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CONTENTS
IN THE NEWS 22 Dallas Museum ofArt opens to rave reviews; San Antonio River Walk designated to receive an AJA award; Rice Design Alliance sponsors high-powered panel on architecture criticism.
ABOUT THIS ISSUE 41 42 SMALL BUILDINGS 42 Articles on eight recent Texas projects that represent a broad range ofproblems and solutions while falling into the same general category-small buildings.
INTERVIEW WITH CHARLES MOORE 70
11 NEW TEXAS FELLOWS 84 Profiles of I I Texas architects elected to the American lnstitute's College of Fellows for outstanding contributions to architecture.
BOOKS 76 48 INDEX TO ADVERTISERS 98
DA VE BRADEN/MUSINGS 98
COMING UP: Next issue, Texas Architect looks at architecture and transportation.
ON THE COVER: William T. Cannady' s Fayeue Savings 58 Association in LaGrange. Photo by Paul Hester.
70
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AMEGA Innovators • Manu1acturers • Contractors Circle 16 on Reeder Inquiry Card Moving? Let us know 4-6 weeks in ad vance so you won't miss any copies of TA. Please include a copy of the old label. Attach Label New Address: Name ______ Company ______ C1ty·State 'Zip ______ Mall To: Texas Architect 1400 Norwood Tower Austin, Texas 78701 BIG MAN IN STRUCTURAL STEEL Construction Department Mana ger In his 14 years at Mosher primarily concerned with Construction department manager needed 10 co Steel, David Harwell has oro,nate construction or several contemporary the high rise market in the protects, such as apartments, shopping centers. acquired experience in the Metroplex area. ''Putting offoce bu11d1ngs. high-rise medical bu11d1ngs, and hlgh-nso ho1ets Land development In var,ous structural steel business together a proposal for a par~ ol the United States and Canada S1udy spec1hcatlons and plan procedures for each that is broad and diversified. major building is the most projoct based on starting and cornplellon times While still in school at exciting part of my job,'' and on staffing requoremonts for each phase of consiruction based on knowledge of available the University of Texas he says. equipment and building methods Hire super v,sory personnel and delegate responslblllty En· Arlington, David went to Enthusiasm, confidence gage and coord1nato work of subcontractors 1nclud1ng cost analysis, selection or bidders. ne work in the Dallas plant as and knowledge-they are gotiation and preparation of all the contracts Ae a draftsman trainee. Since attributes that David sohle cons11Uctlon problems and improve methods of construction Oversee and direc:1 ac- that time, he has held Harwell uses every day to 111111,es of workers Prepare progress reports and establish procedures towards achieving an accu responsible jobs in help keep Mosher the big rate cost control Make petiodfcal and hnal Operations, Sales, Quality pro,ect inspections Liaison, control and guidance nam'n structur steel. with arch1tec1s. engineers and government agen Control and Production cies Liaison with other management personnel, owne,s and clients Aesolw labor d1spu1os and Management, before being engage 1n negotiation with labor unions Be the per,on on charge of a General Contracting Corn· named Manager of Sales pany with extens,1111 and various pro1ects In a va Dallas in 1981. J/~C:IEIE\{ riety or IOcatlons and cities Applicant must have 6 years experience In JOI> offered. or 6 years as Harwell's a familiar name STEEL COMPANY construction supenntendent 40 hours per week Home Office and Plant A S48.000 per year Appl,cants contact Texas Em in Mosher, for David's father ployment Commission, Houston, Texas. or send P.O. Box 1~79, Houston 77001 6' resume to Texas Employment Cornmlss,on, TEC and his uncle have 70 years (713) 861-8181 Bulld,ng, Aushn. Texas 78n8 JO 13384818 of service in the company Ad paid for by equal employment opportun,ty Plants in Dallas, San Antonio employer between them. In his ~ position, David is ~ r A Tr,n,t, lndu1toe1 Company /8 Circle 17 on Reader lnqu,ry Card Texas Architect March·Apr,I I BEATS THE ELEMENTS! Weatherbeater Brai is specified for the tough jobs - salt air ... hurricanes ... snowstorms ... heat ... cold - and comes through with flying colors every time. Proof? How about the greatest array of outside testing by the people who set industry standards? Brai has won approvals for Ga/ary To_,.. - on the Pacific at Long Beach - with :-': ______, ___ ....,.., roof• protected by Bra/. ---ro.llllC• ® ...... 64f0111'1L,..,. ___•,...._,_t ..,.,_~~•,_..CJ11.,-- u.s. intec, inc.~--t So you know it can handle your next roof with all the protection you need - leakproof guarantees to 1212 Bral Drive• P.O. Box 2845 • Port Arthur, TX 77643 Phone (Texas} Hl00-392-4216 15 years. (Outside Texas) 1·800-231-4631 • Telex 779-320 Send for details - to be sure. Eastern Region 106 Meister Ave • PO Box 5326 North Branch. N J.08876 • (201) 725-8317 C,rc/e 18 on Reader lnqwry Card putemed calltiDa and horimntal lemperiftg ~ produces ..,:uracy of ftnlnd ... In ~ lppllicatiloM; whm beauty and elegance are Important • lllelith, utility .._Clllll,ahmduloftmqi• ...... daimto ~lfr:Vlt...,.. And once haw made die CIDq)ari8on, yoqJ ...dloiae...... ,_Topdaab. Ctrcle 22 on Reader Inquiry Gard NEWS PEOPLE, PROJECTS & PROCEEDIN( Edited by Ray Ydoyaga ward Larrabee Barnes· design. although pretentious so much museum architec DALLAS MUSEUM OF ART criticized somewhat for being too conser ture has been in recent years-and h OPENS TO RA VE REVIEWS vative. won mostly raves as a wonder altogether dreadful is most of the new In uncharacteristic art-world fashion, the fully accommodating structure devoid of architecture that has been b11ilt in do Dallas Museum of Art celebrated its the architectural contortions that have town Dallas." public premiere in January with little plagued other new cultural facilities like - Paul Goldberger. New York Times fanfare. A five-year-old boy. son of a Richard Meier\ High Museum of Art in Museum employee. cut a ceremonial rib Atlanta: "If Barnes' facade is d_eterminedly son bon over the doorway and then strolled ber ... his broad, flat structure, spat'i casually inside the door., of the $52.4 "If all our national undertakings were as ning a city block, looks like an immern million museum-$24.8 million of ejfectil'ely organi:ed as the Dallas M11- hedgehog crouched to spring . ... Bu. which was publicly funded in the largest se111n, 11·e could sling up a hammock he has squared his accounts inside. cultural bond issue ever approved in somewhere in the South and forget all There, on gently sloping levels that en America. about the economy.·· co11rage strolling. he offers open, air_v The Greater Dallas Youth Symphony -John Russell, New York Times galleries, unobstructed by columns or played as an impatient crowd. estimated flourishes of any kind. at 13.000, waited to enter the grand en "This is not a nouvea11 riche muse11m, or Douglas Davis, Nell'sweek trance hall. Members of the national a pushy one, or a glittery one. It is a press had already swarmed into Dallas museum built by people ll'ho knoll' about "Barnes has b11ilt the sort of q11iet, de, earlier in the month for a sneak preview art and who know abow monumemality erellfial civic monument whose stallm of the city\ new Arts District (see Texas and hm·e shown respect for both. This is only increases Ol'er time." Architect. Jan Feb '84) centerpiece. Ed- no small accomplishment, gi1•en how -Paul Taylor, The Washington Post 22 Te.1as Architect Marcl1·Aprtl JI 'Jm111 ~ optt•d for straiglufonvard sim man level. GROWTH-PLAGUED RIVERWALK lt 1/\, for" modem design that expres- -Carol J. Everingham, Houston Post WINS AIA INSTITUTE AWARD 1 110 <11, hitectural daring. That it is 11m I wtil't• does11'1 i11 any way diminish "Despite its severe, modem exterior, the ,111hcr II makes it seem timeless." 11ew Dallas Museum of Art is a comfort At the turn of the century it was known B th Dunlop. The Miami Herald able, old-fashioned sort of building ... as the "dirty little river." Since then, the galleries are all sufficie111/y self hundreds of citizens and professionals ) I/JIit' 11, splendors, the 11ew museum comained to create a feeling of privacy, have worked to make the 1.8-mile San IJllllC1s pmhablv won't make a big yet open enough to provide a se11se of Antonio River Walk "a masterpiece of /ml, 011 th,• architecwral sce11e. continuity. No more trudging blindly urban design which has influenced water 1111 f rt•fu.wl to e111er the Post-Modem from one big, square room to a11other, as front design projects throughout the 1 llf /,ote-Modemfray has led most in the Whitney Museum i11 New York. United States and abroad," noted the f/1 , ,,, dim1i.\'S his desig11 as retice111- Compared lo most traditional museums, AIA jury after awarding its 1984 In ' /1 I, , f to wv bori11g. Bw the lack of the Dallas Museum seems almost stitute Honor on the famed Texas fl 11/ 11ccolcules won't stop the museum transparellt. landmark. m 1111111111g the approval of its l'isitors; ... The most dramatic space in the The press attention that follows an In f 11 I 1/r, 11111.1c11111 is one building that museum-the ,·aulted contemporary gal stitute award, which recognizes distin ,,t, 1111/ like more than architects lery-is also the most problematical. A guished achievements that enhance or II gra11d ce111ral space i11 a public museum influence the environment and the archi I I Ill onstantme. Texas Mo111h/y is appropriate a11d traditional ... but tectural profession, may have arrived with a soaring, 40-foot ceiling and vast none to soon for the River Walk. San 11 fwm the t•.werior as you drive expanses of stark white wall, the room Antonio's economy is experiencing ex 111d the /argr buildi11g a11d its exte- overwhelms all the art except for the plosive growth, especially along the 1 1 11/Jllllfl' i:ardens, the Barnes build Robert Rauschenberg painting 011 the downtown riverfront property, and the "l'l'<'m 1 \/11prisingly bland, eve11 west wall. River Walk is in danger, as San A111011io I ,t 111 w11apt (1101 si:e) and grou11d- ... the exterior, though as fi11ely de Express columnist Mike Greenberg puts 111 • h, co111pariso11 to the high-rise tailed as a new building ca11 be, seems it, of its "success becoming its own I l/11 ,, that m-erlook it . ... It is cool, distressingly cold, the opposite of the worst enemy." 11111/11 atctl, elegam. A11d it makes warm i11terior. ... Though importa11t, Numerous projects are planned that I , f, ct backdrop for the art." this issue isn't e11ough to owweigh the offer little in the way of pedestrian 1111 llohne:,, Houston Chro11icle building's great strength: its logic, amenities, setbacks and compatible craftsma11ship a11d ge1111i11ely welcomi11g scale. "You don't want to build buildings , ti, h11gg111g the ge111le slope, the i11terior spaces." all up and down the banks so that you , 111 <11111 i, a mo11u111e11t to subtlety, - David Dillon, Dallas Morning News have a dark tunnel, not a river," said city "' 111 , mu/ li11ear grace-on a hu- councilwoman Maria Berriozabal of the current construction spree. Although the existing downtown zon ing ordinance includes a 150-foot height limitation that applies to the River Walk corridor, the San Antonio City Council has frequently waived the ordinance. The most controversial project to date is a Holiday Inn designed by the Memphis firm Walk Jones & Francis Mah. The building will rise a sheer 20 stories from the River Walk on North Saint Mary's Street, across from Saint Mary's Catho lic Church. Critics claim the building is a plain Jane kindred to other dull boxes along the river that O'Neil Ford used to refer to as "big refrigerators." The River Walk is being expanded past the San Antonio Museum of Art, recently voted one of the 20 most sig nificant buildings in the state by TSA members, to Brackenridge Park. Land scaping the western portion of the San Antonio River,however, is not expected A I I It M,1r SCENIC HILL COUNTRY CORRIDORS PROTECTED BY NEW ORDINANCE Of the state's scenic roadways, few c· match the soaring splendor of those in the central hill country. Although Aus tin's planning department has repeate cautioned against rampant developme along highways in the fragile western hills of the Highland Lakes, the city's intense growth is quickly moving wes A far-reaching new zoning ordinance. effective Jan. '84, places stringent co trols along one of the most scenic cor ridors in the state, The Capital of Tex· Highway (Loop 360), and sets a precc dent for other communities with envir mentally sensitive areas bordering stat roadways. Realizing that the complex Loop 3( Corridor Development Requirements needed interpretation and analysis, the 24 Circle 21 on Reader Inquiry Card Texas Architect March·April I Austin AIA Chapter held a lively debate per acre Im ,rn!•k f,11111ly : ollKc and on the subject in February. An impres commcrc1al 11,l., ,Ill' limitl'd hy floor area WE WRECK sive guest audience from the statewide rat1cl-. whu.:h tll'"l',t,l' .t!. '1IC ,lopes in development community came to hear a crca,c 'I Ill' 111111111111111 hui lding setback is TEXAS panel of local advocates and protagonists 75 kcl 1111111 lhl' I c111p, ,111d 40 percent explore the conflicting issues facing Aus of the ,Ill' 11111-.1 ll'lll,1111 111 a natural tin in its attempt to regulate development ,talc in sensitive areas. Othl'I tl'lllllll'llll't1ts 111dudc land Richard Lillie, Director or the City scapl'd p,11 k 111r. sign t l',ll tl t,ons. exte Planning Department, briefly traced the nm 1trh1111g ll'!.111l l11111,; and a provision background of the ordinance, and high for 11.1ll1l 1111p,tl I i111.tly-." The latter lighted its key features. Citizen and en could 1c,11lt 111 dcH·lopl'ts funding inter vironmentalist concern for preserving the ,cct11111 1111p111H·111c111s ,111d traffic signals scenic character and vistas of the Loop a, a rrn11lt111111 111 11111wc1 ,1pproval. resulted in the City Planning Depart In ,11hh111111 111 tlll·sc tl'qu,rcments, ment's Capital of Texas Highway cor thrl'1· f,tl l111i; ,lh' h1 h • lt111,1dcred in the ridor study in 1980. It offered voluntary site pl,111 t l'' 11·w guidelines for development regarding • I hl· 111111p.111l111t1y of the proposed vistas, densities, building heights and Plllll'l I 11p1111 1h1• l'IUSI 111g l.111d uses sur- setbacks, and was passed with limited 11111111hnli 1h1• P'"ll't I Mil h ·" hu,lding and Commercial, lndu and In purpose strip annexation. Local archi p,11k111g M'lh,11 ks, h11llc1111g, landscaping terior Building Deni11tition. 30 tects not only supported these guidelines, amt II ,11 111 p,111\ I IIS million dollars insurance cover age. Texas Largest. but worked with the state highway de • lhl' 11111111 1111p.111 of thl' proposed HOUSTON - (713) 225-5551 partment to create the most sensitive link prowll 11p1111 th • I 011p 1c,o corrndor and OALLAS-(214) 352-8456 on Loop 360, the new bridge across till' p111p11 s1•cl 111clh11 Circle 23 on Re,1der lnqwry Card I 1,1 111 II// 1/ \l,111/r•Apri/ 1984 r------, EN GI NEERS ARCH I TEC TS ARTISTS S U PPLIES R £ PRO..C1JC f 0 ""1 S P EC A t. S T 5 loop 36() bridge spanning lake Aus11n Mark Rose, with fellow City Coun Despite these and other problems. the cil member Sally Shipman, pushed to ordinance is a major step toward shap convert the 1980 voluntary guidelines ing development in environmentally sen MILLER into law after the controversial highrise sitive areas and hopefully paves the way BLUE PR INT CO. project was approved by the city. He for similar requirements in additional lo 501 Wt5T S XTH ST A U$T N TEXAS 78767 spoke about Austin's changing altitudes cal corridors which are under great de PHON£ 512 478 879 3 in accepting the realities of managing velopment pressure. Austin's booming M• L A C B O • 2 0 ,-, ~ growth. This would indicate the city is computer industry is migrating toward L------..1 maturing in its ability to be effective in the western hills. and the Loop 360 Cor Clfcle 26 on Reader Jnqu,ry Card regulating development. ridor Requirements docs not protect William Gurasich. head of the Cor other hill country roads such as Loop nerstone Development team that sparked 620. RM 2222 and RM 2244. But Coun the highrise controversy. spoke in precbe cilmembcrs Rose and Shipman plan to terms about how the Loop development use the Loop 360 ordinance as a model requirements would lead to the construc for protecting these other scenic roads. tion of offices below "Class A" stan The Planning Department is beginning to dards. He took each a11ribute of "Class study annexation of these routes, which A" space and detailed how a feature is necessary to influence development of the ordinance would frustrate its effectively. construction. This development pressure has also Lastly, Joanne Richards. president of caused the City Council to adopt rules the Lakewood Neighborhood Association from an existing watershed ordinance and member of HoriLon 360. spoke of protecting Lake Austin to regulate devel problems caused by developers and opment beyond the roadway corridors ARCIIITECT OF THE CAPITOL neighbors focusing on individual projects and along the Lake Travis watershed. Tiu- '>t.11<• ol 'lt·,,I\ " ,1·1·k,n~ ., <111,1laHed urdu and not on the Loop as a whole. She Because of public outcry over exclusion h-<·t to din· Depen Circle 28 on Reader lnquuy Clird Pro~ram :\o\\ In 11' Fourth Sul'l'l'"ful \'car CRITICS DISCUSS STATE OF THE PRESS IN HOUSTON Professional Liability Insurance Is a Serious Subject . . . At fir\! menuon, the idea of having ar ch11ecture critic, gather to criticize archi Discuss Your Needs With tecture critichm -.ounds more than a b11 inceMuou!-> But the !->ell-out crowd in"de Experienced Insurance Professionals the Museum ol hne Arts· Brown Au ditorium had been eagerly waiting to sec the pre!'.!'. debate the issue in what turned IS\ member~ no" ha,c a,a,1- rs\ ha, cnor:-.cJ the program ahlc .1 prolc,"nn,11 lt.1h1ti1, 111'llf anJ h.1, appointed ,\,,uran1.:c out to be a highly provocative ,ym ,1111:c plan ol h:n:ll h) I \PRO Scr,1i:c,, Inc. tor Au,11n ,1, po.,1um cntllled "The Role of the Pres.,/ unlkmrning ,uh,11.J1ar) 111 till' admllll'lt atm. Cri11ci<.m in Architecture." IN,\ l nJcrnrnl·rs ln,ur,111C'l' Co Spon.,ored by the Rice De,1gn Al Ptca,c l\ tll or h,I\C )1•111 agent hance and the llou!->ton Chapter/AIA, the ow 111 11, thml ~llll'c."lul \<.',tr. 1.:ontad Stc,c Spr.m I, or lrai:q the program p111\ 1dc, rs\ llll'lll l-111111 al A"urancc. Scn11.:c, tor ,ympo!->ium featured some of the bigge,1 her, \l.llh 4u.1III) c.11,cr.u•c. ,11 ., detail, lummaries in the national and state suh-ianllal prrnuum J1,loun1 pre,, Peter Blake. author. former Arc/ri t,•,·wn• forum ethtor and chairman of \,,urance Stnlc:t,, Inc. - Catholic Univen,ity's Department of Ar 12120 lllghw11} 620 "forth lillllFA ch 1tec1ure; Su:ranne Stephen,, Vanity .. P.O. Ho, 2663-0 \u,tln, l t,a, 78755 fo,r architecture cd11or and former Pro (5 121 258-7874 t,:rt'Hll't' Arrl11t1•rt11re ed 11or, Diane (800) 252-9113 Gh1rardo. a,,l'ltant profc,,or of Texa, A&M\ College of Architecture and /\r ch<'t\'p<' editor, Jmeph Giovannmi, Nt•11• forJ.. fime.\ de'llgn reporter: Ann I lolme,. H o11.Ho11 Chro111cl,• line art, editor; David Dillon, Dalin,\ Mornint,: .\ 11 Fm-gl!ro11 I.k Lu l uur-nil-11, lnl·. N1•11 \ architecture critic. and a con1ribu1 mg editor of frw.\ Arcl11t1•ct, and Pamela ~~~~~ Lew", /1011\to11 Post de-.irn critic. Stephen, began the proceedings with an 111'llgh1ful keynote speech on the prob lerm lacing many arch11ecture cn11 c, "Much of wh.11 pas,c, for cnuc"m ,., really descrip11on," Stephens said. If 11 i,n'I merely dc,criptivc, , he added, then contemporary crilic1,m either ,ufTer, lrom imprc,,mnl'ltrc ob,erva11on, ("th" .,pace ,., pleasant"), or the lud. of a poinl of view where the "wh hy 01 ow" of :1 building i, explained. Peter Papademetnou. a Jew., Arc/11 tt•1·t contributmg editor and an associute prole.,.,or ol arch itecture at Ri ce Univer "''Y· rmxlerated the proceed1nr,. He be !'i.ln the dt\CU<,',l()n by 11npl)-'lllf that arch11ec1ural cri 11cl'lm suffer, the same problem-. inherent in general journali!.m: re,l't,mcc 10 .malysis; nu1'hell , um m,me,, cn11c.1I reliance on photography. and dependence on .. fre,hne,,." Architectural jargon, Blake claimed, ha, become a deep barrier ,eparatm~· the prole.,.,1on Imm the public Mo,1 of the 30 Or 29 on R d , lnqu ry Card fr1111 Arch//('( I M11rc h·Apr,/ /!1114 Your Shake & Shingle Answer Man: Texas Bill Graham 1525 Paris Dnve GrandPrame Texas 75050 Sttphtns and Peru (21 4) 263-4048 panelists agreed with Blake's assertion that the public is more interested in the use and performance of a building than the subject most critics tend to dwell on- "how the building looks on opening day." The biggest debate of the evening be gan after Giovannini assessed the archi Just try to stump BIii. On newest literature from the tectural press as being polarized between code questions. Variances. Cedar Bureau and its over 300 public and professional readers. Al Applica. tio. n tech- ~ ~ mills. Insist on these niques. Spec1fica- labels. They are your though Holmes has written about archi lion details. Case _ "-· ..... guarantee of Bureau- tecture for over a decade, she questioned histones. Or the - graded quality. the need for a full-time architecture critic m a broad-based newspaper. Red Cedar Shingle & Handsplit Shake Bureau Holmes said one of the reasons the architectural community in Houston would like to see a full-time architecture Circle 32 on Reader lnqu,ry Card critic is for its potential as a vehicle for self-promotion. But she cautioned that architects don't realize that publicity is BANK ON IT not always favorable. "Criticizing an ar chitect's building is about as easy as crit First Service Corp, does icizing (private enterprise)," Holmes said. " It 's not awfully welcome, and They specified beautiful, you' ve got to be very careful about the durable, non-skid, way you do things." '· But doesn't that just throw it back on Idaho Quartzite Just how responsible the paper is in Natural Stone Tiles covering its own city?" replied Dillon. He explained that a relatively small, yet Specify the forever-and powerful constituency, like architects, ever elegance of stone on developers and municipal officials, is in pool decks, walks, plazas, fl uential enough in a city to warrant transit stations, lobbies. space for architectural commentary. - Both indoor and out- Ghirardo agreed with Dillon that a newspaper has a mandate 10 inform the Call for a public about the physical environment. brochure and "The function of criticism is to encour sample. age people to question, not just the way -.omething looks on the outside, but its Idaho Quartzite Corp. basic assumptions. It's the responsibility P.O. Box 1657 of the newspaper 10 ask serious questions Boise, Idaho 83701 about what's being done in the city." 208-343-2580 Blake said he was rather surprised 10 hear from some of the panelists that f~tas Arc:hittet Marc:h·Apri/ 1984 Circle 31 on Reader lnqu,ry Card 31 INTRODUCING THE SOFTlOUCH FROMEUROPE We took our inspiration from WXURJOUS Satin Finish, like other Eljer fin- European designers to bring you ,shes 1s a fired glaze. not plastic, our own 10\v lustre matte finish, the so 1t s tough. r~ists scratches and kind of finish you see in the most stay5 easy to care for: ~ionable bath5 on the continent SAJIN FINISH Create your ow~ European El1er calls it Satin, a fired , masterpiece. With Satin, the only glass surface with a "soft focus'' look for lavatory, B~ matte finish available on both vitreous china bidet and tub. It comes in our subtle Natural and cast iron products In the Gallery Collection color to complement its texture And it's avail- from Eljer. able as an elegant extra with fixtur~ from LJE For more information, write ourGalleryCollection. E R ELJER PLUMBINGWARE, Dept. SR Three But don't let the soft look fool you. Gateway Center, Pittsburgh, PA 15222. ELJER ANOUSENOLD INTERNATIONAL COMPANY f- No.,,. C• IIU75UU>oU.SA Houston has many interesting buildings. Urrutia was also a winner in the "I think it is a dreadful city," he said. second annual Women in Design In ELJER "But I think it's a curious thing that none ternational Competition. WTDI is a of the newspapers, none of the critics, California-based organization that recog apparently say this in Houston. I think if nizes women in the field of design. Texas Distributors Jane Jacobs or Lewis Mumford had been here, these things would have been Abilene Western Plumbmg Wholesalers brought out into the open and there 915 672·3201 would have been leadership by the press Austin lntemat101'181 Supply of Auslln to agitate, to stop certain things, to stop 512 452-8873 this business of incredible concentration Southern Pipe & Supply of megabucks in glass boxes with people 512,454-4616 compressed into tunnels below the Baytown Moore Supply Co earth." 713 427-5601 Beaumont Moore Supply Co 713 832-8429 Bryan CHUMNEY, JONES & KELL Moore Supply Co WINS AIA DESIGN AWARD 713 832-8151 Cardosi/.. Ranch House Conroe Moore Supply Co Chumney, Jones & Kell of San Antonio 713 756-6663 LEWIS & KACAR CITED IN has won a design award for the corporate Corpus Christi PROGRESSIVE ARCHITECTURE Ajax Supply Co headquarters of La Quinta Motor Inns, AWARDS 512 855-6284 Inc. (see Texas Architect, Jan/Feb '84) in Dallas Apex Supply Co AIA's first interiors competition. The in 214 741·5463 terior architecture, according to designer Lewis & Kacar, Houston, have won a El Paso Judith Urrutia, seeks to avoid the "kitsch Progressive Architecture Citation for the Central Supply Co 915 544-7no that passes for Mexican architecture in design of the Gardosik Ranch House in the United States." (Chumney, Jones & Guadalupe County. Three existing small Garland lnternat101'181 Supply Kell split into two separate firms in buildings and a new linear house will 214 494-2329 1983: Chumney/Urrutia, and Jones & serve as a vacation compound for their Houston Economy Plumbtng Supply Kell.) clients. The architects' intended effect is 713 223-4921 a combination of "Italian villa rustica" Moore Supply Co i and Hrural pragmatism." 713 223-4921 l KIiieen "' Barnhart Coml0 Lubbock Fields & Co GERALD HINES ELECTED 806 '762-0241 HONORARY AIA MEMBER Nacogdoches Moore Supply Co 713 564-8331 Gerald D. Hines, owner of the Houston Pharr S & S Wholesalers Supply based development firm Gerald D. Hines 512787-8855 Interests, has been elected an honorary San Angelo AIA member. Nominators cited Hines, AAA Wholesale 915 653-3311 who has developed more building space San Antonio than any other investment builder in International Supply of San Antonio /,n Q11inr11 Ht·11dq11,mrn 512,223-4275 America, for his innovations and influ ence on architecture and development. Meyer Supply 512 224-1731 The design for the La Quinta head Hines has been widely recognized as a Texarkana quarters, published in the February issue developer of distinguished architecture Double Jay Supply of Architecture magazine. developed 214 793-2211 all over the country. He is best known as from the chain's characteristic Mexican the builder of such highrise offices as Wichita Falls Connor-Gibson Supply village motif. Chumney. Jones & Kell in Pennzoil Place, designed by Johnson and 817'767-2506 tegrated Oaxacan residential architecture Burgee, which has won numerous na and the banded stucco style of Guana tional design awards and is currently jua10 in the office areas 10 create a color cited by TSA members as one of the 20 ful, dynamic interior. greatest buildings in the state. Hines also fr..tas Anhitect Marc·h·April 1984 33 developed the Galleria complex in Hous freeway, excavate the site and then re ton, designed by Hellmuth, Obata & build it below grade. The group further Kassabaum, which won an Urban Land claimed that such a plan, were it en Institute award. acted, would cause massive traffic "His innovations in the areas of design problems in the surrounding area and and management of the projects he has neighborhoods. developed," said one nominator, "have The overhead widening of the one and had a lasting impact on raising the one-half mile freeway had been approved quality of life for many Americans." and funded by both state and federal highway officials and was ready to begin construction until I-CARE filed suit in federal court. In their court petition, the group cited Department of Transporta tion and State Department of Highways I-CARE LOSES BATTLE and Public Transportation officials with TO STOP FORT WORTH filing an inadequate Environmental Im FREEWAY EXPANSION pact Statement that neglected to take into account the highway's effect on several landmark structures. Judge Belew con Federal District Judge David 0. Belew cluded, in a 28-page decision, "that the Jr. denied injunctive relief to a group of defendants did not act unreasonably in prominent Fort Worth citizens who op processing the I-30 project" and that posed a federal and state highway plan to DOT did not have to file an EIS. expand the downtown elevated section of AH of the landmark buildings in ques I-30 from four lanes to eight lanes. tion, Belew explained, were not listed on the National Register of Historic Places at the time the highway was approved and were therefore not subject to the limitations of environmental impact laws. Belew also further explained that the federal and state highway officials re routed the freeway to avoid destruction of the buildings, and the current design Kirk'sfruway proposal only minimally blocks views of the Texas & Pacific Terminals, Main Post Office and Public Market. To 1-CARE's charge that the Fort Worth Water Gar dens would be subject to noise pollution, Belew explained that the expected in crease of four decibels would have negli gible effects on the fountain's visitors. Although I-CARE has announced Proposal section plans to appeal the decision, editorials in the Fort Worth Star-Telegram and public The group, known as I-CARE (Citizen statements by Kirk's group have called Advocates of Responsible Expansion), for I-CARE to stop jeopardizing the favored razing the existing overhead sec project which highway officials have tion and replacing it with an eight-lane threatened to scrap if they lose in court. depressed highway. I-CARE objected to To entice I-CARE to stop further legal the aesthetics of the overhead freeway battles, Kirk's group has suggested the claiming that it served as a barrier to formation of a design committee com downtown expansion. posed of proponents in both camps. Another group, led by architect Don "Everybody concerned acknowledges Kirk, favors the widening plan and had that the elevated concept meets aJI crite fought I-CARE's efforts to build a de ria except the so-called 'visual or aes pressed freeway. Kirk's group claimed thetic encroachment' problem," said the massive congestion on the freeway needed a quick solution, not a long drawn-out plan to tear down the existing NEWS, continued on page 88. Ttxas Archittct Marclr·April 1984 40,000 buildings later in the U.S.A ... proof-positive oryvtt~is more than awall Oryvit Olt:sulatiorl!: IS more than a wall. It's an ~~IClent system that putS massive ansulatiOn on the ~~7~u~ly outside \\rule (rOVldmg a handsome pleasing colors are fl surface ftniSh. Proven m 40.000 butld· available m all 4 Dryvit mgs across the United States - and Fmishes. Each color IS in many thousands more m Europe integral wtth the Finish. whether - [)yvit IS the exaung versatile Quarzputz€. 5andblast Freestyle. answer to a Whole range of today's or Earthstone Matnx. All fade and construction challenges. Mon tflan a waD for stain resiStant. Wrtte for details. residential const:ruction. This Atlanta. GA. home illustrates Dryv1t by: how 0Utsulat10n can create any CONSTRUCTION penod. any design. Tudor half umbertng was achieved with wooden EXTERIORS, INC. beams and CNtsulatton. built-up to be 2606 Bataan Street flush with them. Other Tudor dCStgns PO Box 226064 have used ery.,it System shapes Dallas, TX 75266 m a contrasting color finish ca11 Tott-Free - as a substitute for actual beams. Dallas Area WM OUtsulation. the owner gains 1·800·442·1578 not only dCStgn flextbihty and energy savmgs but more mtenor floor space Branch Offices in and lower structural costs because of 5an Antonio and Houston the light-weight nawre of the System. 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'-:e,1 11111c n>u , c grn h1g plan,. lei From c:onccpt through con,trucuon facrm,111 help put rnur hcst ideas 111 facrman\ full lmc of prcGN .tnd pre, place Prct,1,t. tn conuete trc...... ,t.·d ronuc1e pr Circle 40 on R d I lnqu ry Card ABOUT THIS ISSUE THINKING SMALL Paul H~s,~r The maxim that bigger is better-one of varying degrees. Some of these buildings, the most common misconceptions our cul partly by virtue of their size, fit respect ture has produced-often finds its way fully and inconspicuously into their into the context of architecture. After all, context. Others, despite their size, man the bigger the building-generally age to be quite conspicuous as a means speaking-the bigger the commission. of achieving a positive impact. But of And since "big" is almost automatically course what they all have in common is equated with "significant" or "presti that none of them are big. gious,'' big buildings are the ones that While small buildings aren't necessar usually attract the most attention, both ily good buildings, neither are they on the part of the public and the media. saddled with the stigma that has been The unfortunate result is that many a attached in recent years to tall buildings. praiseworthy but modest project goes Urban skyscrapers are the subject of wide LaGrange 10,rn square. tire contetl for virtually unnoticed. Accordingly, the spread denigration as the cause of various Wm T Ca11nady's Fu)t'llt' Cm11111· Sann,:s and buildings we notice in this issue all urban afflictions-lack of fresh air, sun loan. m tire bock11m1111d happen to be small. light and open space; loss of views; traffic How small is "small"? The largest of congestion; and the sacrificing of historic the small buildings featured here, fabric and human scale. Generally speak Kirksey-Meyers' United General Head ing, small buildings are kinder to the quarters, contains some 88,000 square environment and friendlier to people, feet, which actually makes it a big build easier to comprehend. And because they ing by some standards. But compared to are inherently less presumptuous, their the million-plus square feet of Houston's offenses seem more forgivable. talleM towers, it is almost tiny. On the Buildings that happen to be big are other hand, Taft Architects' Southside often resented ipso facto, however grace Place Bath House, our smallest selection, ful or stylish, and whatever amenities they is truly tiny at less than 1,000 square feet. might afford. But, in reviewing the works One significant observation in favor of that follow, no one is likely to mutter in small buildings is that, as a group, they disgust, "That building is entirely too have been a source of opportunity for smal I."-Larry Paul Fuller innovative design and experimentation. Whereas large projects generally fall within the purview of older established firms and safer design, the stakes are not as high when "it's just a small building." Therefore, more stylistic risk-taking-as in the early manifestations of Post Modernism tends to occur in small scale work, often by eager young firms. The buildings featured in this issue represent a range of building types in a variety of styles by a variety of firms. And they arc innovative and experimental to Texas Arclritt'ct March·Apri/ /984 41 Stale Highway 71 is a major menlS to impart an "expression artery between Austin and of permanence" and "visual sig FAYETTE COUNTY Houston, though it still passes nificance to the user." through the center of small The pyramid as a symbol of SAVINGS AND towns along the route. Travelers safe-keeping has been applied as might consider themselves fortu skylights in the Katy and nate for a chance to slow down LaGrange buildings. Palladian LOAN and enjoy the passing rural am window arrangements have been biance of county seats like playfully stretched and blocked LaGrange, about halfway between while retaining their message of By Jim Steely the two burgeoning cities. classical stability. Treatment of LaGrange's Fayette Savings the drive-through service win Association building faces High dow awnings is identical in the way 71 at intersection with U.S. LaGrange and Katy projects: Highway 77, responding to the awning assembly is sus heavy automobile traffic in both pended from wide-flange gir ~rv1ce and visibility. Yet these ders, in tum supported by two highways cross here as no massive concrete-buttressed more than city streets, and the steel piers. Here a Miesian tech structure openly encourages pe nique comes off as a classical destrian access. llS main lobby motif. entrance is approached not from In LaGrange the drive a parking lot. but from side through awning complements walks along Jefferson and Travis pedestrian awnings on the build Streets connecting to the court ing as well, which in turn are house and nearby residences. inHuenced by the sidewalk ar The 18,000-squarc-foot building cades of the nearby downtown contains 8,000 square feet of square. The grade of Fayette rental office space, entered Savings' main Hoor is raised to along a circulation spine from balance the tall parapet above, both the lobby and the parking and red facing brick on the lot steel-frame building continues The small-town, tum-of-the the downtown archetype. with century architectural fabric sur stepped parapets tracing sloped rounding Fayeue Savings played roofs behind. Vertical fenestra a maJor role in 11s design con tion connected by horizontal cept. Chairman of the Board bands of khaki brick follows Lee Mueller and Houston archi precedent downtown, where tects Wm. T. Cannady & Asso limestone courses and coping ciate wished to combine traditionally define interior contemporary con truction tech levels. mques and presence with histor Fayette Savings' corner is ical elements directly reHecting most boldly associated with the neighboring buildings. town square through a clock The 1983 LaGrange proJect tower/skylight structure on axis al~o drew heavily from two with the building's front en smaller bank-type structures trance. This visual anchor was designed the year before by inspired by the clock tower/ven Cannady & Associates. One 1s a tilation shaft on James Riely Fayette Savings branch office Gordon's Fayette County Court built for Mueller in Flatonia; the house of 1890. Exterior stair other is a Benjamin Franklin ways, walled by finish brick and Savings Association branch banding to mirror Fayette Sav building in Katy. The Flatonia ings' exterior, stand at opposite and Katy structures differ in that ends of the second level circula TOP TIit tlr.11,:11 rua/11 tht b111/d111g motif.r of Ifs rich rntlltft arcade.r, the former blends with its histor tion corridor. A " 1983" date 1wrefronu, parapet pr0Jl'CfllltlS a11d stepped s,dewallc.s ABOVE: West ele1'0tion ,uth e,1rr11,r 110,r: drn·e-tlirou1th canop,n. 1mble at lrft FACING PAGE ical brick neighbors, while the stone over the lobby entrance Morblr tind ,o,.,d fimshn are rem,msunt "/earl) Tews bunk 1nter1ors latter stands alone on the de is a final "expression of veloping pra1ne JUSt west of permanence." Hou~ton. But the two buildings Chairman of the Board both address pedestrian use in Mueller's office faces directly on axial arrangement and scale, the entrance passage and lobby. and they rely on bold visual etc- sigmfying both his accessibility Texas Architut March·Aprll /984 and hi!> dc\ire to observe daily business in the building. Use of Italian 1·erdi marble paneb on the entrance-door sur round\, and as partial cladding on interior steel columns. is rcmini~cent of early 20th Cen tury Texas banh. Tile floors of red and khaki rectangular groups F/01onia branch. local brick. along the circulation spine arc mirrored in ceiling relief courses. Heavy oak paneb, kick boards, doors and teller counters tie together more stark finishes with warmth and invitation. Current building projects in Austin and Houston are reveling in the popularity of historical references. often without regard Franklin Saungs. Kai)', p1,ramid as nmbol of sa/ekeep,ng for the e,mting context. But in smaller towns like LaGrange, on a busy corridor connecting the two larger cities, these refer ences become more meaningful and appropriate by reinforcing a predominant historical context. The Fayette Savings Associauon headquarters successfully re flects and indeed extends the scope of the homogeneous downtown district. Aumn/ree/ance wmer Jun S1eely is a grad11111e m1de111 111 anhi1ec111ral preJen-a1wn and hiJIOry al UT A11,111n Marble-clad s1ee/ columns define double-heigh, corridor leading 1hrough lease I'"" 1hw1111h ,It 1t11/, 1.:<11) . space 10 mom lobby. II Texas Archi1ec1 March ·April 1984 LEFT: View west from courthouse square. BELOW: First floor plan-I. lobby, 2. Tellers, 3. Vault, 4. Orfre-Through Teller, 5. Night Deposit, 6. Automatic Teller, 7. Office, 8. Accounting, 9 Board Room, JO. Employee lounge, II. Storage, 12. Gallery, 13. leaseSpace, 14. Elemtor, 15. Patio. 0 a: J., llij: " .-~ . I . " 1 1 1 ,c-,...., ~· ==.==""""!;===-~. I u r !Y~1 LEFT Isometric ABOVE LEFT Tenant wing (fmntfm·,11/e) 11ll1ule.1 to canopied do1rntown ,·ommtrnal buildings ABOVI-. Senmd floor plan I Lease Space, 2. Open to lobby Bela", .1 Open w Gallery 81.'11111 , ol . f:le1·amr PROJECT Fa\'t!lle Scll'ing.1 A1\1Jn11twn, L<1Grt1III(<', ARCHITECT· Wm T Cm11wd1 ,t A1.1mw11·1, Hmwon Pr111c1pa/ Wm. T. Cam1<1d1, FA/A Project fram Kir/11 C. Mear.1, Walter D Murphy. Jr. Cl IfNT I t'I' Muelln, Chmrm,111 of the Board, F111·e11e Sanng.1 Assocwtian. CONSL'l.TANTS Walter P Moore cmd A.mxwtes, Inc (structural); MNM Engmern. Inc (Mf.P), M1clw1•/ Strickland & CmnpanJ· (gruphic·s) CONTRACTOR Drymulla Cm1.1tr11rno11 Compm11. Im . Co/11111b11.1 Texas Architect March·April /984 45 SOUTHSIDE PLACE BATHHOUSE By Will Cummings Taft Architects' recently com the swimming pool to the diving pleted Bath Hou e gives the board and the Community Cen City of Southside Place a civic ter beyond. The Pavilion, a sym centerpiece that is sensitive to bolic entrance to the Com its residenual context yet appro muni ty Center and the city priately monumental in form, 11self-as well al. a means of spirit, and idiom captunng space-1s a three The residential scale of th_e dimensional outline reminiscent neighborhood i-, acknowledged of a cabana yet possessing all by the building'i, low profile the restramed confidence and and overriding honzontahty timelessness of a Roman temple (achieved in part by horizontally The Building itself encloses raked mortar joints and hori10n space, but has no roof and no tal stripe!. of colored block) But doors to encumber the public a curiously balanced interplay of rooms c1v1c and res1dent1al scales " Although there 1s a certain evident in the choice to use dynamism in this spatial se block as the ba-,ic building unit, quence and in the lively vi- and then to sugge t brick w11h sual presence of the Pavilion courses of reddish-brown block throughout the park, the Bath Classical gestures (part1cu Hou<,e 1s also an example of Walls are cumposed of concrete bl0<1's - lpl11fau gre.1 a,rd comrasti11g bu11ds larly Roman) contribute to the classical pictorialism. The fa. of smooth red. straightforward, yet somewhat cades and surfaces are all visi heroic. aura of the Bath Hou..c ble, all stated, and all tatlc. While maintaining a 25-foot The visual centnc11y of the Pa residential setback. the elevated vilion and the axial symmetry of sue gives the building a civic the whole composition can be pre-eminence much like that of fully comprehended from a an ancient temple elevated on us single viewing point- the podium. The easy ascent of diving board. It I'> complete, the <,teps momentarily recalls ideali\lic and visionary. the extended stain, leading to Despite a restrictive budget, Rome's Camp1dogho-the arch the Bath Hou!>e 1<, designed with etypical civic center. skillfully under...tated spatial d1f Formally, the Bath House is forentiations, sophisticated composed of four distinct and h1s1oncal allusions and deft ma -.equent1al spatial treatment'>. the nipulations of scale. Collec Wall, the Gate, the Pavilion. and uvely, these elements bring to the Building. From the south, the Community Center a grace the Wall is planar- a two-di ful <;ense of order, Mrengthening mensional delineation of space, it as both the ~ymbolic and the proJecting a sen..c of solidity, phyMcal center of Southside permanence, and sobriety, much Place. --- like the wall-architecture of an cient Rome. The Gate, defined W,/1 Cummmgs /wf ftud,ed arch, by the Wall and composed of uc111re III Ontarm. Ca,rada. and delicate classical geometries, rnrrenrfy ,s an ard11u<1ural 1111u11 ,n Ho11sro11 serves to frame the visual a)(iS extending under the Pavil ion, over the wading pool and ./6 Tew.r Archirerr Mard,·April 1984 BELOW. Slit Plan ABOVE: Portal is marktd by ovtrscaltd lanttms and a Rtmltn R"'" MJOVI:. : Building as wall. l'w·1lw11 t•·tJ~t'\ .11•11.11dr 1r1111. PROJECT; Southsldt Plact Bath Houst, Sowhs,dt Plat:t ( Houston). ARCIIITECT: Taft Architl'Cls, Hous1011 . Part11trs. John J . Cas/Joria11, Danny Samutls, Robtrt H. Timmt. Pr0Jtt:1 assistants Larry Dallty, S11zannt lobortht Support: Robtrt Bruclcntr. CLIENT Southsidt Plact Park Association. CONSULTANT: Cunnl11gham Assoclatts, Inc (struc111ral). CONTRACTOR: Rtnalssonct Bu,ldtrs, Inc .. Pool- Wo11s Pool Company UPT ANO AIJOVH. Ro1if1e.1.f tne'IOJ1irt.1 for pm·ar_v 011d Mort18i'. Ttxos Arch11tct Morch·Apr,I 1984 47 COWBOY ARTISTS OF AMERICA MUSEUM Br Lisa Gemumy On ni,hr g1UJrd I'm a ndmt pubh,hed far and wide: that arc,i,nd a rhouJand b 48 Tr.wt .~rchl/tU Man h·Aprrl /9.'U ABOVE: Fortress-likl' e111ry lends the museum 011 air of permane11ct . LEFT: Corridor ,11 sowhem bo1111dary of courryard doubles as a gallery space for sculpture. Texas Arcllllt'CI March·April /984 49 opening wiLh a rough-sawn -,lid below is splashed w11h sunlight. ing door-give Lhe building In the official gallery space!., a heavy. forbidding feeling. In larger bol'edos are used with marked conlrnl>I 10 the tepee on slightly less succe1,, lnl>tead of 1hc museum·, lawn, this 1s ,panning the 30- foot width of clearly a structure that hal> to the room. they re-,t on a con do wilh permanence- nor al all crete grid and \lrcLch only the an um,uitable image for a central 20 feet. leaving behind a mu,eum. ,lightl) a~l..ward. negative ,pace Beyond the opening. 1hc ,hort on either side Th" 1s an awk dl'>lancc between the lime,tone wardness the mu,eum can live wall and a ,ct ot hand-carved with. however. for the i,un that ~ooden door.. (by Richard Pratt comes through the-.c bo,·eda.1 of San Antonio). 1s a small en modeh the uneven ,urface of a trance court where an open roof me,quile bloc I.. noor ye1 doc,n ·1 of diagonally mounted. hand damage the painting, around the hc~ n timbers reduce, the ,1rong perimeter of the room fc:ita, sunlight to a genrlc her The pamting, m this room arc ... ringhone pattern on the green documents of tho,c live, ,pent ._ .. .. foliage below working under the scorching sun ln\lde. the 11rac1ousnes, tit or ..,mging to the caule at mght Plan . h1rd\ reg1onall~m become, fall. and Ford. Powell & Car..on more apparcnl. Organi,cd didn't forget that their an-loving around a cen1ral courryard - client\ were al,o cowboys. On opened to the mu,cum through the north side of the museum, noor-10-ceiling. oak-mullioned JU\l down the hill a hulc. two door-, and ~ indo~ '>-the ,pace ,mall building, with wide ,ur IIUHUM.,_ COUIITYAAO IIAIH CIAlllRY eH>lve-, ~ith clarlly. Adm1m,1ra- roundmg porches and copper 11vc room, mu,cum shop, roob will serve a, Mud10 and Seel/on kitchen. re,1r 50 Tew, Arclllltfl i\fllrd1·Apr,I 1984 d s a Ford Brick bovedo :~/~e.central 20 feet oftrademarlkl, the ga e ryspaadmi11ing• light to the center of the room . 1\,•o small b 111'(d mg' s with widestudio I. porches sen•e as surmunt mg . · · artists. cmd living space for v1s11111g 51 UNITED GENERAL INSURANCE COMPANY 8} John Kalisld Ju I m c~ the ob,.ener i~ won made upansion nec~sary. the dcnng. Po 1-Modcm1 m I the firm would occupy a fourth of corporate an:h11ec1ural style of the ,pace and le:be out the re the 1980s. 'o longer do tho..c mainder The re uhmg bu1ld1ng firm who rc,1,t Modcm1~m ha,e reflects a dual nature-client 10 ,trugglc for crcJ1biht). Cor specshc corporate headquarter.. porate an:hnccturc firms arc \er,us uni,ersal lea.,e pace. abandoning the American ln.ter The front of the building, the nauonal Style promuJgated by corporate face. embraces an John1,0n and Huchcod: in 1932 entrance cul-de-~ and 1s faced and endor..ing the corporate ,tyle in a hght fiber-gll!>weinforced that Johnson and Burgcc pro· concrete . This elevauon 1s di claimed in 1976. vided into five horizontaJ la)er. To thinl.. for a moment that of -.quare window<, accented by Po~1 -Modcml'm 1s controlled by the molded corbelling of the con an:hi1ects i!> to deny the mercu, crete a1 the window • top and nal nature of corporate 1mage \1de, . The two central vertical maL.ing and ns undeniable rela ~tacl.s of windows arc also de• tion hip to the ,,agari~ of fa,h hnea1cd by tile panel, inserted son . Ju~I as corporallo~ under each w1ndo"°, thereb) demanded fre,h images after marking the symmetrical place \\orld War II and by 1952 got ment of the front entrance. U~d S0\1\ Le,er House, the gla:. mo,tl) b) HSIIOI'\, this entry IS bm. ha\ become Jrdasst and a aho announced b) a half-round new ,tyle h:b emerged A cor and corbelled "pediment" which P1,lra1ion sceldng a progre,\l,e complete the movement of the "'ual ,1atemen1 deman 52 Tt«u Arclut~,, Marclr·Apnl /984 ABOVE: The ornate corporate face of the building, complete with a half-round corbelled pediment, embraces an entrance cul-de-sac and establishes an identity from the freeway. BELOW: Monumentally scaled lobby echoes the feel of the front facade, going far beyond typical finishes for speculative buildings. ered wall.ways lead from the The an;h1tccts' succc" in walk garage to the emplo)ee entrance. ing this hne is reflected 111 th" The c.:ourt 1, a protec.:tcd spac.:e huild1ng \ rccc,pt of a 1983 de in pleasing c.:ontrast to the flat !t1gn award from the I loustun and dreary surrounding land Chapter/AI A \!:ape. It 1, al,o a ritually a1:1ive Rc1.:c111ly. an an.:hite1.tu1c ,pac.:e. not merely ,ccn a, a critil', not havtnl' ,ccn Houston manic.:ured garden from the ,cat for ten years, wa, driven around of a car or from the w111dow ol the c.:ity and ,hown the arch11cc an ofltc.:c. as in too many ofhcc tural triumph, and monuments part. land\l:apc,. Thi, court pro· of the pa\l decade I le hated v1dc, a ,ophl\ticated and lunc most of what he ,aw and. ft tionally u,etul entrance ,pace for nally, exhau,ted, demanded to the employee,. The overall \llC he taken to hi, hotel for a m1p plan. with 11, modulated move On the way he caught sipht of ment from the Iront -.cal of a car t\\.o lonely Euchde,1n hlack gla\\ to the entranc.:c. front or hack. " hoxc, 111 a held- the type struc clearly und lorccfully resolved. tures that JU,l a lew year, ago he From either entrance. one had v.rmcn ahuut with ,ud1 ex pa"e' through the door 1111<1 a hort,1tivc di,fuvm. "Ah," he douhle,he1ght lohhy. Hakonic\ moaned with ohviou, enthu,i overlook the entrance, ,111d al,o a,m "Arl'hitcc.:ture!" give acce" to the centrall) lo When prc,,ed tor un cxplana · c.:ated elevator core tor tllOse on tion he muttered that he had Slit' 11lllt1 the -.cc.:ond floor. ·1he lohhy " ,ecn too many decorated ,hcd,. monumentally st·uled ,rnd de too much dl\hone,t u,e of mate tailed in acrnrd with c.:urrent rial\. and one too many fal,c Post-Modern lll\te,. Patterned front,. These hlack hoxcs were tem11 ,o floor,. pla,tll lanunalc at least "hone,1 " rc,cmhling hoc rra111ed and Dcsplle hi, rec.:ent wri1111p,. ro,c hued granllc. mitered th" c.:rt11c wa, now eompla111111g sheetrod c.:eiling,. th1cc rnlor al'>11ut the very Po,t Modern paint ,c.:hcme. cu,111111 -made huilding, hi, anti Modcrni,t + ,tccl hah:ony ra11' - all go fur writmg, v.ould ..ccm to 1u,11ty. 5 ., heyond the minimum for typ1cul It w,1, ohv1ou,. ,1, he tall,..cd, / -----.... ./ • • • • • • • • • • hu1ld1ng, ol the ,pcc.:ul,11ivc that he did nut wan t to revive ' tcnre. the lnte1 national Style I 11,..c The design themes hegun in many c.:ritiC\, he iu,t needed to / ,r11 j1110, "'""· the interior detailing ol the mu,e reflexively on how pro . lohby .ire elaborated upon by gre"ivc the old ,tyle might he / .- ( K1rl.,ey-Mcyers in the corporate again . I le needed 10 ,peculate • olhc.:e, ol Umtcd General W11h rntil',1lly on the future ol / . a lcw minor .addition, to the pal fa,hion ette, suc.:h a, v.ood c.:hair r,1i1'. 'foday, any company ,eel.mg rid1cr n1.1 tcriu1' und more ,o to demon,trate its ,avvy, 11, / . phl\t1eatcd detailing. the ,1rch1 - cool. and II ha\lc murl,..c t111p • • tcc.:1, enh,tnccd the c.:orpurate ,cn,c d1ic, nut desire a gla" 1'>11x, Thi, ,tyle ol the recent pa,t • f ./ im.igc that progre"e' Imm out , ; ._. • .. -- - ._. / "de to 111,idc. 'I he overall ef now proliferates only·" ,ate - fcc.:t i, corpurutc eleganc.:c. 111 a and atlordahlc lca,e ,pace for .,,., ,.,,., fl,,.,, ''"'". "new" Mylc. on a tight hudgct. the "Mom and Pop" Imm that The Un11cd General Building hll the nooks ;ind eranmc, ol . - .---. i, 1'>111h a t·orporatc hc,,dquartcr, rnrporate ollke pa1b Yet a, the and a spccul.1tive olhcc huild · critic\ mu,ing, .1re rcmcm / ing. 'I he arch1tec.:i- had to walk a hercd, que,tion, emerge In hnc line hetv.ccn the desire Im a time. won't the paint ulway, / ' strong rnrporatc image ,md the peel ,111d the fre,hnc" of fa,l11011 • c.:nnlfa: ting nec.:Cs\lty tor diu , lade'! And then won't Mom ,111d grammatil' ,ind \hual umver Pop move in'' ('onunl' lull .• • \itlity. A ""'tor to one of the c.:m:lc, doc,n 't the i•ta" hux hel'l,..on '! • tenant ,pac.:c, will di\l:crn a cor· . ; _...... purate hu1ld111g ol dl\tinction ... - ._ ' / , - ~ yet not he overwhelmed hy the prc,enc.:c ol the major tenant . /1,/ul I ijth J/w1 pl,111 'i4 11'1111 A1d1111·1 I Mart lr·Apn/ l9H./ LEFT: Umted General's Corporalt' offices, also by Kirksey-Meyers, represem an elaboration upon the design themes begun in the detailing of the lobby. BELOW LEFT: A ritually actfre fi1·e-sided courtyard was created by ,..,apping the parking garage arou11d the rear of the site. BOTTOM LEFT: Half-round corbel led pedimem becomes the buildmg trademark a11d l11ghligl11s the e111ry fin! floors belo" . Joh11 Kal1sk1 ,s a11 as.mta11t profes.sor of arcl11tec111re at the U11il'er5,r.• of HmHtor, and the 11ue.11 etl11or of the .1pr11111 1984 i1.1111• 11/C11c PROJECT Unitt·d Gn1a11l /11.111ra11ce Ct1lllf' Texas Archuect March·April 1984 55 ADOBE MAKES A HIGH TECH COMEBACK by Ray Ydoyaga Plt<>tography by Marty Snortum In early' 79, Southwestern Homes President John Edmonson was instrumental in reinstating adobe as an acceptable building mater ial in the El Paso Building Code. Since that time, his firm has moved into the forefront as builder/developer of passive solar adobe structures, both commercial and residential, in the desert southwest. The program for 500 East Schuster Ave. called for a new home for Edmonson's firm, offi ces for the architects, James R. Booth, and in a second building, a small family medical clinic. The architects chose an adobe aesthetic that would transcend the traditional adobe styles of Spanish Colonial, Santa Fe and Pueblo. Combining ancient adobe masonry techniques with the industrial age's cold-rolled structural steel shapes, 500 East Schuster echoes the vernacular architecture of the region while avoiding its stylistic cliches. Exposed pipe columns, wide nange beams and steel roofing, all painted to match the desert sky, serve as the building's ele gant, minimalist ornaments. The 2 RECU'TION ~RAl~CEl WAITING i.teel kit-of-parts gives the adobe, ROOM a dimensionally imperfect build 4 OFFICE ing material, a contrapuntal ~ LEAS! SPACE crispness. 6 EXAM R00\1S The use of adobe mass and 7 PRE EXAM passive solar design techniques 8 ~M ha, ali.o resulted in an 80 percent 9 COURTYAR1 ,olar contribution 10 the build 10 DRAFTING ROOM I I ing', space heating needs. In II PRODUC I TIONROOM addt1ion, ~unlight provides all 12 cosnR the necessary lighting for all f.NCb work ,talion~ in the builder's and 13 PORCH .,rch1tcc1·., oflices during regular TOP: Pipe colum11s 011d beams are hu\lnC\\ hour<,, poimed a vibram blue to match tire color of tire El Paso sky. ABOVE: The i111ersec1io11 of Mo co11fere11ce rooms forms tria11g11lllr 11ic/res used as p/0111 s/refres. 'it, Texas Architect Marc/r•April 1984 PROJECT: 500 East Schuster Ave. • El Paso. ARCHITECT: James R. Booth, Architect, El Paso. ProJect team: James Booth, Mark Tillotson. Noe Carreon and Aubra Franklin CLIENT AND CONTRACTOR: Southwestern Homes, El Paso. RJGHT Like a ABOVE: Profile of500 East Schuster A,·e. show.1 offthe building's crisp lines, thick walls and steel k11-ofparts. RIGHT.· Glass block, natural pine, brick flooring and patterned te111les gn·e the reception area a r1chly-te.xrured, regionalist look. Texas Arch11ea March·April 1984 PROJECT Ad.-ance Design Ce11ur. 4020 Oak lal I•--- are one- or two-story, large floor area structures of 12-foot clear '!'ILE-STYLE height designed to lease 90% for office and production uses with the remainder for storage and THREESOME staging. Some dock-high load ing and a near-airport location are desired.) The second small building in tile by Townscape Architects is a successful renovation or a non By IArry Good descript 1960s brick office/ware house on Slemmons Freeway in Three small buildings completed parent complexity ii, softened by Dalla!>. Rarely does a tech cen recently by Dallas' Townscape symmetry and the all-over skin ter convey imagery even re Architects (Kenneth A. Siegel, of matte grey-pink ceramic motely related to high tech AIA) share the same exterior tile-an 8-inch by 8-inch neu nology. This one, however, cladding-ceramic tile-yet tral grid wrapping the building becau,e of the tile skin and re through their differences they like a birthday package and mu lated deta1hng. 1s a tech center exhibit the material's variety and ting its impact on adJacenl retail that looks hke a tech center. applicability to diverse architec buildings. The Ille is impeccably 2998 Stemmons Freeway is a tural problems. Although the detailed, coursing out evenly at 40.000-square-foot, one-story, buildings arc all good in their opening, and comers. flat-roofed building formerly oc own right, they demand a closer Maroon awning, shade the cupied by ADP. (ironically a look primarily because of their ground-floor retail from the we,1 high tech company that recently creative use of tile veneer. sun, provide a surface for ,1gn moved into new headquarters age. and help 4020 Oak Lav.n down the \lreet) In order to WELL-BEHAVED INFILL relate to the existing ,1ree1scapc. make the building more attrac The separation between the tive to sophisticated users in the 4020 Oak Lawn i, a r.trity in building and vehicles pa."ang speculative market, the devel near North Dallas. a tiny infill around it lo the parking area 1s oper, Joe Foster Company. re building in a c11y where such so 11gh1 that a glo,sy white quired more glass and more Because of its abilm to co,·er spaces are rarely filled in. The bumper rail was provided to pro parking to allow a higher per disparate .111rfaces e1·en/y. tile ,·eneer 4.200-square-foot retail and tect the pristine llle skin while centage of office U\e. Town, ll'tJS 1ned to re,w,·ate tl11r l960r bricA office structure was born out of providing a crea1tve and unex cape \ solution was to carve officelwarelw11s1•. a common developer-client re pected design element. away ,ome of the building area que\l: "Put as much building on Not surprisingly, 4020 Oak at the front, creating angular un the propeny as can be feasibly Lawn was leased to tenants who dulations an the facade. Green Justified." In this case. the eco share the aesthetic bent of tinted "auto" gla,., i, u,ed in nomic mo11ve encouraged ,ound Hughes and Siegel. The ground proJecting bays and a glossy urban design, as Siegel and hi, floor retailer i, Europa1sche four-inch-square. warm-red tile clients pur,ued and received two Mode. an elegant dre,, shop. lines the recesses. Well-ordered variances-one for a reduced and the ,econd-floor tenant (now opening,, modulated by a 4- front yard. which held the \lreet owner of the building) 1s Ad foot-square grid of clear ano line by matching the minimal vance Design Center, a graphics dized aluminum mullions. were ,e1back of its 1920, neighbors, and packaging de,1gn firm. Due punched through the brick an the and a ,econd for reduced part.. to the high level of soph1s1tca- <,ide walls. Then the remainder ing. which avoided an unneces 11on an the building concept and of the building was clad an a sary intrusion on a pedestrian i1, image on the street. rent, mane finish 8-anch by 8-inch oriented neighborhood achieved for the project set new dark grey tile from Mar.i, zi. Siegel\ client, a partnership. standards for Oak Lawn. The tile veneer makes an ex included Kenneth H. Hughes. a cellent material for facade reno A TECH CENTER retail developer and leasing vation bccau,e it so easily and THAT LOOKS LIKE agent well-travelled an Europe successfully cover, disparate A TECH CENTER and trained as an architect-a surfaces Its modular grid adds a man with avant-garde ta.\le who In the pa,1 tv.o year.. a ncv. valuable scale device and 1t, PROJECT: 2998 Stemmons. Dallas. demands creative, yet di,ci building type ha, ,prung up 10 color ,electmn can ,ausfy a va ARCHITECT: To1111S<"OfU' plined work in rather cmply de hou,e the nev. bu,mc,se, of the riety of expre.,.,1ons. Care must Anh11ectr, Dallas, Kem,eth A Siegel (parmer m charge) and Dick L. tailed forms. The building information revoluuon . A ki"ing be taken. however, to ,pec1fy a D1111m·a11. appears more complex than it is cousin of the "office ,howroom·· frost-proof ule and to control OWNER: Property Renewal Carp.I due 10 balcony and greenhouse or "service center," the new preparauon of the substrata to Joe Foster Co acting par/lier. forms and a central second floor building type is popularly called avoid ,hifting. CONSULTANTS: lmre.t Assoc .. office volume that nses 10 a "tech center" by the developer. Because the building was or Inc (5/rucl/tra/) 16-foot ceiling height. This ap- who build them. (Tech centers gam,ed to lease as a duplex, CONTRACTOR: J. N. Kem. Texas Arch11ect March·April 1984 59 I i main entries were developed at ... both front comers, complete i with porches accessed by stairs ... and ramps and accented with • high-gloss red rails. However, l the battered fonns created by l these add1uve elements arc a quesuonablc counterpoint to the order or the buildmg. 2998 Slemmons is a good freeway building because or the eye-catchmg flashes of red rails and tile, and because of the skillful handling of the undulat ing glass mfill in front. It is an even better building upon closer mspecuon because of the inter rela11onsh1ps of several grids on the facades This detailing helps achieve the allusion to technol ogy that 1s so nght for the build ing type. MACHINE ON THE RUNWAY North Tcnnmal, the 10,()()()... -.quarc-foot Addison Jetport, is an isolated obJect on the wide open spaces of an airport runway apron Nonnally. the part, of a '>Culptural fonn clad in a d1sc1p lined grid or tile would work bet· ter in thl\ context than in an mfill '>lluation such as 4020 Oak Lawn Nevertheless, the form of the termmal ,s mherently less appealing than that of Oak Lawn Townscape was comm1ss1oncd by the town of Addison to de sign a bu1ldmg to service the high-volume corporate Jet traffic landing m far north Dalla, each day. The tennmal proJect, through the \ale of fuel. can generate significant mcomc for the town; therefore. 11 wa_<, the chcnt's request that the building be highly Vl',1ble and a11ractive to the pilots acsthcucally and funcuonally Upon landing at Addison, the CXCCUIIVC may rent cars and aucnd meetings A80Vf.: F.)t-cutchtng flashrs ofrtd while the pilots gas up, check r<1d1ng and praJrctmg ba1s ofgrttn "uu1<1" guns malr 1998 51rmmons the weather, buy supplies and h1ghl1 us,Mr fr,,m 1hr frt't'" Tr.tas ArchlltCI March·April 1984 Brightly colored furniture and polished marble floors and counters accent the Addison Jetport interior. Section through lobby. ABOVE: Walls ofglass block surround curving stair enclosures. LEFT: The terminal's nigh11ime image is enlivened by the glow radiating from glass block openings. The terminal's building skin is sections (also organized on a 24- And, indeed, the influence of PROJECT: Addison Jetport. a 24-inch square ceramic tile inch module) give the building a late modern Japanese work on ARCHITECT Tow11.1cape manufactured by Buchta! of sculptural quality and. along these three buildings is hard 10 Arcl111e<:1.r, Dallas: Kenneth A . Siegel West Germany. Its mane finish with the glass block, enliven the miss. For the moment, Siegel is (parmer in charge) and Dick l . and grey/beige color resemble terminal's nighnime image. sold on the virtues of tile, espe Dunm·an cut limestone, exemplifying the The interiors. by Cyndy Sev cially its ability 10 modulate a OWNER. Town of Addison. unexpected capacity of tile to erson Design, include beautiful facade and 10 discipline the PROJECT COORDINATOR: Sam Swart .imitate another material. The wall sconces and lounge furni organiza11on of openings. Tile is CONSULTANTS: David Goodson client liked the selection of tile ture by A.I. and Knoll in vivid durable and easy 10 clean. It of (struc111ral); Walt Hale, Inc. for the terminal because its sur colors. Artwork is being com fer:. an almost limitless selection (mechanical). face is impervious and easily missioned 10 hang in specific lo of colon. and a variety of tex INTERIORS: Cyndy Severson maintained. cations such as the central tower tures and sizes. And it b affor Design. Punched openings in the space. Polished marble floor.. dably priced, which makes it a CONTRACTOR: Bartex, Inc. building mass are filled with and counters seem overly rich, natural for small buildings. glass block at curving stair en yet they provide an appropriate closures and at the tower, or durability for a high-traffic with a storefront glazing system building. of 24-inch square mullions SUMMARY Larry Good is a partner in the Dallas meshing with the grid of the Kenneth Seigel admits that firm of Good, Haas & Fulton and a tile. Second-floor greenhouse Arata Isozaki is a current hero. Texas Architect co111rib111111g editor. Texas Architect March·April 1984 61 Space870 ~All**«IC,...... ,SloneM,e Ndlileetlnl~ Hlbilall.Jglltlng ,_ Furni1U!9 ~Cllaira ,._,t..._. FaolS~ Concract Furniture, Lighting & Ac· Haeco 'Mlod 01b FumlUre CNIOrie8 AGl~~e.mng Van Sant-ttelldereon, Inc. DellM Houeton I. H. Prltchad, Inc. 214/747-1371 713/122-1212 214/741-IOl7 Space 633, 635, 641 Space820 Representing: Krueger Contract Alma Desk Company Open Offic:e Systems lnotec Systems. Inc. Contract Fumllure Dtck Lowe I Auoclatea Box 581363 Dallas, Texas 75258 Z 214 747-7826 (214) 742·4446 Space872 Space 886.-848 We Now Represent A, • fvlegg[ I ,A&.J• ...... , . I Lo~d by...... llonal . Open Plan Office Systems Bro erton Brana Haworth, Inc. , Assoc. Westln1house Dallaa Dlvlalon Inc. @ Furniture Systems 214/748-0IDI 214/741-3114 214/744-11111 SpllcellO Spllce888 Interior producte for the arch,'tect, epecffler and Interior deal ... Interact, Haller Systems, Inc. Davis Fumlture lnd01tr1es, Taylor Chair Co. Metropolllan FumHu,. Corporation For furthM lnlomlatlon on any ot the ahowrooma lat«J In the ed, p'-'te elf. cle the rNder Inquiry number. If )'OIi Metropolllan Showrooml, Inc. would"'· lnlormatlon from • apeclllc PO Box68256 -1towroom, plwe lndicflfe ,o on the Odaa. Texas 75258 ,..,., Inquiry cw. (214) 747•4135 Space 600 Space 609 Space 623 Armstrong, American of Martinsville, Fabricut, Seabrook Wallcovermgs, Sico, Simmons and many more. Turn-Key Furnishers Houston & Dallas -THONET u herman miller Bill Chattaway Associates 21 4/741-2271 21 4/741-4937 214/651-0845 71 3/960.9538 Space 665 Space 610 Space 638, 642 Avante Designs, Arcadia Chair, Craftsman Furniture, Gordon Interna tional, Metalstand Co., Magna De sign, Marvel Metal, Nightingale Ltd., Stendig Supreme Accessories, Systems Represented by Furniture Chromcraft/Monarch Furniture Sam Schenck Southwest, Inc. (214) 748-2706 610 World Trade Center Wilham Plante Photo Graphics Dallas, Texas 75207 Wells Associates/Six Design Dallas 214 698-0290 Stendig Houston 71 3 '464-8281 214 698-1726 Space 605 Space665 THE WELLS GROUP Systems/Contract Computer/Office Glenn Hennings Furniture & Associates Dallas Showroom Houston Showroom 214/651-1556 Six Design Inc. A.F.W. Inc. 214 698-0290 713/464-8260 Space 628 Space 616 Space 645 COwmiam Hammon " & Associates 214/745-1371 Commercial & Institutional Furniture Showing: Bright Chair Co. Brodart Cl Designs EOC Arconas HIEBERT Niedermaier Carin an, u " planttur, muting pluu fa•r 11rtl!I$ and ~,,pit 1nttrtJU:J ,n tht1r i.·orl.," ,,ccup1t$ ow u11111,t b111ld111g1 111 tht heart 11/ J1mntc>K II Ft1rt \forth Tt!w, Arch11ect March•April 1984 COWTOWN'S CARAVAN OF DREAMS By David Dillon "For better or The Point of Caravan of Dreams is as elusive eris. For anyone looking for something really worse, there's no as lhe Arabian Nights tale from which it gets different, here's something really different. its name. The initial problem was renovating two vin place like this place Located in two turn-of-the century commer tage buildings to accommodate a dizzying anywhere near this cial buildings in downtown Fort Worlh, Cara range of new uses. The architects chose to pre place. It's exotic, van contains a lheater, restaurant, nightclub, serve the cast iron facade and end walls of lhe library, photography lab, karate studio and a building, as well as the original wooden tim quixotic, mildly rooftop garden wilh a geodesic dome housing bers, whkh were remilled and reinstalled in bonkers and totally hundreds of rare and endangered cacti. There's lhe form of flooring and furniture. Everything sui generis. For also a cave, a cactus shop and an apartment for else was scrapped, and lhe structure gradually millionaire Ed Bass, one of Caravan's financial enlarged from 18,000 to nearly 40,000 square anyone looking for backers. feet, at a cost of between $5 and $10 million. something really Project architect Margaret Augustine of Sar To summarize lhe results simply, things get diJferent, here's bid Ltd. of London (the name is an acronym better the higher you go. The first floor con for Synergetic Architecture and Biotechnic De tains the restaurant and nightclub, all trimmed something really sign) has described Caravan as "a planetary out in bright lights and striped fabric hung different. " meeting place for artists and people interested from the ceiling in tent-like swags. Although in their work." More precisely, it is a south the interior finishes are expensive and well western rendezvous for the performing arts chosen (brass, cut-stone pavers, red oak) lhe avant-garde that has featured jazz giants Ornette overall effect is curiously tacky, like the inte Coleman and Phil Woods, novelist William rior of a second-rate suburban nightclub. Burroughs, dancer Moses Pendleton, magi On the second level is a 212-seat theater. Like cians from Morocco and Transylvania and an the restaurant and nightclub, it is a puzzling mix assortment of regional music and theater groups. ture of sophistication and amateurishness. We John Allen, a member of Decisions Team find comfortable seats and extremely sophisti Ltd. lhat conceived the project, has few reser cated lighting and sound systems, yet virtually vations about bringing such esoteric entertain no backstage or wingspace. Emerald O'Leary ment to Fort Worth. "Fort Worth is involved in says lhat this is unimportant since Caravan oil," he explained back in August. "Fort Worlh won't be staging ballets. Yet lhe net effect is to is involved in exploration. Fort Worth is in make an otherwise superb space impractical volved in aerospace. Fort Worth is involved in for all but the most intimate performances. electronics. So it's a very state-of-the-art city. The lheater lobby and the main stairway The entrepreneurs of Fort Worth are very state leading to the roof garden, on the other hand, of-the-art people. So we figure they're actually are attractive combinations of arched and lhe ideal audience for the avant-garde." rounded forms, derived largely from mosques Such a leap of failh requires ignoring sub and Indian pueblos. Since Sarbid has designed stantial contrary evidence, such as the marked a hotel in Katmandu and condominiums in preference of Fort Worth residents for familiar Santa Fe, these allusions aren't accidental. The ralher lhan experimental art. They flock to the entire project, in fact, is a collage of architec Kimbell and the Amon Carter museums, for tural forms, ranging from primitive cave dwell example, bolh very traditional institutions, ings to the geodesic world of Buckminster while leaving the more innovative and experi Fuller. mental Fort Worth Art Museum to fend for But lhe piece de resistance is the roof gar itself. den, with its grotto bar and domed cactus gar For better or worse, there's no place like this den. The roof redeems many of the quirky and place anywhere near this place. It's exotic, inexplicable design lapses found below. The quixotic, mildly bonkers and totally sui gen- grotto bar, a rustic niche for the cocktail set, is Te:cas Architect March·Apri/ /984 65 ..:, , (J::~ t • :,:::: ....., I 1111 - .-r' ••••• ~~•-0. I ir11jloor plan R,,.,J f surrounded by a rod: garden and a ,imulated cave. all made of gunn11e ,prayed into mold, and then laid over a wire frame. The rock land· ,cape con1rac1or. Lar,,on Co. ofTuc!->on, made the mold, from real rock formation, an the Sonoran de-,erl. To ,upporl all this ~e1gh1, en gineer- bra1.:ed the building 10 wi1h,1and prc, sures ol 500 pound, per -,quare foot. roughly ten lime, normal. Above all this. like a bejeweled cap. sih the geode,ic dome. with it'> neon hgh1, and rare cacti laid out to provide a cap,ule hi,tory of the world\ desert ecolog1e, Whatever the sci entific sagniticance of the content'>. the space it-.elf provide, a ,pectacular view of downtown Fort Worth. with its '.'lpecial max of ornate S«1mJj1,,.,r plan masonry buildings and sleek new gla,., c;ky <.crapers. It\ the be,1 roof an town. and a ,u perb space by any ,1andanh From thi-. unique perch. ~c get a frc4,h pcr.pcc11vc on <,omc of the p0'>'>1b1 h11es of urban hfe. And fresh pcr ,pcclive,. theoretu.:ally al lea,1, arc what the avant-garde i'> all aboul. l>au,J [)1/1,m 11 "" h11r1 tur,• ,rmc for thl' l>Jlla., Morning Ne...,, 1111 Thi' roof gardrn rotmtrrs IN' nor,on that rooftop, arr tlu- mDJI undrr- 1111l1:rd spaus in ar(hitrrnur. In addmon '" thl' nl'<>n-/11 dt'trrt J11mr , thl' roofwp garJen nm1,11nt u I'""" fhirJ jltXJr plan bar nrstlt-d tnto a ,nu/ti•ln l'I simulatt'd rod. /andsrnpt', eomplrtl' " th ca.,.,. lt'dgrs and k't1tl',fallr . 66 LEFT: Thea1er lobby comprised of appealing arched and rounded forms deril-ed largely from mosques and Indian pueblos. BELOW LEFT: 212- seai 1hea1er has comfonable sea1ing and sophis1ica1ed sound and ligJ11i11g sys1ems, ye1 vmua/ly 110 backs1age or wingspace. PROJECT: The Ccirm•a11 of Dreanu, Fort Worth. ARCIHTECT: Sarbid, ltd., lo11do11; Mtir!(aret A11R11Sti11e, director. PROJECT ARCHITECT: James R. Women and Associates. CLIENT: Decisions Team ltd. CONSULTANTS: Carter a11d BurReSs (mechanical and struc tural); Tony BurRess, University of Arizona, Bownical Consul tant; /11stit111e of Ecoreclmics, London, ecoloRical systems. CONTRACTOR: Thomas S. Byrne (general); Larson Com pany, T11cso11 (rock landscape): Expodome, Moll/real (geodesic dome). Terns Ard111ec1 M11rch·Apri/ /984 67 TM Fire Retardant Treated Wood The Fire Retardant Treated Wood That Works Where Humidity's High In addition to the properties of a superior fire retardant treated wood, Dncon• wood has other features unsurpassed by any interior-type treated product Laboratory tests have shown that Dncon tire retardant treated wood Is no more corrosive to truss plates. nails and connecting hardware than ordinary, untreated wood even at 95°·0 relative hum1d1ty Dncon lumber and plywood has an FR S rating from Underwriters Laboratories Inc Every piece of Dncon wood Is kiln dried after treatment and carries a UL label All tour national model building codes permit its use in roof construction It Is ideally suited for interior and rain-shielded applications. No other interior fire retardant treated wood makes this claim The surface ol Oricon wood remains dry at 95°,o relative hum1d1ty Oncon wood has exceptionally low moisture pick-up This results in exceptionally low corrosIvIty In addition the Dncon treating chemicals' contain no sulfates. halogens or ammonium phosphate that can contribute to corrosion Low corrosIvIty means longer lasting truss plates and metal hardware. which can mean longer lasting trusses For your spec,f1cation guide, question and answer booklet, and descriptive literature Use the reader inquiry card or call, Dean Lumber Company Box 610, Gilmer 75644 (214) 843 5538 Telex 735003 The Pella Clad Window System: operating efficiency and elegance you can count on. These days, mu111-story oonstrucoon brown ex custom fil'llShes, this tough oookng costs. Attracnve. narrow-slat fun 360°. Every corner can be must be effioent Office structures coal resstscdor degenerabon, chi> meial bllrdscan also be set between reached for easy deaning; and whidl depend upon hlgl ocx:upancy ping, ftakJng. peeling. crad C,rcle 43 on Reader lnqu,ry Card CHARLES MOORE FINDS AN ACADEMIC SEAT IN LONGHORN COUNTRY By Ray Ydoyaga "Texas! Do you know what you're getting some buildings or even silly ones; they aJI into? How cold it is out there? And all those don't have to be the most important things the mosquitos!" world has ever seen." That's what some Los Angelenos thought of After the Sea Ranch was built, Moore Charles Moore's move to the third coast. Un became labeled a dissident and, rightly or daunted by the taunts of ethnocentric Califor wrongly, as a leader of the Post Modern move nians, Moore allowed himself to be bitten by ment. "I spend a lot of time writing articles the Texas bug, and starting next fall. will explaining that I am not a Post Modernist.·I've teach at the University of Texas at Austin. been upset at the media barrage of Post Mod After more than two years of searching for the ern stuff. But I don't think what Mies Van Der right candidate, the School of Architecture has Rohe had to say ..." he imitates a German decided the recipient of its O'Neil Ford Chair accent, " ... · I don't vant to be interesting, I should be Moore, the reigning king of vant to be gooood,' is true either. I think you regionalism. have to be interesting otherwise you lose the After bursting on the architectural scene public. Maybe you already have. So when nearly 25 years ago, Moore has become one of Time or Newsweek devotes several pages to the most influential architects in America. architecture, then hurrah!, that's great. It hap A new generation of architecture students is pens that it's usually controversial stuff that's being educated with examples of his projects covered, but I think it's fine it's newsworthy and from the observations in his books. At and it's interesting. But what I don't like about various times in his career he has been an edu the Post Modern label is that 1t turned the cator, administrator, writer, lecturer, juror, his whole thing into an orthodoxy." torian, partner and media star. By 1966 he was sufficiently eMablished in During a recent visit to his new UT Austin the field for Yale University to name him chair office, Moore talked about his newly adopted man of its architecture school. Moore says state. "I'm very fond of Texas," he said. "I've he will apply the same teaching methods he de been a visiting critic on Texas vernacular veloped at Yale to his new classes at UT Aus architecture in a studio at the University of tin. " I thought my role was to give students Houston for the past three years. In that class, confidence in their capacity to make some I've taken students on field trips around the thing. There are so many people trying to beat state from Big Bend to Marshall. So although I the confidence out of them that I thought it was don't think of myself as an expert on Texas, important that somebody put the confidence I have become very fond of what I've seen." back in." He received notoriety as an important young His architecture during this period incorpo architect in the early '60s with a series of inno rated the symbolism of both historic and pop vative houses in the San Francisco Bay area. architectural forms. The Faculty Center for the First to be built was his own modest, but at the University of California at Santa Barbara, for time radical, house in Orinda. Then Moore. example, combines both neon sculpture and with his new partners, Lyndon, Turnbull and traditional Spanish motifs like clay tile. His Whitaker, designed what may well be remem design for Kresge College at UC Santa Cruz bered as his masterpiece, the Sea Ranch. also incorporated Spanish styling with un Inspired by a weather-beaten barn adjacent usual, some say Mannerist, fenestration. to the site, the Sea Ranch set an alternative Moore was widely praised for the designs of path away from the tenets of Modernism. the Faculty Center and Kresge College, espe "When I was being taught about architecture, cially for his creativity in spite of tight the generation that was enrolled was deter budgets. mined to be important. But I think you should "Most of my work until recently has been have the freedom of speech to just have hand- very low-priced stuff. My practice hasn't been 70 Tews Ard1i1ec1 Marclr·April /984 ''O'Neil and I used to appear together on the lecture circuit. I thought h~ was wonderful . ... I thought he represented all sorts of good and rzch stuff about American architecture that the mags haven't made much of.'' institutional buildings made out of marble. But I am very interested in details and the expres sive possibilities of materials." Unlike many architects who dabble in writ ing, Moore has an eloquent, simple language that has made him a favorite with students. "It's like drawing, some people do it more easily than others. I think my writing would be as stuffy and hopeless as my academic col leagues' if I didn't write with someone else. First I write a paragraph, then the other person reads it. We scream a little about it, then we switch places and write some more. It makes Model of the new San Antonio Art lnstitllte designed by Moore Ruble Yudell. for a lively interaction. I enjoy writing; some times I find that it's a more direct way of But I think I agree with LBJ about preferring getting an idea across than a building." He to be on the inside of the tent pissing out than pauses and smiles. "But I think I'd rather do a being on the outside of the tent pissing in." building." Rural Texan architecture is much admired There's been speculation on whether Moore by Moore, especially the Gordon courlhouses. will set up practice in Texas. It would make "The one in Waxahachie is a particular favor sense since he has a number of commissions in ite. But I like all the Texas counhouses built the state: a country club and condominium anytime before the war, and the simple houses project in Sugar Land; enhancements to Hous of Fredericksburg and Castroville. I also like ton's Hermann Park; condominiums in Dallas' the really fancy ones in San Antonio and Turtle Creek area; and the San Antonio Art Austin. Institute. "It seems I like more of the old stuff in "It seems most of our current work is in Texas than the new stuff, but that has always Texas." He's involved with two sets of firms in been my problem everywhere. I think John Los Angeles: The Urban Innovations Group, son's Transco and RepublicBank (both in which is affiliated with UCLA, and Moore Houston) are good as any skyscrapers that Ruble Yudell. "We (MRY) were thinking that have been built since the last war. I know some we should have a Texas office before I decided of the younger firms in Houston like Taft and to teach here. There are no set plans right now, they're doing really interesting stuff." but we're investigating it." Moore's migration to the state will undoubt Moore is excited about holding the aca edly focus more attention on Texas architec demic chair named in memory of an architect ture. His architecture, in turn, will be highly he greatl y admires. "O'Neil and I used to ap influenced by native Texas and Spanish styles. pear together on the lecture circuit. I thought Or as Moore puts it. "My interests arc ver he was wonderful. I thought for years of nacular, regional, local; I'd like to think, writing a book about him although I haven't not fashionable." II sounds as if O'Neil Ford seemed to have gotten around to it. I thought would have agreed not only with this philoso he represented all sorts of good and rich stuff phy but with the man who holds his name about American architecture that the mags sake chair. haven't made much of." Ford's and Moore's relationship, however, was not always harmonious. ·'He would shout at me sometimes for 'selling out to the New York interests,' because I would play the game. Texas ArC'hi1ec1 MarC'h·Apr,/ 1984 71 Harper and Shuman and CFMS Consider the Advantages ... 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LOADBEARING MASONRY WINS THE CONSTRUCTION GAME __ ..,...... ; ~..,.- . ' MONTHLY ACTIVITIES 8 10-Story Building All trades working Complet;e 4 months to go 7 All trades working Start int;erior since the 4th month 6 All trades working Start roofing Finish frame 4 Start Frame erection lnt;erior 3 Start mechanical electrical plumbing J Sire preparation Loadbearing masonry features the only construction sequence where support, enclosure and finish work progress simultaneously upward. The speed and comparative simplicity of masonry construction allow plumbers, electricians and finish players to start work sooner than Masonry lnstffutE framed construction. This results in reduced construction time, Houston•Galvuton earlier occupancy and lower interim financing. Halbouty Center, 5100 Westheimer For a brochure highlighting winning examples of loadbearing Houston, Texas 77056 (713) 629-6024 masonry construction, write the Masonry Institute Houston-Galveston. c,rcte 47 on Reader tnqwy Card BOOKS SELECTING SOUTHWEST CENTER By Philip S. Kennedy-Gram Southwest Center, The Houston Com petition, edited by Peter Arnell and Ted Bickford; essay by Paul Goldberger. Rizzoli International Publications, 120 pages, $12.50, paperback, 230 illm,tra tions, 80 in color. This book is the second in a series cover ing significant architectural competi tions. The editors• goal for this series is to stimulate public dialogue about de sign. Since they say "the essential!> of a building are more clearly discerned in the process than in the eventual physical reality" it is expected that readers will be able to better understand the built projects after comparing and reviewing them with their preliminary stage com petitors. It is a worthwhile goal. In the case of Southwest Center, the clients sought more than a new sky Finalists in the Somhwest Center design competition ll'ere Kolm Pederson FoA (left), Skidmort•, 011'ings & Merrill (unter) and Murphy/Jahn, Inc. (right). scraper. The building was to be a symbol of Houston as much as of the Southwest Bank. As stated in the preface by South Fox of New York; Skidmore, Owings Technology, the absence of simil;ir west Bank Chairman of the Board John & Merrill (SOM) of llou,ton, San sketches from the other two finalists is T. Cater, and Kenneth Schnitzer, Century Francisco and Chicago; and Murphy/ even more noticeable. Development Corporation chairman of Jahn, Inc. of Chicago. Of the three essays, William Pcder the board, "foremost among our objec Southwest Center shows the designs son 's is the longest and most erudite. lie tives was to design a landmark building submitted by these three firms, including discusses the nature of the city and ar for Houston , a building which would be preliminary sketches, floor plans, eleva gues sensibly for an urban condition bet world class in every respect architec tions, rendered perspectives and, most ter than we currently have. Pederson turally, culturally and civically." This dramatically, photographs of models . claims that "although the ideal city of was to be the world's third tallest struc And while there arc written descriptions modern architecture has not been, and ture, which alone made the commission accompanying each project and essays cannot be, fully realized, cities like ,ign1ficant. Intended to "symboli,e by each of the three principal designers, Houston possess most of the least desir Houston's strength, progress and pros it is the graphic content that receives the able characteristics of that model with perity, as well as recognize the centrality bulk of our attention. Although the edi few of its intended amenities." of (its} important site," the clients re tors profess to be concerned about archi Richard Keating of SOM focuses quired the services of a first class archi tecture as process, more emphasis is more on visual aspects in his "Thoughts tectural firm. placed on the completed project than on the Skyscraper," yet the description The search for their architect began how the project came to be. This may be that accompanies his submission high with the screening and evaluation of 30 due to the unavailability of materials. lights the technological rather than the hrm, from around the world. The list but, regardless of the reason, it is Helmut formal aspects of the SOM design. Pro wa, reduced to I0, and after interviews Jahn's submission that is most clearly fessing to be in search of "a more hu anti lurther evaluation, three firm'> were documented as process. Since many manistic architecture which expresses l"llg,1gcd to submit proposed designs. readers may be familiar with Jahn's pre more profound ideals than those of fash 1lw 1l11~·c li11t1ll't, were Kohn Pederson liminary drawings from Ard,itecwral ion and prestige," Keating's design 7h Terns Arc/meet Marrh·April 1984 three. Designing Specifying Jahn 's essay, though less scholarly than Pederson's, is more clear and focused than Keating's. In it, Jahn talks Kent J. Chatagnier about the origins of the skyscraper and how today's work must be seen in rela Co11 sultant i11 Roofing Service tion to that which has gone before. In the end, it is romantic quality that permeates the Murphy/Jahn proposal that (409) 985-2930 300 Emory Port Arthur, Texas 77642 clearly makes it the winner. A product of today, technologically and artistically, the Jahn design is the most direct de scendant of the grand era of American skyscrapers of the 1920s and 1930s. Ref Clfcle 60 on Reader lnqu,ry Card erences to Hugh Ferriss's renderings are implied in Jahn 's, and comparisons to the Chrysler Building in New York, that Granite. most romantic of skyscrapers, are inev itable and justifiable. Jahn has been able to distill the elements of grace, unity and A step up to beauty. practicality into a concoction that is at once representative of past and future. A step up to wearability. The book closes with a brief essay by Paul Goldberger, New York Times archi Forever-lasting beauty tt] 't tecture critic and author of Skyscraper. that requires no His comments are direct, insightful and maintenance, adds a " 111 accurate. In reviewing the recent history stepping stone to of skyscraper development, he describes prestige, elegance. the major influences on these three de Choose from twenty signs. Goldberger's assessment of the colors, endless shapes submissions is balanced-there is good and patterns, and all the and bad to be found in each. Neverthe expert help we can give less, it is Jahn 's design that succeeds you. Consider the best, and it "gives one true optimism character of mixing more about the future of downtown Houston." than one color or pattern Southwest Center seems to capture the in an application. essence of the architectural competition, For more information, and does so in fi ne fashion. As has come and a packet of full color to be expected from Rizzoli, the book is literature illustrating Cold handsomely laid out and its many color Spring Granite products illustrations are uniformly crisp and in use, call toll free clear. Running throughout the book is a 800-328-7038. In "-"!'~.a~~-' series of unidentified photographs and Minnesota call (612) drawings which bear on particular aspects 685-3621, or write to the of the projects. Their lack of identifica address below. tion or explanation is the only detriment I D S C.n1er, M,nneapohs. MN to an otherwise excellent production. Ex ArcMec1 Ph1hp Johnson & pecially when one considers the reason John Burgee, New York, NY able price, this book is essential for Edward F Saker ASSOCIDIH Inc those who want to discover what Houston might have been, and is to be. --- Kennedy-Gram is a practicing architect with Nadaskay Kope/son Architects, Morristown, New Jersey, and chairman of the Architecture New Jersey editorial board. SECTION Cold Spr ing Granite Company, Dept TA-1 202 South 3rd Avenue. Cold Spring, MN 56320 Texas Architect Marrh·Aprtl 1984 Clfcle 59 on Reader Inquiry Card E.S.P. Harper P.O. Box 224943i -Dallas, Texas 75~ lMetro) 817/654-t'463 ED AGAINST TIME Classic structural touches can be kept beautiful The "ravages of time" derive mostly from weather. In the case of concrete and masonry, the worst weather is the wet kind, which penetrates to the inside, where the eye can't see. To this, Thoroseal is the classic answer. It's a coating for masonry and concrete which seals the pores forever. Unlike a paint, Thoroseal penetrates and bonds with the concrete, actually becoming part of it. Moisture can't get in, but the wall can still breathe. This is what makes Thoroseal as unique as it is beautiful. For specification and application information on Thoro products, call or write: Thoro System Products, 7800 N.W. 38th St., Miami, FL 33166. Dept. 400 (305) 592-2081, Telex 51-9674 A Unit of Beatrice Chemical, Division of Beatrice Foods Co. 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Box 991 Midland, Texas 79702 9151684-8041 Featherlite Building Products Corp. P.O. Box 67 Converse, Texas 78109 512/658-4631 Featherlite Building Products Corp. P.O. Box 4TT25 I nd offerin~ coflJp/ete services of . Dallas, Texas 75247 21 4 637-2720 F.-:ility Plan~ing • Product Rtocurement • Total ln~jallatif Jewell Concrete Products Us•d Furnitur~ Disposal • FD{ed Asset Managemenl Syste s P.O. Box 6396 Contra it LJbor Ser vices Tyler, Texas 75711 2141592-0752 Jewell Concrete Products r---Fa-colltj Managemjnt PO. Box 5669 R~~uc;~ } Longview, Texas 75608 2141759-4437 Jewell Concrete Products P.O. Box 7115 Waco, Texas 76710 817772-3440 Jewell Concrete Products PO Box 3484 Temple, Texas 76501 817778-1396 ~ij}IJ 1 401 South Lamat St. • Daffas 75202 2,14/747-8594 C,rcfe 50 on Reader lnqu,ry Card Subscription Card Plusc enter the following ~ubscnptton for the term hstcJ below s,~ '"uc, per )Car. Name ______Flrm------ C11yAddrcs,, ______------S1.11~ ______Zip _____ ScboolOccup,111011 ______------_ Method of Payment _ I year. 6 1\Sue~ SIS 00 _ Pa)mcnt Enclosed (one extra issue for <,av1ng u:. bilhng cost) _ 2 years, 12 i,:.ue:.. S33 00 _B1IIMc Student Rate:. _ I year. 6 ,,~~. $ 12.00 Billing Addn:, (if different than ma1hng addrcsi.J. ------ Reader Inquiry Service Card Name PltGe chr,,l lhc ..,.,..'l'Nlt h<••n lxlow flffl\JCompany .,..f_, Qo,..., ""'1..,1Pr,nc1pal ~ 0 M-,n lkpc IIQI CU). State z,r D Sl.,ff Al\1bl0ll O~M-stt Pou11011 Ot-AN;h,... , ODn,gna Plcac Cude Number 0 loom.or 0..1Jllrf 01...-oc,, .... 2 3 4 5 6 7 8 9 10 Do )"JU •rlk' m lpflflf\'~ pn• tu..1 ~ro,;,hc·auncb"' 11 12 13 14 15 16 17 18 19 20 0'1'1.S ONO 1),- ol . ..., 21 22 23 24 25 26 27 29 28 30 0 Mb_,.i or A t f.,. 31 32 33 34 35 36 37 38 39 40 0 C.-ltinJ ~_.,_,,.,, 41 42 43 44 45 46 47 48 49 50 De,...... ,.,, .. Bwklor 51 S2 53 54 S6 57 58 59 60 Q C,WDm Reader Inquiry Service Card Name f'k;a,c POSTAGE WILL BE PAID BY ADDRESSEE Texas Architect 1400 Norwood Tower Austin, Texas 7870 I NO POSTAGE NECESSARY IF MAILED IN THE UNITED STATES BUSINESS REPLY MAIL FIRST CLASS PERMIT NO 3149 AUSTIN TEXAS POSTAGE WILL BE PAID BY ADDRESSEE Texas Architect 1400 Norwood Tower Austin. Texas 78701 NO POSTAGE NECESSARY IF MAILED IN THE UNITED STATES BUSINESS REPLY MAIL FIRST CLASS PERMIT NO 3149 AUSTIN TEXAS POSTAGE WILL BE PAID BY ADDRESSEE Texas Architect 1400 Norwood Tower Austin, k:'1:as 7870 I Satisfying Customers, Creating Landmarks. It take!> more th,m c onuete and stt•<.'I and a sign on top to m.lkl' a building complete. Al Lebc o, our job 1s m•ver finl'h<'d until the< u~toml'r is ent1r<.'ly s,lli~f1t•d and we'rl' c Nlain wt.. vt• dom• tht• be~t job po~!,1blt•. That\ why the lebco tt•am 1s known for more than 1ust comtructmg building~. Wt•'rc known for crec1ting l,mdmark~. Our buildings are standards of excellence and innovation, with personal attention to foundations, plastering, wmng, design and t>verything ebe that goes into a quality structure. Maybe that's why the Lebco t C,rcJo 51 on Raador lnqwry Cmd 11 TEXANS NAMED AIA FELLOWS EDITOR'S NOTE: Eleven Texas architects are vocate and author of numerous city planning among 83 AJA members nationwide to be in scenarios, has helped push the Austin City vested into the Institutes College of Fellows Council into rethinking lax downtown zoning May 6 at the AJA Natio11a/ Conl'entio11 i11 ordinances. His concern for urban renewal was Phoenix. Fellowship, a lifetime honor for out further demonstrated as he and a group of standing contributions to the architectural pro other architects were the first professionals to fession, is the Jnstitute's highest honor, with open offices in the decaying downtown ware the exception of the Gold Medal. AJA Fellows house district, which led to the redevelopment may use the i11itials FA/A after their 11ames to of the block and the migration of other busi reflect the esteem in which they are held by the nesses into the previously underutilized area. profession. With the followi11g sketches of their Among his notable projects arc the Austin Earle Alexander exemplary careers, Texas Architect pays Nature Center, the South Austin Multi-purpose tribute to these architects. Center, the 4th St. Courtyard, Galveston Com mon and numerous residences. Black has set design standards in the Austin area and is moving into an innovative role as EARLE ALEXANDER, FAIA owner/architect developer/builder for adaptive Pierce Goodwin Alexander, reuse projects and medium density housing. Dallas Winner of 10 design awards at state and local levels, including four TSA Design As managing partner of Pierce Goodwin Alex Awards, he has been TSA Design Committee ander. Earle Alexander has helped his firm at chairman, and UT Austin School of Architec tain recognition as the number two architecture ture and Planning Design faculty chairman. Sinclair Black only firm in Texas according to £ngineeri11g Black ha!> served in numeroul> city advisory News Record in its survey of the 500 leading positions and was named Distinguished Citizen firms in the country, and a similar survey by by the Austin City Council in 1976. Building Design and Constructio11. His work contributed to the firm's Outstanding Contribu tion Award in 1983 by the West Houston Asso DAVID GEORGE, FA IA ciation and has helped bring the firm such The Architects Partnership, prestigious Houston projects as the Interconti Dallas nental Airport, Two Houston Center Tower, Museum of Natural Science, Marathon Oil Producing personal architecture from small va Tower and the world headquarters of Exxon cation cottages to garden offices, multi-family complexes, hotcll>, churches, shopping and David George Chemical Americas. Alexander is a former president of the Hous mixed-use projects, David George has prac ton Chapter/AIA and former executive trustee ticed architecture in the Southwest for 25 of the Texas Architects Committee. years. Recipient of 12 architectural design awards, he has been recognized by the Archi tectural League of New York and the American SINCLAIR BLACK, FAIA Federation of Arts and has had works featured Black Atkinson Vernooy, in numerous professional journals. Austin George is a design principal and senior part ner with The Architects Partnership and earned UT Austin Professor of Architecture Sinclair a Bachelor of Architecture degree from North Black, as environmental and urban design ad- Carolina State University. He holds the Frank Te\Cls ArC'liitect March·April 1984 .~ I Lloyd Wright Fellowship from Spring Green, tal Arts at the National Endowment for the Wisc., and ScottsdaJe, Ariz. Arts, and is a former NCARB Exam Commit tee chairman. RlCHARD KEATING, FAIA Skidmore, Owings & Merrill, HARVEY MARMON, FAIA Houston Marmon Mok Partnership, San Antonio General partner in charge of design and con cept development, Richard Keating wa<; re Widely recognized in the areas of international ferred to by Newsweek magazine (Nov. 1982) relations and professional practice. Harvey as one of "SOM's younger talent (who) has Marmon directed joint planning efforts in the Richard Keating begun 10 vary the firm's stylistic direction. Texas national border fulfillment of the Charter breaking it free from modernist stolidity." Just of El Paso. and as TSA vice president and out of the University of California, Berkeley. commissioner of professional practice, led in 1968 Keating joined SOM (Chicago) and efforts to upgrade practice management skills was soon leading a team in planning a new of Texas architects. town in Venezuela. In 1976, he moved to His crea11vi1y in practice methodology is Houston to open a new SOM office. demom,trated in the computerized production Designer of buildings in each of the major cost ..,ystem, project team staffing concept and Texas cities, including San Antonio's Interfirst unique partnership/corporation structure that Plaza, Keating believes "architectural design he developed. His firm was adopted by TSA is an extension of urban design and should for a case study as a result. Frank Kelly evolve from a synthesis of visual character and With over 30 years in the profession, Harvey cultural heritage of its context." Marmon has also been chairman of the AIA Among his honors are TSA Honor Awards Architects L1ab1h1y Committee and Public for the Central Trust Center (1979) and the Housing Administration Committee. As AJA Tenneco Employee Center (1983). For the Ten Liability Committee chairman, he oversaw the neco Center, he was also awarded a Gold expansion of ba,1c insurance coverage and a Medal by the Houston Chapter/AJA and an 30 percent reduction of rates for small firm1>. Honor Award from the American Society of He has held every office in the San Antonio Landscape Architects. Chapter/AJA .ind has chaired state and local committees on profc,s1onal practice. FRANK KELLY. FAIA Harvey Marmon Sikes Jennings Kelly, DALE SELZl· R. rAIA Houston Selzer Assocrntes. Inc .. Dallas Co-founder of Sikes Jennings Kelly. Frank S. Kelly is principal in charge of design. A Dale Sel,er\ reputation for design during his graduate of Rice University, he taught design firm's 19-year e·w,tence 1s demonstrated by 21 three years at the University of Tennessee design awards anti frequently featured worl in School of Architecture. books and maga,ines His primary focus has been on large-scale His d1vcr..1fietl practice includes residential. commercial projects, such as the Galadari Gal commercial. m,titutional and indU<,trial proJccts leria, an integrated hotel, apartment, retail and in this country. Europe and Central America. oa/e Se/:er office facility overlooking the Arabian Gulf in Among his proJCCts to earn acclaim is the ren- Dubai. Other major works include the Ameri ovation of Highland Parl Shopping Village in cana Hotel in Fort Worth, which linked the Dallas (Texas· oldest ,hopping center.) existing Tandy Center with the restoration of Believing that service 10 the prolcss1on and Main St. into a seven-block multi-use com 10 the community arc closely related. Selzer plex; the Fon Wonh lnterfirst Tower; and assisted the City of Dallas and the City of Dallas' Pacific Place and Aston Park. Highland Park in revising their zoning ordi Kelly was appointed to city planning depart nances and worked to have the Dallas Indepen ment advisory panels by the mayors of Knox dent School District select architects on a ville and Dallas. has been a consultant and professional basil. rather than a competitive fee panelist for Architecture and the Environmen- basis. Aware of architects' vulnerability 10 Texas Archuect Marclr·April /984 85 changes in city regulations, he successfull1 ar together a civic symposium on Dallas develop gued for a City of Dallas policy requiring 1hat ment. He al!.o initiated the first Art by Archi purchasers of code and ordinances be notified tects exhibit in Dallas and brought numerous of changes special i.eminars to local architects. As chapter treasurer in 1975 - 76, SelLer helped create the Dallas AIA Book Shop. the sole distributor of AIA documents in the area. JAMES D . TITTLE, FAIA Tittle Luther Loving, Abilene HARWOOD K . SMITH, FAIA Harwood K. Smith & Partners, A former TSA Design Award<, program chair Ham0<>J K Smith Dallas man. James D . Tittle continue!. to serve as a Design Award!. Juror and guei.t lecturer Chairman of the board of one of the nation's throughout the <,tatc, and m 1966. wa<, awarded 100 largest architectural firms, Harwood K . a TSA Special Citation for bringing recogni Smith knows about humble beginnings. tion to Texas through his design work. Though his full lime staff now exceeds 300, in While chairman of the Texas Board Archi 1939. 11 was <,tnctly a one-man practice In the tectural Examiner<., Tittle led architects en<,umg 45 year.. h,., firm ha<, been awarded through the tedious Sunset lnves11galion proc more than three do1en significant design rec cess: and, under his leadership. TSAI:: was not ognition awards and HKS projects now involve only extended, but e)(panded to encompa,., the values approaching $3 billion State Board of Landscape Architects. Smith has devoted almost as much time to Chairman of Abilene\ Operation Turn Al,mSumner community service as to his successful prac around, Tittle ha'> been influential 1n retaining tice. A former director of the Dalla'> United the Urban Land In-.11tutc for the '>tudy of land Fund. Goodwill lndustne, and Red Cros,. he and space planning. A"' chairman of the Abil also served on the Dallas Planning Comm1<, ene Cultural Alla1r<. Council. he wa-. IO'>tru sion. moderni1ing the then antiquated graphic mcntal m the production of a PBS documen method-. u<,ed to brief the mayor and city coun tary film of the centennial hi,tory of the cny. cil on ,onmg case-. A, a result of hi'> insis In rccogn1t1on of hi"' contnbutmm, to the tence that the city ,taff produce regional city arts, he received a Resolu11on of Apprec1at1on maps along with complementary neighborhood from the Texas Comm1,s1on on the Art'> and. maps, the practice became standard policy. m 1983, received Abilene\ highest award for Among his noteworthy proJeCI'> arc the cultural achievement. )(llne1 D Tml,· Dallas Reunion Arena. the Texas A&M Uni versity Architecture Building and the Dalla., Thanksgiving Tower. GEORGES. WRIGHT, FAIA School of Architecture, UT Arlington ALAN SUMNER. FAIA Greener & Sumner, Combining an award-winning practice with the Dalla'> de'>ire to teach. George Wright re focused h,., 18-year career m 1971 to join the faculty of the Alan R. Sumner, author of Dalla.uglw.. a com Univer<.1ty of Texa<, at Arlington School of Ar prehen<,1ve anthology of Dalla-. architecture, i'> chnecture and Environmental De,1gn (SAED). a former Dallas Chapter/A IA president, TSA Under h1, guidance a, dean <,mce 1976. the Gr11rNr S n right Public Relations Committee chairman. found school ha<, grown to over 900 student'>. with 55 ing member of the Young Arch11cct'> Task full and part-lime faculty. Wright m,111utcd the Force and AIA Dalla<, Young Architect of the practice of bringing nationally known exhibi year tions of architecture to the community and As chapter president, Sumner launched Ar Marted the SAED <,ummcr scs<,ion in Europe. ch11ecture/Dallas, the city\ fir;1 architectural mo<,t recently headquartered m Rome. awarcnes'> month. Under the program, he Wright 1s a former trustee of the Texas Ar originated Impact Dallas 81. a de<,ign competi chitectural Foundation and has <,ervcd on the tion focusing on a spec1hc Dallai. problem, Arlington Planning and Zoning Commis,ion. (now an annual event), created public mm1 tours of downtown architectural snes. and put 86 frtmArihllrf l M1mh·Apr1( 1984 Designed by: Pierre Blarnes CORPORATION IIK NO Biiissimo and Martin Davidson PROGRESSIVE HARDWARE 530 Halfmoon, P 0. Box 1036, Birmingham, Ml 48010 Tel. (313) 642-7404 Knobs, Levers and Cabinet Pulls for exteriors and Interiors. 1n1:j!jeJ3iWHITE and many other colors. The front insert plate, in brass, chrome or any color, can be stamped out with the logo of a hotel, corporation etc .• • DID YOU GET YOURS? The TSA E ndorsed Group Workers' Compensation Plan has just declared its first dividend, for the 1982 policy year,- A 46. 7 % ONE! If your firm isn't in a plan that has the potential to pay dividends, then now's a good time to contact AA&C, the T A Group Ins urance ervice Organization. This program may also b e purchased through your local broker if different than AA&C. Assoelatlon i\dmlnlstrators & ('onsultant.s, lne. 19000 1\-facArthur Boulevard, Suite 500, Irvine, CA 92715 Phone 1-800-854-0491 Toll Free Qrele 52 on Reader /nqu,ry Card NEWS, continued from page 35. chitectural cognocenti. Gray and part time architecture students will staff the Kirk, "and this problem can be solved store located in the Village near Rice by sensitive design." University, 2407 Times Blvd., Houston. To wit, Kirk has proposed building office and retail structures in the style of a Ponte Vecchio-like bridge atop the freeway. Kirk cites as contemporary ex amples FDR Drive in New York, which has office and housing towers built above the freeway, and Lawrence Halprin 's park in Seattle, also built above a free- Cheers Resraurcmt. Arli11g1011 way. So far the I-CARE group has not responded to Kirk's proposals. Groybooks. Ho11Ho11 FORT WORTH CHAPTER ANNOUNCES DESIGN AWARDS WILLIAM BAXTER DIES Vicken· Cree/.. Offices. Fort Warth Five projects were chosen as winners in JAN. 18 IN WESLACO the 1983 Fort Worth Chapter Design Awards. The architecture jury consisted of Eugene Aubry, FAIA, of Morris* Prominent Valley architect William C. Aubry, Houston; Alan Tanaguchi, Baxter, 76, died Jan. 18 in Weslaco. FAIA, of Alan Taniguchi Associates, During his 50 years as an architect Austin; and James E. Wiley, FAIA, of Baxter served the profession in a number the Oglesby Group, Dallas. of state and local appointed offices in Awards were presented in three cluding chairman of the Texas Board of categories: Architectural Examiners, vice president • General/Adaptive Re-Use Honor of TSA, and president of the Lower Rio Award: Growald Architects for Sound Grande Valley Chapter. stage, Dallas Communications Complex, Memorial contributions may be made Irving. to the First Presbyterian Church of Weslaco or the Texas Architectural Foundation. EDWARD MOK DIES JAN. 26 IN SAN ANTONIO Edward Mok, FAIA, founding partner in The Marmon Mok Partnership, died Jan. Trm·e, ,.-ort \forth 26 at the age of 60 in San Antonio. One of San Antonio's leading archi tects, Mok was a past vice president of So111ufstuge. /n.,,,g TSA. He received a degree in architec GRAYBOOKS REOPENS • General/Adaptive Re-Use Merit ture from the University of Chungking, STORE IN HOUSTON Awards: Ward Bogard & Associates for China. Shortly after obtaining his mas Cheers Restaurant & Bar, Arlington; ter's degree from the University of Texas Barnes/Associates for Vickery Creek Back by popular demand, Graybooks has at Austin, Mok served on the staff of the Ofltce Building, Fort Worth; and Harvey reopened for business. One of the state's San Antonio Planning Department. Youngblood Architects for Blakley Resi largest architectural booksellers, Walter After leaving his city post in 1953, dence, Fort Worth. Gray closed his former store's doors in Mok opened an office with Harvey • Interior\ Architecture Merit Award: 1981. His extensive knowledge of design Marmon; Marmon Mok celebrated its Al~rt S Komahu & Associates for publications will undoubtedly turn the 30th anniversary this past year. In addi Trove in Sundance Square. new Graybooks into a haven for the ar- tion to his practice, Mok taught architec- xx Texas Architect Morch·April /984 ture and planning at Trinity University TECH'S GARVIN RESIGNS, for the past 15 years. THOMPSON APPOINTED Memorial contributions may be made INTERIM CHAIRMAN Through June 10: "Austin Seen," a~ to the Texas Architectural Foundation. ------~ ... juried exhibit or 114 contemporary and W.L. Garvin, chairman of Texas Tech's 13 vintage photographs about Austin, Division of Architecture for the past six will be on view at the Austin History years, announced his resignation in Center, 810 Guadalupe. Contact the December. Center at 472-5433, ext. 280 for more Garvin was instrumental in initiating WALT CALVERT DIES information. the Master of Architecture degree pro JAN. 30 IN LUBBOCK The first federal awards program for gram and was credited for his role in the design excellence, the Presidential De improvement of Tech 's architectural pro sign Awards, has been created. Any Walter L. Calvert, assistant chairman grams. He also was praised for the suc completed and implemented design and professor in Texas Tech 's Division of cessful recruitment of several highly project, product, process or program Architecture, died Jan. 30 in Lubbock. qualified and respected faculty members which has been supported, commis For the past 21 years, Calvert taught during his tenure as chairman. sioned, produced or promulgated by the and practiced architecture in West Texas Garvin will devote his time to aca federal government will be eligible for and became known as an expert in re demic pursuits in the Division of Archi consideration. To be conferred every ligious and residential architecture. tecture as a tenured professor. four years, the award citations are to be Among his most notable projects are the Named as interim chairman of the di presented for the first time in the fall by award-winning design for the Museum of vii,ion was Professor of Architecture President Reagan. For more information, Texas Tech University and the Pres Dudley Thompson. write to Presidential Design Awards, De byterian Church in Plainview. sign Arts Program, National Endowment Plans are being formulated for a per for the Arts, Washington, D.C. 20506. manent endowment at Texas Tech in the April 25: "Public Sector Leadership name of Walter L. Calvert. Contact the in Houston Land Development: Where West Texas chapter AIA for infonnation are we headed and how do we get regarding donations. there?" will be the topic or discussion at () / / v ~ Where large crowds gather, you will usually find terrazzo underfoot. Not only providing a durable floor, but also an attractive floor to withstand years of pedestrian traffic. SOUTHWEST TERRAZZO ASSOCIATION, INC. P.O. BOX 45707 EXCHANGE PARK STATION DALLAS, TEXAS 75245 214 368 2952 rems Architect Manh·April /984 C,rc/e 54 on Reader Inquiry Card 89 7 p.m. in the Houston Museum of Fine Brown Auditorium. The event is Arts DRISKILL HOTEL RENOVATION. sponsored by the Rice Design Alliance. AUSTIN. BY HARWOOD K. SMITH For more information. contact Raine Roberts at (713) 524- 6297 or 977-9039. One of the most famous hotels in the April 28: A day-long sympo ium. state, the 98-year-old. 94-room Driskill "Images and History: Documenting the in Austin. is being restored by Harwood Community with Photographs." will be K. Smith & Partners. Dallas. The archi presented at the Austin History Center. tects and new owners. Lincoln Hotels. 810 Guadalupe. from 8 a.m. to 4:30 p.m. are working closely with the Austin DrisAill Hc>tel. Auw11 Advance registration 1s required by April Heritage Society, the Landmark Com 20. For more information. contact Shar mission and the Texas Historical Society ture The existing exterior paint will myn Lumsden at 472-5433. ext. 280. to restore the Romane:.que Revival struc- be removed and the original facade of pressed brick dressed with white lime stone will be refinished to match its original color. Joinb will repointed, win dows reset and "'indow stools replaced where necessary. The existing main en try at 7th St. will be relocated to its original position on Brazos St. Mechan ical equipment currently housed on vari ous balconies will be removed and the balconies restored. Completion is sched uled for late summer. VERMONT ST. RESIDENCES. HOUSTON. BY CHELSEA ARCHITECTS Construction is underway on a three-unit luxury townhouse proJect in Houston by Chelsea Architects. Each unit of the Ver mont St. Residences will contain 1.655 square feet and include a garage and two bedrooms. All three townhouses have red brick extcnon, and y.,ood trim. Stairs \ 'am,mt St Re\/Jemt·!>. Hml\tcm and recessed fireplace~ are located in a poche zone on the exterior wall. De signed to continue the intermediate scale of the street in a mixed-use neighbor hood, the townhouses' front porches relate to the traditional surrounding Tews Arch11ee1 March·April /984 90 Qrcle 55 on Reader lnQUtty Card structures. Interior finishes include Grant Simpson, Robert Warrick, Michael partners: Barry Bubis, Michael Camp vaulted ceilings in the master bedroom Willis , V. Ruth York and Andrew Zekany. bell, Mark Canada and Duke Garwood . and living room, skylights and a 220- Robert 8 . Chase has been appointed James Little has been named senior square-foot loft. The project is scheduled Director of Design for Index Incor partner. for completion in early spring. porated. The interior design firm has L. Kendall Mower, Jr. has been named also combined services with Richard partner with Pierce Goodwin Alexan Fitzgerald & Partners for design ser der. Daniel Boone, Jr.. James G. Easter, vice to hotel clients. Jr., James Fadal and Jerald R. Merriman The Abilene firm Boone Pope Wheeler Hudson Coleman Lockett Ill has been have been named associate partners. Pullin has named as associates Hubert appointed director of design and Michael John Cox, Steven A. Reigle and M. Welch, Jr. and Wm. Paige Gollihar, Jr. Lynn Gray has been named director of Stuart Nimmons, Jr. have been named Kendall/Heaton/ Associates has ap construction with Rawls-Welty. senior associates. pointed Warren Carpenter an associate. The Austin Group, formerly The John A. Hardy has been named princi McCleary Associates has changed its Shiflet Group, has announced four new pal of Colemon & Rolfe Associates. name to McCleary/German and has moved its offices to 3323 Richmond Ave ., How,ton 77098, (713) 526-6700. \U ,otl'At.1111'1111:1 STATEMENT OF OWNERSHIP, MANAGEMENT AND CIRCULATION Cyrus Jones, John Volz and Vinnie "'....,,.,.,..CJS-C-JMIJ I Tffl.l 0,- fl'Ulll.JCATM)N Hoffman have been named associates in " ,,.. ucA 110N NO 11. OATI M ft&.INO the firm Bell, Klein & Hoffman. TEXAS AIOI ITECT olol4 Jol•J 1l1 9 1 9/23/83 J. ,..-OUIMCT 0, IUUI A_ NO o,- IUUU PUkllHlO I ANNUAL tueSCfU."IOH Joseph R. Halbach, and Charles A. A.NHUM.LY ...la Bl-1110nU1ly 6 $12. 00 John, have formed The Halbach/John 4. COWJI\.IT1 IIU..IUfO AOOAIII Of' !CHOWN o,:,tel 0,: NIIUCATION /hrNI. C-,. c..,.,.,,, .,... .,,,,. z,, C.wJ (,_. _.,_.., Partnership with offices at The Round 1400 Norwood Tower, A .. tin, Tr•vi• County, Te,ca• 78701 house , 3519 W. Vickery Blvd ., Suite &. COM"-.tTI WA IUttO AOO"'" 0, TMI Nf.ADOU#Jllfl:1111 0.. OU.lJlAL IUSINf.11 onteat 0, THC PUeL,..... ,,.., ,,,.,...,., 203, Fort Worth 76107, (817) 737-0725. Sama as u I. RILL Mill.II ANO COIi!~ WAII.PfO ADOJtlU 0, PUkAIHl.11. IDfTOfl, AHO MANAQtHO IOITOtll (T1tlt .._ MUS, NOr N "'-"•J Newell Cheatham, president of New ,.... UIHUl/,. __ _,,C...,...#...,A"'**"I ell's Designs, has relocated his offices 10 Texu Societv o! Architecta, 1400 NoNood Tower, Aunin, Travia County, Texaa 78701 6815 Northampton Way, Suite 100. lDiTOIII ( #--, M4e..,.,...... ,..,._.J Houston 77055. IArrv Paul f'Uller, 14:)() Norwood Tower, Auatln, Travia County, Texaa 78701 James Keane has Joined the San An M.AHAGttfO IDfTOA ,,,._. M4C...,.,. .... A"'*-') tonio firm Chumney/Urrutia as a NiA 1 OWN[III 1,,.,.,,,._.,..~,.._;o,..,.,..,._..,,,,_mw,N1r•~M'1.,..,,_,_.tfly,,..,.,.,,..,_.,.,....~..,,_,_.,,,ockholdHI partner. ~,...,,...,.,,~,.,,...,..,,.,_...... ,,.,,,.. ,,,..,..,,....,. .~.,..,..-..~Mlll ...... ,,,...,...... l'N,,ff, Oirp..,.. ,,..,,..,.,..,..,,,..,.,,._.,~~-,,,.,,..,.,...... ,-,.....,_,, •__,,•fh•rofN!M"1t,t/;wlflttlM fflillltNftti'M lfN~tli<.• Jon S. Stewart has been named princi .,.. ,,,.,.,..,..,..,.,,,....,.,,,.,.,..,,,,..,..11,,...... f!IHl.....,,... ,.,,u,.,.>ft,.,,.,.,...,.,ftll'l/tP#lfHIJ pal architect for CID Design, El Paso. ,...... COMtlUTI MA.1,JHQ ADCHIIIU Texaa Societv of Architect• 1400 Norwood Tower, Auatin, Travia countv, Cerna Garza Raba, San Antonio, has Texu (G(UL changed its name to Cerna Raba & Partners. Raymond MirelcL has been I. 11.t,O...,_, -,..OHOlDlJlll!.I. M!l'ITGAC.US ANO OTHUIII C(CUfllfT HOlO(RS ()oNftrt 1...a OR HO. ()1...0 1 ~IIIC(frif J CM MOflE OI promoted 10 vice president of finance TOfM. AMOV ...T 0, ~01. ••,,nGA.Gu 0111 OTHl" U:(:UAITIU pt..,..,.,_.._ N .,... , ,.,....,.... COM.l'l.•ra ilAtL.INO AOOM.11 and elected to the Board of Directors. None Richard C. Maxwell . ha<, been ap pointed vice president of Gensler and Associates, Houston. • '°" C0,.,,111\,lft()"'i .,.. trr,1()1tr,i~H O'IOA!ti•~TtO... \ AVT~1no ro l,Mff,. ., '"CIM. IJIATU "·-- . ,,. 0,,,,,, .,.,.,, f!li9....,_. ¥ICt4'I ~ ...... •,-...ot,...... ,.._..-#ldtl'Wtatl'fl04M...,_.,,...,.. ____ rh (llut"' • •C"«t.,..I Jones C. McConnell , Jr., James E. ,,, Crandell, Jr. and Patrick Magill, have 0 HAJ #Or t:HANOIO IH/lf•#O 0 HAJ CHANO•o oCHt,Ho (ti.,..,,..,.. ,...,..,.., ....., ...... ,. ...,.__,,. ., ~IUO#ttl fl • o,,,r,n "'l"lllCIOf#O ti MON'THJ .,..,.,. ..,. .,.,.,_,.,, been named principals with Hatfield .. I& (lfll"'T .ANt> ,.,,.-, 1UAI: I , u ,o,,.,, AVlflAOt N'J COPUS lACH ACT\JAt. NO COPlf "Io, I ~OU lss-.Jl OURl""'° "'-ClD"" An 18-day tour of Spain emphasi11ng the influence of Spanish architecture and culture on the bu1ld1ng types of Texas and the SouthweM 1s being led June ------Q~tltllfi,1 1-.rgo du11r 10-27 by Martin Kermacy, Professor To meet the requirements of the elec Brayton International Collection has Emeritus. School of Architecture. UT tronic office, the HON Company has introduced the ERGO chair designed by Austin. Kermacy, a former Fulbright introduced a new line of operator\ chairs Damir Perisic. Four versions are avail lecturer, is also an expert on Spanish Art featuring pneumatic height adJUStment, able in the line: dining chair, lounge Nouveau architecture. For additlonal in three-way back rest adjw,tment, firm chair, wide lounge and two seater formation, contact Vivian Silverstein, body shaped cushions, five-leg ca'>t lounge. Brayton International Collection, (512) 471 1922, or write Spain Tour, aluminum base and cushioned self 255 Swarthmore Ave .. PO Box 7288, School of Architecture, PO Box 7908. skinning urethane arm resb. The High Point, NC 27264. Dbtnbuted in Austin 78712. Texas by Timco Associates, Dallas (214) The School of Architecture. Texas 747 7130 or Houston (711) 523 4900. A&M University, has been awarded an The Burns & Russell Co, Baltimore, $11,625 grant for four mini-CAD sys has introduced Spectra Glaze Reflecto tems for student use by the Tandy L11e, pre faced concrete masonry units Corporation under ns Tandy TRS-80 that res1,1 cracking, crazing, spalling and Educational Grants Program. popping from impact or freeze-thaw. The Department of Architecture. Available in 60 Mandard colors, Spectra Texas A&M University, has a visning Glatc \ pattern appears to change as an Professor in Architecture position avail gle, of light '>ources vary. Available lo able from Sept. I. Teaching will be at the cally from Featherhte, Lubbock (806) graduate level and mainly concerned 763 8202. with design studios. More information may be obtained by sending resumes and letters of interest to David G. Woodcod., HO.Vchatr Terns Archueet Marrh·April /9/U 93 Alwine: the uncommon brickmakers Use brick in unexpected ways to execute a design. Great Southern has the largest selection of the unusual Explore the almost limitless possibilities offered by in brick, architectural pavers, tile and flooring in Texas, Alwine's complete selection of unusual brick shapes, with prompt and dependable delivery anywhere in the sizes and colors. Do it with confidence, because be State. We also have a thirty-year reputation for always hind all Alwine products is a 100-year record of quality, providing the unique to Texas architects. integrity and continuity. Contact Great Southern Supply. We'll come to see you Get the Alwine story from Great Southern Supply anywhere in Texas. If you like, we are even available Company - where you will always find every to work with your design team. Just ask for Howard thing that's new - and uncommon - in brick and clay Dudding or Gene Ballard at Great Southern Supply. products. Come see it all in our Houston showroom. GREAT SOUTHERN SUPPLY COMPANY 3637 W. Alabama St., P.O. Box 14507, Houston, Texas 77021, 713/644-1751 . - C11clo 61 011 Re11d<•r lnqv,ry C,ud - r----I 1 I ----+ EXHIBITION OF I I I I RCHITECTURE FOR - r-- _____ ....J I I I L ]HEALTH I I I I I I :I SAN ANTONIO -LI ------______J CONVENTION I CENTER I I I I I - '------1 SAN ANTONIO I I JUNE 4-6, 1984 Texas Hospital Association in cooperation with the Texas Society of Architects and the American Hospital Association. For rules and entry forms contact: Betsy Hagemeier, Director, Convention Exhibits and Services P.O. Box 15587, Austin, Texas 78761 , 512/453-7204 Circle 63 on Reader lnqu,ry Card WHEN THE CHIPS ARE DOWN ... This may be the most important card you~ ~P-~ ~su \)~ \ ofl-o fern.1 Ardmeu Mt1rl'h ·April /98-1 95 C,rc/e 62 on Reader Inquiry Card The disappearing bedroom: Now you see it, now you don't. Your client wants magic- extra guest accommodations in a vacation home, condo, conversion or family room, without sawing a room in half. Shazam. The SICO Room Makers· Modular Wall and Bed System does the trick. The handsome 18'~ deep wall of storage and showcases instantly transforms any room into a comfortable bedroom at night, then back again. Fingertip pressure lowers and raises a twin, full or queen size bed with mattress and box spring or foundation. Only SICO's patented mechanism lowers the head of the bed away from the wall, out of the recess. You may recommend the modular wall and bed system, shown here, without the cost and wait of custom cabinetry. Stack up any combination of six shelf, desk and drawer units. Or you may specify fine custom cabinetry, or the bed unit alone. However you design it, it's like adding a room. Presto. Call or write your Texas Distributor - - - E1e ~ nd!alQri SIC.CJ Houston, Texas 77036 • •CO ""co.. •o ••uo (713} 78 1-5 705 Now, Minimize Stucco Cracking Specify New Alkali Resistant DUR-0-FIBAR For years of beauty and dependability, specify and insist on Dur-0 -Fibar for your next stucco Job. In addition to reducing cracking in stucco, this unique alkali resistant Dur-0 -Wal fiber improves the tensile strength and toughness of stucco and only costs pennies per square toot. Dur-0 -Fibar consists of W' long glass fibers. It is the only AR glass available that comes in easy to use premeasured packages, assuring consistent glass content in each batch. It has the highest alkali resistance of any glass fiber available. Contact Dur-0 -Wal today fora copy of the new product information sheet. You con depend on Dur-0 -Wol products DUR-0-WAL INC. 2215 Sonders Road, Norfhbrook, ll 60062 IM 312/498-9010 Teml Arcl111ec-1 Marc-h-April /984 c,,cle 66 on Reader lnqu,ry Card DAVE BRADEN :\ll'S INGS lodex or Advertisers Company Pag~ Amega Construction ...... •. 17 FROZEN MUSIC Association. Adm1mstrators & Consultants ...... 95 Assurance Services ...... 30 Al.Ile Architectural Meials ...... 30 Madame de Stael once said (I lullabys which put me, and oth Bomam1errexas ...... • . . 21 L.D. Bnnkman . . . . • • • . . • ...... 16 believe it was on the Dinah ers, to sleep. Shore Show), "Architecture is Houston's award winning Capitol Architect . • . . . • . . . • ...... • ...... 27 frozen music." I have concluded "Orange Show" structure is Kent Chatagnier ...... • . • • • • . . . . 77 Chupik ...... • ...... 39 that Madame is correct-espe pure folk music. I never pass the Cold Spring Gran11e ...... • ...... • 77 cially if you created any in the Alamo without hearing bugles; a Construcuon Specification lns1i1u1e ...... • • ...... 28 Mora/Hugh Cunmngham ...... 72 state of Texas between last walk through San Antonio con Christmas and New Year's Day. jures up sounds of flamenco and o·Han1s Clay Products ...... Inside Front Cover On a regular basis, the most mariachis. Fort Worth's Kimball Dean Lumber ...... 68 Dryvi1 Systcms/Construct,on Extcnors ...... 36 miserable week in any archi Museum is pure symphony, and Dur-0-Wall •...... •..•...... 97 tect's life has got to be that pe I never see a regional work of O'Neil Ford or a Dave Williams EJ-00/E.S.P. Harper . . . • . • . • . • . • • • . • • • • • • . . 78 riod between Dec. 25 and Jan . Elgin-Butler Brick ...... • . . . . • • . • • . . 12 I. The staff, in its entirety, takes house, but somewhere deep in Eljcr Plumbmgwarc . . . . • • . . . . • . . • . • • . . • . . . . . 32 off in order to use those last few my inner being Ernest Tubb is Engineered Components . . . . • • ...... • • . . . . 38 Evcnnan . . . . . • . • •• • •• . •. . • •. . . . • 40 remaining non-cumulative vaca singing "Waltz Across Texas tion days, the partners go home With You" . Gcor-g1a Marl>le ...... • . . • . • • • • . . • . . . . . • 11 to Grandma, clients go to · Obviously, some of the music Great Southern Supply ...... • . . . • • • . • • • 94 Greg Hunley Photography . • . . .. • . • • • • • . . 25 Acapulco, contractors shut doesn't play well. The apple Gyp Crete/Brekke D1stnbu1ors . . • . . • ...... • . . 74 down the jobs, and you sit there crappie refacing of historic alone-waiting on a phone that Mructures produced only wreck Harper & Shuman . . . . • . . • • • • . • • . . • • • . • • • • • . . . 73 Help Wanted • . • . • • • • . • . • I8 never rings. No one ever has a and ruin, while punk architec Hcssco lndustnes ...... • • . . • . . 2 problem during dead week. ture belongs to those deliberate Houston/Galv~ton Masonry lns111u1e • • • • . . • • . • • . . 75 This year was especially design ripoffs who reproduce Idaho QuartLlle ...... • . . • • . • . . • • • . • . • • • • • 31 awful. As the outside tempera everything from chicken fea th Insulated Building Products • . . • ...... • . . • . . 10 ture hovered between zero and ers 10 Palladian Arches and rust lntcmauonal Terra Com1 • • • • . • . . • • • . • . . • . . • . • 96 12 degrees Farenheit, in space icated stone in Dryvit. Knob1ss1mo Corp. . • . • • . • . . • • • . . • • 87 designed for 20 degree lows, As you look at Penntoil Place Kro1n Arch11cctural Complements • . . • ...... • . . . . • I anything put on butter paper was and its Houston sky cousins you Lcbco 83 subjected to flash free.ling. The hear a fugue (you better look urc111c Back Cover question thus arises: now that that up). Great urban designs de Lund,arrcxas 87 the spring thaw is upon us, will livers Vivaldi's "Four Seasons," Marvin Windowsrrcxas . • • • • • • • • . • • • • • • • • • 37 a flood of Post Modernism and the Hi -Tech of Paris' Pom McKee Constru<:11on . • . . • . . • . . • . . • . . • . • • • • • . • 29 sweep across Texas and drown pidou Center could be nothing Miller Blue Pnnt • . . . • • • • • • • . • • . • . . . 27 Molenco •••••••••.•.••. , 3 us all? less than the heavy metal of hard Momcr Roof Tole .•••••.•••••.•..• Inside Back Cover My first realization that archi rock. One could never walk into Mosher Steel Co • . • • . . • . . • . . . . . • . • . . . 18 tecture can relate to music came a high class Art Deco bistro Negley Paint Co 9 during my fre:-hman year at the without hearing jav. A high University. During the course of school gymnasium built in the Olshan Dcmoh~hing Co 26 hi s introduction to architecture 30s literally jumps with the Pa,u 8 lectures, Profci,sor Walter Rolfe sound of the big bands. Pella 69 would stop and vigorously rap It is left to the small build Programme Man,n 92 on the blackboard. He would ings, which most of us produce, Red Cedar Shingle & Handsphl Shake Bureau 31 wheel on his heel and inquire of to be the frozen ballads, sonatas Robt Ames Cook Photography 92 the class, .. What symphony was and country western of our day. SICO/Teus ••..•••••••.• 96 that?" Someone always knew, So many of our buildings (like Sixth Aoor-Wortd Trade Center • • • • • . • •••• 62 63 but it wai, never me! But then, our culture) arc about trucks, South"~' Tcrraao Assoc . • ...•.•...•.. 89 Spectra Glaze/Burns & Russell ••••••••.•.••.. 34 none of us fresh from WW train wrcch, prison, Mama, Spectrum Energy Products • • • • • . • • • •••• 6 Twice ever responded- the only drink in', dancin' and D-1-V-O Steward Office ln1cnor Systems • • • • • . • . • • • • • 80 music we had heard for the last R-C-E. Yet someone must be ar Sun-Tee ••...••.•..•.. 35 Sutherland Contract . • • • . • • ••.••••.•••••..•.. 4 four years was the Army Air chitect for the people. Remem Corps song. ber that when you read the news Tcmp--Glass .•..•..•..•.•..••••••• 20 Texas Ho:.p11al Assoc •••.•..•..•.•..••.•..• 95 It was during my third year of that a "name" architect is com Texas Masonry lns111u1e • • • • • . • •.•.•.•••• 14 - 15 architectural education that I ing to your town 10 design the Tcus Rob-Roof. Inc • .. • • • • • •••••.•. 13 first began to hear the music only available project of real Thoro Sy\lcm Producb ••..•..•..•.•.••••••.••• 79 when I looked at the detail. In significance. Altogether gang, 3XM ••••••••••••••••••••.•••••.••• 24 the darkened room of architec please join me and Willie and U.S ln1cc . • • . • • . . • . • • • • • • . • • • • • • • • • . • • • • • • 19 tural history class, slide after Waylon as we melt down "Blue Vclu, America .•..•... • ..••.•..•.••....••..•. 7 black and-white slide of Eyes Cryin' in the Rain"! frotcn music began to melt into "Frozen music"-ah yes! Wallpaper,. Inc • • • • • • • • • • • • • • • • • • • • • • . • . 90 Jun Wyhc .•..•..••...... •...... ••••••••••• 97 98 Te.ws Architect March·April 1984