Writers Residence Feasibility Study

Write On Door County

Write On, Door County provides a beautiful and inspiring retreat for writers on 39 acres in the heart of the Door County, Wisconsin peninsula.

Our dream is to construct a new writers residence with five separate spaces and a common kitchen and gathering area that will also allow for public programming.

Writers Residence Feasibility Study

The Kubala Washatko Architects, Inc. • February 2017 t h e k u b a l a wa s h at k o a r c h i t e c t s , i n c . |

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All sized gifts are needed and appreciated. Please send your tax-deductible donation to:

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Write On, Door County

The Kubala Washatko Architects, Inc.

Landscapes of Place, LLC.

Jerod Santek, Director 4177 Juddville Rd, Fish Creek, WI 54212 phone: (920) 868-1457 email: info@writeondoorcounty.org web: www.writeondoorcounty.org

Wayne Reckard, Director of Business Dev. W61 N617 Mequon Ave. Cedarburg, WI 53012 phone: (262) 377-6039 email: wreckard@tkwa.com web: www.tkwa.com

Nancy M. Aten, PLA, ASLA Milwaukee Area and Door Peninsula phone: (414) 430-3830 email: nancyaten@landscapesofplace.com web: www.landscapesofplace.com

w r i t e o n d o o r co u n t y f e a s i b i l i t y s t u dy

Write On, Door County PO Box 457 Fish Creek, WI 54212-0457

Write On, Door County is a 501(c)(3) public charity.

Contributions are deductible to the fullest extent as allowed by law.

Introduction Write On, Door County offers writers a place of solitude and reflection on 39 acres of meadows and woods nestled between the waters of Green Bay and Lake Michigan. Here, writers can work on a current project and find inspiration for the next without the distractions that plague them at home. Writers from as far away as Los Angeles and as nearby as Green Bay have made significant progress while staying at Write On. In return, they have encouraged writers of all ages and experience levels, bringing new vision and new skills to the Door County community.

The plans presented in this booklet will greatly increase the number of writers we are able to welcome to our residency program. These guest writers will, in turn, engage with Door County residents and visitors through classes and workshops, school visits, readings, and special events to inspire a love of reading and writing in a very meaningful way.

Contents Introduction. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 Pattern Language. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Site Master Plan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 Writers Residence. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 Building Program . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 Community Room Concept Plan . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

“An unexpected treasure gift, this time at Write On, Door County. Birds, butterflies, birches, night walks to see the sunset, the truly sacred meadow path. Each day, the words

Writers Residence Floor Plan. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Writer’s Room Layouts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 Exterior Renderings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 Appendix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

came easier, the vision clearer. I am leaving with new pieces

Preliminary Cost Opinion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

and a clarity for the work that’s still ahead.”

Preliminary Code Analysis. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

- S h e i l a O ’ C o n n o r , n o v e l i s t, K e e p i n g S a f e t h e S t a r s , S p a r r o w

Project Team . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

Road

“At Write On, I feel life’s gorgeous openness because time is not tight. I can be dreamy and absent-minded with no errands to run – or I can plot my day and focus on starting or finishing a poem.”

- M a r g a r e t H a ss e , po e t, E a r t h ’ s A p p e t i t e , M i l k a n d T i d e s

“Nothing inspires a writer more than a change of scenery, a change of pace, a change of lifestyle. To write from a new perspective, to have a new reason to see the world, to sample it afresh by the handful – it’s a physical extension of the metaphysical work we are called to do: to see the world anew.”

- To d d B oss , po e t , P i t c h , Y e l l o w r o c k e t

t h e k u b a l a wa s h at k o a r c h i t e c t s , i n c . |

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Site Master Plan 1. Entry Feature Capture curiosity at the corner of Highway 42 and Juddville Road. Not just an ordinary sign, but a place to explore. An exterior of rough natural stone with an interior radiating warm color, referencing the heart of the Write On logo.

2. A Leafy Cathedral In this plan, Juddville Road is more than an unwanted interruption in the continuity of the center’s property. We envision the creation of Norbert Blei’s cathedral of branches and dancing light to announce one’s arrival at the center.

4. Outdoor Rooms

3. Welcoming Paths These are thoughtfully designed walks that curate a rich experience for all the senses. Crisp juniper scents, the sound of aspens quaking, the feel of sedge underfoot.

3. Welcoming Paths

4. Outdoor Rooms A series of spaces for writing, small and large (see diagram on facing page). Welcoming spaces for the many different moods of the writer, scattered throughout the site from the parking area to the deep woods.

5. Farmhouse Ruin

6. New Writing Center

An afterimage of the old farmhouse—the silhouette is preserved as a vegetated curtain hung from delicate steel frames. An ordinary ruin from a distance, the structure becomes a mysterious shade of its former self up close—an invitation to speculation.

5. Farmhouse Ruin

1. Entry Feature

6. New Writing Center 2. A Leafy Cathedral

Sited with sensitivity to the natural flow of the land, the new center emerges as integral part of the landscape with its green roof and earthen-colored walls. This indoor-outdoor boundary is blurred as the land flows through a conservatory-like space at the heart of the building.

7. The Coop

8. Writers Residence

Door County author Norbert Blei’s chicken coop writing studio has a new home on the private side of the site. In the long tradition of small-scale writer’s retreats, this is just the first of several anticipated additions to the center.

7. The Coop

8. Writers Residence N

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0’

100’

200’

300’

A tranquil residential retreat for writers seeking harmony with nature and a supportive community experience. Each simply-appointed room is unique.

Pattern Language - Support for Writers Writing at the Fore “I’ve slept deeply, walked often and luxuriated in silence and stillness and the thousand little flutterings of bees and birds and insects – these simple things that are vital to my writing grain and so hard to catch hold of in my regular life.”

- C a r o ly n B y r n e , F i c t i o n w r i t e r , M FA c a n d i d at e at t h e U n i v e r s i t y of M i n n e so ta

There are a lot of nice places to write in Door County. Comfortable furniture, a good view, tasty food — these are all things that writers can get elsewhere on the Peninsula. On the other hand, the typical guest room is all about leisure and distraction — not necessarily good for the writer on a mission. What will Write On do that makes it a uniquely compelling destination for writers?

Therefore, there should be no mistake that this place was purpose built with the writer in mind. Consequently, the writing space should be the center of the room and the first thing you see upon entering. When writers enter their rooms, we want them to say “yes, I can write here.” Every decision about the accommodations should be guided by this principle. Everything else — closet, bathroom, bedroom should generally recede to the background.

The Writers Library “I declare after all there is no enjoyment like reading! How much sooner one tires of any thing than of a book! -- When I have a house of my own, I shall be miserable if I have not an excellent library.”

- J a n e Aus t e n , P r i d e a n d P r e j u d i c e

All-Write to be Different The writers residence needs a library for writers. This can’t be like a personal library, tailored to an individual’s needs and tastes. It also shouldn’t be like a public library, which is generically configured to serve all readers.

Therefore, strike a balance between personalization and shared use.

The shared library should have generous horizontal surfaces and shelves for storing and staging books so that the collection can be reconfigured more freely than in a public library. Provide plenty of shelf space in individual rooms and allow books to be checked out to these libraries.

“Madness is only a variety of mental nonconformity and we are all individualists here.”

- M a r j o r i e K i n n a n R a w l i n g s , C r oss C r e e k

Our survey of writing rooms reveals a variety of different preferred styles and configurations. We learned that it would be both a mistake and a missed opportunity to assume that all writers want the same ideal creative space.

Therefore, allow each of the 4-5 writers guest rooms to be different and unique in terms of configuration and layout. Make sure that two or three types of preferred writing styles can be accommodated, based on the Typology of Writing Spaces study. t h e k u b a l a wa s h at k o a r c h i t e c t s , i n c . |

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Pattern Language - the Feel of the Place A Family of Gates “Touch the wooden gate in the wall you never saw before. Say ‘please’ before you open the latch. Go through...”

- N e i l g a i m a n , i n s t r uc t i o n s

The writers residence is to be a place of solitude, set apart from the rest of the writing center and the outside world. If the transition is too abrupt, there is no time for your spirit to catch up with the feel of the place. If the transition is too gradual, you won’t be aware that a change has taken place.

Create a family of gates, each marking the boundary to a more private area. These gates should appear natural and perhaps even overgrown. The largest and most formal gate should occur at the road entrance to the south part of the site. One or two smaller and more intimate gates eventually lead to the residences.

Everything in its Place “We have way too much storage space.”

- No o n e , e v e r

Spartan in Spirit “ Life is a more complex struggle now. It is now valiant to be simple: a courageous thing to even want to be simple. It is a spiritual thing to comprehend what simplicity means.”” f r a n k l l o y d w r i g h t, t h e n at u r a l h ous e

When we discuss the ideal space for a writer, our descriptions lean towards the monastic. When we ask what makes a good guest room, our descriptions begin to sound more like a hotel. How do we balance the hospitality that makes for a pleasant experience with the spirit of simplicity that inspires focused writing?

Incorporate conveniences and amenities into the residence seamlessly, so that they do not distract from the feeling of simplicity. Provide writers with a room that evokes the scale and proportions of Norb Blei’s Coop. Ideally, one should be able to stow away anything that doesn’t relate directly to the act of writing.

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People are forever underestimating their storage needs. This problem increases exponentially in organizations. Built-in storage is the most efficient but least popular option. It usually gets reduced because it appears to take away from habitable space. In the end, however, we tend to make up the difference with storage furniture which further shrinks available space.

Plan on storage space equivalent to half to two-thirds of every room’s total floor area. Aim for more built-in storage like rooms, closets, and cabinets as this reduces clutter and eases the burden on furniture to make up the difference.

Pattern Language - Relationship to the Land The Wisdom of Meadows “When we try to pick out anything by itself, we find it hitched to everything else in the Universe.”

- j o h n mu i r , M y F i r s t S umm e r i n t h e S i e r r a

The placement of the table and chairs in the “meadow conference room”, while informal, is neither random nor accidental. To ignore this gesture would be to miss an insight about the best part of the land.

Whatever new structures are added should reinforce the “roomness” of the meadow room, creating additional enclosure, respecting and enhancing the space around the table and chairs.

The space immediately around the table should be strengthened as a center by intensifying the surroundings with a special garden and other landscape elements.

Not Too Hidden for City Folk

Flowing Through Nature

“The final stretch of drive ended at a small cottage nestled in a grove of ancient live oaks. The weathered structure, with chipping paint and shutters that had begun to blacken at the edges, was fronted by a small stone porch framed by white columns.

Over the years, one of the columns had become enshrouded in vines, which climbed toward the roof. A metal chair sat at the edge, and at one corner of the porch, adding color to the world of green, was a small pot of blooming geraniums.”

“We are not alien visitors to this planet, after all but natural residents and relatives of every living entity here. This earth is where we came from and where we’ll all end up when we die, and during the interim, it is our home, And there’s no way we can ever hope to understand ourselves if we don’t at least marginally understand our home.”

- N i c h o l a s S pa r ks , T h e B e s t of M e

It can be easy for those of us that spend a lot of time in nature to forget that the experience can be intimidating for city-dwellers. The landscape is truly dark at night, full of unfamiliar sounds that can be unsettling for someone who is used to streetlights and the hum of traffic.

Therefore, the residence should be nestled in nature without being too hidden for city folk.

Provide sensory cues — the visibility of the building and orientation of entrances, a welcoming gate, porch, the crunch of gravel underfoot, subtle path lighting at night.

- e l i z a b e t h g i l b e r t, t h e l a s t a m e r i c a n m a n

“Connected to nature” is a phrase that can become trivial. Buildings often do a particularly poor job of connecting us to nature, because we design them primarily to protect ourselves from it. The natural beauty of the property is a core strength of the Center. It would be a missed opportunity if we focused solely on comfort and protection in the design of the building.

Just as we created a Typology of Writing Spaces, we must create a Typology of Natural Connections to describe the flow of nature around and through the writers residence. Address all of the senses at different scales and intensities and make sure to balance comfort and protection (nature at a distance) with contact and participation (the wind in your hair). t h e k u b a l a wa s h at k o a r c h i t e c t s , i n c . |

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Pattern Language - Community The Community Table “Everybody is a story. When I was a child, people sat around kitchen tables and told their stories.

We don’t do that so much anymore. Sitting around the table telling stories is not just a way of passing time. It is the way the wisdom gets passed along. The stuff that helps us to live a life worth remembering.”

— r a c h e l n a om i r e m e n , k i t c h e n ta b l e w i s d om

The work of the writer in residence will tend towards solitary activity, yet one of the important goals of the program is fostering community. No social group can survive without frequent informal contact among its members.

Provide a welcoming table as the locus of daily routine in the residence. The table is at the center of a dedicated but informal supporting space, including shelves and/or counters close by to service the meal activity. This table can be expanded or contracted so that it can always be sized to fit the number of residents — as intimate or grand as it needs to be. The dining area should be located next to a private courtyard so that dining can flow easily to the outdoors.

One chair for solitude, two for company, three for society “I had three chairs in my house; one for solitude, two for friendship, three for society. When visitors came in larger and unexpected numbers there was but the third chair for them all, but they generally economized the room by standing up.”

— H e n r y D av i d T h o r e au, Wa l d e n

Big events generate excitement and energy. It is important to plan for the occasional large gathering. It would be unwise and expensive to simply plan the residence around peak capacity events.

Observe Thoreau’s rule of three — his simple home at Walden was planned to serve himself and a few guests comfortably. Anything bigger, and people tend to stand about the place. The writers residence should comfortably provide for a gathering that is three times the number of writers. Anything bigger and you push back the furniture and overflow into the outdoors.

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Pattern Language - Past, Present, and Future Relationship to the Future Writing Center…

“Is where you’re from the place you’re leaving or where you have roots?”

- s a r a g r u e n , w at e r fo r e l e p h a n t s

The writers residence is intended to be the first part of a larger plan that includes a Writing Center on the north side of Juddville Road. This second facility will eventually become the primary public focus of the program. In the meantime, however, the center of activity will continue to be on the south side.

Provide flexible spaces in the writers residence that allow for some public functions during the initial phase. Once the secondary phase is complete, these spaces can be used for more intimate gatherings on the residence side of the site.

What to do with the house…

“It doesn’t matter what you do, he said, so long as you change something from the way it was before you touched it into something that’s like you after you take your hands away. The difference between the man who just cuts lawns and a real gardener is in the touching, he said. The lawn-cutter might just as well not have been there at all; the gardener will be there a lifetime.”

- r ay b r a d bu r y, fa h r e n h e i t 4 5 1

The existing house poses a number of issues because of its changing relationship to the past, present, and future of the center.

Any new plan for the center that does not integrate the present and future roles of the house could result in a confusing experience.

The planning for a writers residence must take into account potential modifications to zoning, entry sequence, use, and character of the existing house. Consider creating an enclosed outdoor space with the positioning of new structures relative to the existing.

t h e k u b a l a wa s h at k o a r c h i t e c t s , i n c . |

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Site Plan In this option, entry to the site is through a new drive and parking area, making it distinct from the existing house. As an alternative, this plan could use the existing drive. Furthermore, the new driveway option could be explored for other site plans. road gat e

The community room is reached through a gate and garden that defines the front yard.

The library/dining building is connected to the cabins via a covered semi-outdoor porch, creating a courtyard that embraces the outdoor Meadow Room.

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existing house LIBRARY /DINING

w r iter S CAB INS

Pav il io n

M EADOW ROO M

the study

w r i t ING GARDENS

an extended retreat

the niche

a sought break

the pause

an invited impulse the coop

the commons a shared quest

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Building Program Writers Residence The new writers residence is designed in two main parts: a communal living space

Community Room

Cabins

library 600 SF

Writer’s Rooms (5@400 SF EA)

• Seating

• Writing Room

• Shelving

• Bedroom

• Writing Space

• Kitchenette • Bathroom

including a writers library, kitchen, dining area, toilet, and shared mechanical room.

The Community Room forms the north side of a three-sided courtyard with a deep semi-outdoor porch. The original Meadow Conference Room is at the heart of the courtyard.

community dining / kitchen

porches

form

400 SF

• Kitchen • Seating

Toilets

80 SF

• Unisex, single-user

Pantry/storage Enclosed

2,000 SF

• Closet / Storage

SEMI-OUTDOOR PORCH

550 SF

OUTDOOR PAVILION

420 SF

WRITER’S CABINS TOTAL

2,000 SF

75 SF

connections

between the community spaces and the writer’s rooms. These porches are partiallly conditioned in the winter months and can be fully open to the elements in warmer months.

Mechanical/storage

porch / flex space COMMUNITY SPACE TOTAL

200 SF 1,090 SF

2,200 SF

The writer’s rooms are arranged along the northwest and southeast sides of the courtyard. Each layout is unique, yet simple in form and detail. Each room has its own private semi-walled garden and entrance to the courtyard and trail system. There is also a small covered pavilion that can be used for outdoor writing or dining.

Total cabinS area (Approx. square footage)

2,000 SF

Total community area (Approx. square footage)

2,200 SF

Total INdoor-outdoor area (Approx. square footage) 1,820 SF t h e k u b a l a wa s h at k o a r c h i t e c t s , i n c . |

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Writers Community Room The Community Table

The Writers Library

The community kitchen and dining area is strategically located as a central This is a library for writers and by writers—a place dedicated to the entwined acts

offering opportunities to interact with the surrounding grounds and writing

of writing and research. Key elements as the design process moves forward will be:

spaces. When needed, it can expand into the adjacent rooms, creating a much

an abundance of comfortable writer-centric furniture and a variety of high-quality

larger event space.

lighting.

s o l i t u d e & s o ci e t y

k itch en/ d ining

w ri t ERS LIb ra ry r e strooms

h e a rt h

gathering point, connected to the main paths of entry and circulation, while

u tility/ stor ag e

wr ite r s porch

The Writers Porch This is a broad, deep porch that serves as another writing venue, offering a chance to comfortably escape some of nature’s elements, but not too isolated that you miss the sound and smell of falling rain.

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Solitude & Society This is a free-flowing space that allows one to see from the entry in front out to the courtyard in back. Finishes in this zone will be a blend of some indoor and outdoor materials, creating a sense that this space belongs to both.

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This preliminary conceptual floor plan shows a community building and five writers cabins surrounding a central courtyard garden and gathering space. The buildings celebrate the natural beauty of Door County by creating plenty of opportunities to see and experience the land from every space.

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t h e k u b a l a wa s h at k o a r c h i t e c t s , i n c . |

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Writer’s Room Layouts

OPENING FACING NORTH PATIO

OPENING FACING NORTH PATIO

Nature flows in...

This writing room is meant to open fully to the outdoors when weather permits and remain strongly connected to the landscape FULL SIZE BED CHAIR even when closed. A porch overhang is also a must for this layout.

This plan also lends itself to elegantly-integrated ADA accessibility.

CHAIR BUILT IN WRITING DESK (ADA - ROLL UP)

BUILT IN WRITING DESK (ADA - ROLL UP)

BATH

FULL SIZE QUEEN SIZE BED BED UNDER COUNTER FRIDGE + SINK

BATHROOM UNDERCOUNTER FRIDGE + SINK

UNDERCOUNTER FRIDGE + SINK

SHELVING

BATH UNDER COUNTER FRIDGE + SINK BATHROOM

PEGS/HOOKS

PEGS/HOOKS

SHELVING

DISPLAY WALL

BATHROOM

LINE OF SOFFIT ABOVE WRITING TABLE

BATHROOM

The sun at your back...

QUEEN SIZE BED

FULL SIZE BED BATH

WRITING TABLE

This south-facing writer’s room is for the writer who prefers to turn away from the window in order to concentrate. The small movable table and wide window seat allows each individual to find their FULL SIZE BED perfect orientation.

DISPLAY WALL

WINDOW SEATING

LINE OF SOFFIT ABOVE

COVERED PORCH SPACE

WINDOW SEATING

BATH NARROW WINDOWS FACING SOUTH WRITER FACING IN

NARROW WINDOWS FACING SOUTH WRITER FACING IN

LAYOUT INSPIRED BY THE LAYOUT STUDY INSPIRED BY THE STUDYLAYOUT INSPIRED BY THE LAYOUT PAUSE INSPIRED BY THE PAUSE

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w r i t e o n d o o r co u nLARGE t y f e aWINDOWS s i b i l i t y s tFACING u dy NORTH WRITE FACING OUT

LARGE WINDOWS FACING NORTH WRITE FACING OUT

NARROW WINDOWS FACING SOUTH WRITER FACING IN

Writer’s Room Layouts LAYOUT INSPIRED BY THE PAUSE

EXAMPLE OF24' PAIRE x USE

MECHANICAL / STORAGE

LAYOUT INSPIRED BY NORB BLEI'S COOP

LAYOUT INSPIRED BY THE NICHE NARROW WINDOWS FACING SOUTH WRITER FACING OUT

NARRO WRITER

South-facing solitude...

BED

DESK

PARTIALLY COVERED PORCH

UNDER COUNTER UNDERCOUNTER FRIDGE + SMALL SINK

CHAIR

BATHROOM

BATHROOM BATHROOM

UNDER COUNTER FRIDGE + SINK

QUEEN SIZE BED

FULL SIZE BED

BEDSIZE BED QUEEN FULL SIZE BED

For the writer who wants an oblique view, this room is inspired by the “Niche” from the Typology of Writing Spaces. The writing desk faces a wall, with small, narrow windows offering views to the side.

PEGS/HOOKS

LINE OF SOFFIT ABOVE

FRIDGE + SMALL SINK

CHAIR

CHAIR

SHELVING SHELVING

Inspired by the Coop...

The size and proportion of the writing space as you enter is immediately reminiscent of Norb Blei’s chicken coop writing space.

All of the creature comforts are out of sight, beyond the doorway on the north side of the room, leaving the sensation intact. This version preserves the south facing orientation of Norb’s coop, but a north facing version would reduce glare in the writing space.

FULL SIZE BED

CHAIR

CHAIR

WRITING DESK DESK

BATHROOM

NARROW WINDOWS FACING SOUTH WRITER FACING IN WINDOWS FACING SOUTH

LARGE WINDOWS FACING NORTH WRITE FACING OUT

EXAMPLE OF24' PAIRED x 48'DORMS FOOTPRINT

LAYOUT INSPIRED BY THE NICHE

USED FOR SKP MODEL

LAYOUT INSPIRED BY THE PAUSE

t h e k u b a l a wa s h at k o a r c h i t e c t s , i n c . | NARROW WINDOWS FACING SOUTH WRITER FACING IN BATH

UNDER COUNTER FRIDGE + SINK

NARROW WINDOWS FACING SOUTH WRITER FACING OUT

LAYOUT INSPIRED BY THE STUDY

PEGS/HOOKS CHAIR

SHELVING

WRITING DESK DESK

SHELVING

LINE OF SOFFIT ABOVE

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Renderings Writers Residence Entry (this page) This view depicts the entrance to the Writers Residence. The building shares many finishes and features with the future Writing Center; it is also clearly differentiated as a residential structure.

From foreground to background, one can see a series of thresholds leading from the public or community areas to the writers rooms. The garden gate, a sheltered entrance, transition space and courtyard beyond.

Each writer’s cabin also connects to a private, semi-walled garden, just visible on the right side of the image .

Courtyard (opposite page) This view depicts the south-facing courtyard of the Writers Residence. The cabins surround a central courtyard garden with a fire pit and gathering space.

An unexpected treasure gift, this time at Write On Door County. Birds, butterflies, birches, night walks to see the sunset, the truly sacred meadow path. Each day, the words came easier, the vision clearer. I am leaving with new pieces and a clarity for the work that’s still ahead.

- S h e i l a O’Co n n o r, n ov e l i s t

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Renderings

t h e k u b a l a wa s h at k o a r c h i t e c t s , i n c . |

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Preliminary Cost Opinion This preliminary opinion of probable cost is based on the conceptual design created as part of the Write On Door County Feasibility Study. This cost opinion is not comprehensive and will be subject to change based on more detailed future design investigations. ‘Hard Costs’ are generally defined as costs incurred under the construction contract, including but not limited to: core and shell features, interior enclosures, basic building services, and fit-out costs for finishes and mechanical and electrical services. ‘Soft Costs’ include a variety of costs incurred by the owner to move the project forward Design fees, management fees, legal fees, taxes, Write On Door County Writers Residence Preliminary Cost Opinion insurance, and FF&E (furnishings, fixtures & equipment) are part of this cost category. Standard practice is to represent soft costs as a percentage of the total hard costs, typically 20%-30%. General square foot costs and lump sum allowances are based on 2016 numbers—a 3% per annum inflationary adjustment may apply to future estimates.

New Writers Residence Quantity Unit Unit Cost Total Low High Low High 1,600 GSF $250.00 $300.00 $400,000 $480,000 Community Space 2,000 GSF $250.00 $300.00 $500,000 $600,000 Guest Rooms (5 @ 400 SF ea) Semi-Conditioned Porches GSF 1,400 $100.00 $125.00 $140,000 $175,000 Outdoor Porches and Pavilion 775 GSF $40.00 $60.00 $31,000 $46,500 $1,071,000 $1,301,500 Hard Cost-Total Soft Costs @ 25% 25% $267,750 $325,375 Writers Residence Total $1,338,750 $1,626,875 Entrance Procession and Parking Gravel Permeable Paving Grass Permeable Paving Entry and parking lighting Hard Cost-Total Soft Costs @ 25% Entrance Procession and Parking Total

Quantity 5,000 1,000 2

Unit SF SF EA

Total Estimated Cost 18

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Total

Unit Cost

Total

Unit Cost

Total

25%

Building Area Quantity Unit Building entry plaza and entry walk (allowance) 1 LS 8 EA Area lighting Hard Cost-Total Soft Costs @ 25% 25% Building Area Total

Landscape Plantings Quantity Unit Native Gardens 3,500 SF Hard Cost-Total 25% Soft Costs @ 25% Landscape Plantings Total

Unit Cost $10.00 $8.00 $3,500.00

$15,000.00 $3,500.00

$6.00

$50,000 $8,000 $7,000 $65,000 $16,250 $81,250

$15,000 $28,000 $43,000 $10,750 $53,750

$21,000 $21,000 $5,250 $26,250

Low High $1,500,000 $1,788,125

Preliminary Code Analysis Zoning Considerations

Occupancy Separations

Sanitary Fixtures

The Write On Door County north parcel is currently zoned Agricultural with a conditional use provision. The site has an abandoned house that serves as the principal structure. The single-family dwelling is a permitted Principal Use, however the education facility is a permitted Conditional Use. The south parcel is zoned Residential also with a single-family dwelling as primary use. Additional structures are likely to trigger a review of permitted uses.

This building will need to be fully sprinklered per the International Building Code, based on a residential occupancy (R-3).

There are specific code requirements for sanitary fixtures based on occupancy. For planning purposes, the following table indicates rough assumptions of fixture counts:

Code Considerations In future phases of the design process, a more detailed code review will need to be performed. This document is a preliminary assessment of code implications for this master plan proposal. These implications affect everything from setbacks and footprints of buildings to acceptable uses and number of toilets.

Applicable Codes Wisconsin Administrative Code - Latest Edition Wisconsin Enrolled Commercial Building Code - 2009 IBC, IMC, IECC National Fire Protection Association - NFPA 101 Life Safety Code, Latest Edition Americans with Disabilities Act (ADA) & ICC/ANSI A117.1 Door County Zoning Ordinance

In the following chart, the column headers indicate construction type while the row headers correspond to occupancy classification. The first number indicates allowable square footage per story and the number in parenthesis indicates allowable number of stories, which may be increased by one additional story if sprinklered. If non-sprinklered, additional requirements such as Areas of Rescue Assistance in stairwells may apply.

Assembly:

1 per 65 women, 1 per 125 men

Office:

1 per 25 for the first 50, then 1 per 50

The chart includes the most likely construction types based on occupancy classification. Type III construction is noncombustible exterior walls- typically load bearing masonry.

Type IV is heavy timber framing. Type V construction is any code-permitted materials for interior and exterior walls- this is typically light-wood framed construction.

Construction Type Occ. Class

III-B

IV

R-3

Unlimited (4)

Unlimited(4)

V-A Unlimited (3)

Accessibility Visitor and staff areas would need to be accessible according to the Americans with Disabilities Act. In multi-story buildings, an elevator may be required. We also recommend providing accessible routes within the proposed trail system.

Occupancy Residential R-3 (Residential, Congregate Living Facilities) Congregate Living Facilities: a building where residents share kitchen or bathroom facilities. Facilities housing 16 or fewer persons are granted an exception to the more stringent R-1 classification. t h e k u b a l a wa s h at k o a r c h i t e c t s , i n c . |

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Project Team

Tom Kubala, Principal

Allen Washatko, Principal

Erik Hancock, Project Designer

Nancy Aten, ASLA

T he K uba l a Wa sh atko A rc hi t ec t s , Inc .

T h e K u b a l a Wa sh atko A rc h i t ec t s , I n c .

T h e K u b a l a Wa sh atko A rc h i t ec t s , In c .

L a n ds c a pe s of pl ac e , l lc .

When Tom Kubala founded the Kubala Washatko Architects, Inc. with Allen Washatko in 1980, he brought with him extensive experience gained through professional association with firms in Wisconsin and Minnesota.

As Co-founder and Principal of The Kubala Washatko Architects, Inc., Allen brings a wealth and breadth of experience to all phases of a project, from early client contact and contract negotiations through design implementation and project follow-up. Mr. Washatko works closely with clients utilizing a participatory process to develop solutions that are not only sympathetic to the site, client needs and surrounding community, but also responsible to the budget, schedule and vision.

Erik is an architect, classically-trained musician, and a database developer who is irresistibly drawn to contradictions, unsolvable, and impossible problems.

Nancy Aten, PLA, ASLA, is principal at her award-winning firm Landscapes of Place, which does landscape restoration planning and design, ecological restoration and land stewardship.

Her experience and motivation often leads to environmental advocacy in order to foster sound policy and good practices.

As a principal of The Kubala Washatko Architects, Mr. Kubala oversees projects from first schematics through final drawings. He is involved in every aspect of the practice and has directed many of the Kubala Washatko’s award-winning projects and research endeavors.

He has served as principal-in-charge for a wide range of building and planning projects, and is skilled in both architectural design and in the execution of construction documents. His completed projects exhibit a sensitivity and understanding of function, scale, construction methodology and materials.

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From its inception the TKWA studio’s design reputation has been based on the idea of Wholeness, where the built environment supports and enhances both human activity and natural living systems. The idea of sustainability is a natural extension of wholeness-based thinking and is integrated into every studio project. Throughout the firm’s nearly 30-year history TKWA has received over 80 state and national awards for design, including the AIA Wisconsin Firm Award, which is the highest recognition given by the state’s professional service organization.

He believes that each stone taken from the earth to make a building exacts a cost that must be carefully weighed against the reason and the result. His designs are driven by the idea that architecture is a vessel to honor human experience, to foster community, and to make responsible use of resources.

Landscapes of Place’s work in Door County includes design rethinking and implementation of historic Jensen landscapes at The Clearing; the early stages of restoration work at Grand View for the Door County Land Trust; and a conservation master plan for Bay Shore Blufflands State Natural Area.