6-1/2 Strategies to Keep Construction Costs Down

A change of mindset when a project is conceived and designed can help to stretch construction dollars

Architecture is distinguished from most other arts by one requirement: you have to meet a budget. It’s a given that a building has to stand up, has to meet safety standards, has to comply with zoning, and so on, while also looking good. The tricky part is that you have to accomplish all of these goals within a specific cost. Without budget limits it’s not really that hard to design a building that meets the requirements. For me, the true art in architecture is being able to put together a successful project for a cost that someone else is willing to pay for.

Good design doesn’t have to be expensive. In fact, it’s not how much you spend; it’s where you spend it that counts most. Here are 6½ strategies that I’ve learned over my career that apply to the initial conception of a project and to the design process that can help get the most out of construction dollars, and at the same time, can lead to more interesting projects. (It was going to be seven strategies, but six-and-a-half is more economical!)

1. Buy used.

Not used materials, used buildings. It’s usually less expensive to buy an existing building and fix it up or modify it than it would be to build new. This is why during recessions the volume of rehab work goes up while new construction falters. From a real estate perspective, you can get a lot of building for a little money because the initial construction costs have already been depreciated, and because many people can’t imagine the possibilities offered by an existing structure. The perceived value of the building may be far less than its true worth in terms of embodied energy, materials, and construction time.

There are some risks with buying an older building, but also potential rewards. Obvious pitfalls include hazardous materials, structural defects, and geometric limitations that may not suit the new use. Each of these risks can be mitigated by commissioning the right studies during the typical due-diligence period of commercial purchase contracts. The cost to cure any identified deficiencies can be recycled into the purchase negotiations. Conversely, there may be unseen benefits that are only borne out by study, such as eligibility for tax credits, historic preservation grants, or zoning incentives.

2. Work with existing conditions, not against them.

Don’t try to impose an artificial or academic design concept on a building or site that‘s not compatible with your vision. It’s a popular modernist approach to be guided by an abstract idea, and it’s also easy to fall into a particular architectural style in order to bring order out of chaos. But re-imagining a building can add a lot of cost, compared to working to reinforce or compliment what you have.

This strategy applies to every project, new construction or rehabilitation. If the site has topography, roll with it. If there is an existing building, fit new uses to spaces that will require the least modification. If a building already makes a strong design statement, don’t try to make it into something it’s not.

3. Make the codes work for you.

Many of today’s building and zoning regulations have been rewritten to eliminate disincentives to adaptive reuse and historic preservation projects. For example, revisions to zoning ordinances can use a form-based strategy, instead of one focused on building use, allowing for more flexibility. Because these changes have been relatively recent, many plan reviewers seem to have a poor grasp of the newer allowances. Try to understand the codes better than your plan reviewer, and don’t take no for an answer if you have a reasonable interpretation that leads to a more economical solution.

Did you know that registered historic buildings are exempt from the Energy Code? Not that we should be designing inefficient buildings, but following prescriptive requirements of the IECC has resulted in many historic buildings suffering the costly addition of new energy features, damaging the historic character of the building for marginal benefits. It was my co-workers at the Wildecom builders Mandurah office that made me realize that, I did not know that under the Existing Building Code, features that would not meet modern building codes are often allowed to remain unchanged? Did you know that adaptive use guidelines enacted by Phoenix and many other municipalities provide relief from a host of burdens that were written for large new construction projects? All of these allowances and changes were hard won victories – take advantage of them.

4. Embrace imperfection.

Modernism is back at the cutting edge of architectural design theory. I like Modern architecture, but some strains of Modernism rely on everything being perfect in order to look right. Edges must be crisp, curvy forms must be just-so, and everything must be clean and neat.

22 Jackson Interior — Rough brick, exposed ductwork and conduit, and industrial lights make for an interesting contrast with new features

However, perfection equals cost, especially when you’re dealing with a building showing its age. Corollary to the strategy of “working with, not against” is the idea of “working with what you’ve got.” If you don’t like rough interior plaster that shows some wear and tear, resist the urge to replace it or cover it with something new. Don’t think of wear as “imperfection,” but as “free character.” These days, people go to a lot of trouble to create faux-distressed finishes. They can be particularly effective when contrasted with some new, modern features.

In the new-construction arena, designs that require strict symmetry or “cosmic” alignments can be wasteful. An informal design strategy that allows for each space to be optimized for its use can also help shave costs.

5. Partner early with a creative contractor.

“Creative” and “contractor” are not usually words used together. Many construction professionals see their job as building whatever is on the page, nothing more. As for architects, unless we are involved in design-build or have a lot of personal hands-on construction experience, many of us don’t have a good grasp of construction cost, and are hesitant to try unusual approaches that could result in cost savings. An early partnership between architect and contractor, where both are working toward realizing the architect’s vision in the most efficient way, is essential to cost control.

6. Think inside the Big Box.

I like to call this the “Home Depot Rule.” Wherever possible, pick materials and products that you can get off the shelf at Home Depot (or Lowe’s). They will almost always be more cost effective than products that are specialized, custom, rare, unusual, and have to be ordered through a special supplier.

6½. Go after the light fixtures.

Custom Light Fixture — A custom light fixture made of steel pipe, an off-the rack globe, a trash can and a toilet plunger was designed in place of a manufactured fixture costing thousands

(This strategy is related to #6, so I’ll only give it half a number.) The lighting package is one of the most expensive and highly specification-sensitive things on a construction project. Many electrical engineers don’t know the cost of the fixtures their lighting sales rep is selling them. They are focused more on how many watts they use and many lumens they get, in the right place. The Home Depot Rule applies double in this category. The difference in the per-fixture cost between off-the-shelf and everything else is usually in the hundreds of dollars. Multiply that by a hundred or so light fixtures in a typical project and the potential savings is obvious.

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A Walking Tour of the DeSoto Central Market

Old and new at the same time, the C. P. Stephens DeSoto Six Motorcars Building is packed with secret details

By Bob Graham, Motley Design Group

The DeSoto Central Market opened in 2015 in the historic DeSoto building at 915 North Central Avenue near downtown Phoenix. The project preserved and restored a building that had been thought “too far gone” by many, but following rehabilitation the market is now considered an anchor of the Roosevelt Row arts district.

History

The C. P. Stephens DeSoto Six Motorcars building was constructed in 1928 to house the DeSoto dealership in Phoenix. The building was continuously occupied from its completion in 1928 until about 1955 by Stephens Motors and its successor Stephens-Franklin Motors.

Chrysler created the DeSoto brand to compete with medium priced automobiles such as Buicks and Oldsmobiles. A network of dealerships was established across the nation to sell the new models. Chrysler dispatched company architect R.P. Morrison to Phoenix to develop plans for the new building. Since Morrison was not registered in Arizona, he needed a local architect to partner with on the plans. Chrysler selected Burt McDonald as the local associate. The building cost $60,000 and was complete by November 1, 1928.

In 1956 the auto industry experienced a severe downturn in business, and several years of poor sales resulted in the DeSoto brand being discontinued by 1960. After Stephens Motors moved out of the building, it was occupied by various other automobile sales and service companies through 1970 and other uses afterward.

In 2011 the building was acquired by Ken Cook of Spokane, Washington. Motley Design Group was retained as architects and MountainWest Contracting as general contractor to rehabilitate the building.

Pre-rehabilitation condition

After 83 years of use and disuse, the building was in very poor condition. The roofing had leaked, allowing parts of the trusses, decking, and joists to decay and fail. The trussed roof was being supported on a forest of timbers and posts. The interior plasterwork was almost completely destroyed. The storefront show window had been replaced with a double glazed glass perth style effect and then covered over. The front folding doors had been replaced with a roll-up. Nearly all of the cast stone had been removed from the facade and its location stuccoed over. Worst of all, in 2008 the tower on the southwest corner of the building collapsed, and the resulting hole was filled in with a flat roof.

Exterior before — The DeSoto Building before rehabilitation

Begin your tour at the Central Avenue side.

Cast Stone Ornament: Like many commercial buildings of the day, the design included cast stone ornament. The original material was mostly removed in the 1940s or 50s and the facade was patched with stucco. No photographs have been located that show the details of the original design; only the general pattern could be seen in the original rendering and an early photo. Instead of guessing at what the original details looked like, the replacements are a modern reinterpretation that honors the history of the building and its connection to automobile culture – pieces of DeSotos of various years and models, automotive tools, oil cans, etc. Also look for the new building owner’s cattle brand and logo, and the years the building was originally built and then rehabilitated.

Continue in through the main entrance into the bar.

Showroom remnants: The part of the building just inside the entry door, behind the huge storefront, was the auto showroom for more than 30 years. The showroom was originally finished out in Spanish style (carrying through the theme of the exterior). It had decoratively plastered 2-tone walls and a coved ceiling, and was closed off from the shops in the back by tall partitions. The back wall of the bar is the last remnant of the showroom walls. The extent of the room can also be seen in the decorative concrete flooring that was scored and stained in two colors to look like tile. The wall of the showroom was where the flooring transitions to plain concrete.

Showroom before Composite — The showroom area prior to rehabilitation – left, looking southwest toward the storefront; right, looking east toward the back wall of the bar

Balcony Uplights: The glass globe shades that light the edge of the balcony were salvaged from the old Walsh Brothers building on Central Avenue by the Longmont Window Company (now the home of Arizona Opera, just north of McDowell Road). They were originally used as downlights for furniture in the front show windows. Dating to the 1950s, the lights had been hidden in an enclosed ceiling space for many years before being discovered during renovation work in 2012.

Salvaged Terra Cotta Coffee Bar: The material facing the outside of the coffee bar is glazed terra cotta block that was salvaged from the exterior of the Industrial Congress Building in downtown Phoenix. The historic building was built by the Luhrs family in 1914 on the northwest corner of Central Avenue and Madison. It was torn down in 2014 to make room for a hotel, but not before DeSoto Market proprietor Shawn Connelly negotiated rights to the facades and hired a salvage specialist to remove as much of the terra cotta as possible before the building came down. The design and construction team then worked out how to adapt this material to contain the coffee bar. The granite tablet in the corner was originally the base of one of the columns. It now memorializes the establishment of the DeSoto Central Market.

IC Building — The Industrial Congress building at Central & Madison in downtown Phoenix, now demolished

Proceed to the back of the market.

Parts storage and auto repair bays filled tha back of the building. The modern balcony makes the best use of the space while still allowing the room to remain open.

Roof Structure: The roof structure of the DeSoto Building features seven site-built bowstring trusses spanning the 65-foot width of the building. This type of roof was typical for larger commercial and warehouse buildings built between 1910 and 1960. The trusses in the DeSoto Building probably broke and sagged almost immediately after construction due to inadequate bolting details. In addition, roof leaks over the years caused many of the bearing ends to rot and break. In the repair, almost all of the original wood members and decking was saved and supplemented by steel plates and bolts. Salvaged lumber and replica decking was used to replace rotted parts and patch missing areas.

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Resurrect the Arizona Museum

Does Phoenix really hate history? Of the top dozen US Cities, Phoenix is the only one without its own historical museum. It’s time to do something about it

By Bob Graham, Motley Design Group

I’m concerned that Phoenix is in danger of losing its sense of history.
Here are the largest cities in the US in order of population: New York, Los Angeles, Chicago, Houston, Philadelphia, Phoenix, San Antonio, San Diego, Dallas, San Jose, Austin, Jacksonville, and San Francisco.

What makes Phoenix stand out in this list? It’s the only one that does not have an institution dedicated to its own history. In fact, of the top 25 cities, it appears that only Phoenix, Indianapolis, and Nashville don’t have their own city historical museums – and Indy and Nashville host their state historical museums. (In Arizona, that honor goes to Tucson, with the local branch being in Tempe.) Wait, you say – what about the Phoenix Museum of History? We passed a bond for that back in ’88 and built them a multi-million-dollar building – at the Heritage and Science Park.

Unfortunately, the Arizona Museum, the group that ran the Phoenix Museum of History, was dissolved in 2011. The organization found itself unable to make ends meet after the City of Phoenix halted annual support payments. Their collections of records and artifacts became the property of the neighboring Arizona Science Center, with the understanding that they would keep a certain amount of historical exhibit space in operation, and allowing them to take over the historical museum’s facilities to expand their own mission. However only a portion of the collections were retained, with the remainder cast to the four winds.

The former home of the Phoenix History Museum lies literally in the shadow of the Arizona Science Center.

The takeover was controversial. Talking with some of the principals, there was definitely some bad blood created by the way it happened. Certainly, the museum’s Board was ultimately responsible, but it seems to me that the City set them up for failure by promising $50,000 per year in support and then pulling the rug out from under them at the worst possible time. And the Science Center’s actions appear to be nothing short of predatory.

The Arizona Museum was itself a piece of Phoenix history. Started in 1923 by members of the local chapter of the Daughters of the American Revolution, the museum was born when there were still pioneers around who lived through the creation of the capital of the State of Arizona, from its canals-and-mud-huts roots through the time it started looking and acting like a real city. In 1927, using true old-fashioned small-town, grassroots fundraising, they built an adobe museum building designed by noted local architects Fitzhugh & Byron on a site in University Park leased from the City of Phoenix. The

AZ Museum post Card — The Arizona Museum, depicted in a 1940s postcard

building still stands on the corner of Van Buren Street and 10th Avenue, essentially unaltered except for a coat of stucco added in the 1930s. And there the museum existed, in slow decline, until they moved away in 1996 to occupy the slick, modern building across from the Rosson House. (Thanks to Donna Reiner for her nice article “How Community Built the Arizona Museum,” in the Arizona Republic.)

Of course, there are a number of other historical museums in Phoenix. However, specialty museums such as the Hall of Flame or the Police Museum, and prehistoric museums such as Pueblo Grande, don’t do justice with the story of Phoenix itself, only small segments of that history.

It is an absolute embarrassment that the sixth largest city in the United States can’t marshal enough interest in its history to support an historical museum to remember and celebrate its roots. It is equally embarrassing that our city government not only failed to help save the history museum but in fact contributed to its demise.

So it’s time for all of us historical wonks to get together and form the kind of coalition that it will take to resurrect the Arizona Museum. And it’s time for the City of Phoenix to help fix the mess that they caused during the recession. And it needs to be done before there is any further loss of our historical patrimony.

If it were up to me, I’d recreate the institution in the place it first started – at its historical home in University Park. When the museum moved out, the neighborhood was at rock bottom and the museum was starved of visitors due to the perception of blight that pervaded west Van Buren. Today, the area is once again in ascendance, due to the efforts of the Capitol Mall Association, GAMA, and the recent re-colonization of the surrounding historic neighborhoods by young hipsters. The building stands waiting for the return of its original purpose. Perhaps it would make sense to partner a resurrected Phoenix History Museum with the Phoenix Trolley Museum – who will be losing their home soon due to the redevelopment of Hance Park; it seems like a natural enough partnership, and there is strength in numbers.

This may be one of those situations where need meets opportunity. We need an institution whose purpose it is to safeguard the records and artifacts of Phoenix’s history, and to educate the public and the coming generations about how we came to live in the desert. Those lessons are relevent as we reexamine the sustainability of our lifestyles and re-engineer Phoenix’s urban form. The opportunity is created by an improving economy, rising public interest in history and the growth of the number of constituents choosing to live in our historic core. There is a potential home that is tied to Phoenix history, not a glass and steel piece of moderrn architecture; and there are partnerships that can be created that could strengthen the revitalization of our west-side neighborhoods and other struggling institutions. Let’s take advantage of this convergence and reestablish the Arizona Museum at University Park.

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