well-heeled Washington, D.C. residents and dignitaries, FBFA wanted to create a collection’s that evoked the sense of having been acquired over time, as if it were the personal collection of an international traveler and lifelong patron of the arts. The property’s developer, JBG Companies, were on board.

The Woodley represented the second time the two companies had worked together to develop a site-specific art collection; the first having been the Sheraton Premiere at Tysons Corner. “JBG came to us with great level of trust,” explains Craig David Long, Design Director at FBFA. “Because we’d worked together on Tysons Corner, they understood our storytelling approach to art collecting, and trusted our caliber of work and collaborative approach for these types of projects.”

From concept development through specification finalization, FBFA not only selected work from seven galleries across North America, but also developed artist bios and concept write-ups to support and document the collection. These write-ups outlined how each piece fit into the overall art narrative, as well gave context to the significance of each individual artist.

“We continually came back to our art narrative and asked ourselves, ‘Would our hypothetical patron have collected this artist, this work?’,” Long explains. “Having this conceptual framework also really helped bring variety to the collection and get consensus amongst all the project’s stakeholders. It wasn’t a question of whether a piece resonated with one project team member or another, it was a question of whether our patron would actually hang that piece on his wall.”

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