FOREFRONT | Spring 2017

VOLUME 2 | ISSUE 1 | SPRING 2017

RECLAIMING 05 07 13 19

COLUMBUS

RECLAIMING COLUMBUS INTRO HISTORIC PRESERVATION BUILDING COMMUNITY DRIVING ORGANIZATIONAL MISSIONS

DESIGN FOR CHANGE WSASTUDIO.COM

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LONGSHOT TO DISTINCTION DON’T FIGHT THE BUILDING TRANSFORMING A MESS

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BUILDING COMMUNITY

DRIVING ORGANIZATIONAL MISSIONS

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DRIVING EDUCATIONAL OUTCOMES NEW YORK STYLE COMMUNITY CATALYST

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SNAPSHOT IN TIME MATCHING HISTORY PRESERVING CULTURE THROUGH ADAPTATION SPRING 2017 |

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A PUBLICATION OF WSA STUDIO 982 South Front Street Columbus, Ohio 43206 wsastudio.com | 614.824.1633

PUBLISHER WSA Studio

EDITORIAL TEAM Amber Aitken Todd Boyer, AIA, LEED AP BD+C Troy Brummel, Assoc. AIA, NCARB AXP Scott Geither, LEEP AP Timothy C. Hawk, FAIA Connor Miko

DESIGN & PRODUCTION Connor Miko

WSA TEAM Amber Aitken Brian Albright Todd Boyer, AIA, LEED AP BD+C Troy Brummel, Assoc. AIA, NCARB AXP Geof Gay, NCARB AXP Scott Geither, LEEP AP Timothy C. Hawk, FAIA Connor Miko Phil Riazzi, LEED AP Kirsten Sheely, NCIDQ, IIDA, LEED AP Nicole Vice, Assoc. AIA Frank Weaver Nathan Wendling, Assoc. AIA, LEED AP BD+C Loretta Pine, K9

PHOTOGRAPHY AJ Brown Brad Feinknopf Death to Stock Photo Jared Heidemann Unsplash

ABOUT WSA STUDIO We are the proven idea that good design prevails over obstacles. Our founders started this irm because they saw an opportunity to ill a void with their instincts. It’s nearly 50 successful years later and the reason they took an idea and ran with it is the same reason we’re all still here: good design can change the way people experience the world.

At the root of WSA Studio is a group of really good people focused on providing really good design for really good clients. We’re looking for things to make sense, to connect to an environment, to address change and the struggles associated with it at face value and form educated, collaborative solutions based on function, aesthetic, and context.

We DESIGN FOR CHANGE.

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363 EAST TOWN STREET AT FRANKLIN 777 GOODALE AVENUE OFFICES 815 GRANDVIEW AVENUE OFFICES ACPA AIDS RESOURCE CENTER BERRY BOLTWORKS BOTANY & ZOOLOGY GREENHOUSES BRYDEN ROAD LUXURY APARTMENTS BUGGYWORKS URBAN LOFTS CARRIAGE PLACE (680 N. HIGH) COLUMBUS REALTORS FIRST AVENUE SCHOOL FORGE BY PILLAR FRASCH HALL AT FRANKLIN GETHSEMANE LUTHERAN CHURCH

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GRANGE INSURANCE HAGERTY HALL AT OSU THE JACK L BRANDS MEILING HALL AT OSU MOTORISTS INSURANCE NATIONAL CHURCH RESIDENCES OHIO STATE HIGHWAY ACADEMY CAFÉ PAST INNOVATION LABS PERSISTENT SYSTEMS PRINCE OF PEACE LUTHERAN CHURCH PRIORITY DESIGNS REYNOLDSBURG UNITED METHODIST THE SENECA HOTEL STATE AUTO INSURANCE

CONSERVING RESOURCES AND HISTORIC VALUE Here at WSA Studio, we seek the best out of buildings. Nothing is too worn down or too out of distinction to create a revitalized form in its own distinct way. After built structures become abandoned, adaptive reuse can be the perfect way to breathe new life into an old building while conserving resources and historic value. Whether due to environmental reasons, land availability or the desire to conserve a historic landmark, we turn to rehabilitation as a solution to some of the modern problems of the built environment. We listen to buildings and let them tell us which direction they want to take. In the end, the result is a blend of new and old, historic and modern, modest and elegant. And the aesthetic becomes timeless.

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TIM HAWK

RECLAIMING

COLUMBUS

t WSA Studio, we practice in the great Midwestern city, Columbus.

Located at the conluence of the Olentangy and Scioto Rivers, Columbus is positioned at the geographic transition from the rolling hills of the Appalachain plateau to the east and the great American prairie to the west. The city is the capital of Ohio, home to the largest population of college students in the United States, and a thriving center of research, commerce, and service. So, in many ways, the city has always been “in between” and has sufered from an identity crisis. Is Columbus just a large college town or is it an outpost for the state government? Are there really businesses and manufacturers in Columbus, or is the city a statewide governmental center serving its traditionally larger siblings Cleveland to the north and Cincinnati to the south? The city is too big to be small; too small to be big.

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To be sure, Columbus did have its heyday. In the late 19th and early 20th century, the city was exploding as the region blossomed. Ohio was a leader in the manufacturing sector, especially in steel production and processing, oil and gas, and coal mining. Many of the early companies that were established in Columbus supported these industries. The industry was not in Columbus as much as makers who supported industry set up shop in Columbus’ neutral territory. During this explosion, many of the buildings that were developed were designed in the Beaux Arts style that was popular at the time. Reined Federal Style and Classical Revival where the tools of the outstanding architects of that time. But to be fair, Columbus did not develop a robust collection of civic infrastructure. There are gems among the mix, with the Ohio Theatre, the LeVeque Tower, the Columbus Art Museum, and a collection of buildings on Ohio State’s campus standing out. But, when compared to the monumentality of buildings in Cleveland and Cincinnati, the historic stock of Columbus pales.

Meanwhile, the combined inluence of governance and higher education in Columbus was planting seeds that later blossomed into white collar, service sector jobs. And, if you have read Richard Florida’s The Rise of the Creative Class, you may be able to see a corollary to late 20th century and early 21st century job growth in Columbus. The new growth is being fueled by job opportunities in the creative industries. There are more architects, graphic designers, fashion designers, industrial designers, interior designers, and artists in Central Ohio than in any other major city in the Midwest. Cbus is exploding. The city is a Midwestern success story.

Since I relocated to Columbus in 1993, the city has added a few hundred thousand residents, and the region has added half a million. The Mid-Ohio Regional Planning Commission has published a report which predicts a doubling of the city between now and 2050. And with this growth, there is, of course, a huge demand for new construction, and owners and developers have responded with a collection of “new” buildings it for twenty-irst century living, work, and recreation. Interestingly, most clients have turned their backs on the existing building stock in Columbus since it is relatively modest. Conversely, at WSA Studio, we see potential. Our architects see great opportunity in almost any historic structure (even mid-century relics) and know that the patina of the building will complement the new use. We call this type of work “adaptive re-use” and we have come to specialize in this messy project type.

We seek to Re-claim Columbus. We want to promote renewal of the urban core.

We see the potential and strive to capture any opportunity that we can get to bring these relics back to life.

Follow us as we share our experiences in this pursuit. We know you will enjoy the journey as much as we did.

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TIM HAWK

LONGSHOT TO DISTINCTION

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began working at WSA Studio in 1986, three days after I graduated from Ohio State. The irm was located, at the time, in a historic building in downtown Columbus. The building didn’t have the kind of character that most people demand out of a historic building, and so it was largely empty. The irst loor retail was illed, and Bob and Tom had occupied the second loor. When you arrived in the Wandel & Schnell space, it was clear that they had used restraint in the renovation, and more important to me was the modern attitude of those items that had been added. The walls were white.

The wood trim on a bank of windows facing north to Long Street had been painted white. The loor was a neutral carpet and there was a really nice white desk upon your arrival that greeted you. I enjoyed my time in that space and believe that space informs my design to this day. Later, when the irm had outgrown this space, Bob and Tom rehabilitated a building on Chestnut Street, and then in 2004, when I took over the irm, we became the lead tenant in the Berry Boltworks, a national historic landmark in Italian Village.

WSA Studio has a tradition of renovating overlooked buildings. We ind delight in the simplicity of a great space, and we capitalize on the amazing infrastructure which is so hard to build with today’s dollars.

In 2010 I was approached by Don Devere, a local developer, who stated that he had an opportunity for

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me. On a cold day in February, we visited the lonely, dilapidated former warehouse of the Columbus Jack Company. It was love at irst sight. The building had everything I love. It was simple, straightforward, stately, humble, and regular. The brick exterior frames tremendous window openings, and the center of the building was punctuated by an elevator tower. But, boy oh boy, was this place in bad shape. The Jack sat empty since the mid-1980’s when the Jack Company abandoned the building for a shiny new location. The windows had been boarded on the irst loor, the roof was shot, and water had been lowing into the building, creating warped loor surfaces. The interior brick and wood had been painted and was chipping, so there was lead paint peppering the loors. There was no electrical or HVAC infrastructure, and what little plumbing there was had been abandoned. The stairs in the building did not meet any modern code, and many of the panes in the large steel windows were broken. It was an absolute mess. To make matters worse, Don told me that a host of development teams had looked at the property and walked away since they couldn’t make the inancial numbers work. I didn’t care. I knew that we could ind a way to salvage this place, and I was too smitten to walk away.

Fast forward a few months, and we had igured out a way to turn the building into a irst loor studio space with six loft style apartments on levels two and three. When

the development team ran the numbers, the strategy had suicient return, in large part due to our design attitude. We let the building take the lead. We embraced the raw nature of the building and applied the same type of restraint that Bob and Tom had applied on West Long Street in 1980. After all of these years, the irm had come to know how to approach a historic building.

It takes a special approach, and a lot of creativity to handle the existing conditions within limited budgets. Most importantly, it is design restraint that is required and there are other factors which inform our approach.

First, it is imperative that the design team respects the building and its existing conditions. The rehabilitation of an historic structure is far diferent than the design of a new building where the sky is the limit. On an adaptive re-use project, the existing building becomes the largest and most substantial design parameter. Almost every time, the existing condition wins, and it is vital that the design team study the building and gain an intimate understanding of its every part. After this information is gained, the design team needs to prioritize the attributes which are vital to the essence of the existing building. At The Jack, we determined that the patina of the wood ceilings and brick walls had to be maintained. The loors and windows were in rough shape and needed to be replaced, and the replacement of the roof was a high priority, of course.

The standard building code cannot be used for a project like The Jack. We apply Chapter 34 of the Ohio Building Code, a special section which allows our team to prioritize strategies as we adapt the building. Trade-ofs allow the design team to keep exposed structure and other features which might need to be covered up under the basic code in order to provide ire separations or protect structure. Chapter 34 allows all of the existing beauty to remain.

In order to stay within budget, the design team needs to harness modest inishes throughout with special attention given to selected areas where higher quality inishes add the necessary sparkle. At The Jack, we spent money on quality lighting, high eiciency HVAC systems, great thermal windows, and new hardwood loors in the lofts. The kitchens are nice, but not the feature, and the bathrooms harness crisp ixtures and simple layouts. The exterior brick walls, large windows which lood the space with natural light, and exposed heavy timber beam construction take the lead and the typical “suburban” features (the kitchen cabinets and countertops) do not need to ill in the design void.

The key to success is a creative approach featuring the hand that you are dealt by these awesome old buildings. Many architects are tempted to apply the latest trend and materials, and cover up the historic beauty in the process. We listen to buildings and let them tell us which direction they want to take. In the end, the result is a blend of new and old, historic and modern, modest and elegant. And the aesthetic becomes timeless.

THE JACK The Jack is tucked away in the heart of the Brewery District and ofers its new tenants a unique structure illed with heavy timber ceilings, aged and distressed brick walls, industrial windows, raw concrete loors, a dramatic elevator shaftway, private parking and a roof terrace. The irm’s decision to salvage an aging building highlights their commitment to practicing local sustainability and an investment in rehabilitating this mixed-use development in downtown Columbus.

The Jack’s apartments signify a live-work environment, with the building being occupied 24-7, both by the tenants and work employees allowing the building to really live within the Brewery District.

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TROY BRUMMEL

DON’T FIGHT THE BUILDING

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tarting a design project can be overwhelming.

Designers and clients alike have a great deal to do when analyzing project goals and synthesizing them into a coherent project plan. On top of all that, today it is far too easy to become fascinated by the neverending reels of Pinterest images. We see it; we want it and we’ve got to have it in our project. In reality, the troves of the internet’s imagery often cause a paralysis in the design process and hamper us from making the design decisions to best support our organizations. There are too many options to weigh, too many opportunities for great design lost, and no great reason to pick one solution over another.

Now, more than ever, it is important to see the buildings we occupy as the inspiration for the places we make.

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Buildings, while similar in many regards, are all unique, and ofer the parameters necessary to guide our decision-making process with two key attributes: their unique structural systems and aesthetic character.

Fighting these inherent qualities typically leads to inlated project budgets and schedules.

Structural systems are the most essential component of any building and they also deine the spatial patterns that make up our buildings. If we try and force conditions into a space that doesn’t quite work, we tend to ind friction with the structural system of an existing building. Most likely, one would not plan to interrupt a conference room with columns, but when our plans ind conditions like these, we may ind the need to modify structural elements and incur more cost to the project.

While these moves may be necessary or worth the cost, depending on the project goals, modifying structural systems is not usually where clients like to spend their money.

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values and a history of success. Finding buildings with the aesthetic characteristics that reinforce organizational culture and branding sets the tone carrying out an organization’s goals.

Buildings have an inherent aesthetic based Now, more than on their structural system, construction ever, it is important We all need inspiration from time to time and can ind it virtually everywhere; however, I would methodology, and age. We can use those to see the buildings encourage that the search starts by exploring to the client’s advantage in meeting we occupy as the your existing space. Jumping to the inal details their branding and cultural objectives. of a project causes us to overlook the higher-level While aesthetics is often considered inspiration for the problems related to how an organization superluous, it is human nature to surround places we make. functions, including the desired low of building oneself with objects that represent qualities we occupants through a space, necessary adjacencies of working strive to embody. In that sense, environments set the tone groups, and functional relationships of work spaces to their for the activities which occur there. For example, exposing supporting functions. masonry bearing walls can convey an attitude of raw honesty or the installation of decorative wood molding conveys traditional

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TIM HAWK

TRANSFORMING A MESS

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f you have talked to me for ten minutes, you probably have heard me talk about generational shifts. In fact, my team just selected me as “most likely to blame frustrations on generational diferences,” speciically millennials. True. But, not fair. I hold millennials in high regard. I have helped to raise two, I hire them in droves, and stand up for their viewpoints almost daily. In many ways, I believe that this emerging generation (those folks who are about 19 to 34) will prove to be one of the best generations ever. Ever. In large part, because they see the big picture and demand that we all consider it. Unlike baby boomers who focused on the individual, this generation demands that we take the long-term results of our actions into consideration. So, when we consider adaptation of our buildings, millennials are totally on board with the concept. They see the value in the translation of historical culture. In addition, as a generation of architects, millennials have a pluralistic approach to design that tends towards the more timeless.

I love their approach. There is no one way, and trend is not the goal. They are passionate about buildings contributing to community. They integrate sustainability as inherent to any design.

They demand that our design consider to an honest improvement to our society. Millennials prioritize the greater good and the buildings and the communities that we design in the future will certainly raise the bar for creating a connected, patchwork quilt of collective culture.

Baby boomer architects: well, if they are to be characterized, I would align boomer design with an attempt to create a new, singularly relevant style to replace Modernism. Think about the time in which boomers emerged as architects. Many of them graduated from architecture school in the late seventies, a time when society was discarding the “cold” Modernist style and embracing the mannerist Post-Modern era. Think Michael Graves and the Portland Building. There is no more iconic boomer building. Graves, born in 1934 in Indianapolis (proving once again that the Midwest is where it’s at), was not a boomer, but he was a part of those avant-garde architects who in the 1980’s heralded a new era in architectural design. To make our future building stock more relevant than these “horrible” modern buildings, Graves and other Postmodernists demanded that we adorn our buildings and harness Classical architecture to humanize our buildings. This style inluenced all of us who entered the profession in the 80’s. We learned the Postmodern vocabulary, ate it for breakfast, drank the Kool-Aid and adopted a disdain for the simplicity

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of the Modern International style. So, when we were confronted with the adaptation of buildings, many architects looked to preserve history and became “historic preservationists,” which is ine for a historic structure. But, this stylistic approach was not necessarily able to be easily translated to all buildings, and it was especially not able to be applied to Modern icons. Many structures which had been designed and built in the 1950’s or 60’s during the height of the Modern movement were later “ixed” through Post-modern updates in the 1980’s and 1990’s. And the result was a hodgepodge of place. These simple, honest, and straightforward Modern icons were designed in an austere manner, and, frankly, when architects and interior designers added these Post-modern accoutrements, they clashed with the skeleton. The collision has caused these buildings to really sufer. I have always felt like the Post-modern cladding was akin to (as Frank Weaver would say) “socks on a rooster.” They just don’t mesh well.

Over the past few years, our team has been called on to ix countless boomer mash ups. My favorite was the renovation of Hagerty Hall at Ohio State.

This building, constructed in a series of additions from 1920 through 1950, was also the victim of countless post-modern ixes. The building had simply become a story of stylistic layering, where the original Spartan and austere land grant structure had been “updated” with mid-century modern décor, later stylized with post-modern inishes, and augmented with specialty lighting, signage, and not-so-state-of-the-art technology. Our client, the College of Humanities, adopted the building to escape the austere compound of the brutal Cunz Hall on the western edge of campus (which was later renovated in its own way). The humanities team looked beyond the trauma inlicted by the multiple layers of “ixes” to embrace the solid bones that this building ofered, and were (rightfully so) smitten with Hagerty’s location at the intersection of the Oval, Mirror Lake Hollow, and College Drive.

Hagerty is located at the heart of the Ohio State campus.

Our team, which included Jane Weinzapfel of Leers Weinzapfel Associates, carefully exacted a scapula to excise the post-modern additions, carry it back and stabilize the building in its original state, and then conceptualize and implement additions to translate the structure into the World Media and Culture Center. The project was recognized by the American Institute of Architects in 2007 as a leading, national example of architecture for education,

example of Millennial perspective. The College of Humanities and I believe that, in large part, this honor was bestowed selected to re-envision the building with respect for the long based upon the reconstructive surgery that the building had view. Collectively, we renovated this building to be forward undergone. The process that we had applied to translate thinking in both its educational and physical the physical structure of Hagerty became a metaphor for how education was being We certainly see program. We designed spaces which are lexible, can be easily reconigured to absorb transformed into a process of engagement. The the benefits of changing functional demands, and support a World Media Center has transformed the role broad conceptual future pace of learning. of foreign language education at Ohio State, thinking, and seek causing ripple efects throughout the region.

And, at WSA Studio, we took away a whole new So, there is proof that built form can and does to match design impact how we live, work, and come together to rigor to the longer design perspective away from this project. We certainly see the beneits of broad conceptual improve access to education. view. thinking, and seek to match design rigor to the longer view. In many ways, I believe that we at WSA Studio are Hagerty also ofers an insight into the role that adaptation can ALL Millennials as we approach the adaptation and migration play in the continuity of our culture. The University’s approach of historic structures. So, imagine that. to this landmark was informed by what I deem to be an early

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TODD BOYER

DRIVING EDUCATIONAL OUTCOMES

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mission or culture drives an organization. This fact is more evident with our ever changing competitive global marketplace. A clear mission improves strategic alignment, customer engagement, employee loyalty, and can be measured as it evolves.

An organization’s space should reinforce the mission while absorbing its evolution. A perfect example is the nationally recognized PAST Innovation Labs we

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recently completed for the PAST Foundation, a nonproit organization that connects real world scientiic research to teaching and learning. PAST conducts outreach to states, schools and communities, policy makers, business and industry leaders. They use their education model to set the standards and they equally use their education model to challenge them.

There is a reason they’re nationally recognized in education: change. Only an open, airy, collaborative,

and lexible for wider purpose space can support evolving programs in which the PAST Innovation Labs support.

The PAST Foundation already had a building in mind when we got involved: an old, cold storage warehouse facility in Clinton Township, just outside The Ohio State University’s territory. The building was in poor shape with minimal natural light, dark spaces, a raised dock, large garage bay doors. It was blank.

To get started, we began a feasibility study to determine if the building they had in mind would be suitable for their needs and ultimately aid in determining their future. The study found the building’s resiliency and potential for PAST despite any initial hesitancies. It ultimately was a raw, blank slate with properties to be transformed to meet their needs and purpose: Collaborate, innovate, and learn.

The infrastructure was sized for the entire building, which was more space than they planned on using. We were able to separate the building into deliberate sections that aligned with their deep future vision. We incorporated a 4,000-gallon tank that allowed the PAST Foundation to be completely on its own water system. At the end of construction, the building was reinanced and given a higher property value giving them equity for years. We relied on the aptitude of the building and the organization’s valuable city beneits.

PAST INNOVATION LAB Since the PAST Innovation Lab opened, they have had more than 1,800 visitors from across the globe in the irst eight months of operation. Growing interest in STEM centers and the future of education has educators and scientists locking to the PAST Foundation to observe and learn about productive education models.

Transforming space to a mission is more of a challenge when adapting an existing facility. There isn’t the ability to craft and choreograph the ideal solution. The key is to change the architectural approach and work with the existing building to create a backdrop to the mission. The PAST Foundation’s growth since opening their doors is proof that the building can work for the purpose if we let it.

The PAST Foundation is comprised of group of scientists and educators who work together to create curricula for STEM schools harnessing a learn-by-doing approach. The organization connects teachers in Central Ohio districts with the necessary tools to integrate this curriculum into schools. The PAST Innovation Lab is a renovated warehouse divided into diverse, hands-on learning labs; small, group collaboration spaces; lexible seating areas and ample technology. Central to the design is a large “agora” space. This centralized area supports overlow from adjacent classrooms through overhead garage doors. Flanking each classroom area are focused technology laboratories.

PAST has been selected for recognition as a Smart 50 organization from Smart Business Magazine as the top Innovator in Central Ohio, and their CEO, Annalies Corbin, was also cited as an innovative leader.

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TIM HAWK

NEW YORK STYLE

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f you are American, one is indoctrinated into an understanding as you grow up. There is a “better” place. It’s called New York. New York is all that is sophisticated. It represents the melting pot of our nation, a place where many of our ancestors entered the country as immigrants. At the same time, New York represents the top tier of industrial, commercial, artistic, and social culture. As Sinatra said “If I can make it there, I’ll make it anywhere; It’s up to you, New York, New York.” As a nation, we look to New York to set the pace for fashion, design, and glamour and its residents set the pace for all that is elegant. As we look around, we realize that our popular cultural understanding often references New York as the center of American culture. My childhood was illed with movies ilmed which reinforced premise. Some of the more famous include Breakfast at Tifany’s (1961), Barefoot in the Park (1966), Love Story (1970), The Godfather (1972), The Way We Were (1973), Saturday Night Fever (1977), Tootsie (1982), Moonstruck (1987), Big (1988), and Working Girl (1988). Well, at least this is my list. The actual list contributes to a signiicant wiki presence on the web. Regardless, it is hard to deny that New York is a cultural juggernaut.

So, given this proclivity for all things New York City, why doesn’t their approach to design proliferate the Midwest and places south, north, and west? If we look

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to New York for cultural reference, why don’t our buildings in Columbus model those in New York City? One word: convenience. In the middle of the country, land is not at a premium, and accommodation of convenience often drives design. In New York City, residents are ofered a small lat and select a few simple pieces to contribute to the décor.

Their places of work are dense, and their public spaces often overlap adjacent amenities. Real estate focuses on the smart use of small space, which leads to a subtle sophistication that is hard to achieve without restraint.

New York’s density drives sophisticated restraint, simply because they don’t have the area to expand. Conversely, out here in the middle, we desire our every need to be accommodated, and many of the wealthiest live in sprawling compounds with room upon room dedicated to singular uses. People don’t think twice of living in 3,000 to 4,000 SF and a 1,250 SF single family house is considered tiny. The whole vocabulary has contributed to urban sprawl. We need more and more land to build our accommodating houses and keep moving further from our jobs to feed the need to match our desire with larger land parcels. Interestingly, thirty to forty years ago, a small group of individuals made a conscious decision to prioritize community over size here in Columbus. Since the 1970’s, a variety of urban neighborhoods have been re-developed, improved, and have proven that one can achieve a fulilled life living close to their job in the center of the city. German Village, a tight knit enclave of turn-of-the-century brick cottages on the city’s south end, is recognized as the largest historic district in America. Successful developments in German Village have spurred the transformation of historic neighborhoods such as Victorian Village, Italian Village, and Clintonville, and new urban neighborhoods have blossomed to fuel the drive for urban living in Columbus. Successful contributors to this development have taken their cues from New York. Smaller,

smarter, and more elegant, these developments are driving an alternative viewpoint that is rich in quality detail.

From 2003 through 2005, our irm partnered with Kyle Katz, a local visionary and developer, to design and oversee the transformation of an historic factory into New York style loft apartments. The development is called the Buggyworks and is situated just west of an emerging neighborhood called the Arena District. Each unit uses every square inch with precise clarity. The design of the units eschews doors and walls which separate. In fact, in most units, the only door is to provide privacy for the bathroom, and this door is in a pocket. Open, transparent use of the space is championed and the condominiums ofer great lexibility. The kitchen millwork package, the bathroom ixtures, and the various details in each unit were carefully selected and capture a high level of quality and detail that matches the quality needs of an urban dweller. Our team captured and celebrated as much of the original integrity of the building as possible. The exterior brick walls are exposed. The beautiful heavy timber structural framing becomes the ceiling. Large industrial window openings are maintained and bathe the units in natural light. The units are relatively small for Columbus, and when the size is combined with the raw nature of the design, the units encapsulate a chic sophistication often found only in New York lofts.

Consumers loved the units. They sold like hotcakes, and over time, the units have maintained or appreciated in value for resale, while other contemporary developments (patterned on a suburban model) have loundered a bit. The lesson is clear. The combination of historic building, open and lexible planning, and high level detail in a small footprint is a magical combination. The Buggyworks has been the gold standard in Columbus for downtown living, in large part due to its adaptation of a New York loft lifestyle theme.

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TODD BOYER

COMMUNITY CATALYST

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n October 2015, Priority Designs moved into their renovated 50,000 square foot headquarters on South Hamilton Road in the heart of Whitehall, Ohio.

The space, designed collaboratively by WSA Studio and Priority Designs, is the transformation of an abandoned eyesore into a creative environment for designers, fabricators, and researchers.

The investment into 100 South Hamilton Road took a vision larger than the constraints of the city and a passion for creating a catalyst for commercial development in Whitehall. How can an abandoned car dealership play such a role? Our ability to shift the lens from a vacant, inoperable building to a platform reserving creativity at the forefront was critical in the development of the project.

Bill Swad Sr. built 100 South Hamilton Car Dealership to support his growing auto sales business. Later, it housed Ricart Collision Center until it was abandoned and used by the City of Whitehall for police and ire department training. In 2013 Priority Designs was growing out of their current home in Gahanna and was looking for a space that could accommodate their unique requirements: a design studio and a fabrication shop. Taking on a design challenge is at the foundation of Priority Design’s mission and they jumped at the opportunity to help Whitehall reinvigorate the East Side through design. This old building did not come without its own set of challenges.

Understanding how to manage needs vs. wants, where to embrace an existing structure and where to resist its tendencies, where to surgically link spaces and where to relieve space for a more lexible environment are the keys to an adaptive re-use project. Working within the context of an existing facility adds character, infuses life, and provides the brand story every corporation seeks. It’s the reason we were chosen to work collaboratively with Priority Designs and Whitehall for this project: WSA Studio is prone to recapturing the life of structures.

In standard car dealership design, there are four main programmatic functions.

There’s the showroom, the light illed, new car scented place of dreams; the drive through, the spot for dropping of your car when reality hits and the dream lops; the service center for oil changes and tune ups; and the body shop where fender benders expensively disappear. That building program translates to a building typology you see across the country that still exists today. Our design utilizes these four distinct spaces to our advantage and strategically connects them to facilitate a transparent and eicient work low supporting the process. The old showroom has become the conference center, a new place to showcase ideas. The drive thru bays have become light illed hubs of daily activity housing the reception, café, and gaming area. The service center and body shop has transformed the design center and fabrication center with project team and control rooms stitching the two together.

Spaces are deliberately applied to relect Priority Design’s whimsical senses and showcase the work. Bold colors mixed with warm materials and family knick-knacks ill in the intentional blank space. Nothing is sacred and every surface or space is a research and testing opportunity to support new projects at an idea’s whim. The space is always evolving parallel to the irm and the required specialized equipment.

As transformative as the space is, the design still relects the original resolve. After an 18-month creative endeavor, an eyesore of the community turned into a state of the art design center that has hosted national conferences, created award winning designs, and has contributed to the community in a way Whitehall was severely lacking as a city. Priority Designs is just the beginning. Since construction, The City of Whitehall has secured 50 million dollars of proposed redevelopment neighboring this old car dealership turned focal point. By way of design that embraces context, Whitehall is reclaiming the future of their city on their terms.

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PRIORITY DESIGNS WSA Studio transformed an abandoned former car dealership in Whitehall into a new oice space, design studio, conference center, and fabrication studio. Priority Designs asked for a cutting-edge facility to relect their unique design approach, yet they also wanted the design to support their atmosphere of acceptance. The team blended natural materials, vibrant colors, and project display space to connect multiple levels and programmatic requirements. The design elevates all the moving parts of their organization while promoting an atmosphere that blends work and play.

Owners Lois and Paul Kolada have stated that the space has improved internal communication, driven creative results, and helped to improve clients’ understanding of the Priority Design process.

Employee satisfaction has improved, in large part due to the improved project process low.

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TIM HAWK

SNAPSHOT IN TIME

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s a modern architect, I prefer to work in our era. To ind innovation that is driven by the latest technology and all that is new and next. But, if you practice in the Midwest, there is a solid collection of historic buildings that demand our attention, and these buildings have the potential for continued relevance for years to come.

Ohio became a state on February 19, 1803. We are the seventeenth state and entered the union seven years after Tennessee and nine years before Louisiana. The state has been around for 214 years, which explains why we have some signiicant buildings in the region to appreciate.

Many of our buildings were erected in the middle of the 20th century. In Columbus, several famous architects were proliic and their structures form the foundation of all that is historical in our city. Richards, McCarty and Bulford designed the Columbus Museum of Art, the Joseph P. Kinneary United States Courthouse, the Ohio National Bank, the White-Haines Building, and the Ohio Deaf School. Even more well-known was Frank Packard, a proliic designer of distinguished residences throughout Columbus. Packard also designed North High School, the Old Governor’s Mansion, the Columbus Savings and Trust Building, the Toledo and Ohio Central Railroad Station, and the Seneca Hotel. In addition to these buildings, which are clearly historic, we have a pretty good stock of mid-century modern buildings which are now in need of renovation.

There is plenty to work with and our design community is very interested in translating these buildings to make the city more and more vibrant.

When we are faced with the adaptation of historic structures, I prefer to migrate historic facilities and extend their useful lives far into the future. Others prefer to restore facilities, and bring them back to their original luster. Clearly, there are two schools of thought, and there is a lot of dialogue surrounding these two positions.

In Ohio, representatives of the Ohio Historical Connection prefer that architects clearly note modern interventions as exactly that…modern interventions. Oicials at the City of Columbus’s Historic Preservation Oice recommend matching history when a building is adapted. So, when one designs an adaptive re-use in Columbus, each side will weigh in and it is the designers challenge to balance both perspectives.

This tight-rope line was in full tilt when our team renovated Packard’s Seneca Hotel. This building had sat empty for some time after it had exhausted its useful lives as both a hotel and the home of state agencies. When we found it, the homeless had set up camp and the city had ordered the sidewalk to be covered in scafolding to protect

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“

If you practice in the Midwest, there is a solid collection of historic buildings that demand our attention, and these buildings have the potential for continued relevance for years to come.

”

passersby from the potential of falling debris.

Our client had a vision to convert the building to apartments on a limited budget, and our team had to work hard to prioritize the improvements. Yes, there was a lot of pressure to restore this landmark to its former glory, but the resources didn’t match up and there were a lot of choices that had to be made. In the end, the team worked to restore historic details in the lobby, and the exterior façade was restored. But, the team replaced the original windows with a matching window, and we designed a new entry canopy which was based upon the original. The

team found pictures of the original canopy and detailed the new canopy to match the original aesthetic. Along Broad Street, the façade was translated to a more modern aesthetic which made it clear that this intervention occurred. So, in many ways, the design team balanced the two diferent rehabilitation strategies.

We restored some components and translated others.

The project has been complete for years and the building continues to attract new tenants. The building holds a stately presence along Grant and Broad in downtown Columbus. It’s almost as if the building has been and will be there forever.

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SCOTT GEITHER

MATCHING HISTORY

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ometimes, a building is just too good to change it in total. We do a lot of adaptation, since our building stock in the region has far outlasted its original use. Each project presents a series of choices.

Do we translate the character of the building to feel new or do we celebrate the integrity of the original structure?

We have done both and can guarantee the decisionmaking is a struggle. We are typically torn, since we see value in each consideration and we work hard with owners to discern a path.

So, tough choices establish the foundation of working to preserve history. In the case of an owner who wants to side with historic integrity, the architect and designer’s job becomes a bit more intensive in terms of research.

The renovation of 738 Bryden Road in the Old Town East neighborhood of Columbus serves as a relevant, recent example of the various choices that come with historic preservation projects. This building was built in the early 1900’s as a lodge for the Columbus School for girls. There were roughly thirty lodges that housed the students along with the head mistress and house mother. The building had been neglected over the years and deteriorated. Numerous groups had attempted to renovate this gem but came short by hacking away the

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original bones and architectural integrity. The owner wanted our team to restore the historic integrity and capitalize on the original beauty of the structure and its elaborate detailing.

Starting with the exterior, the team worked closely with representatives from the Columbus Historic Resources Commission and the Old Town East Historic to understand the rules and proper guidelines for updating and repairing exterior materials and colors. Monthly commission meetings were part of our project schedule, and allowed the team to select appropriate materials for rooing and exterior facade colors.

The owner of the building came across a historic image from the 1950’s that we used for reference.

Looking at the image, the team was able to re-create the front entry porch and bring back the original wood trim detailing. Scraps of the original iron fencing that surrounded the perimeter of the grounds were used as a reference for a local iron company to forge a new fence as well. The team had to research and consider code requirements to make this older building ADA accessible. The team took into consideration adding an additional entry point, to allow for a strategically

designed lift, in order to minimize the impact to the original integrity of the building.

On the interior of Bryden, the team repaired and exposed brick walls throughout the twelve apartment units to convey an honest relationship between the building’s exterior and interior. The bones of the stairwells were beautiful and illed with 100-yearold wood railings and wood trim that was preserved and brought back to life. On top of the woodwork is a beautiful, slightly decayed mural that is planned to be rehabilitated. The structural components of the foundation were unsafe and unstable, therefore, proper safety precautions were put into place.

Foundation walls were raked and joints were re-grouted to add additional living space.

The success of a project like this relies on many factors, one being the dedication and value for preserving “historic integrity” that our team believes in so deeply. In a time that generic architectural structures are popping up throughout the Midwest, we understand the importance of adapting a 100-year-old, timeless structure and relish the chance to work with dedicated teams to bring these structures back to life. Through research of materials and products, and working closely with the Historic Commissions, we are able restore structures and extend their useful lives in service to society.

738 BRYDEN ROAD This former dormitory for Columbus School for Girls had sat abandoned and neglected for years.

WSA Studio has been working with investors to convert the facility to market rate rental housing.

The building anchors the western portion of Bryden Road, which is a historic artery in Old Towne East, one of Columbus’ up-and-coming neighborhoods.

The building is also listed on the national historic registry and special care has been taken to maintain the integrity of the building as it is updated.

Working closely with the Columbus Historic Resources Commission and the Old Town East Historic Commission, The renovation of 738 Bryden Road in the Old Town East neighborhood of Columbus serves as a relevant, recent example of the various choices that come with historic preservation projects.

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TIM HAWK

PRESERVING CULTURE THROUGH ADAPTATION few inal thoughts on adaptive re-use. I love history.

Always have and always will. When we look to history, we ind such rich stories about our culture, and we gain clues as to why we honor societal traditions. I can’t imagine an existence which discounts history. I think that one of my favorite quotes (which is attributed in various forms) is “Those who cannot remember the past are condemned to repeat it”.

This is widely attributed to George Santayana, an American philosopher. My take on this quote is that we can learn from our past. So, as an architect, I love to work on our historic buildings since we learn so much. These buildings were designed during a diferent time, and are informed by the education, experience, and contemporary thoughts of architects in that day.

Additionally, although many building methods are universal and independent of time, I would argue that the tools and methods are constantly evolving, especially over the past 150 years or so, as a direct result of the industrial revolution and the impact of technology. Looking to history, even in a city like Columbus, we can trace the progress of building, know-how, material changes, and design philosophy. Let’s take a journey through Columbus’ most signiicant buildings:

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1839 THROUGH 1861: OHIO STATEHOUSE •

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• • •

Designed by a consortium of architects including Henry Ustick Walter, Alexander J. Davis, William Russell West, Nathan B. Kelly, Isiah Rogers, and Thomas Cole.

An annex was added by Samuel Hannaford and Sons.

Recently renovated and adapted by Schooley Caldwell Associates and Moody Nolan, both Columbus irms.

The building is designed in the Greek Revival style to embody the principles of Democracy, founded in Ancient Greek culture.

The original building had no electrical infrastructure, was masonry bearing, and is only a few stories tall.

Largely constructed by prison inmates using straightforward construction methods.

The building is designed without exhaustive ornamentation, a straightforward and elegant example of its period.

1927: LINCOLN LEVEQUE TOWER •

• •

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Designed by Detroit architect C. Howard Crane.

The building is currently undergoing an extensive renovation by Schooley Caldwell Associates.

Early example of a steel frame, terra-cotta clad skyscraper.

The building’s interior and specialized detailing evokes Art Deco in its stylistic tendencies.

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Regardless of popular taste and stylistic preference, it is important that we consider what historic buildings tell us about the culture in which they were made and design.

•

The building harnessed the latest in building knowhow to be fabricated, erected, and clad. It was the tallest building in Columbus until 1974 when its height was eclipsed by the Rhodes State Oice Tower.

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•

1951: ST. STEPHEN’S EPISCOPAL CHURCH • • •

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Designed by Brooks & Coddington, a leading Columbus architecture irm in the mid-twentieth century.

Early example of mid-century Modern inluence on institutional architecture.

The church is a mix of steel construction with extensive glazing, and is designed to contribute to the urban environment while establishing an iconic presence.

This building also is signiicant because it exploited natural light on the interior of the building, a distinctively Modern idea.

1984: HUNTINGTON CENTER • • •

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Designed by Skidmore Owings & Merrill, a Chicago architecture irm.

The thirty-seven story building is a sculptural piece in the city’s skyline.

The steel and masonry clad tower expresses its structure through massive exterior trusses which deine a series of multistory interior atriums.

The building is clad in ine red granite and detailed with bright brass touches, typical of the period.

2004: KNOWLTON HALL •

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and WSA Studio, a Gold Medal Firm in Columbus.

This building harnesses the latest in construction methodologies. It is a post-tensioned concrete structural system clad in a “rain-screen” with Georgia marble tile cladding. The glazing systems are supported by an exposed interior steel back-up system.

The building is designed to integrate with its site context and signiies a gateway to the central campus quadrangle from the west.

As you might notice, as we progressed through this timeline, the buildings all became much more complex, much like our society. This doesn’t mean that the newer buildings are better, since if we are to ask many of our residents, many might still like the Ohio Statehouse best because of its straightforward aesthetic. Regardless of popular taste and stylistic preference, it is important that we consider what historic buildings tell us about the culture in which they were made and design. The Ohio Statehouse speaks to our formative years and Knowlton Hall establishes an example of the “next” building. We learn from these examples, and when they are combined, we have a city, a campus, a neighborhood, a district, or even a state.

Buildings, and their inherent historical richness, contribute to society and establish our understanding of place.

This is why we work hard to respect the heritage of buildings, yet anticipate the future demands on them, and adapt our collective building stock to enrich the fabric that is. At WSA Studio, we Design for Change.

Designed by Mack Scogin Merrill Elam from Atlanta

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