April 5, 2016

Building the Bialosky Brand

2016 has brought along quite a few changes here at Bialosky—new projects, new hires, a new place to call home at 6555 Carneige Ave, a new name, and a new brand identity to celebrate and highlight these exciting milestones.

The first step in rebranding was to clearly define our promise to our clients and the process though which we make that promise a reality. To do this, we took a step back to analyze our design process and the values we hold as a firm. This introspection allowed us to define the four core values through which we interpret all aspects of the work we do: innovative, responsive, enduring, and beautiful. These four words and their corresponding promise were the jumping off point for the creation of the new Bialosky Cleveland identity.

Sketch, Discuss, Revise, Repeat

The cornerstone of the new identity is the name shift from 'Bialosky + Partners Architects' to simply 'Bialosky Cleveland.' Although we didn't intend for a name change when we set out on our rebranding mission, the name change grew organically out of the logo design process—reaffirming the value of an iterative design process of thoughtful discussion and intentional revisions. The design process began with a series of rough sketches exploring the basics of graphic identity: typography, mark, and color. These initial sketches were reviewed and discussed by our team and used to tease out successful ideas for further exploration. During the first round of sketches, we were drawn to concepts with bold typography that were simple, timeless, and clean while nodding to the idea of integration, cooperation and partnership. As these initial concepts were explored and refined, we found ourselves pairing down each iteration more and more until we landed on the final mark: a bold typographic treatment, stating simply 'who we are' and 'where we're from.'


This pairing down of the logo to its key parts led to the discussion of what exactly it would mean to simply be 'Bialosky Cleveland.' Bialosky's equity is not only tied to its leadership and history as an architectural firm, but also to its employees and its multi-disciplinary approach. We are a diverse group of individuals anchored by strong leadership and an even stronger history. We are architects, planners, interior designers, engineers, and environmental graphic designers. It's how we answer the phone and it's what our clients call us—we are Bialosky. The name change makes more sense now than ever before.


Color & Type

Pushing the ideas of simplicity, flexibility, and equity was key in the continued development of the Bialosky graphic identity. Blue—representing trust, loyalty, wisdom, confidence, and intelligence—has always been at the core of the Bialosky palette. The updated palette plays off of this equity with a bold pairing of blue/black and cyan. A classic navy and middle gray provide depth, while a bold pop of warm red rounds out the palette with an unexpected brightness.


Strong typography is the basis of the Bialosky Cleveland logo and is a pillar of the extended identity. The typography pays tribute to the equity of the past Bialosky + Partners Architects marks while adding a contemporary twist. The primary Bialosky typeface, Knockout, is a condensed sans-serif that subtly nods to the Bialosky + Partners condensed logotype of the 1990s. The secondary typeface Gotham, a geometric san-serif inspired by mid-twentieth century architectural signage, is a well-balance blend of new and old that adds a great deal of flexibility to the identity.


Function & Application

The flexibility of the new identity is continued throughout its various applications. As an integrated architectural firm, the Bialosky brand needed to be easily translated across a number of platforms from formal business letters and proposals, vibrant marketing collateral and environmental graphics throughout the office.




This work is protected and owned by Bialosky Cleveland and cannot be used, distributed, or displayed without permission.

January 5, 2016

We’re Moving!

Change is good, and it’s coming to Bialosky + Partners Architects in a big way. After 51 years in our home at Shaker Square, we are moving to MidTown.

Our new office, set on the second floor of the 6555 Carnegie Building, is nearing completion. Yes, we’ll all be on a single floor plate! We are all looking forward to the bright airy open floor plan that embraces collaboration among, what will be, nearly 50 employees.

“With all the tech businesses there, we think there is going to be a lot of good development that will make it a very desirable neighborhood,” Senior Principal, Jack Alan Bialosky, Jr. said, “It’s also a great old building. We’re very excited by the 12-foot tall ceilings, industrial windows and big mushroom columns.”

The move has been a catalyst for a head-to-toe rebranding (yes, we’ve done that in-house too!)
Soon you’ll see the whole package (sounds like another blog post!)



Rendering of the reception area in the new Bialosky + Partners Architects Cleveland office

Press: Crain’s Cleveland – Bialosky on move to MidTown


WHEN: January 8th, 2016. Our offices will be closed. We expect to be fully operational on Monday, January 11th.

WHERE: 6555 Carnegie Ave. MidTown, Cleveland, OH 44103

HOW TO REACH US: Our phone number and email addresses will not change; Continue to call, 216-752-8750 through our transition.

November 26, 2015

Project Spotlight: Marshberry Corporation

At this year’s AIA / IIDA Cleveland Design Awards, Bialosky earned a 2015 IIDA Design Award for the recently completed project, Marshberry Corporation. Karen Miller, Senior Associate, Senior Interior Designer of NBBJ (Columbus) chaired the jury for this year’s interior design projects, and said of the project: “Marshberry exercised a well-edited interiors pallet, allowing a small gesture to have a large impact.”


Entry to Marshberry’s new corporate headquarters in Beachwood, OH.

With a bold and fresh new brand, Marshberry Corporation sought an office space that would embrace its new messaging, attract and retain new talent, and encourage a culture of collaboration. Previously disconnected by multiple floors with challenging interior spaces, Marshberry aimed to not only unify their team and enhance the experience of their clients, but also to add spatial flexibility and versatility to their working environment.

I sat down with one of our primary designers of the space, Mandisa Gosa, for a few Q&A’s.


What were the biggest challenges to overcome in the project? 

MG: Space planning was very important. Marshberry predicted to only need 75% of their new floorplate immediately, so space planning for the present as well as the future was critical to get right. Another huge factor of success relied on the aesthetic leap from their current offices, set in a Jeffersonian building, to a modern work environment, and have the employees be comfortable and feel “at home” as the Marshberry brand was changing.

Lobby, with a pop of color at the end of the corridor.

Can you describe the philosophy behind using neutrals vs. color?

MG: The design balances a vivid, yet minimalist palette, with clean neutrals and measured pops of color & texture. Bright white surfaces were used throughout to celebrate the fresh new space and enhance the natural light while also serving as a backdrop for key design features. Brilliant yellow was used to highlight key areas, such as the acrylic panels cloaking the reception desk and adjoining wall of the kitchen and dining area.

How did you encourage interaction in the space? How is the space flexible?

MG: The strategic use of glass was key; completely transparent glass signals an open line of communication. It’s a value Marshberry looked to promote in their new space. Private offices are built with clear glass, allowing managers to be more accessible, and to simply wave someone in or motion “just one second”. It’s much more welcoming. The multipurpose space is a great example of a flexible work environment. With movable walls, easy to move furniture, pin-up surfaces, the space can easily transform from Conference to Cafe.

November 24, 2015

Project Spotlight: The Midway Cleveland Conceptual Planning

Bialosky + Partners Architects recently earned a Merit Award at the 2015 AIA/IIDA Cleveland Design Awards, for conceptual planning and design of The Midway Bicycle Network for a stakeholder group led by Bike Cleveland. Thanks to all involved, in particular, Bike Cleveland Executive Director Jacob Van Sickle, Board Member Barb Clint, St. Clair Superior Development Corporation, and Ohio City Inc.


Conceptual Midway Network Plan

The Midway seeks to re-utilize the historic infrastructure of Cleveland’s former streetcar network and leverages excess vehicular lane capacities to create an 80+ mile protected cycle track network. Protected cycle tracks provide continuous physical protection to cyclists while still being a part of the curb-to-curb street right of way. While the application of this typology to Cleveland is wholly unique, protected (or separated) cycle tracks are common throughout the world and are proven to make streets safe and comfortable for “all users from 8 to 80”. This infrastructure provides significant economic benefits and significantly increases the mode share of cyclists. Learn more about this vision at midwaycle.org andbikecleveland.org/midway/. Follow the project on Facebook here:facebook.com/TheMidwayCleveland

November 19, 2015

Ingenuity Festival Cleveland – The [switch] Box

Editor’s Note: The Bialosky team was proud to have Chris Persons be part of our team for a summer internship this past year. Chris is currently pursuing his Masters of Architecture at Kent State University’s College of Architecture and Environmental Design. This is a recap of an installation at this year’s Ingenuity Festival Cleveland that Chris and colleagues collaboratively designed, fabricated, and installed. 

The design team for this piece included myself  Adam Prtenjak, Greg Stroh; electronics and arduinos (an open-source electronics platform) by John Popple and myself; budget and grant acquisition by Greg Stroh and Nick Young; and construction was completed by Michael Carnessali, Adam Prtenjak, myself, and Nick Young.

Our original position was this:

Our original position was this:

The [switch] box is intended to be a low-resolution speculation on future architectural possibilities when digital technologies disrupt traditional built environments. Digital technologies< i.e. sensors, big data, smart cities > have the embodied potential to mediate spaces in a manner with no comparable historical precedent. In this case, the line drawn between user and observer of space in the form of a wall is blurred. Exterior passersby [observer] trigger, through an arduino-linked sensor, a binary color change of a specific interior module, thus informing the construct’s occupants [user] of ambiguous yet located activity outside. This tactic can not only be scaled up indefinitely; it can be implemented through digitally complex mechanisms to fundamentally alter the relationships between users, observers, architecture, and digital technologies.