Rethink Real Estate. For Good.

Equity

Starter Home disappears.

What happens when Wall Street comes for the starter home?    

In a slightly depressing piece of journalism, the New York Times documented the answer to this question by exploring sales in a neighborhood of Charlotte, NC. Between 2021 and 2022 one-third of the houses in just one block of this 34-year old subdivision were bought in all-cash deals by investors. 

And then they were converted to rental housing.  

What has the impact been?  A few years ago, Bradfield Farms was truly affordable. You could buy a starter home here – a modest house for around $200,000.  That is no longer possible. First time home-buyers are struggling with high interest rates and competing against all-cash buyers. This is not a fight that is easy to win.

There are lots of other reasons why affordable for-sale houses are disappearing.  But this one is an unexpected outcome of a poor economy and the overwhelming desire of investors to make money and will have long-lingering effects.  It is unlikely that any of those homes will ever be an opportunity for a first-time home buyer again.

And of course this means that we all have to work harder building new ones.

Lindsey is a scout.

Lindsey Scannapieco leads Scout, an urban design and development practice that focuses on the activation of underutilized space. Scout’s largest project to date is the redevelopment of Bok into an innovative space for makers, artisans and entrepreneurs. The project has been recently recognized with the Charter Award for Transformational Development by CNU (2021) and long listed in adaptive reuse by Dezeen (2022).

Lindsey has been recognized with the 40 Under 40 by the Philadelphia Business Journal (2023), Girls Inc Community Impact Award (2022), the Rising Star Award in Real Estate (2018) by the Philadelphia Inquirer. Outside of work, she is the co-President of the Friends of FDR Park and an active board member of Fleischer Arts Memorial and the Knight Foundation Advisory Council. Lindsey holds a B.S. from the University of Southern California and a MSc from the London School of Economics in City Design and Social Science.

Read the podcast transcript here

Eve Picker: [00:00:05] Hi there. Thanks for joining me on Rethink Real Estate. For Good. I’m Eve Picker and I’m on a mission to make real estate work for everyone. I love real estate. Real estate makes places good or bad, rich or poor, beautiful or not. In this show, I’m interviewing the disruptors, those creative thinkers and doers that are shrugging off the status quo in order to build better for everyone.

Eve: [00:00:36] Lindsey Scannapieco is an urbanist and an artist in every sense of the word. While living and studying in the UK, Lindsey worked on projects such as activating an underutilized subterranean crossing alongside Westminster Council, supporting Tech Shop in their global expansion, and developing a community led design project that reconsiders traditional construction hoardings in South Kilburn. All of this led her to found Scout, an urban design and development practice that focuses on the activation of underutilized space. Not one to think little, Lindsey submitted a proposal to purchase a 340,000 square foot vocational school building from the city of Philadelphia. Much to her surprise, she won the bid. Eight years later, BOK, as it is called, is a thriving and creative mix of makers, small businesses, and nonprofits, and 100% full. The building is a testament to Lindsey’s staying power. You’ll want to listen in to learn more.

Eve: [00:02:03] Hi, Lindsey. Thank you so much for joining me today.

Lindsey Scannapieco: [00:02:07] Thank you so much for having me, Eve. It’s a pleasure to be here.

Eve: [00:02:10] Yeah, well, I had the pleasure of visiting BOK a few weeks ago. That was, that’s a monster project. I can’t wait to hear how you pulled it off. But first, I wanted you to tell me about your company Scout. When did it all begin and where did it all begin?

Lindsey: [00:02:28] Yeah. I’m so glad you were able to see BOK in person. It’s been a great project, but a little bit about how we got started. So, started Scout in 2011. We are an urban design and development practice, and in the early years we were really working on consulting projects, really about underutilized spaces, primarily for planning agencies in the UK. That’s where Scout was founded in 2011. We did our first kind of big public project that year, which was a pop-up cinema called Films on Fridges. And although a pop-up cinema might seem pretty different from large scale development, actually there was a lot of shared characteristics in both of those projects, which I think are kind of a common thread throughout our work, which is trying to reimagine histories of space and place. I think playfulness is a big piece of our practice and I think inviting people in to have an experience is another part that we think is a really strong tool in any project. And so, we started Scout with this idea of looking at underutilized space in different ways. And in the beginning that started off as cinemas, community engagement projects, public realm work and evolved into development many years onwards.

Lindsey: [00:03:58] And we got the name because when we were talking about it, we were thinking about this idea of both scouting for space, so actually being a scout in that way, but also kind of a Boy Scout or Girl Scout sash in that we were accumulating skills and we didn’t know where they would take us. And so, I remember after we did this pop-up cinema, we got calls from a bunch of people who said, oh, can you do a pop-up cinema here? And we said, actually we don’t want to become known as the pop-up cinema company. For us, the cinema was a tool to bring people to a space that they otherwise would not go to because people are willing to travel for experiences. And so, we kind of put that on our sash or on our badge and turns out that was kind of a skill set or an approach to space that came in handy when we were tackling much larger projects down the line. So, this kind of idea of a tool kit or different badges of different types of skills for how to reimagine vacant space.

Eve: [00:05:03] But let’s go back a little bit even further. So, what sort of training did you have that made you even want to think about scout? There’s surely a lot of story before that, right?

Lindsey: [00:05:17] So my background in undergraduate, I studied real estate finance with a minor in classics and art history. And at that time in my life, I thought I would go into art business because I really enjoyed the arts and that made sense to me, arts and business. I actually think that what I’m doing today is I get to work with way more artists than I ever would have had I kind of gone down that track further. And so I guess after I graduated, I became really interested in urban planning and development and then pursued a master’s in City design and social Science at the London School of Economics. And through that work focused my studio on an area adjacent to what was then the 2012 Olympic site called Hackney Wick. And from there started to work for the London Legacy Development Corporation, where I led interim uses, which was looking at kind of the opportunity of spaces before the long-term development plan comes to fruition, but is kind of a better alternative to just fencing or hoarding a site. And I think through that work was really the impetus to starting Scout and started Scout a little bit because of that role. I was encouraged to start my own company and to be able to kind of work for them as a consultant. And then through that we took on more clients and grew a team and grew projects and that was over a decade ago now, which feels pretty wild to say today.

Eve: [00:06:57] So how would you say your approach differs from a traditional real estate practice?

Lindsey: [00:07:03] I think one of the first things that we do is I think often times in development, people bring ideas for a project into a space. And so, they’re saying, I know what I want to do and I’m trying to force this building to do that thing. I think what we’re interested in is really looking at the infrastructure, the assets, the physicality of a building as it exists and finding value and usefulness in that and almost listening to the building, letting the building tell you what it should be and how it should be used. And I think, you know, we can be quite precious, I think, about development sometimes and sometimes actually there’s a real practical piece of what a good building can be or can provide, particularly in our cities. And so, we’re really interested in that. I say oftentimes I’m really interested in dirty work and that kind of means to say the work that doesn’t happen at kind of our clean desks. That unfortunately is often very fragile. It’s usually moved to, you know, the edges of our city. It’s at risk, it’s sometimes happening in buildings without proper heating or roof systems or it’s just, you know, warehouses we see, every single day, being converted into residential or kind of, quote, higher and better uses. And so, I think we’re really interested in the preservation of those spaces, and I think how we can allow spaces of experimentation and growth in cities, I think that’s really something that we’re very passionate about.

Eve: [00:08:49] Yeah. So, you moved out to Philly? That’s right. What was your first project there?

Lindsey: [00:08:55] So we moved Scout to Philly for BOK.

Eve: [00:08:58] Oh, okay. Okay, I didn’t realize that. So BOK came first and Philly came second.

Lindsey: [00:09:05] A bit, I’m from Philadelphia, so for me, it was a bit of a homecoming personally, but we had submitted to an RFP for this big old school. It’s a 340,000 square foot school. It occupies an entire city block. It’s nine stories high. It has a very commanding presence over its surrounding neighborhood. And so, we submitted a response to the RFP. And to be quite frank, we never thought that we would get it. I just thought we would learn something about what that process was like in the US. And we had been looking at buildings, but at the time in London we couldn’t afford a building in London, so it made sense to go to another place that I had familiarity. And to be honest, we were shocked when we found out that we were the highest bidder. I was also the youngest bidder, I was obviously the only female bidder and so said, uh oh, we’ve either done something really right or really, really, really wrong. And so we jumped in and built a team in Philadelphia to start to take on that project. We had a year about of due diligence before we actually closed on the property from the school district. And over that period of time, we realized that the building is not flexible. It was built as a bomb shelter. It was extremely resilient, and it has, you know, incredible floor cores and floor strengths. It was built as a vocational school. And so I think most people had said to the city, and I don’t know this, I’m just, you know, speculating that they said, I’ll give you a dollar because to convert the building into residential or something that was more market driven would have required a ton of money and they would have said there’s no way that they could tackle that.

Eve: [00:10:58] Yeah, I’ve been to the building. I’m not even sure it’s possible. It’s really, really tough. Very inflexible, as you said.

Lindsey: [00:11:07] And so we embrace that. And so, we said, you know, how do we take spaces that aren’t flexible and how do we actually allow them to stay that way, allow them to stay what they want to be? You know, that means that, you know, an old woodworking shop became a home to a woodworker, an old culinary arts classroom, became home to a catering company. And so, you know, it really was about looking at the infrastructure and matching that to people who could use the space.

Eve: [00:11:35] You saw the existing infrastructure as an asset rather than something that needed to be like swept away and replaced.

Lindsey: [00:11:43] That’s exactly right.

Eve: [00:11:45] Yeah. So, when you submitted your RFP, what did you tell the city you were going to do with it?

Lindsey: [00:11:50] We told the city our vision was exactly as it is being used today. We said that our goal was to create affordable workspaces and they were not just going to be for artists or nonprofits. It was a yes and, so art spaces, nonprofits, community services, small businesses, people who just need access to spaces to be able to work. We had a theory that South Philly, which is an extremely dense part of Philadelphia, is a neighborhood with a typology of kind of the 12- to 14-foot-wide row home so that, you know, people didn’t really have access to larger, wider open spaces. And so, you know, we had a theory that people would be seeking that space and seeking that space in proximity to where they live. And I think when we talk about local impact and community led development, I think the ability to walk to work has such an incredible impact not only on your mental and physical health, but also the health and wealth of your community and your neighborhood at all and attracts all different types of people to support the small businesses and operations that are happening in the building. So today we have over 260 businesses based out of BOK.

Eve: [00:13:14] A lot of businesses.

Lindsey: [00:13:15] And 72% of them are owned by somebody who lives in South Philadelphia. So very much locally driven.

Eve: [00:13:25] That’s amazing. How many residents in South Philadelphia like how big is the neighborhood?

Lindsey: [00:13:30] Oh, that’s a great question.

Eve: [00:13:33] It’s got to be big to draw that many people.

Lindsey: [00:13:36] Yeah, I’m just, hold on, I feel like I have this number somewhere, but I’ll have to look it up. I don’t have it off the top of my head.

Eve: [00:13:44] Nevertheless, it’s got to be a big neighborhood to have that many people wanting small business space. How long had the building been vacant?

Lindsey: [00:13:52] So the last graduating class at Bok was in 2013.

Eve: [00:13:58] Oh, not so long.

Lindsey: [00:14:00] So not so long. Although the top two floors of the building had been closed before we took it on. The building was a high or is a high rise, I should say, by its height. But the school district, in order to not comply with high rise building code, cut off the top two floors and said, see, it’s not a high rise so we don’t have to sprinkler the building. And so that was one of the big pieces of work that we undertook was the sprinkling of the entire building. But essentially it really wasn’t vacant for long. And crazily, the school district thought that out of all the schools that they put on the market, and they put over 30 schools onto the market in that year, that BOK would be the last to sell. So, they actually moved all of the stuff, all of the chairs, all the tables, everything from all the other schools to Bok. And people could essentially come and kind of find the furniture that they needed. And that was that was fine and good and when we went to actually go close on the property, obviously we wanted the building empty because there was rooms just filled with stuff up to the ceilings. Plus, it was practical stuff. And we all know that our schools need equipment, they need supplies, they need furniture. Unfortunately, approaching the end of the process of moving towards closing, they started to throw out things and we said, all right, that’s it we’ll keep the rest. So, if you go to BOK today, sometimes you’ll see, for example, children’s chairs and a lot of people will say, well, wait, wasn’t this a high school? And it’s because they thought that BOK would be the last building to sell, and I actually think it was one of the first.

Eve: [00:15:39] That’s interesting. So, when you tackle a project like this, 340,000ft², most people would feel overwhelmed. You had some really huge challenges like code compliance and financing. Where did you begin? What was your strategy and how full is it today, by the way? Is it 100% occupied?

Lindsey: [00:16:02] It is. Today, BOK is 100% leased. We have no available space in the building, Unfortunately, I know I’m supposed to say that’s a good thing, but I actually think it’s a bad thing because for so many years we’ve prided ourselves on being able to expand and grow with people as their business changes. And it’s actually been, it’s hard now when you actually are full. But I think we also feel very grateful to be at 100% occupancy. So how did we start this? I always kind of say, you know, how do you eat an elephant one bite at a time? But our first bite was a decision to open up a pop-up bar on the roof of the building. And I think kind of going back to the beginning of this conversation, that’s because that’s something that we had done before. And I think that people are willing to travel for food and drink in a way that we’re not willing to travel for other things. We talk about traveling for other things. I talk about going, you know, maybe to a neighborhood I don’t go to frequently for an art exhibit or a shop, but most of the time it actually takes a lot for me to actually get there. I can think about it. But to actually get there and food and drink and I don’t know if it’s because it’s a shared activity or because there’s actually kind of a sweet adventure at the end but we kind of really knew that that was a strong tool and had seen that in the past.

Lindsey: [00:17:33] And so we opened up a pop-up bar and the joke is that I invited a bank every single night for a drink until I closed on our big construction loan, which I did. And, you know, we were open for 22 nights that first year and we had over 30,000 visitors. And so.

Eve: [00:17:54] Oh, wow.

Lindsey: [00:17:55] You know, I think a lot of people were saying, who’s going to come? How’s this going to work? How are people going to find out about this building? How are you going to deal with the parking needs? Who wants to be in a big old school? And I think for a lot of people, whether that was neighbors, future tenants, partners, bankers, politicians, coming upstairs to a very full and vibrant bar allowed them to say, wow, there’s something here. And people are willing to come here to find it and be a part of this place. And so, I think actually that was helpful in convincing people that, A, we could pull things off and make things happen. And we did that within 30 days of closing on the building, mind you, because I really feel strongly that oftentimes in development we wait years, we talk about grand visions, we undertake the large scale, you know, development, construction, and then we have a ribbon cutting and we’ve actually never had a ribbon cutting for BOK and never will, obviously at this point.

Lindsey: [00:19:07] But the idea of kind of incremental growth, I really believe that slow is really healthy actually, when we’re talking about large scale projects in a city. I don’t think it’s natural, normal or good to just open up the doors and add 350,000ft² of activity to a neighborhood. It’s much better to have that be an iterative process where people get to know you, you build trust. You also learn what works and what doesn’t work. There were mistakes along the way, you know, where should the trash sit, for example? You know, we moved that around a few times before we got it to the right place where trash trucks could access it and it wouldn’t disturb neighbors. And so, you know, I really believe in kind of iterative and slow development, but I always kind of say the bar is the thing that started it all. And that really allowed us to gain the momentum and the confidence of our team, even our neighbors, all of our collaborators and partners in that something was possible here.

Eve: [00:20:15] So as you built this thing, what other major challenges did you face during the project? Because you built it slowly with 200 tenants. It’s a lot of space.

Lindsey: [00:20:28] So it’s funny because I think sometimes your greatest strength is also your biggest challenge. And so, I say, I really like the idea of slow development, of iterative development, of the idea of the building kind of taking and evolving over time. And it really has. It took seven years to essentially finish all the construction pieces. And I’d actually argue that there still are pieces of the building that we still want to tackle or want to go back to or kind of take further. But I say that, at the same time one of the biggest challenges is that that meant that we were doing construction while we were an occupied building. And so that was also a challenge. There’s no other way to say it. We installed the sprinkler system actually when we were probably at 40% occupancy, something like that. We had outlined a scope of work with the fire board where we would basically install major infrastructure every six months with a kind of timeline of completion. So new standpipes, for example, went into all stairwells, I think for the first year. And then the second year we sprinklered a part of the building and then the next part and the next part. And so, I feel very grateful for the creative minds in the fire board and the city who kind of allowed us to create a safe building together, knowing that that was a huge piece of infrastructure and a huge cost item. But also, it was just a real operational challenge in terms of we did that work overnight in occupied spaces. So, I think, you know, to every strength also sometimes has its drawbacks too.

Eve: [00:22:14] I mean, financing is something that you fill slowly, is got to be really difficult as well because you need revenue to pay the loans. And how on earth do you manage that?

Lindsey: [00:22:25] Yeah. So, a similar approach in that how do you eat an elephant that one bite at a time and that our first loan was actually really just based on an appraisal of the building. We had had a zoning change and so kind of was able to argue to the bank that, you know, it was now worth three times more than essentially it was purchased for and it was purchased very cheaply, I think that should be acknowledged. We purchased the building for 1.75 million, although as I said, we were the highest bidder by a lot apparently.

Eve: [00:23:00] You could say that was a huge liability when you purchased it.

Lindsey: [00:23:03] Oh, 100%. But I actually think that that kind of that low entry per square foot is actually really essential in terms of allowing you to take a more creative approach. And I think, you know, Jane Jacobs says this best when she says, you know, new ideas must use old buildings. And I think it’s really because, in that when you’re getting a building for cheaper, that’s kind of been considered less valuable, it actually has more opportunities for experimentation in it and less pressures on it. And so I actually think that’s a really important piece of the puzzle. But essentially, we first got our first piece of funding just based on the kind of increase in value from a zoning change. And then once we signed kind of our first couple of leases, we kind of showed them that this was working. We were able to increase that by, I don’t know, 2 million or something like that, and then we increased it again, then we increased it again, and then we brought in new market tax credits and historic tax credits. And I had to condo out the buildings that I could kind of apply different financing pieces to different pieces of the puzzle as they came online. And that’s how we got it done.

Eve: [00:24:18] A little bit at a time. So, what about the community in the neighborhood? What role have they played in this revitalization of this, it’s a huge building sitting in the middle of a very dense neighborhood, as you said. It’s very, very large.

Lindsey: [00:24:32] Yeah. So, one of the first things we did when we started the project is we did a community asset mapping and I would encourage everyone to do that before you start anything kind of on your on your own turf, which is to look around you and see what’s already working and what already exists. Because I really think, although, you know there are certain characteristics of our neighborhood that we wanted to speak to, we started off by saying, how can we help the existing agencies, communities, organizations and people that are already are, you know, symbols of strength or kind of have agency or have organizing efforts within the neighborhood? And I think one of the best examples of that is a group called SEAMAC, which is the Southeast Asian Mutual Aid Coalition. And we invited them in to use this space for their elder’s breakfast on Tuesday morning. And so, they did that for 3 or 4 years. And through that partnership, which was pretty loose, you know, we were just giving them free space to be able to have their elders breakfast, they were able to work with Jefferson Hospital System to bring in a health clinic called the Wyss Wellness Center, which is a primary care health clinic. So, anybody can go and see a doctor there for primary care, but they’re specifically trained in the immigrant and refugee needs of our neighborhood, both language and cultural sensitivities. And that has just been an incredible resource for our community. Not just South Philadelphia but think of Philadelphia at large. A lot of the refugees recently who have been kind of bused into the city, that’s actually their first port of call in Philadelphia. And so, it’s really become an incredible space and anchor for that community. But that took almost six years to make happen. And so, I do think it really is about building trust and understanding how you can enable and support the growth of organizations that are already A, doing the work and B, very trusted within the community itself.

Eve: [00:26:52] I’m just fascinated about who the tenants are. Tell us a little bit about the mix of people in the building. I was lucky enough to walk through it, so I some of it’s burned into my brain, but I think you need to describe it a little.

Lindsey: [00:27:06] Yeah. So, we have over 260 businesses based in the building today. And of those, 52% are women owned businesses, 25% are minority owned businesses. And think about 15% of the building is nonprofits. And so, what that means is that we have everything from a glassblower who’s also doing glass recycling, to a daycare, to a tattoo parlor, to architects, jewelry designers, fabric printers, a tufting workshop, photographers, graphic designers, an accredited art school that focuses on contemporary realist painting, so a lot of work on the nude form and portrait work. We have a bakery called Machine Shop Bakery, which was just nominated for a James Beard Award in the pastry category. We’ve got a restaurant, Irwin’s, which has been rated one of the top ten best new restaurants in America. We’ve got a fabric recycling center, we have Girls Inc, which is a national nonprofit supporting young women, we have ballet classes, we’ve got a catering company, we have ceramic makers. It’s all types of people doing all types of things. And I think that’s actually really, really important, is that it’s not just a building for one type of person or one type of use. It’s a building for a lot of different uses to happen side by side.

Lindsey: [00:28:41] And I think one of the questions we always get asked is, oh, is there kind of a jeweler’s row or wing? Is there kind of the carpenter’s wing? Is there the band wing? And, you know, how much do you kind of curate this building and this space? And the answer is that we really don’t curate the building. We allow people to find spaces that suit their needs and their budgets. So, if somebody has a budget of $500, we’re trying to find a space that fits that budget and has the infrastructure that they need, that’s a sink or a lot of power. But the thing that we are really conscious about is sounds and smells. So, the people who make a lot of sounds and aren’t sensitive to sounds, they do go together. But beyond that, there’s not a ton of curation. On the first floor, obviously, we very much focused on things that are more public facing and want to interact with the public, because ultimately a lot of the building is just a workspace, not just but is a workspace. And so, people don’t necessarily want people knocking on their door saying, can I buy a, you know, a product that you’re making right there? They’re really there to focus.

Eve: [00:29:53] And how big is the team that manages all of this?

Lindsey: [00:29:56] Yeah. So, we’re about ten people, 10 to 12 people. And this, none of this would be possible without the team. I have an exceptional team. We have a facilities director who is just wonderful, is constantly, as an old building, it’s constantly moaning and groaning and he’s kind of there to oversee it with a great facilities crew. We’ve got a director of operations, we have an events team that does a variety of different events in the building we do around, we do weddings, we do community events, we do self-initiated events like Open Studios, for example, is one of them. Alumni Day, where we invite people to come back who are alumni of the school and so just have a great team. And I think that’s just so, so, so important for the project to be able to get to where it is today.

Eve: [00:30:53] But it’s not a traditional leasing and maintenance team, right?

Lindsey: [00:30:59] No, I mean, most of our leasing is done in house. I think over 50% of the people that we’ve leased to this is their first commercial lease. So, a part of our process has been trying to break down some of the jargon and lease terminology that really people aren’t familiar with outside of the leasing world, to help people to feel comfortable making that first big jump into a space. And in our work, we’re not working with a lot of large credit tenants. I think in the most more recent years we’ve had a few, but generally, and particularly the early years, we had no credit tenants. And so the idea of trying to lock somebody into a long term lease really doesn’t make sense for us or for them. And so really, it’s about allowing people to test and experiment and see what works and see what doesn’t work. And at the end of the day, if it doesn’t work for them, we’re lucky enough that there’s been enough demand and the scale of the space is kind of a very, I think, attractive size that that’s okay. It’s okay for us to have, you know, people move on and move out if it’s not the right fit. And we’re not locking people into leases that are longer than they can really take on.

Eve: [00:32:19] I think you and I see eye to eye on that. I’ve always been very disturbed at the real estate industry that rewards leasing agents based by commission, because of course, that means that they’re going to focus more time on larger leases. And so I have a couple of buildings where I took pretty much the same attitude. You know, shorter leases were fine. And if they could only renew for a short time, that was fine too. And what’s happened is I’ve had some tenants in some of my spaces for 15 years just renewing one year at a time or expanding and eventually moving on. But yeah, there’s just there’s something really broken with the industry that doesn’t allow for that to happen more freely. I think unfortunately, you know, real estate agents have to make money like they’ve got to live, right? But if they’re going to make $200 on a small lease, of course they’re going to spend more time on renting a big space where they can make $10,000, right?

Lindsey: [00:33:21] You know, I wonder if Covid has made anybody rethink that, because I always joke that in the beginning of Covid, I think I was my first bank call. They were like that building with all of those non-credit tenants. It’s, how are they going to fare through Covid? And the reality is that we fared better than any other building, a commercial building and my bank’s portfolio or any bank’s portfolio.

Eve: [00:33:47] Dare I say that’s because it’s 50% women owned businesses?

Lindsey: [00:33:51] I mean, I also think, you know, listen, it’s small scale. I think, you know, a third of our building is under 800ft². And so, you know, when somebody decides to close their business or move to Maine or move to Mexico or wherever it was that, you know, whatever they decided to do kind of in the pandemic.

Eve: [00:34:12] It’s a tiny percentage of the whole building, right?

Lindsey: [00:34:15] It’s a tiny percentage. And so we were able to kind of, you know, stay flexible, stay nimble. I think we also created a really incredible program around rent relief and deferment for our tenants, where we gave over $300,000 of rent relief and support. And that meant that we basically had, I think it was under 10% turnover during Covid. And so, you know, I hope that the industry as a whole looks at buildings like ours and says, oh, these buildings that we’ve always thought are more risky because they don’t have large anchor tenants, they don’t have the credit tenants, actually, there’s strength in the small and that there’s something very strong about our ability to be nimble. But at the same time, you know, I think it’ll always be interesting to see how that grows and goes. But I hope that maybe it’s made some of the industry just rethink a little bit about kind of who we think are dependable.

Eve: [00:35:13] You know, I’ve had a similar experience. I’ve got a building that has these, it’s much smaller, but it has these 13 little studios that range from 400 to 800ft². And I keep telling people I wish I had four buildings like that because it really never lost steam during Covid. And the people who are looking for space now want space like that. And I’m thinking about how to subdivide larger spaces to turn them into these little spaces because, yeah, I totally agree with you. If it’s a, it’s much easier for a landlord to manage than losing an entire floor plate of a building.

Lindsey: [00:35:51] Yeah, I mean, it’s a lot of work. I think like, you know, doing 260 leases versus doing, you know, ten or something would have, you know, but we think it’s also more interesting. It’s the type of people we want to work with and…

Eve: [00:36:03] Much more interesting.

Lindsey: [00:36:04] I would take it every day. So.

Eve: [00:36:06] So what other projects is Scout working on today, or is this just keeping you busy full time?

Lindsey: [00:36:13] No. So, we’re starting to work on other projects, which is very exciting. So, we actually are working on two projects up in Providence. One is called 50 Sims, which is a manufacturing building that will be workspace. We have some great workforce development tenants in there today. We’ve got a great brewery; we’ve got people doing CNC training and forklift training and we have a boat builder and an artist studio and a preservation society that’s teaching people how to repair historic windows. So, we’re really, really excited about that project and excited to be also working in a new city. It’s been wonderful. I think Providence has a lot of similarities to Philadelphia and we’ve really enjoyed being a part of that community.

Eve: [00:37:11] And how big is that project?

Lindsey: [00:37:13] It’s around 110,000ft².

Eve: [00:37:17] Oh just weeny. Weeny Scale.

Lindsey: [00:37:20] I think for better or for worse, once you do big buildings, everybody calls you about big buildings. So, I think we have to get comfortable in this space.

Eve: [00:37:29] Yes. Yes. One other question. Is collaboration important in your projects? I know that’s what you started out doing with Scout, but how is that morphed into BOK? Who do you collaborate with? What does that look like?

Lindsey: [00:37:44] So yeah, Eve, there’s a few different things that come to mind there. I think we collaborate a lot with artists on site specific pieces. So, if we are looking for furniture, for example, for a space, we’re typically commissioning and working with local artists, oftentimes people in the building. In the last couple years, we’ve also done two amazing projects that are pretty different than our kind of real estate development practice side. So, we’ve done two projects for the flower show in Philadelphia, which were both incredible collaborations with a whole host of different creatives and makers in the city. The first year we did a Risograph printing house where we printed aspirational posters, or inspirational I’m sorry, inspirational posters to give people hope in 2021, kind of following the year of 2020 that we had all been through. Three of those posters were in a language other than English to speak to the population of South Philadelphia who previously really didn’t have any materials in their languages at the flower show. And then last year, I guess in 2022, we did an installation called The Smelly Tunnel, which was essentially just a piece that you would walk through, and it would mist scents on you. And the idea of kind of flowers in terms of our mental health and kind of the ability to just step back and breathe. And so pretty different from our kind of management and development of a large building. But I actually think are great examples of things that A, make our team really excited and B, kind of that that collaboration. And so, I think we like working at a lot of different scales and find that kind of continuing to keep our hand in some of those small scale installation work that makes our kind of our long term development practice also stronger.

Eve: [00:39:43] And one more question for you, and that is I’m wondering how your time in the UK influenced your perspective on the built environment.

Lindsey: [00:39:53] I think there’s so many examples in Europe, I think, of how adaptive reuse is encouraged and I think just really done well. I think that’s certainly something I think that the value of both the creative community, but also of the cultural community, of cultural institutions, cultural organizations, has a different value in Europe and a different, I think, support system in terms of actually how those entities are funded compared to here in the US. So, certainly drew inspiration from many projects that I had seen and worked on there in Hackney Wick. There were some great examples, The White Building being one of them, and Amsterdam and DSM, I think was a, is an incredible example of kind of a building where the government really allowed people to experiment with what was possible and has now become kind of a center, a cultural center in Amsterdam. So, certainly it was a was a huge inspiration, is a huge inspiration and certainly informs my work. And I think, you know, this idea of kind of allowing things to stay a bit unpolished, unruly, but also surprising, I think is just certainly something that continues to inspire me, and I certainly travel to get to see projects like that, that continue to just be an inspiration for our work here.

Eve: [00:41:27] Yeah, it’s pretty amazing when you can say government did something so fantastic. We should be able to say that all the time, right?

Lindsey: [00:41:37] It would be nice.

Eve: [00:41:38] I have one more question for you. What keeps you up at night?

Lindsey: [00:41:41] Oh, so many things, to be honest.

Eve: [00:41:44] Maybe nothing. Maybe nothing.

Lindsey: [00:41:47] Oh, no, I wish I could say it was nothing. I mean I think to be honest, um, maybe I’ll start with where I think the kind of the opportunities are in that I think we are seeing cities shift. We are seeing obviously a lot of office space come online and I think there’s an opportunity there. And just thinking about what types of workspaces we need. I think, again, that kind of dirty workspace is something that doesn’t actually work well in our homes. And I think particularly for creative individuals, I think collaborative and creative environments are really key as sources of inspiration. And you know, people work better in those communities than perhaps they would in a basement or a, you know, a guest room or whatever it is that they might otherwise be working. So, I’m excited to see how that evolves. I think I am always just, I think, I don’t know if you feel this way, but it always feels still very fragile, and I always feel like I’m, it’s hard to enjoy the successes because I’m always fearful of the next hit.

Eve: [00:42:58] Well, that means you’re prepared, right? I mean, I think, yeah, it’s scary, but it’s probably healthy too. If you don’t have any fear, then you’re probably being too cavalier because there will always be a next hit, right? There will always be something else.

Lindsey: [00:43:16] There will. And particularly in old buildings, there’s always the next hit. I think that’s the reality. And so, I think that certainly always keeps me up. And, you know, I think just also as we’re in this next phase, I think of trying to figure out, you know, what’s next for Scout as we’ve kind of gone to the city of Providence and I think we’re looking elsewhere, I think that’s something that’s certainly keeps me, kind of, keeps my brain thinking at night about all the possibilities and projects that we might take on. So…

Eve: [00:43:50] Well, it’s been a pleasure talking to you, and I can’t wait to see what you do next. You have to stay in touch. It’s very, very exciting work. I really appreciate it.

Lindsey: [00:44:00] Thank you. I would love to. I’d love to show you our next projects and the next ones after that. And I know many years ago when we were starting back, we came out to Pittsburgh to visit you.

Eve: [00:44:11] Yes, that was a long time ago. A long, long time ago, yeah,

Lindsey: [00:44:14] Long time ago. So, you’ve certainly been an inspiration and a part of this process.

Eve: [00:44:19] And maybe, sometime you want to even crowdfund one of your projects.

Lindsey: [00:44:23] I would love to explore.

Eve: [00:44:24] Can’t mention which one.

Lindsey: [00:44:30] That would be great.

Eve: [00:44:31] Thanks very much, Lindsey.

Lindsey: [00:44:32] Thank you, Eve.

Eve: [00:44:43] I hope you enjoyed today’s guest and our deep dive. You can find out more about this episode or others you might have missed on the show notes page at RethinkRealEstateforGood.co. There’s lots to listen to there. Please support this podcast and all the great work my guests do by sharing it with others, posting about it on social media, or leaving a rating and a review. To catch all the latest from me, you can follow me on LinkedIn. Even better, if you’re ready to dabble in some impact investing, head on over to smallchange.co where I spend most of my time. A special thanks to David Allardice for his excellent editing of this podcast and original music. And a big thanks to you for spending your time with me today. We’ll talk again soon. But for now, this is Eve Picker signing off to go make some change.

Image courtesy of Lindsey Scannapieco

Real Estate Artist.

Liz Dunn is the owner of Dunn & Hobbes LLC, a Seattle-based real estate development and property management company.  Her focus is on repurposing older buildings and constructing new “skinny infill” mixed use projects.  These include the 1310 east union lofts, the Piston & Ring Building, Agnes Lofts, Melrose Market and Chophouse Row.  Liz also works as a consultant on urban design, retail curation and policy initiatives around building reuse and neighborhood fabric.  Affiliate companies of Dunn & Hobbes include the Cloud Room, a membership-based shared office and social club, and Cloud Studios LLC, a podcast recording and band practice rental studio facility.

Liz is passionate about supporting other entrepreneurs. Most of her retail and restaurant tenants are women-owned, BIPOC-owned, or both, and she is an active angel investor in tech, alternative energy, cannabis and consumer-facing companies. Liz currently participates in a board or steering member capacity for the Bumbershoot Arts & Music Festival, the Downtown Seattle Association, Capitol Hill Housing, the Pike-Pine Urban Neighborhood Coalition, and Lid I-5 and is a long-time member of the national Small Scale Developers Forum.  She is an affiliate fellow at the University of Washington’s Runstad Center for Real Estate Studies and a regular guest lecturer in the real estate program at UW’s Foster School of Business.

Read the podcast transcript here

0:00:08 – Eve Picker
Hi there. Thanks for joining me on Rethink Real Estate. For Good. I’m Eve Picker and I’m on a mission to make real estate work for everyone. I love real estate. Real estate makes places good or bad, rich or poor, beautiful or not. In this show, I’m interviewing the disruptors, those creative thinkers and doers that are shrugging off the status quo in order to build better for everyone.

0:00:43 – Eve
Liz Dunn is a real estate artist. After spending the early years of her career as a software developer at Microsoft, Liz made a hard pivot and launched her own Seattle company in a completely different field: real estate. The last 20+ years have been filled with people and buildings for Liz. Of her 35 or so retail tenants, all are local and over half are minorities or women. Fascinating names like Chophouse Row, the Agnes Lofts and Melrose Market label even more fascinating spaces. And then there is the Cloud Room. It’s a Culture club, lounge and bar packaged as a coworking space and located inside one of her buildings. Liz runs two affiliated businesses as well: Cloud Studios, a practice facility for musicians; and the Overcast Room, a podcast-recording studio. These businesses add a vibrant dimension to already fascinating buildings. With an organic but masterful style, there’s lots to learn from Liz, so listen in!

0:02:01 – Eve
Hi Liz, I’m so excited to chat with you today.

0:02:07 – Liz Dunn
Hi Eve, I’m excited to be here.

0:02:10 – Eve
So, you’re 20 years into life as a real estate developer now and I’ve been to your projects, and they are just completely inspired places that I really, I really can’t get enough of them. I mean really. With destinations with fabulous names like Chophouse Row and Agnes Lofts and Melrose Market. They just inspire me thinking about them. So, tell me about your company and when it began and where and why.

0:02:44 – Liz
Okay. Well, I fell into real estate development a bit accidentally. I did a major career pivot at about 35. I left tech and I really was going to go back to architecture school, try and get into the Masters of Architecture program somewhere. But of course, I didn’t have a portfolio and my skills were all tech and project management and I’d done an MBA, so I knew a little bit about finance and so I enrolled in a couple courses at UW to try and get a foundation while I worked on a portfolio.

And the portfolio just didn’t go very well because I got sucked into my first project, which was this tiny piece of property 3200 square feet, so 40 by 80, like that’s smaller than most single family home lots in Seattle, and, but it was zoned commercial six story and some friends who were also sort of interested in real estate development, it was in a good neighborhood, it was a weird property in a good neighborhood, they said let’s come, let’s go do this, let’s go do this together.

And so, you know, I was taking my courses and we were sort of trying to figure out this property and, long story short, the portfolio never happened and the application to architecture school never happened because they then decided to leave Seattle and move to another city and left me with this weird property. And in some ways, that’s good because, you know, none of us really knew what we were doing. So, three people who don’t know what they’re doing can just be chaotic. And, of course, I did everything wrong on my first project, and I think it’s really important to talk about that, because I know a lot of developers who feel like they did everything wrong on their first project.

0:04:37 – Eve
I did everything wrong on my first project. It took me about three times as long as the second one.

0:04:43 – Liz
Well, it’s funny, like how much you learn, and both good and bad. We used a great, fantastic architect who also had never done a multi-story building. He did beautiful AIA award-winning residential and institutional projects but had never done a multi-story mixed-use building. And we decided to do condos. So, like, I’ve never done for-sale products since then. But for some reason I thought it would be a great idea we were going to do these industrial lofts. They would be for sale.

0:05:13 – Eve
Liz, that was my first project too.

0:05:17 – Liz
Right? I mean it’s a great idea.

0:05:18 – Eve
I’m serious. Condos downtown. Eight of them.

0:05:20 – Liz
Condos downtown. Eight of them! That’s exactly right. Eight of them. Steel and concrete buildings. Spare no expense. And I’ll tell you, I want to, I don’t want to belabor this story too much, but fast forward to 911. Okay, so, as we’re building the project, the tech market melts down. You know, the dot com bubble burst. So, all my buyers, theoretical buyers have been eviscerated. And then 911 happens, two days before we got our certificate of occupancy. And the people may not remember who are younger than you and I but the real estate market came to a standstill and I had already taken deposits from two buyers who literally walked away from their deposits, they were so freaked out by 911. So, long story short, this is also pre internet, so you couldn’t do this fabulous instant guerilla marketing campaign to show people how fantastic the units were.

You had to, I had to wait a year until the Metropolitan Home article finally came out and the architectural record article finally came out, and in the meantime my partner at the time and I had to move out of our house and rent it to make the mortgage payments and move in. We ended up living in three different units of those eight units. We just moved, we just moved from unit to unit for two years. So, that was my first project. But the bank got paid and that’s an important lesson, right? Everybody got paid except me. I lost all my equity, but I did live to fight another day because, well, with that project was under construction, with the same bank, I purchased a much bigger property down the street and because I got such a fantastic deal on it, they lent me both a 90% loan-to-value long-term loan and they lent me the other 10%, my down payment. They lent me my down payment on a one-year line of credit.

0:7:29 – Eve
Those were the years!

0:07:30 – Liz
Those were the years. That does not happen anymore.

0:7:32 – Eve
No, it doesn’t happen anymore. No, it’s like 50%. You gotta go find the other 50%, right?

0:07:39 – Liz
Exactly, exactly. And I don’t recommend it. It did, it was why I lived to fight another day, because then I had this fantastic property and then the rent paid off that line of credit in the first year. So it was, it was structured to work, and the property was worth a great deal more than I paid for it. That’s a long story that I won’t bore you with today, but that’s what actually got me back on my feet as a developer, and that was five buildings and two empty lots in a package that I’ve been incrementally developing for the last 20 years, 23 years because I bought it in 2000, and one by one by one, so that’s Chophouse Row in the end. But I did it one building at a time, and each time I did a building I carved out a piece of that courtyard in the middle of the block to make it bigger. So, you’re familiar with that project.

0:08:36 – Eve

Oh, it’s just beautiful. It’s an organic piece of art. It’s lovely.

0:08:41 – Liz
It’s very eclectic because I did it one piece at a time, so some of it’s very old, old for Seattle. Some of it’s over 100 years old, pieces of it and other pieces are brand new. And I picked up one more piece along the way much later, and so there’s an alley that I carved out of one old building and a courtyard that I carved out of three others. So that’s what I love to do, and I’ve had some really great friends along the way that have helped me. Like I don’t want to pretend all the creative vision was mine, I have one architect friend, Jim Graham, who I met when he was working at Olson Kundig for Tom Kundig, who’s become very well known. But Jim peeled out of there pretty early and started his own firm and has helped me with a lot of these commercial projects and he’s got creativity coming out of eyeballs and he’s very good at the things that you see and touch, you know, at the ground level of these projects. And he helped us with Melrose Market as well.

That’s one that we did, I think we… oh well, I do remember the timing on Melrose Market. I had had an option on that property for many years, but the seller needed to figure out a 1031 exchange. He was an old guy who owned these three auto body shop buildings. He needed to figure out a 1031 exchange. He ended up buying a cattle ranch in Montana, which I thought was an interesting proposition to the IRS, but in any case, he did it and at that point it was time to close on the property, but it was 2008. So, I think we closed, no kidding, the last commercial loan in Seattle, which is an uncomfortable feeling. September 30th, we closed the loan 2008 and, joking aside, that’s literally the week that Lehman Brothers melted down and bankers were jumping out of windows. Like, it was not, it was terrifying, in fact. And we would have left a quarter million-dollar earnest money on the table, and we seriously talked about walking away, but we didn’t. The bank that lent us the money did go under but got the loan got picked up by another bank. We kind of toiled through that 2008 to 2010 timeframe and by the time the project opened in 2011, actually, things were sort of looking up. But what was interesting, and this goes, I know you wanted to ask me about tenant curation…

0:11:16 – Eve
It’s okay, it’s good.

0:11:18 – Liz
Yeah, well, I’ll hit on that tenant curation piece of it with Melrose, because we had two buildings that were pretty big for us, like, this, including this odd shaped one, that Trapezoid shaped one.

0:11:37 – Eve

And they were all auto body shops, right?

0:11:40 – Liz
Auto body shops.

0:11:41 – Eve

They’re very beautiful auto body shops, but it’s…

0:11:44 – Liz
It’s funny because they were pretty ugly on the outside, because they’ve been all sort of boarded up. They’re pretty on the outside now but they were ugly ducklings on the outside. But when you walked inside, you know, you couldn’t believe… the one building that’s now the market hall was clear span, but it was this weird trapezoid with a hanging mezzanine. It had this weird mezzanine hanging from steel rods, but it was stunningly beautiful with exposed brick, and we didn’t know what to do with it. And this is the only project I’ve ever really had a partner on, which was, you know, had its upsides and downsides. I don’t want to say anything. It’s I just do better, I do better rowing my own boat. I think it’s I just have a different outlook about how to deal with tenants than a lot of developers do.

So, I don’t mean to make that personal, but we did quite well together during the design and development phase and he, it was his idea to, well, it was originally my idea. I had had this micro-Retail idea for the next phase of Chophouse, which at that point wasn’t built and I’d put on hold. And he said what about that micro-Retail thing that you wanted to do along the alley up on your 11th Avenue project? He said I think that would be a great way to divide up this 6500 square foot weird trapezoidal space. And so that’s what we did, and so we put in these tiny tenants who actually paid really quite healthy dollar per square foot rents because we weren’t asking each of them to take very much space. And this is going to seem obvious now, but don’t forget, in 2008, when we started designing this, it was before this whole market hall renaissance had happened across the US, and so we were kind of out on a limb. But so, we put in the bathrooms, and we put in the heating systems and I do that a lot in my projects for all the same reasons, which is that you just want these small tenants to come in and be able to do their little thing, but make the rest of it turn.

0:13:45 – Eve
How small is small?

0:13:47 – Liz
Well, some of these spaces are 300 to 400 square feet, some of them are bigger.

0:13:53 – Eve
Could you do this in a 1750 square foot space?

0:13:57 – Liz
I think it just depends on if you can carve out a common area that feels generous and spacious. And we charge for the common area, like, like that’s part of what each tenant is paying for. So, someone in a 300 square foot stall, 300 square foot usable net square foot stall, is probably paying for 500 square feet. Like it’s quite, the common area plays quite a role, but then the common area is where the customers are standing and sitting and milling around and oohing and aahing over the building. So, the common area is part of the deal, you know, and if those tenants were in their own building, they’d have to build their own bathrooms and they didn’t have to do that. So, we provide all that.

0:14:48 – Eve
They have to get their own heating and cooling and everything else, yeah.

0:14:50 – Liz
Yeah. So, most of my experience over the years is with these smaller tenants who, you know, they’re often, and this goes back to how we were able to pull Melrose together during like what was, to that point, the biggest economic downturn we’d had in decades. The regular banks stopped lending money, especially to small tenants like that, like they couldn’t go to regular credit sources, but friends and family still had money, and so that’s how these small tenants were able to do their buildouts is, they raised their startup money from friends and family. SBA was still lending money, if I remember correctly, and so there was that as well. And so, in the end, we cobbled together I want to say three, four, six, ten, twelve tenants in the two buildings. And they cobbled together, just to repeat, you know, their money from friends and family and SBA loans, and a couple of them had other locations that had cash flow. But they’re all local. That’s just another defining thing about what I do. I don’t deal with national chains. They’re just not interesting. I mean, I’d hate to sound like a snob, but they’re not interesting and they don’t need my help getting established.

0:16:13 – Eve
And they may not have a soul, right?

0:16:16 – Liz

Yeah, and also, you know, there’s been some good research done on the fact that local business has way much more powerful knock-on effect in the local economy than a national business does, because national business is sending all their profit back to a headquarters somewhere else. In a local business, by definition, that money is getting spent in the local economy. And also just who they hire in terms of lawyers, and accountants, and so it’s all a local economy thing. So, it’s good for the city.  

0:16:48 – Eve
So, I was gonna ask you what gets you juices flowing, but I think it’s this huge, challenging jigsaw puzzle, right?

0:16:54 – Liz
Yeah definitely, definitely. I use the word, the term jigsaw puzzle, a lot. And it’s actually interesting, and you probably know this, but when you’re trying to put together a collection of six tenants, at Chophouse Row it’s actually, I want to say, 12 or 13 or 14 at ground level, you’re constantly, during those couple of years that you’re trying to get the tenant roster filled out, constantly running around in a circle saying, well, I think so-and-so is really gonna do it. You know and they’re really cool, so you should really be in here.

0:17:30 – Eve
Oh, yeah, yeah, yeah. Who’s going to be the first to bit, you know.

0:17:33 – Liz
Yeah, yeah. And so you run around in a circle for a long time, sort of getting them gradually closer to commitment and telling them who else is gonna be in with them, so they feel like they’re in good company when they all hold hands. But of course one question I get asked a lot is oh, isn’t the failure rate of these tiny local startups higher than national? And it’s actually not, because if you look at what happened, say, during the Great Recession or during COVID, I’m willing to bet I know this based on data from the Great Recession and I speculate that it’s true during COVID, the nationals will just shut down a hundred stores overnight and think nothing of it. They’ll just go poof. My little tenants work their asses off. Like you see them, they’re trying to preserve their livelihood and if it’s not working, they’re still working to the bitter end, they’re trying to save the business.

0:18:29 – Eve
I have a lot of small tenants too. They’re different, but I don’t think any of them shut down because of COVID. I mean, certainly some of them needed help with rent and free rent and all of those things to get through it, but they didn’t disappear because of COVID. Interesting.

0:18:46 – Liz
Yeah, it’s really interesting. I didn’t lose a single tenant during COVID, but I did give them quite a bit of help. And that was an interesting discussion because there were a lot of bigger players in Seattle who were quite harsh with their tenants.

0:19:03 – Eve
Same here.

0:19:03 – Liz
Yeah, and people would say to me, well, how can you afford to give them a break on their rent? And it’s because right at the beginning I went straight to my banks and said would you rather have an empty building, when all is said and done, or would you rather have tenants who are ready to pay rent again when the time comes? So, I did, definitely had to do it with the cooperation of my banks.

0:19:29 – Eve
I was pretty much the same. I mean, for me it was look, I’ll have the space empty when COVID’s over, or I will have helped these tenants survive, and I know which I prefer. So, it really varied from building to building how much I had to talk to my banks, but some buildings had tenants that, sort of, made it easier for the building to survive on a whole and others not. So, you know. But I heard the same thing from large landlords, like why would I give them a break if they owe me the rent? But maybe when you have millions of square feet of space it doesn’t matter so much. I don’t know.

0:20:04 – Liz
Maybe, maybe. But you see all these lawsuits going on in big markets, like, you know, New York and Chicago, where the landlords are insisting that the tenants pay all this back rent. The tenants don’t have that additional income to pay it. So you know what the end of the story is going to be, the tenants going to go bankrupt and get sued, or move out and get sued.

0:20:26 – Eve
And what can you get from a bankrupt tenant? Nothing.

0:20:29 – Liz
It’s nothing,

0:20:30 – Eve
Really pointless.

0:20:32 – Liz
Yeah, it is quite pointless, it doesn’t make any business sense, so anyway. So, but that’s the world of small tenants, and I think what goes hand in hand with working with local small tenants is working with local banks, because, even though, and this is kind of become a more maybe controversial or less certain statement than it might have been a few years ago because local, regional banks are looking shaky in certain ways, but I still would prefer to work with local and regional lenders because they actually give a shit and I know where they office and I can walk in if I have to and make eye contact with them.

0:21:23 – Eve
Yes.

0:21:25 – Liz
And they’re not going to. They’re not, you know, Unlike the CMBS loans.

0:21:29 – Eve
They know your market.

0:21:31 – Liz
And they know your market.

0:21:32 – Eve
They get what you’re doing so it’s not somewhere out there in the nether nether, yeah.

0:21:38 – Liz
Yeah, so that’s why I think that’s why I was able to have conversations during COVID with my lenders that others who bank with nationals might not have been able to have. It really worked out for me, and that was a lesson that I learned.

Going back to the Great Recession, I had one property financed, well not name names, but a big national bank based in Charlotte, anyway, who, almost who, basically turned out the lights for two years and didn’t pick up the phone at a time when they were supposed to be extending my mini perm into a perm loan on a project that was working beautifully, completely full, cash-flowing like crazy. But they wouldn’t pick up the phone and so I was just literally going to fall into default, and it was a terrible time to go find a new lender. Just because nobody wanted to lend. Nobody wanted to lend, right? But these guys were going to make my loan a perfectly good loan go bad and I thought never again. They came through at the 11th and a half hour just as I had found another bank and was about to move the loan. But well, never again.

0:22:57 – Eve
So, you’re a resilient woman, Liz.

0:23:01 – Liz
Aren’t we both, Eve?

0:23:04 – Eve
Don’t we have to be, right? Well, what is, out of all of this, what would you say is the biggest challenge you’ve ever had to face?

0:23:11 – Liz
Well, I mean, that’s a really good question. So, what I, when I talk to young real estate students, because I occasionally lecture on stuff like this and get that question, I’ve been through three massive financial crises, and you could call work from home a fourth if you’re in the office space.

0:23:32 – Eve
That’s my problem building, absolutely. I wish they were all tiny little offices.

0:23:40 – Liz
So, it’s interesting because each one of those crises felt literally existential, like each one could have easily wiped me out. So, I have to realize sometimes that I’ve been quite lucky and be grateful, because I could have gotten wiped out completely by that condo project and I hung on with my fingernails. I could have gotten wiped out in the Great Recession because there was a project that I was literally ready to well, Chophouse, I was literally ready to break ground on and wisely put on the shelf just the year prior, like, not knowing that there was going to be a meltdown. I just wasn’t quite ready to go raise the money and do the things I needed to do. And then, of course, COVID felt pretty existential. And then, you know, I remember the first months of COVID where we all thought this was like a three-month thing, you know, not a three-year thing. And so that really wore me down, I mean personally, physically, mentally, because it felt like a race that didn’t have a finish line.

0:24:51 – Eve
It did not have a finish line. Still doesn’t, actually, I think.

0:24:53 – Liz
Still doesn’t.

0:24:55 – Eve
Still really dealing, those of us in the physical world, are really dealing with the consequences of that little fuzzy virus.

0:25:05 – Liz
Yes, I’m still swimming around in a big black hole, not knowing what’s actually going to happen. Things have stabilized. I’ve just rented my office spaces for appallingly low rents, but I’ve decided that it’s going to take a couple of years to even get any visibility into the office market long term. And I just decided to take these horrible leases because some cash is better than no cash.

0:25:30 – Eve
So, what percentage of market rate are you talking about?

0:25:34 – Liz
Like two thirds, no, but that’s a good question. I’d say like I’m, I’ve just done a lease at a rate that is probably less than two thirds of what I where I thought we were headed in 2020.

0:25:48 – Eve
Yeah, I’m in pretty much the same space, yeah.

0:25:53 – Liz
Yeah, and so, you know, first of all you’ve got to cover your expenses, your triple nets, and second of all you’ve got to pay your, so I’m covering my bank debt and all my properties are covering their bank debt. I’m still sort of in what you might call special servicing, but just in the local, more personal sense, with one bank that is giving me two more years to kind of pull up my s and get back to sort of normal for them to agree to extend the loan.

But that’s one where if, even if at these horrible office leases, as long as these tenants do well and decide in two years they want to extend, I’ll actually cover the debt service coverage on it. So that’s one where I just need these tenants, or tenants like them, to keep leasing space, even at these horrible rates, I would be okay. And then there’s another one that switches from non-amortizing to amortizing in two years. That one’s actually trickier because, even though it’s a great property in a full building, I did a cash out refi I shouldn’t have done so I’ve leveraged myself too much on that one. So, when it starts to amortize, I’m not actually sure I will meet the debt service coverage ratio.

0:27:15 – Eve
So, anyone who’s listening might be wondering why we wouldn’t call this ‘If you do, you want to be a real estate developer, don’t’.

0:27:24 – Liz
Yeah, don’t. Well, and then, I don’t know, tell me, Eve, if I’m getting too arcane if that’s(unknown)

0:27:31 – Eve
No, I love listening to this, but what I would say to people listening is you know these have been real problems during these economically disastrous times, but the job of being a real estate developer is so immensely rewarding. It just surpasses these incredibly awful, challenging moments, don’t you think Liz?

0:27:55 – Liz
Well, it must, but I think there’s a certain personality, addictive personality type, that does it. I’m not sure it’s a completely rational trade off, but yes, I get, I obviously must get enormous joy from my completed properties, or I wouldn’t do it. And also, let’s talk about design, because I love the design process.

0:28:18 – Eve
Oh yes, I call myself a design slut.

0:28:21 – Liz
Yes, so I am, absolutely. I’m hovering over the architect’s shoulder trying to grab the pencil and they don’t seem to mind, so it’s OK. But I do think design matters and I really think I fundamentally got into this business and love it, because every building should not stand alone but can contribute enormously to its block. I’m profoundly passionate about blocks made up of buildings. I wrote my Master’s thesis about blocks made up of buildings, about the granularity of blocks and the composition of blocks and how older cities are so much more beautiful and functional and active because of the composition of multiple buildings on a block, which is unfortunately not what we tend to do anymore. I’d still do it, so I still will buy up properties on blocks where there are missing teeth and just fill in the missing teeth, and the result is stunningly more beautiful and interesting than tearing it down.

 
0:29:29 – Eve
Yes, I agree.
0:29:31 – Liz

And, as I like to point out to my, when I’m lecturing my MBA students who are all about the dollar signs, I get higher rent. I get higher rent because these are more interesting blocks and more interesting neighborhoods, because of these decisions, because it’s special. Because it’s special. And I get calls every day from brokers saying, Liz, do you have any character spaces? I’ve got a restaurant. They want an old building. Because in Seattle we’ve torn a lot of that down. So, I know this isn’t true in other cities and especially East Coast cities, where there’s much, much more original building stock, but in Seattle we have stupidly torn most of it down. Now it’s in really high demand.

But it’s funny, you still get these developers who don’t want to deal with it. They just want to assemble a bigger site to get economies of scale. And I think the economies of scale argument in construction is not complete bullshit. But I think the other end of it is you can afford to do things in a more granular way if you’re going to get more rent on the other end. And the other piece of it is, my buildings look good 10 years later. I mean they had character to begin with. Like, that doesn’t go away. Old buildings just get more beautiful and interesting as each year ticks by, by definition. And even the new skinny infill stuff I do I try to make really architecturally interesting in a way that I think will age gracefully, like my eight-unit condo building still has Instagrammers who take photos of it.

0:31:23 – Eve
Yeah, I live in a four-unit building. That was maybe even more foolish. It’s on a lot that’s maybe 16 feet wide and 100 feet deep and I had to purchase it from the city, get through historic review to build a new building with a sculpture at the front. 5,000 square feet took me 5,000… 5 years to build.

0:31:44 – Liz

But it felt like 5,000 years.

0:31:45 – Eve
But we have an Instagram site because every day, flash, flash, flash, there are like thousands of photos being taken. And once I got into a cab and I gave the address to the cab driver and he’s puzzling over where it is and he says, oh, you mean the building with the sculptures downtown and off he went, yeah.

0:32:05 – Liz
No, I mean, that’s why we do it too, right? That’s the reward, is to feel like you made a little piece of city that contributed. And so, I talk to the students about don’t build something that doesn’t add to its content. You’re making a piece of city, you’re building a building, sure, and I also say don’t let your architects go on an ego trip and do something that doesn’t, it have to match, that’s not what I’m saying.

0:32:37 – Eve
It isn’t the contextual, it’s got to feel right.

0:32:41 – Liz
It’s got to feel right, even if it actually is a huge contrast. I mean, just use your judgment, but you’re making a piece of city, to figure out if it works as a piece of city.

0:32:50 – Eve
You’re not making a money-making machine, you’re making a piece of city, right?

0:32:55 – Liz
Yeah, so that’s one of my favorite taglines.

0:32:58 – Eve
So, tell me, like, after doing all of this, what possessed you to also start a co-working space? You have the cloud room, and it’s not a chain.
And you also have something really tantalizing called Cloud Studios and the Overcast Room. I need to know what those are.

0:33:29 – Liz
Well, the Overcast Room is our podcast recording studio, which is booked this morning by another podcaster, which is why I’m not sitting in it. So, the overcast room is a podcast recording studio. The larger answer of how I got into the… oh, so Cloud Studios is a band practice rehearsal facility. So, it’s got 10 rooms. And the larger story of how I got into any of those businesses is sometimes, as a developer, you have to start a business to fill one of your spaces, to get your bank loan. I mean, it really is a practical thing that small developers often do. In Melrose we started a event catering wedding venue in one large sort of downstairs space that we couldn’t get at lease so suddenly we were in the wedding business. So that’s, it happens.

But I do enjoy the co-working business. I will say it’s not for the faint of heart. Our mutual friend Jim Hyde had me participate on a panel about it a couple years ago at the Small-Scale Developers Forum and we had three co-working owners up there, all of whom told the audience not to get sucked in, because you don’t do the math correctly unless you really know the business. You think, oh, there’s this great space and I can just throw some desks in there and if I charge this much for the desks, wow, that’s more than I have to pay the base rent on this space and what you’re missing is enormous costs around actually properly fitting it out and furnishing it and, on an ongoing operating basis, staffing it and marketing it and maintaining it and cleaning it and paying for your high-speed internet, and that often is far more than the rent. So, it is not a get rich scheme, but…

0:35:35 – Eve
But it can get your building full, and at the moment.

0:35:35 – Liz

It can get your building full and what it can do is spin out other tenants into other spaces as they grow.

0:35:44 – Eve
And also, at the moment, it is definitely more desirable space than larger, you know, floor plates, even if those larger floor plates are not that large, I mean. I have a building that’s an accidental co-working space. It’s a little bit like a schoolhouse and it’s got 13 small rooms, studio spaces, that, it’s very historic building. We didn’t set it up as a co-working space. But you know, electricity and heat and cooling are included, so someone can just move in and put a desk in there and start their business, right? I wish I had five of those things right now, you know, and I have other buildings which have two thousand, three thousand square foot floor plates. There are just no tenants for them, so that you know it’s four hundred square feet is an amazing place to have in your arsenal right now, I think.

0:36:44 – Liz
In Seattle the market is similar, but we can rent the two thousand square foot spaces. What we can’t rent are the four thousand and up square foot spaces. So, the co-working space, which is open plan, so it’s not private offices, is full, coming out of COVID. There’s so many freelancers and people working partly remote and people working remote to another city but who don’t want to be in their bedroom or their kitchen. So, we’re full of individual co-workers and all our small private offices scattered around our various buildings are full up to about Two thousand square feet and that’s where it falls off for us. So, you know, again, we’re very lucky to have filled our last Large office spaces, but at quite depressed rents. But we’ll see, we’ll see.

I think the pendulum on work from home for large, well, medium to large companies is yet to swing back and forth a couple more times before it settles, I think. I Think demand for office space will come back but before that happens, a lot more may leases may get terminated and not renewed, so a lot more space may get shed. I think the next couple years are going to be quite painful.

0:38:03 – Eve
I agree, I agree. So, and what about the bands? How often do they practice?

0:38:14 – Liz
They practice mostly at night. So, thank God, they are in a building, the basement of a building, that is below a restaurant and a furniture store and a bunch of office space. So, when they’re down there banging away at night, right? Because they all, they all have day jobs, these local bands they all have day jobs, so they’re practicing late into the night. I’ve been in that business for a long time, and I’ll tell you why. Not in this building that I that they’re in now, because I bought a building in 2000 that had a thriving band practice business in it, 35 rooms with 50 bands because sometimes they share, sometimes they share. And so the operator, the couple that was operating the business, decided to just up and leave to LA in about 2010 and I took it over. So, then I was a band practice space operator, having never done that.

0:39:12 – Eve
What haven’t you done?

0:39:13 – Liz
But it’s always out of necessity, right, Eve? It’s always out of necessity.

0:39:19 – Eve
It is. Yes, it is. So, tell me, what role does Seattle play in your work and the projects you undertake?

0:39:25 – Liz
Well, you know that’s such a such a tough question to answer because I’ve never done anything not in Seattle, you know and so I don’t really know. I don’t have a basis for comparison.

I will say, if I roll all the way back to the beginning, really, I started the company 25 years ago and there weren’t very many women in development. Even in staff roles at bigger development companies, there weren’t that many women doing developer type work. And I feel like Seattle was a place where I could do that, because it’s, one, it’s very squeaky clean. It didn’t matter that I didn’t have an old boy’s network. People were quite generous with their advice. I mean, Seattle is a nice town, let’s be honest, and the people are helpful, and the city is squeaky clean.

I will also say the woman that ran the entire department at the City of Seattle for buildings planning construction was in her job for decades and she was a gem. So that was helpful, right? Because when I started in the business 25 years ago, I could literally call her up or send her an email and say, Diane, I think the code, there’s a mistake in the code in this, in this particular way that affects my property. Like, if you read through it, it doesn’t… and she would look at, read it, you know, while we were on the phone and say, oh no, you’re right, we got to fix that. That’s not meant to do that. And you know, a week later one of her staff would have written a director’s rule fixing it because it just needed to be fixed, right. Now in Seattle that would be a year’s long process of red tape because you know she’s gone and it’s a much more bureaucratic,
I don’t know that the, the kludge is the informal, I don’t know if you’ve heard that term. The kludge of city regulations around development, just the layers and layers and layers of zoning and building code that have…

0:41:23 – Eve
It’s become impossible.

0:41:35 – Liz

Yeah, and it’s like, it gets layered on without anyone sort of going back to the, and so it’s actually this sludgey mess that needs to be cleaned up. You know, someone needs to start over. It doesn’t serve us in any way and it, Seattle’s particularly prone to Nimbyism and process and that kludge, that kloodge,kludge, I don’t even know, but I just read an article about it and it was very funny. All that layers and layers of gunk just serves people who don’t really want us to become a more dense, city and it doesn’t serve those of us who see an incredible affordable housing crisis that could quite easily be solved.

0:42:28 – Eve
Without the sludge. I think of Seattle as a creative talent magnet and so the projects that you do kind of fit perfectly there because it’s very vibrant and young and creative in feel. So, I think you got really lucky.

0:42:50 – Liz
I think so too, and that’s not something I could have foreseen 25 years ago. Seattle did have an energy, don’t get me wrong, and I had spent 10 years as a young kid at Microsoft and that was really early in that feeling like Seattle was gonna be a tech place. But we had a great indie art scene back then that we’re actually trying to figure out how to bring back because it kind of got lost in the sort of Amazons and others sort of washing over our city. The indie art scene and the indie music scene kind of got washed away along the way. But there’s a big effort now. We’re bringing back our music festival, which is called Bumbershoot, and I’m very involved in that. Yeah, it’s Labor Day weekend and it’s gonna be local and fantastically weird. There’s a huge visual and performance art component to it this time around and a great but obviously a great music festival line-up and we’re gonna see if we can turn it into a year-round brand and have parades downtown at different times of year and performance artists doing weird things on street corners. Yeah.  

0:44:02 – Eve
That sounds like fun. So, what are you working on next? You and I have talked about what that means right now, post COVID, but what is the next project?

0:44:13 – Liz
Well, I’ve got to be honest, like, I’m not doing as much next as I’d like because I’m a bit capital constrained because of everything we’ve talked about. What I would love to do more of, and I don’t think this will happen until I actually can figure out how to exit from some of my larger properties, but what I would love to do more of is these tiny neighborhood interventions. So, I just did one that was very satisfying with my own money. Like, so I do have a lender, but I didn’t need to bring in investors.

It’s a tap room for a brewer that I’ve been very good friends with for 20 years. He was the only African American brewer in Washington state, but there’s now a couple more, which is fantastic. But he and I always wanted to do something together and he left Starbucks. He was an executive at Starbucks, and he left to start this brewery. And then we were like, let’s do a tap room in the central district, which is traditionally our African American neighborhood. It’s been horribly sort of gentrified and lots of people have been pushed out, but there’s a really great energetic cadre of young black professionals that are trying to reclaim it.

It’s easier to do in the commercial corridors than it is, obviously, in the residential streets that have been sort of bought up by wealthier people, tech people. I mean that’s a little bit the yin and the yang of all this tech money, right? But we’re trying to reclaim the commercial corridors. I feel like I have learned a lot over the years and continue to believe I have a lot more to learn about what it truly means to be anti-racist and try and get property ownership back in the hands of the African American community. Like, this is a neighborhood that was redlined until the 1980s, like just before I moved to Seattle. Like it’s as a Canadian, this has just been also just such a, my trajectory in Seattle, like it’s just been an eye-opener and I’ve just learned so much along the way and it’s a little bit shocking that this neighborhood was redlined literally until just a handful of years before I landed in Seattle.

So my approach to these little projects is not to tell people what I’m gonna do, but for them to tell me what they want me to do. And to set them up so that eventually they can be owned by the people who are gonna occupy them. So, it’s a two-step process in a lot of cases, because I have the privilege of having bank relationships and investor relationships, so I can bring the money and be the platform and I can get people set up in their spaces and then over time they can buy those spaces from me, and so I wanna do more little projects like that.

0:46:48 – Eve
Oh, that sounds fabulous. You’re going to have to give me your formula. It really sounds like a fabulous…

0:47:03 – Liz
Well, I don’t know if I have one yet, Eve. I’ve done one, but…

0:47:06 – Eve
When you do, I would love you to share it with me.

0:47:08 – Liz
When I figure it out.

0:47:10 – Eve
Okay, well, this has been delightful. As delightful as your projects. I’ve really enjoyed every moment of it. Thank you so much for joining me.

0:47:17 – Liz
Welcome. I love talking to you always, and so it was a pleasure and I’m flattered, and I hope I get to see you in person soon.

0:47:24 – Eve
I hope we go to Savannah, is that? Are you going to, Savannah? Small Scale Developer Forum, everyone. If you’re a Small Scale developer, you really must go, so it’s really the only conference I like. What’s there to say? Thank you so much.

0:47:39 – Liz
Absolutely, so I will see you in Savannah in November. Okay bye, Eve.

0:47:45 – Eve
Bye.

0:48:06 – Eve
I hope you enjoyed today’s guest and our deep dive. You can find out more about this episode or others you might have missed on the show notes page at RethinkRealEstateforGood.co. There’s lots to listen to there. Please support this podcast and all the great work my guests do by sharing it with others, posting about it on social media, or leaving a rating and a review. To catch all the latest from me, you can follow me on LinkedIn. Even better, if you’re ready to dabble in some impact investing, head on over to smallchange.co where I spend most of my time. A special thanks to David Allardice for his excellent editing of this podcast and original music. And a big thanks to you for spending your time with me today. We’ll talk again soon. But for now, this is Eve Picker signing off to go make some change

Image courtesy of Liz Dunn

Be Good Development.

Franchell Abdalla is the principal of BE GOOD DEVELOPMENT PARTNERS,  a real estate development firm specializing in the acquisition, financial structuring, community engagement and execution of real estate projects.

BE GOOD’s development consulting services enable their clients to achieve their full development goals. For municipal governments and public housing authorities, Francell adapts methods suited to the particular municipal context and agency portfolio. For non-profit and for-profit developers, she provides a range of services throughout the pre-development, development and post-development periods, emphasizing strategic investments in people, places and transformative projects.  In addition, Franchell has an equity stake in many of the projects she is working on.

Franchell has over 15 years’ experience driving strategic growth and diversifying funding portfolios for nonprofit organizations, government entities, public housing authorities and community stakeholders. She is highly competitive, detail focused, persuasive and articulate, able to achieve results others believed to be impossible. Her expertise lies in forging collaborations across sectors, building sustainable partnerships, commercial real estate development, strategic visioning and program development. She is trained in social anthropology, at the University of Nebraska, holds a Masters in Public Administration from Bellevue University and a Masters Certificate in Nonprofit Management (focus in Urban Public Policy) from the University of Nebraska at Omaha.

Read the podcast transcript here

Eve Picker: [00:00:07] Hi there. Thanks for joining me on Rethink Real Estate. For Good. I’m Eve Picker and I’m on a mission to make real estate work for everyone. I love real estate. Real estate makes places good or bad, rich or poor, beautiful or not. In this show, I’m interviewing the disruptors, those creative thinkers and doers that are shrugging off the status quo in order to build better for everyone.

Eve: [00:00:41] Today I’m interviewing Franchell Abdalla, a minority in every sense of the word. She is black, a woman, and a real estate developer. But that’s not stopping her, not for one little moment. Franchell only recently launched her development company, Be Good Development. And yet she has her sights set on an incredibly complex and rich real estate project. She assembled an astounding team to win a significant request for proposals issued by the city of Tulsa in Oklahoma. She won and has been grappling with a 100,000 square foot foundry building, planning its repurposed life and working on the legal and financial structure. There are plenty of setbacks, as there always are in projects like this, but to Franchell it is all a joyful challenge. There is lots to love in my conversation with Franchell. Please listen in.

Eve: [00:01:54] Hello, Franchell, I’m really delighted to have you join me today.

Franchell Abdulla: [00:01:57] It’s great to be here, Eve. Thank you so much for inviting me.

Eve: [00:02:01] Good. So how does a sociology major become a real estate developer? I’d really like to hear about your journey.

Franchell: [00:02:09] Yeah, absolutely. I would say in a very non-traditional, kind of circuitous way. I started off really, as a pre-med major in college, and so as a pre-med major, I thought, you know, like most people, I’m going to graduate, go to med school and then my focus was really on becoming a Foreign Service officer, wanted to do Peace Corps and the like. And so, started off, but, you know, never thought about sociology, didn’t know anything about sociology, started taking classes and was hooked, right? So sociology and then cultural anthropology were things that I focused on as an undergraduate. And really, just the study of people and cultures and societies is what really gave me this kind of foundational understanding of the importance of community and community building in real estate development. I landed in real estate in a way that’s very non-traditional, right? I needed a job. I just had my second little one. She was six weeks old and there was an opportunity to work at the Housing Authority in Omaha. And so. I literally took a temp job on a whim because we needed to feed them and went and just fell in love.

Franchell: [00:03:19] I’ve always had a love of the built environment, and I think my mother probably would have been an architect if she had the language for it. But she went into computer science engineering instead. But she was an artist and a very analytical mind. And so, we were like really steeped in that. And so when I get to the housing Authority, it was really a merging of all of those experiences I had had along the way. It was both built environment it was just kind of pragmatic approach to development and my understanding of development, it was the practical application of really learning how to work through grants and fund raising and capital improvement projects. And then at the same time, it was just undergirded by the love of community and how do you create opportunities in communities. So, it wasn’t a direct path. I didn’t even know what real estate development was when I got into it. But I definitely am so grateful for the way that it is, it’s kind of unfolding.

Eve: [00:04:17] Isn’t it great the way you can find a path unexpectedly and fall in love with it? It’s really great.

Franchell: [00:04:23] Absolutely. That’s why I love the story of Iris Apfel, where she talks about, she is like this accidental icon. I feel like I’m the accidental developer very much in the same way.

Eve: [00:04:34] The accidental developer. That’s what we’ll have to call this podcast. Okay.

Franchell: [00:04:36] Yes.

Eve: [00:04:39] So then you launched Be Good Development Partners. What led you to launch that? That’s a long journey from the Housing Authority too, and when was that?

Franchell: [00:04:51] So I launched fully in 2018 as Be Good Development Partners, and it really initially was called Transformative Community Development. It was a way that I was consulting for the Housing Authority and for the city of Omaha while I was working at the Housing Authority. And so, once I transitioned to Tulsa, I wanted to be able to move TCF with me and thought, you know, it’s a, it needs a rename, right? It’s time to rebrand. I wanted something fresh and new, and I really grew up with a very large family and something that my grandmother always talked about, you know, was like being like this silent kind of goodness, right? At the block level. My grandmother didn’t go past sixth grade, and so she was kind of like this rock on our block, right? when I was a little kid. And she always had a saying that was be good. Every time we would talk to her or leave or have a conversation with her, she always ended with, well, be good. And so, for me, that was a way to kind of like honor her legacy and honor her. And so, when I came to Tulsa and decided that it was time to also go into development, which was also accidental, by the way, Be Good seemed fitting as a name, so Be Good Development Partners kind of was born out of that.

Eve: [00:06:04] So what is your philosophy then as a real estate developer?

Franchell: [00:06:09] I would say my philosophy is really about transforming communities from the inside out, really looking at what are ways that we can create goodness by being small and intentional and impactful in the spaces that we reside in? How can we think about the communities that we’re developing and as a neighbor rather than an outsider? And then, how do we create this real, not only catalytic, I think, but disruptive change from a systems level? And so Be Good really is that amalgamation of those things. It’s how do we create good? How do we ensure that there is long, impactful good? And then, you know, at the end of it, how are we just being in community, showing up in those ways in order to be good?

Eve: [00:06:56] And then I have to ask, so, your portfolio, when did you launch? It’s been a while.

Franchell: [00:07:03] It’s been 2018 since I came here, but I literally launched in 2021 with the Evans Venture Project. Oh, so very young.

Eve: [00:07:13] Very, very new firm.

Eve: [00:07:15] Yes. And why Tulsa?

Franchell: [00:07:17] So, I was initially relocated to Tulsa for a job, so I was kind of poached out of Omaha doing some of the work that I’d been doing in community and, you know, attracted to come here. So, I worked for a small nonprofit, and my goal was to really raise about $13 million and do a full-blown capital campaign for our Child Abuse Network, which is a small nonprofit focused on like childhood intervention and prevention around child abuse and neglect. And so it was in a very different space that I had operated in. But it was kind of this opportunity that I couldn’t pass up. There was a great leader at the helm of it at the time that had come. She’d been a city councilor. As soon as I came here, I really believed in the vision. I really believed in, like, what the direction was going to be for the organization. And so I just decided it was time, you know? And so we uprooted and came to Tulsa, and six weeks later she left the organization. It ended up in hindsight, it was probably one of the most incredible opportunities that ever happened because it forced me to dig in and figure out where I was at, start to break apart what is this community? Who are some of the key stakeholders in the community around this particular issue? What are other communities that I’d be interested in? And I got an opportunity to really raise and recruit money and then do the construction feasibility and build out. So, I was able to kind of like lean into all these different spaces in a very unique way. And then we stayed, you know, great friends and stuff. So, she continues to be a mentor, even though she works for the city of Tulsa now.

Eve: [00:08:53] Interesting. So, do you have any projects under your belt yet for Be Good?

Franchell: [00:08:59] So projects under my belt for Be Good, again, like I said, I do a lot of development consultant, so working with the small ten-acre project, it’s really an agrihood kind of project I’m very excited about where it’ll be a really an arts and culture enclave, so it’ll be a small creative co-working space and venue. It’ll be some Air BnB cabins, and then it’ll also be a small, tiny home village for artists to come and do residencies and fellowships in the arts. So very excited about that. Um, I would say we’re also working on a very, very, very, very cool project that I’ll be heading out to look at today that’s really focused on our large, unhoused population. And so, it’s also a village concept looking at what are, like, how do we insert supportive services and wrap-around supports for people who are chronically unhoused? And its master planning that site. And so being able to pull together, you know, a small all-female team is like really exciting for me on that. And it’s 23 acres. And then of course, the one that we’re probably the most well-known for that really launched us is the Evans-Fintube project in historic Greenwood. And so those are some of the projects that I’m working on.

Eve: [00:10:16] And that’s a really big one too, right?

Franchell: [00:10:18] It’s a huge project, not in terms of its footprint, although it is an 11-acre site and it’s a historic mixed-use. It would look to change the Oklahoma Ironworks into commercial retail community anchored commerce as well as some retail and breweries. But then it would also create hospitality as well as some additional office space.

Eve: [00:10:41] So you’re glossing over these, but really, these are unusual, unusually large and complex projects for a small star-up real estate developer.

Franchell: [00:10:52] Yes.

Eve: [00:10:53] You know, typically you hear, well, I flipped a couple of houses and now I’m looking at a fourplex. So, you just went from nothing to everything, Right?

Franchell: [00:11:05] Right. If you’re just going to go, go all the way in. Right.

Eve: [00:11:55] And especially through Covid, which has been really horrendously difficult in the construction industry. And borrowing money. So, any of these projects yours or are they mostly consulting projects?

Franchell: [00:11:20] The first project that I talked about with Agrihood, I am an equity partner and then the developer on that project, the same with Evans-Fintube would also be a part of the ownership group as well. And that would be my project.

Eve: [00:11:33] Okay, that’s fabulous. They are big and complex projects. So where does your inspiration come from and how do you find these projects and does history count?

Franchell: [00:11:46] Um, history always counts, right? If we’re going to be thinking about how we build for the future, history is critically important, but I think the projects, they come out of where I am, you know, the folks that I’m working with, architects, planners, construction folks, community members, my neighbors. I think they come out of my love for this place. Um, seeing things that are currently missing in either the skyline or the landscape that that we deserve to have injected back into community. And I think they come out of this just passion for making sure that what we build is not just meaningful, but it’s sustainable and it’s built and designed and led by and owned by folks who look like people that come from the places and spaces I come from. So that’s kind of what it’s born out of.

Eve: [00:13:40] Let’s talk about the Evans-Fintube project, which is the big one in in Tulsa, Oklahoma, and just explain what is that?

Franchell: [00:12:55] Evans-Fintube, it was a foundry. And so, it was a site for one of the largest kind of steel and metal manufacturing facilities in the state of Oklahoma, let alone Tulsa. But it was established in about 1901, and it was originally Bethlehem Steel and Supply. And so much of the steel that’s in the skyscrapers that are in the downtown skyline came out of this particular foundry. And so, between 1901, which is really pre-statehood in Oklahoma all the way to about 1961, this building operated and it was a series of about 20 buildings that were on 22 acres of land. Well, to the north of us now is the BMX international headquarters that occupies 11. And then Evans-Fintube, which is the only originally standing building, is on the remaining southern edge, which is 11 acres as well.

Franchell: [00:13:52] But what’s really unique, I think, about this particular site is that it tells the story of Tulsa. It is Tulsa. Tulsa as we know it. It talks about the story of philanthropy, Bethlehem Steel and Supply, which then became known as the Oklahoma Ironworks Building. It is sitting on 11 acres of historic Greenwood. And what that means in terms of the 1921 Tulsa race massacre, the building itself sits on top of two Cherokee allotments, which is interesting because Tulsa, yeah, Tulsa is the largest reservation in Oklahoma. And so, we’re still in Indian territory. And this building kind of is a line of demarcation for that. And then the southern edge is actually the original block 49 of the city of Tulsa. And so, it is an actual Creek Freedmen settlement.

Franchell: [00:14:42] And so it’s all this unique complexity and beauty of Tulsa, both, you know, good as we know it, right? The oil boom, the art deco buildings that have gone up, you know, the story of, you know, small town boomers that come and build their livings. And then it’s also the complexity of the forced migration into Indian territory, being on a reservation, re-allotment of land. We’re bounded by Highway 244, so it speaks to eminent domain and what that did in communities of color. And then again, it’s in historic Greenwood. And so, when we think about what happened in 1921 and the Tulsa race massacre, this building actually sits as a backdrop to that experience. And so, while most of Greenwood burned in 1921, this building was never scorched. And so, you know, we really feel like it’s an opportunity to not just reclaim space but reassert the right to have space into the future. And so, for us, it’s really this interesting weaving of a Tulsa narrative that I think has the potential to speak to not just Tulsans, but I think The Globe. And so that’s what’s exciting about the project. It’s a very unique project.

Eve: [00:15:53] I’m watching your face and I’m seeing your excitement. And most people would run screaming from this sort of complexity, but it looks to me like you run right into it. Yeah, yeah, That’s pretty fascinating. So, what is the building? How big is it and what are you turning it into?

Franchell: [00:16:12] So the building is 100,000ft² and it’s simply beautiful. It has this incredible layout. And because it was a foundry, I mean, there are lots of, like, steel and brick and glass. And so, we’re going to be reskinning it in that way. But what we’re looking at is having a 54-room boutique hotel. And really that’s a tribute and an honor to J.B. Stratford, who was one of the, I would say, singular, most well-known folks who had a hotel in Tulsa at the time of the height of 1921. It was burned to the ground. And so, we want to be able to pay homage to that and rebuild that with inside the footprint. And then there will be about 25,000ft² of localized retail. So again, really kind of restitching that thought and that ethos around Black Wall Street being rebuilt, creating these opportunities for local businesses and small entrepreneurs to come into this space and that retail space and have pop-ups to be able to have shops, to be able to really make their mark and create a new market for commerce and cultural tourism. And then there’s a small, I would say it’s about 14,000ft², of creative office. And so it’s like, how do we encourage folks who are into tech, who are into arts and culture, music production, video production, to be able to come and be housed there? So it’s a producers lab is really what it is in terms of creative office and then again, a food hall concept, but not your food hall of the 2000s, really more of a chefs collective, where it’s a curated list of local restaurateurs and local chefs that have pop-up menus, provide a variety of different offerings to folks at our site as well as to the BMX and then also throughout the downtown corridor. So that’s the building.

Eve: [00:18:10] So in other words, as complex as its history.

Franchell: [00:18:14] It could get. It is actually.

Eve: [00:18:17] It’s totally wonderful. So, you won an RFP. The city owns this project. Tell me about that. For those of our listeners, you’re a Black real estate developer, which is in itself extremely unusual. But you won this, unfortunately very rare, but you won this RFP from the city. Probably, there was some, you know, rather traditional developers who went up against you. Right?

Franchell: [00:18:45] There were, there were lots. There were actually 12 that we competed against.

Eve: [00:18:50] Wow.

Franchell: [00:18:51] And that was exciting. So, we started the RFQ originally in April of 2021. And so, we had been in that process for a while. And so, we went through RFQ and out of the 12 developers or development teams that submitted, it was actually whittled down to four. And out of the four, I was on two teams and so I was on one team as a development consultant and then one kind of leading this small, localized, ragtag team of folks. And at that point it became public that I was on two. And so, I made a decision that if there was ever going to be an opportunity to launch, this might be the way to launch.

Eve: [00:19:35] Yes, indeed.

Franchell: [00:19:36] And so decided to lead that team from RFQ into the RFP. And then we were in the RFP for about a year, and I was able to assemble not just a local team that was really strong that I love, right? Because we have a lead project engineer that is African American. Our lead project architect runs a small architecture firm, young African American woman. The head of our construction, while it’s a large construction entity, our project director is an African American woman. The person who leads the minority contractor Academy for Trade Partner Development and Skill Development is an African American woman. We were able to really start to identify these strengths in community that oftentimes get overlooked but could be elevated given the opportunity. And so, you know, our mantra was this, you know, we have an opportunity to create and really expand local capacity, leveraging national talent. And so our construction company is a national firm. We have a design consultant, is a national firm. Our historic preservation consultant is also a national firm.

Franchell: [00:20:50] And so we’re able to use those skill sets, that capacity to be able to bolster what we have at the local level. So once this development project is over, that capacity stays in community and can only grow and evolve. And so that has really been the gift of being the leader of this team, is being able to see that flourish. Stayed in the RFP for a year, went through a lot of series of, you know, fits and starts in that process because there were many people that didn’t want to see it maybe progress as far as it did. But eventually, you know, after we started, we were awarded May 10th of 2022, the RFP, and it was announced. And then since it was announced, we have continued to kind of work through a series of both requirements and challenges. Community engagement. I really credit community to ensuring that we won not because we weren’t the most qualified with community backing, but we were the most qualified team with the greatest amount of community engagement and support. And so, I’m very, very proud of that because we are a community team with, I think, national expertise. And so, we just continue to work on that. We have definitely faced challenges as it relates to this project.

Eve: [00:22:12] Tell me about the challenges, because I’ve been through an RFP process like this as well, and we had the architecture team drop out at the most awful moment when I think we would have been selected. So it was, you know, I understand that because it’s such a long process, it’s a pretty fragile process.

Franchell: [00:22:32] It is. It is. And I think those are the lessons that you learn when you get into this space, right? It’s the things that you don’t know that can happen. And so as we’ve progressed through the project, have had lots of iterations around how to properly set up the LLCs, what are the roles and responsibilities, what is the role of the city, right? Because the city is the actual owner of the land. But there is an economic development entity that has actually managed and facilitated the process even though they don’t own it. So, we kind of have two constituencies that we have to support and ensure that they feel comfortable with us. The project team, the project team has stayed intact. We did have one shift. We previously had someone who was maybe a managing member of an entity moved from being an employee to becoming his own kind of developer. And so that shift caused a great amount of concern in our team to the point where this kind of economic development entity said, well, you know what, no, you no longer have the capacity, you no longer have the skill set that left when this individual left. And so we want to stop the process, put it on hold and not award you the RFP.

Franchell: [00:23:47] What it is teaching me is that I never understood how political the development process is. Right? You can love a great building, love a great space, believe in the possibility of a project, but understanding the complexity and the politics around how things get built is equally important. And it’s also showing us, I think, as a team, a collective team, because I will say, while that individual left, no one on my team has dropped out in the two years that we’ve been in this, which is a testament to their own passion and commitment to this. But what I love about it is it’s also showing that there are tough times where, as women and as developers of color, in particular, you know, being a black female developer, developing in a space that there are no black female developers. I’m the first black developer to ever make it this far in an RFP in the city and absolutely the first female developer to do that. It is creating conversations around the discomfort of seeing me show up in the space that traditionally we have not occupied. And so, I love that, right? I love that. The room doesn’t have to be prepared for me. I can figure out a way to create a new table, but I want to have those uncomfortable conversations about why it’s necessary that I’m in the room. Necessary, why folks who look like us are in those spaces. We bring a very different view to development and one that’s missing and necessary in the future of how cities are built and created.

Eve: [00:25:28] Right. And there are challenges with financing, too, which may be.

Franchell: [00:25:33] My goodness.

Eve: [00:25:34] Are they political or are they just inbred? I don’t know.

Franchell: [00:25:38] Right. And are they both?

Eve: [00:25:40] Are they both.

Franchell: [00:26:41] You know, political at the local level, right? Like did you use a local bank? Who got the local construction contract that’s going to have the depository, you know? And then at a national level, like these changes in capital markets, inflation, rising interest rates, I mean, they’ve increased our project budget by about 20 million in the first phase. And so, to have a project that went from $41 million in the first phase to $68 million in the first phase, I mean changes all the numbers, right?

Eve: [00:26:12] And so now I’m building a project where it’s exactly the same, a 50% increase. It’s crazy. It’s been a crazy couple of years, Franchell, really crazy.

Franchell: [00:26:23] It has been. I mean, whether it’s lending requirements have changed, how you’re being scrutinized through underwriting, right? And there’s something to be said when you’re managing just numbers and they’re looking at that as a package. And then there’s something to be said when you add on the layer and complexity of the mitigating you as the risk as well. And so, we’ve had to think through that and get creative about reprogramming, building out in stages even within the first phase. And then we’ve had to think more creatively about what type of capital should we attract, whether that’s individual investment, community investment now. What additional federal dollars could be attracted to the project, new markets, tax credits, solar? And then also, you know, is there philanthropic investment that we can look to to fund some of these, like, financing gaps?

Eve: [00:27:14] Right, right. So, do you think all of this is going to be resolved?

Franchell: [00:27:18] You know, development is funny. That’s why I kind of love it. You never, never know, right? We get a notice from partner Tulsa or, excuse me, the development entity that they no longer want to negotiate with us and the project is off. But ultimately, they’re the facilitators of the process, not the owners of it, right? And so I always learned, you know, in real estate, it’s about the buyer and a seller. And so we went to the seller, which is the city of Tulsa, right? And had a conversation with the mayor. And what I recognize is that there is a desire to come to a common ground. What is the middle? Right? Because we could have polar views on how we get this done, right? You know, the economic development entity and I might not see eye to eye, but where is the middle space in which both of our kind of initiatives and goals are achieved? And I’m finding that that’s actually sitting within the city of Tulsa, at the mayor’s level. And so, I am hopeful. We’ve had great conversations about moving the project forward. What are the ways in which we can do that and then what are the ways that we can create a lose-lose and not a win-win, right? Because we’re taught, okay, you want the win-win, we want everyone to win. Well, that’s not possible. How do I lose a thing that I want without changing the nature and character and the integrity of the project and how do they lose a thing that maybe they want in order to ensure that there is partnership on board, that we can move the project to become built? I believe in our administration, challenging as it is at the city level, I believe that the mayor is committed to getting this built and committed to ensuring that the legacy that he leaves is one of like, opportunity for the city of Tulsa. So, I remain hopeful. I’m optimistic by nature.

Eve: [00:29:14] So you don’t see it as a setback. You see it as another challenge, right?

Franchell: [00:29:18] Absolutely. Only challenges get….

Eve: [00:29:31] Only challenges, right. So, I’m going to shift gears a little bit because I met you at a really interesting event. It was a panel discussion that Freddie Mac, of all institutions, invited us to. And I learned a lot about Freddie Mac there. They’re actually a really amazing organization. And one of the things I learned about was that Freddie Mac has started a Develop the Developer academy.

Franchell: [00:29:46] Yes.

Eve: [00:29:47] And that you were the first graduate from their first cohort. So, I was astounded by that. I want to hear what it was like and how they found you.

Franchell: [00:29:59] Yeah, absolutely. So, like you said, Freddie Mac has been an incredible partner. And so, in 2019 going into 2020, Omaha actually launched the first Develop the Developer academy through a CDI called Spark. And because I’m from Omaha, Nebraska, still had really great ties there, learned of the program. I said, well, you know, can I participate? And was selected, went through an application process, was selected, and it went online because of Covid. And so that hybrid opportunity gave us an opportunity to just dig in. I mean, we learned about Proformas at length, the development team, the development process. Who are the, you know, what roles and responsibilities, how do you actually think about equitable neighborhood development? There were a series of panelists exams and through that process I really found the confidence to become a developer, a confidence to launch, right? Because much of my experience has come inside of institutions, nonprofit institutions, the Housing Authority, the municipality and so much of what I know is attributed to them. This is an opportunity for me to say, no, no, no, no, I know some things and support it with some additional learning and expanded networks and resources. I could do this for myself. And so, their whole focus is to create a cadre of really skilled developers of color and those who identify as women to be able to go into community and to begin transforming it.

Franchell: [00:31:36] And so we went through this class, you know, they laid out everything and it was just, um, it unlocked something in me around development to where I didn’t know that I shouldn’t go after an Evan-Fintube, right? Like I felt like, hey, I’m ready to launch. Like, I can figure it out, right? We can build it as it’s flying. And so given the opportunity, once I had graduated from there, I felt like there are so many folks right in Tulsa that are doing incredible work and given the same experience, would create incredible change. And so, I wanted to bring it to Tulsa. Talked with Freddie Mac, talked with Spark about mentorship and kind of helping us form it. And I was working at a CDFI at the time, and they literally were looking to create some type of developer’s academy, more so focused on nonprofits, But we were like, no, no, no, no, this is an opportunity to create like real generational wealth change. And so, we were able to launch it in Tulsa solely focused on BIPOC developers, developers that identify as women, folks from community that really wanted to launch into for-profit development.

Eve: [00:32:46] Yeah, it’s pretty amazing. Really impressive. So, you were obviously a star pupil because you are a star graduate because they invited you onto that panel, which was really pretty fabulous too. So, all of this is amazing. So, what’s next for you Franchell?

Franchell: [00:33:05] To continue moving forward, right? Like continuing to be good, like making change where I can, partnering on projects where I can, leading development projects. Um, you know, being a parent, like running a very solid business, like that’s really what’s next. And so, I’m thinking about ways in which that we can reframe Evans-Fintube. I’m looking at new opportunities in the landscape around redevelopment. Um, I do kind of want to go back to my roots a bit in terms of residential infill and incremental development. And so, kind of, going back to that block level two and four unit that I was doing in Omaha, just as a person living in community. I’d love to see the opportunity emerge where I could consult in other spaces around creating new developer academies. There is something about the mix of information and training and expanded networks and the opportunity to practice that, like really makes a difference in terms of the confidence of developers. You just need an opportunity to launch. And so, to be able to create that or help facilitate that in other communities, I would love that. So that’s really what’s next.

Eve: [00:34:26] Well, I can’t wait to see what’s next. And thank you so much for joining me today. I’ve really thoroughly enjoyed this, and I’ve thoroughly enjoyed meeting you. So, best of luck with the Evans-Fintube project.

Franchell: [00:34:38] Thank you. I appreciate that, it was wonderful connecting with you too.

Eve: [00:34:59] I hope you enjoyed today’s guest and our deep dive. You can find out more about this episode or others you might have missed on the show notes page at RethinkRealEstateforGood.co. There’s lots to listen to there. Please support this podcast and all the great work my guests do by sharing it with others, posting about it on social media, or leaving a rating and a review. To catch all the latest from me, you can follow me on LinkedIn. Even better, if you’re ready to dabble in some impact investing, head on over to smallchange.co where I spend most of my time. A special thanks to David Allardice for his excellent editing of this podcast and original music. And a big thanks to you for spending your time with me today. We’ll talk again soon. But for now, this is Eve Picker signing off to go make some change.

Image courtesy of Franchell Abdalla

Globe Street Class of 2023

Who’s my crowd? According to GlobeSt.com/Real Estate Forum, the 2023 Women of Influence. 

That’s right: The publication named me a “Diversity Champion,” one of its special recognition awards. I’m proud to be included among so many women who are making their mark in what is still a male-dominated industry. And I’m especially proud that my work to enhance participation of women and minorities in real estate development and investment has resulted in this honor. 

Thank you to GlobeSt./Real Estate Forum!

Later this month many of the other winners will congregate at the annual Women of Influence event in Lake Tahoe. Although I’m unable to attend, I’ll be celebrating and congratulating my “new crowd” from afar. Let’s keep the momentum going as we further democratize commercial real estate!