The lights are up, the stage is set, and the parties are planned. On September 10, a new chapter in Winston-Salem’s distinguished arts history will be written, as the Milton Rhodes Center for the Arts officially opens in and around the 100-year-old Sawtooth Building. In honor of the building’s 10-decade existence, we’re tracking the top 10 reasons to love the new center, from exciting offerings and engaging areas, to the incomparable community spirit behind its creation.

1. The Building’s History

One century. That’s how long the Sawtooth Building has stood at the corner of Marshall and Second streets in downtown Winston-Salem. In its 100-year history, it has served as a textile mill, an auto dealership, and now, an all-encompassing center for the arts.

Construction dates back to 1910, when John Wesley Hanes decided to move his burgeoning textile business—then called Shamrock Knitting Mills—into the space. Shamrock, which made men’s socks, was the precursor to Hanes Hosiery.

When the facility opened in 1911, it had 200 workers making socks on 200 knitting machines. It earned the “sawtooth” nickname because of the 6-foot-tall skylights that formed a jagged, tooth-like roofline. While the building carries a distinctive look today, the design was fairly common back in the early 1900s. Electric light hadn’t yet arrived, and the skylights provided natural light for workers inside the factory.

Hanes’ business would eventually outgrow the space, and the building was turned into an auto dealership and garage. It stayed that way until the late 1970s, when R.J. Reynolds Tobacco Co. purchased and donated the building to the arts council as part of a fund drive. Once renovations wrapped up in the early 1980s, the Sawtooth Center for Visual Arts took up residence there.

The building now sits on the National Register of Historic Places, something not lost on the arts council’s current regime. A “history wall” inside the new space gives a detailed overview of the building’s distinguished life.

2. The Collaborative Design

Ask Richard Emmett how many tours he has given of the new Rhodes Center for the Arts, and he’ll probably just laugh. “It’s up there,” he says.“Probably somewhere between 200 and 500.”

As the arts council’s chief operating officer, Emmett has served as the primary liaison for the architects, contractors, and subcontractors. Whenever a problem arose—such as undersized water pipes or chemical vapor concerns—he moved quickly to fix it.

“If you ask the people at Frank L. Blum [the general contractor], they’d probably say this was one of the most difficult projects they’ve done,” he says. “I was really fortunate to be working with such great people. Anytime there was a problem, they had the solution.”

The project united two of the city’s most prestigious architecture firms: Walter Robbs Callahan & Pierce (WRCP) and Calloway Johnson Moore & West (CJMW). While it was the first time the two had worked together, both said it might not be the last.

“If I learned anything, it’s that we do a lot of things similarly,” says David Moore of CJMW. “It was a very positive experience; I wouldn’t mind working with them again in the future.”

Operating on a tight budget, the two firms did a portion of the work pro bono, sub-dividing the costs down the middle. WRCP focused on the Sawtooth School while CJWM took on the Hanesbrands Theatre.

Rence Callahan called it a “collaborative” experience, adding that both firms had similar visions for the design.

“Above all, I think we wanted to transform the brand of the Sawtooth Building into something that was more forward-thinking. The design celebrates the old building and its history, but also brings it into this century.”

3. The Art Within the Walls

What’s an arts center without…well, art?

That was the thinking behind the art council’s decision to set aside 1.5 percent of the project costs for artistic commissions.

To select the artists, the council assembled a panel of experts who narrowed down 124 applicants to just two: Kyungmi Shin of Los Angeles and Jimmy O’Neal of Asheville. The two artists, both nationally acclaimed, were paid $54,000 apiece for their work.

Shin was commissioned to make a glass-tile artwork for the lobby floor of the main entrance. Her design is a collage of abstract lines based on the paths of North Carolina hurricanes from the past 150 years. Meanwhile, O’Neal is responsible for the mirrored painting inside the theatre lobby. Part artist, part scientist, he delved heavily into cymatics—the study of the visible representation of sound—to create the piece.

The arts council also commissioned paintings from local artists Hieronymus Schofferman and Anne Kesler Shields. They were selected from a pool of applicants to decorate a set of corrugated metal fire doors inside the theatre. Schofferman’s piece mixes blues, yellows, and reds for a dazzling graffiti-like design. Meanwhile, Shields’ creation centers on a solitary red bolt that shoots from floor to ceiling.

But the art doesn’t stop at the installations, as two new galleries have opened inside the space. The 1,800-square-foot Womble Carlyle Gallery will show works from local, national, and international artists. Its first exhibit, “Opening Acts,” showcases 45 works from Piedmont Craftsmen’s five-decade existence. Meanwhile, the Sawtooth Gallery will exhibit works from students, faculty, and visiting instructors at the school. The opening show will display faculty works that span Sawtooth’s 65-year history.

4. The Hanesbrands Theatre

Check any rendering of downtown Winston-Salem over the past few years, and you’ll see the words “Theater District” overlapping the Fourth Street area. The only thing that seemed to be missing? The theaters.

That changes this month, as Hanesbrands Theatre opens inside the former AC Delco building. With 300 movable seats and the ability to alter stage setups, the theatre can accommodate a variety of performances, events, and parties. A balcony rings around the periphery, providing additional seating during shows, while concessions are available in the theatre lobby.

“Groups can come in and literally design their own shows,” says Richard Emmett. “They’re not circumscribed by the way the theatre is set up because nothing—not the seats or the stage—is fixed in place.”

The theatre, which was built with a $2 million donation from Hanesbrands Inc., provides a much-needed complement to the 1,360-seat Stevens Center. Need proof? Look no further than the theatre’s jam-packed calendar, which is booked solid through the first year. Things kickoff on September 9 with Bouncers, a dramatic comedy about a group of bouncers in a 1970s nightclub. Visit rhodesartscenter.org for more information on the upcoming season.

5. The Exciting New Spaces

Looking for a dynamic event space? The Rhodes Center for the Arts might be your best bet. The facility has several mulitpurpose areas that are loaded with capabilities.

At the forefront is Reynolds Place, a 3,300 square-foot space located in the former Reynolds Galleria on the center’s lower level. With its king-size projection screen and cutting edge audio/video equipment, the room can be custom-fit to almost any event: lectures, parties, film screenings, you name it. The room also features a Romeo and Juliet-inspired balcony, perfect for tossing the bouquet at wedding receptions.

Sitting adjacent and above Reynolds Place is the newly renovated Mountcastle Forum. Gone are the piggy-pink colored walls and bad acoustics that once defined the space. In its place is a spacious, 3,200-square-foot retreat with curtains stretching the length of the room, allowing for easy modification. Because it’s next to Reynolds Place, and since there’s some sound spillover, many folks are opting to rent both venues for their events.

“The capabilities of these two spaces are pretty incredible,” says Siobhan O’Brien Olson, co-chair for the grand opening at the center. “They have the ability to transform into anything you want them to be.”

Currently, Reynolds Place rents for $175/hour while Mountcastle Forum goes for $150/hour. Other rooms in the center are also available for rent. For information, call 336-725-8916 or go to rhodesartscenter.org

6. The Sawtooth School

Dumpy, dark, and unwelcoming. Those are the words Sherri Nielson uses to describe the former Sawtooth School for Visual Art.

Serving as the school’s executive director since 2005, Nielson learned to overcome the space’s multitude of problems, such as cramped classrooms, outdated equipment, and poor lighting. So just how does the new school compare?

“All you can say is wow when you look at this place,” she says. “To take what we had then and create what we have now…what an amazing vision.”

The school has nearly doubled its size, going from 11,500 square feet to more than 21,000. Each of the disciplines taught at Sawtooth—wood, metal, weaving, etc.—now has its own custom-made classroom. More natural light, more exposed brick, and more wood paneling define the new aesthetic, while refinished concrete flooring replaces the dingy old carpet. A gallery space for Sawtooth exhibits and a retail store selling art supplies were also added.

While most of the classrooms stretch down a bright corridor, the Earline Heath King Sculpture and Pottery Studio leapfrogs over to the center’s northern edge. With clear windows replacing the tinted glass, the ceramics studio has a sweeping view into adjacent Winston Square Park. “People in the park or driving down Marshall Street can see that there’s life in here,” Nielson notes.

“We’re just so thankful that the arts council made Sawtooth so special for us,” she continues, “and we want to thank the community for their support. Because without that, this wouldn’t have happened.”

Sawtooth has a full slate of youth and adult classes for the fall. You can find out more by calling 336-723-7395 or register online at sawtooth.org

7. The Economic Impact

There are several tangible ways to measure the Rhodes Center’s impact on the local economy. For instance, an average of 70 local workers were on site each day during construction, and nearly 25 full-time and 50 part-time faculty members will call the building home.

But there’s something Milton Rhodes calls the “ripple effect” that’s a little tougher to quantify. With thousands of weekly patrons coming in and out of the center, downtown will get an undeniable jolt of life. It starts with the restaurants, then spills over to the retail and nightlife establishments in the area. It moves on to local caterers, rental companies, and audio-visual personnel.

Other top officials in the city agree: the arts truly add up.

“With the Hanesbrands Theatre and the new Sawtooth School, we’ve added to our ability to recruit businesses, employees, and young professionals to town,” says
Mayor Allen Joines. “[The center] brings people to downtown, and with that comes energy and vibrancy.”

Jason Thiel, president of the Downtown Winston-Salem Partnership, takes it a step further, saying downtown revitalization and the arts are “almost synonyms.”

“The biggest nights we see downtown usually involve an arts event of some sort, whether it’s a street music festival or a Stevens Center performance,” he says.
“While downtown is the heart of the city, the arts are really the soul.”

8. The Practical Improvements

Along with stunning spaces and a forward-thinking exterior, the redesign of the Sawtooth Building included a handful of practical improvements.

An improved entrance: Historically, the entrance to the Sawtooth Building has been on Marshall Street, one of the busiest thoroughfares in downtown. With the entrance now moved to Spruce Street, a quieter side street, the facility has increased safety for pedestrians. Also added was a semi-circular driveway, allowing for easy drop off.

Parking upgrades: Another big problem was parking; more specifically, a lack thereof. Now, a 164-space parking lot at the corner of Holly Avenue and Spruce Street alleviates much of the concern.

Less complicated layout: Maneuvering around the old Sawtooth space wasn’t always easy. But, thanks to a new glass corridor across the front of the building, getting around is now quicker and more efficient.

Energy improvements: The new center has plenty of green-friendly qualities. “[Sawtooth] was just eating up money,” Richard Emmett says of the heating and cooling bills. “But with this project, we were able to take two historic buildings and renovate them so that energy costs became astronomically lower.”

Café and patio: Sit-down restaurants just never seemed to work inside the building. The arts council took note of this, and instead created a scaled-back café that sells a mix of coffee, pastries, sandwiches, and snacks. An assortment of beverages, including beer and wine, are also available. Tables are set up inside, but also extend to an outdoor patio.

9. The Community Support

Some said raising $26 million couldn’t happen in this economy. Good thing J.D. Wilson wasn’t listening.

Along with his wife, Janie, J.D. was recruited to lead the arts council’s three-year comprehensive campaign. The couple have long been known as fundraising heavyweights in the community, previously leading the Salem College and the UNC School of the Arts capital campaigns.

So just how did J.D. go about raising the money? The same way he always does; by surrounding himself with proven people. “Early on, one of the things I did was recruit passionate and dedicated volunteers to fill out the cabinet. That’s what I like to do: connect people and facilitate results,” he says.

The usual suspects lined up to support the cause. Hanesbrands and Reynolds American each donated $2 million. Wachovia (A Wells Fargo Company) pledged $4 million. There was also a $5 million gift from an anonymous donor. But the true beauty of the campaign, Wilson says, was the individual support.

“We had more than 8,000 individual donors,” he says. “People were just chipping in whatever they could. Some gave $50, some gave $50,000. I just think [the campaign] speaks volumes for what this community can do when it comes together. It’s a really magical thing to watch.”

Here’s a quick look at how the $26 million spreads out:

$11 million was used to transform the Sawtooth Building into the Milton Rhodes Center for the Arts, including construction of the Hanesbrands Theatre.
$5 million went to an endowment to sustain the center and theatre, including maintenance and/or structural repairs.
$9 million went toward a three-year increase in annual funds. The funds support the arts council’s numerous funded partners.
$1 million went to a marketing effort to brand Winston-Salem as the “City of Arts and Innovation” to visitors and potential employers.

10. The Namesake

It was earlier this summer when Milton Rhodes found out the new Downtown Center for the Arts would bear his name. That’s not to say he particularly liked the idea, though.

“Honestly, I was kind of embarrassed by it,” he says, smiling. “I’d rather give credit to all the volunteers who helped out; they’re the ones who deserve the spotlight. But my friends turned on me,” he continues, still smiling. “They kept insisting on it and got some major donors to agree to it, and finally, I just gave in.”

Affixing Rhodes’ name to the new center seems like an easy call, considering all he’s done locally for the arts. He was 26 when he signed on as president and CEO of the arts council in 1971. By the time he left in 1985, he had brought the organization to national prominence, taking its annual budget from $138,000 to $1.53 million.

He went on to serve other arts-related roles throughout the country, but always kept Winston-Salem in his sights. In 2004, he got word that his old position was available. The decision to come back, he says, was an easy one. “Of all the jobs I’ve had, this was always my favorite.”

It’s been a heck of a second act for Rhodes. In addition to leading Sawtooth’s transformation, he’s once again increased the organization’s annual budget. He has also taken on several new initiatives, including the Creative Corridors Coalition.

“Just watching him and how he’s able to bring people together has taught me an awful lot,” says Richard Emmett. “He has an amazing ability to get everybody on the same page and get consensus.”

And while Rhodes planned to retire this fall, he recently extended his tenure through July 2012 “to keep momentum going,” he says.

As for his favorite feature in the new facility: “I love the fact that it’s an open, inclusive place,” he says. “We wanted to create a place that the entire community could enjoy for years to come.

“And you know what,” he says with one last smile, “I think we did OK.”