To meet grant funding schedules, we worked within a very aggressive timeframe and a firm $4.5 million construction budget. Constrained to very basic original plans and a limited number of historic photos, it was necessary to carefully conduct preliminary demolition to better understand the inner workings of the building. After peeling away a century of layers and change, we found a few surprises. Original, cast-iron decorative columns at the storefront and the original tin ceiling in the Hetherington Building were instrumental to the final design. Structurally, the buildings weren’t hiding major concerns and, because the programming largely mirrored the original intent, no major layout changes were needed.
By December 2011, designs and plans were in place for the arrangement and restoration of three buildings following the Secretary of the Interior’s Standards for Rehabilitation, as well as the construction of a 4,000-square-foot addition to house the code-required spaces and pre-function lobby—a 26,000-square-foot combined project space.
The exterior design focused on restoration of existing materials with the exception of new, energy-efficient storefront framing and a new copper cornice. For the addition, the design team purposefully crafted a complementary palette of similar materials used in a modern way to clearly identify the historic and new components of the building while tying together aesthetics.
Inside, remnants of the original lath were pieced together to uncover the hand-painted wall detailing pattern. A local paint restoration artist spent days investigating every historic room to uncover the original layers, discovering the original pattern further below what was believed to be the original in some cases. After the pattern was pieced together and colors analyzed by an architectural conservator, the artist was poised to recreate the decorative stenciling and hand paint each room, including the auditorium ceiling.
Structurally, differential settlement had created a need for additional support of a major masonry wall. Tie rods had previously been installed through the historic auditorium space, so the team planned to stabilize the wall by underpinning the original limestone foundation with cast-in-place concrete needle beams on micro-screw piles, allowing the removal of the unaesthetic tie rods without a threat to the structure.
Construction teams prepared to mobilize throughout the winter and, in early spring 2012, construction began. The grand opening was scheduled for a short 13 months later.
Passionate, Local Team
To give back to the community that helped fund the project, the owner and design team were committed to using local contractors, specialists, artisans and service providers when possible. This approach not only contributed to the local economy, but also generated a level of enthusiasm on the project site that matched that of the association.
This local, vested team also upheld the importance of quality craftsmanship matching the high standard of the original building, and this care shows in the details of the finished space. In the end, the team successfully delivered the project with a mere 2 percent contingency, something almost unheard of in restorations with unforeseen conditions. This achievement gives further testament to the team’s strong decision-making and thorough planning and management of the project.
Restoring the Idea of a Destination
Although it took nearly 30 years to see their dream fulfilled, Greenfield’s visionaries never gave up on what the Warren Opera House could be and what its restoration would mean for the community. For years, people thought the group trying to save the opera house was crazy. But the team’s mentality matched Margaret Meade’s, who famously said, “Never doubt that a small group of thoughtful, committed citizens can change the world; indeed, it’s the only thing that ever has.”
In April 2012, the Warren Cultural Center opened its doors to showcase this well-preserved example of Iowa’s 19th century commercial architecture. Just as intended, the Warren Cultural Center is again home to live performances, music and dancing, community events, gallery exhibits and weddings. In its first year, it held 21 shows, offered cultural enrichment and hosted many community events. Ed and Eva’s, the appropriately named flagship storefront, is a retailer of unique décor, jewelry and items from Iowa artists. The adjacent gallery and lobby areas display exhibits of art and photography.
The Warren Cultural Center has served as a critical destination for the community and visitors alike. In the years since the grand opening, more than 20,000 people have been in attendance at 71 shows and 166 events. In addition, more than 2,500 visitors and tourists have stopped by the center. For the local community, the Warren Cultural Center has given them a resource for entertainment, arts, culture and events, keeping them in the town of Greenfield, supporting their own economy. For visitors, it has brought many people to the town square who then stay, eat and shop right there in Greenfield.
Through the relentless efforts of passionate dreamers, the restoration of the Warren Cultural Center did more than restore an iconic building to its past glory. It restored a community attraction in Greenfield and the vision of the couple who started it all—Edward and Eva Warren. This historic opera house is, once again, a destination for culture, art and commerce.
Awards
The Warren Cultural Center, Greenfield, Iowa, has received a number of awards since its completion.
2015: AIA Central States, Historic Merit Award
2015: Association of Licensed Architects, Renovation Gold Award
2014: State Historical Society of Iowa, Preservation Project of Merit, Margaret Keyes Award
2013: National Preservation Honor Award by the National Trust for Historic Preservation (The Warren Cultural Center was one of only 10 projects nationwide to receive this award.)
2013: Main Street Iowa, Best Total Rehabilitation of 5,000 square feet
2013: The Brick Industry Association, Brick in Architecture Awards, Best in Class, Renovation/Restoration
2013: Masonry Institute of Iowa, Merit Award
Materials
Masonry: Glen-Gery Modular Terra Cotta Classic
Roof Insulation/EPDM Membrane: Firestone Building Products Co.
Weather Barrier: DuPont Tyvek
Metal Panels: Firestone Una-Clad
Storefront and Curtainwall: Kawneer
Wood Windows: Pella Corp.
Glazing: Cardinal Glass
Tile: Ergon
Paint: The Sherwin-Williams Co.
Toilet Partitions: General Partitions and Wilsonart
Elevator: ThyssenKrupp
Retrofit Team
Architect: INVISION planning | architecture | interiors, Des Moines, Iowa
Partner in Charge: Mark Nevenhoven
Project Designer: Laura Peterson
Project Manager: Steve King, now deputy state historic preservation officer
Structural Engineer: Charles Saul Engineering, Des Moines
Civil Engineer: Garden and Associates Ltd., Oskaloosa, Iowa
Mechanical and Electrical Engineer: Bluestone Engineering, Johnston, Iowa
General Contractor: Lang Construction Group Inc., West Des Moines, Iowa
Project Executive: Steve Lang
Project Manager: Kasey Harken
Project Superintendent: Ken Harvey
Demolition: DeCarlo Demolition, Des Moines
Masonry Maintenance: Woods Waterproofing & Restoration, Norwalk, Iowa
Masonry: Seedorff Masonry Inc., Des Moines
Finish Carpentry: Christensen Construction, Greenfield, Iowa
Architectural Sheet Metal and Copper Restoration: Baker Group, Des Moines
Glazing Installer: Swanson Glass Inc., Des Moines
Architectural Conservator: Arbogast Paint Analysis, Des Moines
Painting Restoration: Z Painting Studio, Des Moines
Fire Sprinkler System: Viking Automatic Sprinkler Co., Ankeny, Iowa
HVAC and Plumbing Systems: Young Mechanical & Plumbing Inc., Greenfield
Electrical Systems: Wolin Electric, West Des Moines
PHOTOS: Cameron Campbell, Integrated Studios