Category Archives: Hardlines Design Company

Five Things to Keep in Mind About Historic Building Renovation

December 20, 2016Architecture Firms, Building Preservation, Hardlines Design Company, Historic Building Restoration, Historic Preservation, Historic TheatresCharissa Durst

(by Charissa Durst, originally posted on October 4, 2012)

We often take for granted the history of a neighborhood. Where once stood an Art Deco office building, now sits a cookie-cutter strip mall. But what if an architect had taken the time to study the history behind the Art Deco building? How would they have gone about completing an historic building renovation that not only would house shops but could also have a positive impact on the neighborhood as a whole? By following a few guidelines, renovating a historical building doesn’t need to be the money pit many developers would have you believe.

Do your research. Understanding the history of a community will give you a huge advantage when beginning your restoration project. Just as architectural periods segue from one style to another, neighborhoods reinvent themselves over time. Through careful research, patterns will emerge that will help you tackle your project while maintaining the building’s integrity. Historically, research has always been a bit of a treasure hunt. Hours of library research often turned up scant details while other days you could immerse yourself in a building’s original plans. Luckily, the internet has opened up the world’s historical archives and sources such as Sanborn Fire Insurance maps collection give you an instant picture of a neighborhood’s character.

Review regulations. Every city has its own regulations on historical preservation. Taking the time to learn know your area’s regulations will definitely save you time, money and headaches. Submit plans early in the process; you might need the extra time to make design adjustments. Also, check the historical designation of the building you are restoring. Is it listed in the National Register of Historic Places or as a contributing structure to a historic district? Contact the state historic preservation office, the agency that oversees historic preservations, and ask if your project has any restrictions you’ll need to follow. Generally, historic renovations should follow the Secretary of the Interior’s Guidelines for Rehabilitation (link to NPS site?). Finally, check if your property is located in an area subject to review by a local area commission, architectural commission, or historical commission. I sit on the German Village Historic Commission here in Columbus, and believe me, we are way more strict with buildings in our district than a property that is merely subject to state or federal regulations!

Secure funding. Historic building renovations can qualify for a variety of federal grant programs. These programs, which help offset the high cost of preservation projects, have various requirements so make sure you know your projects parameters and goals before applying. The Main Street Grant program assists historic downtown areas retain their tradition and character. Our company is currently working on a façade improvement project in the City of Xenia that was partially funded by a Main Street grant.

Rendering of proposed facade improvements in Xenia, Ohio

Federal historic tax credits and new market tax credits have been a source of funding for renovation projects since the 1980s. When coupled with state historic tax credits, a significant percentage of the project’s costs can be covered. Our Woodward Opera House project recently applied for federal and state tax credits, which allowed the project to expand from a $2.5 million “just fix-it” construction budget to an almost $15 million state-of-the-art performing arts center budget.

The Woodward Opera House in Mount Vernon, ca 1916

Reuse and recycle. Bringing modern conveniences and materials into your historical renovation can be a labor of love. By installing environmentally friendly products during your renovation, you can bring warmth and savings to your building. Reuse, restore or repurpose flooring you salvaged during demolition. Creating a ‘sustainable-use plan’ prior to construction will expedite the material recycling and help you organize the inventory for future use. If your goal is a sustainable project, consider obtaining LEED certification from the U.S. Green Building Council. A project earns points for each sustainable criteria met. A total building renovation qualifies as a LEED New Construction project, which requires 40 points for basic certification, 50 for Silver, 60 for gold, and 80 for platinum. HDC is currently renovating a historic elementary school with the goal of achieving LEED for Schools Silver Certification.

Stewart Elementary School in Columbus, Ohio, with the original 1874 building in the front

Hire the Right Team. The pool of design firms that provide historic renovation services seems to grow as the economy shrinks and property owners stop building new and start focusing on maintaining their existing real estate. In reality, many firms actively avoid historic renovations because they are, as one engineer told me, “dirty.” The site can be full of unknown contaminants, there are too many restrictions on the design work, and you never know what will be uncovered during construction that will require a sudden change in the plans. In a new construction project, all the mistakes are your own and you don’t have to deal with inherited issues. But if you ask most people, they would much rather live and work in a nicely renovated historic building than in a modern building. The materials, proportions, and craftsmanship of historic buildings just cannot be replicated today without breaking the bank.

Undertaking an historic building restoration doesn’t have to be a daunting task. Thoroughly researching the project before you begin will save you both time and money. Hiring the right team will save you headaches during design reviews and construction. The reward for your effort, though, is knowing you saved a piece of history for yet another generation to cherish

Going Green with Historic Building Renovation

December 20, 2016Hardlines Design Company, Historic Building Restoration, Historic Preservation, Lincoln Theatre, Sustainable DesignCharissa Durst

(by Andy Sewell, originally posted September 27, 2012)

Undertaking an historical building renovation provides you with an opportunity to combine the authenticity of the old with the latest technologies and concepts in green building. The U.S. Green Building Council (USGBC), the sponsor for the Leadership in Energy and Environmental Design (LEED), estimates that buildings account for 74 percent of the electricity used in the U.S. and 39 percent all energy usage.

The goal of the LEED program is to reduce carbon dioxide emissions by 50 percent, an ambitious commitment that’s only attainable on a one by one basis. Besides bringing an existing building into the 21st Century by using the latest building materials and techniques that increase its energy efficiency, rehabilitating an existing building saves raw materials and lowers landfill waste. Saving historic buildings also has an important social role by preserving the past for generations to come.

Planning the renovation of an historic building is complex to start with, but maintaining its historical integrity with the green building challenge makes the project that much more challenging. Fortunately, engineers, architects and designers with LEED credentials who respect the historical value of the building know how to marry the old with the new, such as those on staff here at Hardlines Design Company. The result is a building with that’s lighter on the environment because of the energy-efficiency intelligence designed into it and the recycling that takes place in the renovation process.

Using licensed and highly trained consultants who specialize in green and LEED building can help you navigate the design, approval and certification process, for both recognition as a green building and a sound historical building. These experts know how to combine energy efficient heating and cooling, lighting and air quality controls without damaging the components of the structure that contribute to its historical significance.

By working with the existing framework of the building and salvaging what’s significant and valuable, the project team can incorporate components that bring it up to the high standards for LEED certification or as a green building. High efficiency HVAC equipment, insulation, windows and ventilation techniques contribute to the greening of existing structures without interfering with their role in history, socially and physically.

Using old and new materials that don’t cause indoor air pollution has never been easier, since options for products that do not throw off harmful gases are many. Wood finishes with low volatile organic compounds are available for refinishing existing wood. Updating wiring with smart technology lowers the energy footprint, as does building in water conservation measures without disturbing the original fixtures.

The art behind using the original components, combined with modern construction practices, assures owners and developers that the final result will be a seamless blend of the best of the past with state-of-the-art engineering and design. It’s possible and desirable to combine the past with the best of the new to not only honor the history, but to respect the environment in the future, as well.

Good Luck, Roy! Hardlines bids adieu to our senior historian

December 20, 2016Cultural Resources Management, Hardlines Design CompanyCharissa Durst

(by Andy Sewell, originally posted on July 17, 2012)

After fifteen years with Hardlines Design Company, senior historian Roy Hampton has retired. Roy’s tenure with Hardlines was marked by several career highlights, including National Register nominations for Rockefeller Park in Cleveland and Wright Field at Wright-Patterson Air Force Base, numerous ICRMPs for the U.S. Navy, HAER documentation of the NASA Glenn Rocket Test Facility in Cleveland, and work for the U.S. Army Corps of Engineers, including the Ohio River Navigation Survey and documentations of several large dams.

We wish Roy (and Karly) the best of luck with whatever the future brings!

Why We Have Dogs at Hardlines Design Company

December 20, 2016Beagles, Hardlines Design CompanyCharissa Durst

(by Anne Lee, originally posted on April 11, 2012)

A recent study on dogs in the workplace was published in the International Journal of Workplace Health Management and subsequently reported on by the BBC (http://www.bbc.co.uk/news/health-17561272), who noted that “…access to dogs boosted morale and reduced stress levels, whether people had access to their own pets or other people’s.” At Hardlines Design Company, this doesn’t come as news to us!

Many people are pleasantly (or unpleasantly) surprised when they show up at our office and are greeted by the rather loud barks of a beagle. And, too, sometimes people can hear the beagle in the background when they call the office. People typically have one of two reactions when they realize that we have dogs in our office: (1) “Wow, it is SO cool that you have dogs at work!” or (2) a grimace and the unspoken look signifying “That’s a little strange for a professional office.”

So, why do we have dogs at our office? Well, a long time ago, Charissa (the owner of HDC) told me that one of the reasons she started her own business was that she wanted to be able to take her dog to work. So Charissa started her own business and started bringing her dog to work. First there was Bagle, a very mellow beagle by the time I started at HDC in 2002. A few years later, Bagle passed away, and Donut came along. Donut, also a beagle, is the opposite of Bagle—Donut is energetic, needy, very vociferous, and just a little skittish. Oh, and I think she has multiple personality disorder, but we don’t need to share that with her.

Bagle the Beagle: Our first office dog.

You do have to forgive Donut her foibles; she was found abandoned when she was only four weeks old, and we believe that many of her protective, and somewhat nervous tendencies, are the result of her very early life. During her next four weeks in the shelter, Donut acquired the nickname “Little Monster” because of her tendency to nip! Diligent training by Charissa, however, has resulted in a much calmer Donut. Rest assured, she does not snap unless you attempt to stick your hand in her food bowl or pick her up when she is stressed out. A few years ago, our Senior Historian Roy Hampton added Karly to the mix, a very quiet 5-year-old beagle, also rescued from the dog shelter. Most people don’t even realize that Karly is here; she is that unobtrusive.

To answer a subsidiary question I hear, yes, Donut’s barking can be distracting and a little shocking for those who are not prepared for it, but the counterbalance to that point is that the dogs add so much to the office environment. They are our mascots, our entertainment, our lunch companions, and our stress relievers. They greet us when we arrive, and they provide a warm and accepting presence when the day just isn’t going that well. Some say our office is “insane,” which may be true, but it is also humane, and that is, at least in part, a result of the great dogs who hang out with us all day.

3 Questions to Ask about Needing a Cultural Resources Survey

December 20, 2016Cultural Resources Management, Hardlines Design CompanyCharissa Durst

(by Andy Sewell, originally posted March 29, 2012)

One of the most common questions clients ask us is whether their project really needs a cultural resources survey. Determining if a cultural resources survey is necessary depends largely on whether a relevant federal, state, or local law applies to the project. That is to say, is the project under the purview of a federal or state authority or funding source that requires the project to consider the effect on cultural resources? Here are three questions you can ask yourself to help clarify the matter:

1) What is my funding source? If any of the funds that will be used for the project come from the federal government, even if they are administered by a state or local agency, it is highly likely that a review of known cultural resources or a complete cultural resources survey will be necessary. Common examples of government funding sources include:

2) Will I need a government permit, certification, licensure, or other form of approval to complete any part of my project? If the project requires federal approval before it can proceed, then it is highly likely that some form of cultural resources review or survey will be necessary. Common examples of government permits or certifications encountered by municipalities and private industry include:

3) If federal or state funding or permitting is not involved in your project, is there a local ordinance that protects cultural resources or requires that cultural resources be identified before the project can proceed? For example, Anne Arundel County, Maryland, requires many developers to identify cultural resources as part of the proposed project’s planning and zoning review process.

Federal and state regulations can have confusing jargon and result in miscommunication. Take control of this situation with our series of guides about cultural resources regulations and compliance! The second guide in our series reviews federal and Ohio regulations that require certain types of projects to take into account their effects on cultural resources, like archaeological sites or historic districts.

If you still need guidance on whether your project must comply with cultural resources laws and regulations, contact your funding or permitting source. Another great resource for information is your state historic preservation office. Be aware that if you disregard or are simply ignorant of federal and state laws, you can significantly delay government funding and permits as well as exponentially increase the cost of your project! And in some cases, you may face legal ramifications. When it comes to cultural resources, it’s much better to be safe than sorry.

Lincoln Theatre Wins the Recchie Award!

December 20, 2016Architecture, Building Preservation, Hardlines Design Company, Historic Building Restoration, Historic Preservation, Historic Preservation Specialists, Historic Renovation, Lincoln TheatreCharissa Durst

(by Charissa Durst, originally posted December 9, 2011)

The Goldilocks Principle, or Third Time’s a Charm!

The James B. Recchie Award was established in 1984 by the Columbus Landmarks Foundation to honor those who have made exceptional advances in historic preservation and urban design in the central Ohio area. Since previous projects that received the award were designed by the most prestigious design firms in town, we here at HDC have always felt that the Recchie Award is one of the premier historic preservation awards in the state—and one that I’ve dearly wanted for the firm!

HDC began the addition to and rehabilitation of the Lincoln Theatre in 2005 with a master plan, with construction completed in May 2009. The 1928 Egyptian Revival theatre once was the heart of a thriving African-American neighborhood, but it had sat vacant for almost 40 years. The City of Columbus acquired the property in 2004 and recruited the Columbus Association for the Performing Arts (CAPA) to manage the building rehabilitation project. The Lincoln Theatre Association was formed with wide community support and a stated mission to “serve as the steward of the historic landmark theatre, as an incubator for talented, emerging artists.” This complex project was completed on such a fast schedule that when people asked what was our favorite part of the Lincoln Theatre project, we sometimes joked: “When it was over!” But today, we’d answer (this time, only half jokingly): “When we won the Recchie Award!”

Our path to the Recchie Award, however, was elusive, and the competition tough…

The 2009 Recchie: Were we too small?
The Lincoln Theatre opened on Memorial Day of 2009, and we nominated the project for the Recchie Award by submitting a description of the project along with the benefits to the community. Five of the nominations were selected to be finalists, including the Lincoln Theatre, and needless to say, everyone involved was elated. The HDC design staff coordinated with the theatre staff of CAPA to show the three jurors around the building, and then we attended the awards ceremony the next day, with high hopes and crossed fingers. But the Recchie was awarded to the Ohio State University Thompson Library renovation, a large-scale, high-profile project to expand and modernize the beloved main library, one of the anchor buildings on the Oval at the OSU campus. We had to admit, the work was indeed massively impressive and well deserving of the award. So, we thought, maybe next year…

The 2010 Recchie: Were we too big?
In 2010, we again nominated the Lincoln Theatre (thinking maybe 2009 was an anomaly), and the Lincoln again became a finalist. But this time, the Recchie Award went to a project on the opposite end of the size spectrum, the Franklin Park Residence and Gardens, a residential-sized project commended not only for its design but also for its community involvement and impact. Dozens of nearby residents came out to praise the gardens. Again, we had to admit, it was a beautifully executed historic house renovation, and one with an immediate community benefit.

HDC architect Vivian Majtenyi explains the Lincoln Theatre project during the 2010 jury tour

The 2011 Recchie: Surprise! This time, just right!
In 2011, we decided to skip the nomination while we gathered more operating data about the theatre’s affect on the community. So you can imagine our surprise when the notification arrived that—for the third time—the Lincoln Theatre was an award finalist! When we asked who nominated the project, we were told that all nominations are anonymous, and in this case, only the name “Lincoln Theatre” was submitted, with no description or justification. This time, for the juror’s tour, HDC and CAPA each sent three people, and we highlighted the jazz academy on the third floor, the rooftop patio (missed on previous tours), and the diverse uses of the theatre.

The Jazz Academy’s keyboard studio (left) and the rooftop patio (right) (Photos courtesy of Brad Feinknopf)

We arrived at the 2011 awards ceremony at the Franklin Park Conservatory with subdued expectations, aiming to enjoy the presentation for itself. At the end of the evening, when Nancy Recchie announced that the winner was the Lincoln Theatre, we were stunned! After the presentation, we were congratulated by many friend and peers, who said the award was well deserved and long overdue.

When our group got together to talk about the process, we surmised that this year, we had done a good job on the tour of explaining what the Lincoln Theatre was all about. During the tour, juror Patty Stevens, Chief of Park Planning at Cleveland Metroparks, was amazed that the three design representatives from HDC were all women and marveled at how one firm could have architects, historians, and archaeologists under one roof. Juror Cleve Ricksecker, Executive Director of Capital Crossroads and Discovery District SID, was very impressed by how heavily the theatre was used for non-traditional events such as graduation parties and funerals, and Mark Feinknopf, an Architecture & Planning Consultant with Sacred Space Inc., was a former resident of Columbus who remembered being in the theatre before the renovation. He was particularly moved by its revival. The three jurors also commended the design of the newly inserted balcony, which has been very successful with audiences!

The performer’s view from the stage, showing the new balcony at the back (Photo courtesy of Brad Feinknopf)

The audience view of the Lincoln Theatre, from the balcony looking at the stage (Photo courtesy of Brad Feinknopf)

Epilogue
Too small? Too big? Just right! That’s the Goldilocks principle, and for us, the third time quite unexpectedly turned out to be the charm. We were also given an extra award plaque to present to Mayor Coleman, in recognition of his support in securing the initial funding for the project; we’ll be giving the mayor his award in mid December.

And so, on a happy note, we here at HDC give a hearty thanks to all who contributed to the Lincoln Theatre renovation and operations, making this award possible. Be sure and check out the history of the Lincoln Theatre, and don’t miss their calendar for unique events and shows!

The Lincoln Theatre project team:
Architect: Hardlines Design Company
Mechanical/Electrical/Plumbing/Engineer: Korda/Nemeth Engineering, Inc.
Structural/Civil Engineer: Kabil Associates
Acoustician: Acoustic Dimensions
Interiors/Furnishings: Williams Interior Design
General Contractor: The Quandel Group, Inc.

Also check out the announcement in the Columbus Dispatch.

The Hardlines Design Company Story Part 3 – Architecture, History, and Archaeology

December 7, 2016Cultural Resources Management, Hardlines Design Company, Historic Preservation Specialists, Historic Renovation, UncategorizedCharissa Durst

(by Charissa Durst, originally published November 30, 2011)

Why do we offer architecture, history, and archaeology under one roof?

The tripartite structure of Hardlines was a natural outgrowth and evolution of the overlapping talents and interests of Don and myself, shaped over time through opportunity, hard work, and a little bit of serendipity. In the end, it allows us to offer our clients a unique combination of expertise in solving all kinds of issues related to ground-disturbing activities, ranging from roadway work to building construction and renovation.

The story really begins back in Massachusetts, where I grew up with an affinity for American history and the old buildings around me that so vividly expressed it. I thought hard about pursuing a degree in history, but my love of drawing and design led me to choose architecture instead. In the late 1980s, when Don and I were in architecture school at the Ohio State University, we both took preservation design studio and classes with Paul Young and Judy Kitchen, where we trained in preservation law and learned the ins and outs of researching historic properties, preparing Ohio Historic Inventory forms, and designing new buildings on historic sites. Although Don’s architecture thesis had a more graphic design orientation, I found myself opting for a written one that included historical research and technical reports.

p-revere-house ames-mansion

The Paul Revere House (above left) in Boston and the Ames Mansion (above right) in Easton, MA, two buildings that made a big impression on me when I was growing up.

When we graduated in 1990, we were not licensed architects, but our knowledge of how to research and document historic properties allowed us to dive into cultural resources projects such as HAER documentation at Wright-Patterson Air Force Base, historic building inventories for the Wayne National Forest, and historic preservation plans for the Submarine Base in San Diego and Hill Air Force Base in Utah. I functioned as the company’s architectural historian during the early years. (Don noted that at least I got to put my written thesis to good use!) When I became a licensed architect, my focus changed, and we hired other people to fulfill this role. One part of the company has continued in that vein, and HDC is still well known for high-quality architectural history and preservation planning services.

The architectural division of the company really began operations in the mid-1990s, when Don and I successfully petitioned the Ohio Board of Examiners of Architects to allow us to take the architect licensing exam without completing internships under other architects, citing our relevant experience operating our own company (see previous blog entry). Our request was granted, and Don and I were licensed in 1995 and 1996 respectively. Not surprisingly, the company’s architectural design department specializes in renovating existing (and very often historic) buildings, a satisfying blend of our natural interests and experience.

Several years later, in 1998, one of our engineering clients suggested that we compete for the new ODOT cultural resources Request for Proposal—when we saw that it had a proposal limit of 12 pages (most RFPs were unlimited), we decided it was feasible! We won the first of several two-year cultural resources contracts with ODOT, and at that point hired our first archaeologist, as the ODOT contract required at least one pre-qualified archaeologist to be available. And so began our archaeology department, which has since grown and is now equipped to handle all sizes of projects, from small archaeological disturbance studies to large, complex Phase III data recoveries.

One of the major advantages of having all of these specialties under one roof is our ability to complete interesting projects for a variety of clients. For example, under a series of task order contracts with Naval Facilities Engineering Command, HDC’s cultural resources staff has completed archaeological surveys, historic building inventories, and integrated cultural resources management plans. Our architectural staff has conducted historic building assessments and prepared recommendations and cost estimates for various reuse options. Sometimes, all three departments collaborate on the same project, such as the Data Recovery for the Shaker North Village site, conducted for the Ohio Department of Transportation: HDC’s historians completed literature review, archaeology staff conducted the fieldwork, and the architectural staff helped identify various infrastructure components associated with the building foundations.

Having all these specialties together also makes for more interesting work for our employees. Many of the non-archaeology staff (myself included) have put in hard labor on archaeological data recovery projects, and HDC’s historians continue to conduct literature review for the archaeologists and help with historic building assessments for the architecture department. Most non-architectural staff have clocked some time measuring buildings to be rehabilitated, such as when our archaeologists crawled through and measured old tunnels under the Lincoln Theatre, an award-winning renovation project.

mike-in-lincoln-theatre-tunnel

One of our archaeologists maps out the layout of the tunnels under the Lincoln Theatre.

We were able to validate the direction of the company in 1995, when HDC became founding members of the American Cultural Resources Association, a trade organization for companies that provide cultural resources services such as archaeology, history, preservation planning, and historic architecture. There we met other firms from across the country that offered similar combinations of services.

I often help the historians by doing research at the National Archives in Maryland, which is near my parents’ home and gives me an opportunity to visit. And sometimes, while I’m waiting for requested materials in the main reading room, I remember why I almost decided to major in history instead of architecture. As it turns out, I’m very lucky to have a job where I can do both!

The Hardlines Design Company Story Part 2 – Our Name

December 7, 2016Architecture Firms, Cultural Resources Management, Hardlines Design Company, Historic Preservation SpecialistsCharissa Durst

(by Charissa Durst, originally posted November 8, 2011)

Where did the name “Hardlines” originate?

Back in the 1980s, after Don Durst and I had successfully completed several projects together at the University of Maryland, we started to joke about starting a firm. Don suggested something using our last names, like “Durst and Wang,” which prompted me to note that if his name was first, we should call the company “Durst Wang Inc.,” and use DWI as our acronym, complete with a fuzzy drunken-looking logo. And that pretty much ended the idea of using our names for the company. Years later, one of our employees asked me why we never used a reconfiguration of our names. I thought about it again briefly and realized that with a slip of the tongue, we could all too easily become erroneously known as the “Dang Wurst Company” in town. Again, another good reason not to use our names!

Seriously, the real reason we didn’t name the company after ourselves is because we thought employees would just feel better working for an entity instead of for two specific people. The name of “Hardlines” came about in 1988. Don and I had both spent summers working for the National Park Service preparing HABS/HAER drawings for deposit in the Library of Congress. The final drawings were produced using a “hardline” as opposed to freehand technique, and credit was given to the “delineator.” So, we named our newly formed partnership “Hardlines: Design & Delineation” and abbreviated it as HDLS.

In 2000, the partnership became a corporation, which required the official name to include the word “company” or “inc.” The staff at the time decided that the company name should be shortened, and after a vote, Hardlines Design Company (HDC) was declared the winner.

Another name changed occurred in 2005, but this time the name was mine: Wang became Durst when Don and I got married that year, after 20 years of being together and (most important) a year or so after HDC bought out Don’s share of the business–we both knew that 24/7 hours of togetherness would have tested even the most devoted relationship. And so our partnership continued, just on a different track, and some might be tempted to add, for better or wurst!

The Hardlines Design Company Story Part 1 – Our Beginnings

December 7, 2016Architecture, Building Preservation, Cultural Resources Management, Hardlines Design Company, Historic Building Restoration, Historic Preservation SpecialistsCharissa Durst

(by Charissa Durst, originally published October 20, 2011)

Everyone knows that garages are the birthplace of many a great company, and although Hardlines didn’t actually start in a garage, you could say a garage is what started it all! The company was founded by Don Durst and me (then Charissa Wang), who met as undergraduates at the University of Maryland School of Architecture in 1984. We both subsequently attended graduate school at The Ohio State University (OSU), and during spring break of 1990, our final year, Don rented an office over a hobby shop in Akron so he could prepare his thesis project in a private place away from his family. The owner of the building also owned an auto repair shop, and when he learned that Don was an architecture student, he asked Don if he could design a three-car garage for him to store cars. Don brought the project back to Columbus and asked me to help him with it. The date was April 28, 1990, and that became the official foundation date for the firm. The project expanded to include a three-bedroom living unit above the garage, with the hobby shop (owned by the wife) in the front, and construction occurred later that year. Our partnership was born—we just designed the garage instead of working in it!

miller-2-adj
When Don and I graduated from OSU in December 1990, we fully intended to do what most other graduates do: find a job and intern under other architects. Unfortunately for us, Operation Desert Storm was underway, and the country was in a recession. All of the firms we sent resumes to indicated we should try back later in the year. So, our careers took a brief detour–Don’s first job with a graduate degree was to work third shift at a parking garage, and mine was as a hostess in a Chinese restaurant!

In the summer of 1991, Don and I obtained summer jobs with the National Park Service (NPS) to prepare HABS/HAER* drawings at Wright-Patterson Air Force Base since we had some previous experience doing this work as undergraduates. After the summer work was completed, we persuaded the NPS to contract with our company to finish the project. As this project was winding down in the spring of 1992, the NPS recommended us to a client in Madison, Indiana, to finish HAER documentation of the Schroeder Saddle Tree Factory. We completed this work in the fall and decided to set up a permanent office in Columbus. And so the story of Hardlines begins…

red-bldg-adjusted

*Historic American Buildings Survey/Historic American Engineering Record

Stay tuned for next week: Why “Hardlines”?

What’s New Fall 2016

December 7, 2016Hardlines Design Company, What's NewCharissa Durst

This Fall’s edition of What’s New highlights the company’s big move, showcases a rehabilitation project and a HABS project, and a new video offering featuring Donut.

Hardlines Design Company Sells Cultural Resources Division to Commonwealth Heritage Group

On April 11, 2016, HDC decided to divest itself of the cultural resources department in order to focus on architecture, historic architecture, preservation planning, and architectural history. See the news articles in Columbus Business First and Clintonville This Week.

HDC Completes Rehabilitation of Historic Church

exterior-after-sunny interior-after-chancel

View of exterior (left) and interior (right) of the rehabilitated Wildermuth Memorial Church.

In the Fall of 2015, HDC was commissioned by the Wildermuth Memorial Church Board to prepare an assessment and recommendations report to rehabilitate the church for the congregation’s 200th anniversary in 2016. The church was likely built in the 1830s and then moved across the street to the current location in 1875 and moved further back from the road in the early 1950s to accommodate a road widening project. The Board approved the recommendations and commissioned HDC to move forward with the design and construction of all the recommended work. Exterior work consisted of a new faux wood shake roof on the church and a new asphalt shingle roof on the attached youth center, reconstruction of the furnace flue/chimney, and repair/refurbishment of the windows, siding, trim, and shutters. Interior work included removal of two levels of acoustical ceilings to restore the original ceiling height with a new drywall finish, removal of the carpet and restoration of the wood floor and base, and restoration of the original chancel floor with carpet only in the area of the 1970s expansion. The church held a 200th anniversary public open house on July 30, 2016, that was attended by almost 300 people.

HDC goes to Alaska for the First Time

1658-northeast-corner interior-looking-northeast

HDC was sub-contracted by Versar, Inc. to complete HABS documentation of a hangar proposed for demolition at Eielson Air Force Base near Fairbanks, Alaska, for the Alaska Air National Guard. In October, HDC President/Historic Architect Charissa Durst traveled to Fairbanks with Jeff Bates, who has been HDC’s HABS/HAER photographer for over 20 years. Building 1190 was one of four identical hangars constructed from 1946-1947 to prepare aircraft for transport to the Soviet Union under the lend-lease program after World War II. The other three hangars were lost to fire or demolished to make way for new construction. This hangar (Building 1190) was retained and has been used since 1958 as an air freight terminal under Air Mobility Command to deliver supplies to locations all over the world for all branches of the Department of Defense.

A Day in the Park with Donut

If you ever wondered what exactly Donut does when she’s at the park, check out this compilation video: