Lake Flato’s Porch House. Photographs courtesy Lake Flato, lakeflatoporchhouse.com

The fact that architects have been fascinated with prefabrication is no secret. Over the past 90 years, such luminaries as Le Corbusier, Frank Lloyd Wright, Yona Friedman, Team X, and Jean Prouvé engaged in the dialogue. Modernists found it to work in their system of the free plan. Megastructuralists became fascinated with the repetitive unit that the individual could customize after construction. Projects such as Moshe Safdie’s Habitat at the Montreal Expo in 1967 and Le Corbusier’s Unité d’Habitation imagined a new way of building and inhabiting space.

Recently, firms and companies such as Blu Homes, Marmol Radziner, and Alchemy Architects (with their weeHouses) have reopened the discussion of prefabrication, specifically with single family homes. Add Lake Flato Architects to the list. Based out of San Antonio, David Lake and Ted Flato decided to use the recent economic downturn to investigate potential lines of thinking they would not normally have time or energy for. From these explorations the “Porch House” was born. While the aforementioned architects focus on an already miniscule niche of homeowners looking for non-custom high-end homes, Lake Flato noticed a different angle.

Rendering showing a "dogtrot" house, a vernacular form found in Texas.

The reality is that architects design for 2 percent of the world. This narrowness often has to do with the price-tag and the perceived notion that the price-tag will be too high for most. By focusing their efforts on homeowners interested in modest and affordable homes, Lake Flato was able to develop a certain line of thinking. “We wanted to be as simple as possible and start with as few pieces as possible,” says project architect Bill Aylor. Rather than simply making it custom prefabricated homes—a common trap for those firms experimenting with prefabrication—the Lake Flato designs offer a short list of options, configurations, and materials, narrowing the possibilities and allowing construction to be simplified.

The allure of prefabrication lies in the factory setting. By removing construction processes and time from the site and relocating them to a centralized facility, efficiency, and precision can be heightened, reuse of material can be optimized, weather is controlled, and skilled laborers can more easily be coordinated.

However, often overlooked in this idea is an ideal partnership. Without a skilled and experienced manufacturer, the best ideas can never fully be executed. In order to take advantage of certain efficiencies in construction that the factory offers, repetition is critical. As the factory produces more of a certain component, panel, or full building, the time can be further reduced and the coordination streamlined. As with most manufacturing and business in general, economies of scale become critically important. According to Aylor, the success of this model lies in establishing “a critical mass of architects, factories, developers, urban planners—a group effort.” Partnering with experienced builders, Ground Force Building Systems, Lake Flato hopes that after 50 units are produced, they will have the flexibility to explore other options.

In many ways, what the Lake Flato houses also offer that the others on the market do not are site specific architectural considerations. It is easy to say that a house will be covered with Photovoltaic panels and wind generators, but in practice, the economics of such technologies are still prohibitive. However, passive strategies such as orienting the building to capture prevailing breezes, articulating form to allow for proper air flow, and projecting overhangs to allow for solar shading of windows are all easily designed into homes, yet are typically ignored. These considerations created such vernacular types as the shotgun, dogtrot, and saltbox, among many others. Over the years, as air conditioning has been standardized, and construction been reduced to cookie-cutter designs, these ideas have been lost. Lake Flato not only takes these ideas into consideration but adds contemporary versions of vernacular architecture, specifically as the dogtrot and the covered porch, both introduced to make use of the aforementioned passive strategies.

While modest in scale, the homes are contemporary and employ materials often reserved for high end homes including birch plywood, steel, and galvanized roofing. Lake Flato has targeted a price in the range of $150-$200 per square foot (inclusive of site considerations and delivery costs) but aims to reduce that to $100-125 as they begin to develop and refine the design and the process of manufacturing. Compared to the $350+ cost per square foot (exclusive of delivery costs) of the Marmol Radziner houses, Lake Flato’s price is about half as much. In addition, their counterparts’ designs require a significant level of site construction piecing together panels or modules.

Still, in the end, the architects at Lake Flato have recognized that this is not necessarily the answer or the end of the discussion. Most of their clients for this model will be second homeowners looking for a project in the countryside. They do, however, have hopes to expand this model to urban settings and target more affordable units as they expand and develop. But as Aylor notes, “Will this compete with houses made for $75 per square foot? Probably not, but can we influence them with this? We hope this can help move the conversation forward as to how houses are constructed.”

Porch House interior.

Columbia Street House, Carlos Jiménez Design Studio, all images from Paul Hester, Hester + Hardaway Photographers

In the second installment of the “Spotlight on the Rice School of Architecture,” faculty member Carlos Jiménez took up the central theme “The Future of Design” by interrogating that notion, the future, and considering the value of related concepts like timeliness, tempo, and speed. (See all the posts in this series here.)

We began looking at a 1891 birds-eye-view of the city of Houston, a lithograph that shows a city already growing rapidly, its grid reaching far out to the horizon, but even the hopeful industrialism in this image fails to anticipate the later explosions in building and expansion through the twentieth century (abetted by post-war highway construction). Architects and civil engineers build our futures surely, but our future is often obscure and difficult to discern, no matter how great their skill and foresight. The self-same models of wild-eyed futurism discussed a week earlier by Sarah Whiting were recalled by Jiménez’s in cautionary terms. “Nothing gets old as fast as the future,” he quipped.

Birds-Eye View of Houston 1891

Saito House

Several times in the talk, Jiménez considered the architectural role and function of trees and landscape. We considered the vaulted space of the live oak tree canopy of South Boulevard, which Jiménez described as one of his favorite architectural spaces, a place for community and collective association. He pointed out the role of landscape in several of his projects as not ornamentation, but as a vital measurement of time.

For example, when he visits the Central Administration and Junior School Building for the Museum of Fine Arts, he describes how in the years since its construction in 1994, he’s watched the trees and gardens grow up around the building, marking time, like measuring a growing child with pencil marks on a doorframe. The building is a slow one, with parking located away from busy Montrose Boulevard (making the roadways between the MFAH buildings more walkable and even slowing down the automobile traffic), a central staircase within that does not aim directly for its access points, elevators almost hidden out of the way. Most of us do not have to take the elevator, but do so out of habit because it’s faster. The building is also adaptable, ready to change its programs if it has to, given the changing needs of the museum. So it should last.

Central Administration and Junior School Building for the Museum of Fine Arts

Rice University South Annex Campus Buildings

Carlos Jimenez Studio, part of live-work complex

From the Cite archives:

Mystic Signs: A Conversation with Aldo Rossi by Carlos Jiménez (Cite 24, 1990)

Five Houses: Domesticity and the Contingent City by Mark Wamble (Cite 29, 1993)

Loose Fit: The The Houston Museum District by Peter Papademetriou (Cite 34, 1996)

A Talk with Rafael Moneo: The Beck’s Architect Finds In Houston A Plane Truth by Carlos Jiménez (Cite 47, 2000)

Architecture is About Life: A conversation with John Zemanek by Carlos Jiménez (Cite 75, 2008)

Also, see Stephen Fox’s book on Carlos Jiménez’s work:

Carlos Jimenez: Buildings

Spectators watch as the rotation of a house in Sharpstown is completed.

It is 11 a.m. on a Thursday in Sharpstown, Houston. Roughly forty spectators sit obediently on metal benches provided by Cherry House Moving Company — a mix of Rice University students, architects, “just in for the day” New York art scenesters and garden-variety devotees of conceptual artist Mary Ellen Carroll. Today, Carroll will rotate the ranch home at 6513 Sharpview as the climactic moment in her decade-in-the-making work, “Prototype 180.”

Arguably the most pivotal moment in the artist’s career, “Prototype 180” proposes a myriad of questions on art, architecture, and urbanism. Most obvious is that Carroll is intervening in the makeup of this neighborhood, thereby underscoring the historic significance of Sharpstown as the nation’s largest community of single-family homes when it was conceived in 1954, and its transformation after the 1982 economic downturn from white suburb to immigrant-rich density. The rotational rupture also questions issues of land art and real estate, policy and public space, urban sprawl and first-ring suburbs.

The multilayered aspect of this conceptual work has drawn today’s audience, which is just as much a part of the artwork as the moving truck and clay soil that will buttress the new cement foundation. Yet an air of mystery of precisely what “Prototype 180” implies, and what its result will be, permeates the humid air. It is intrigue rather than answers that lures the spectators; despite years of dialogue, everyone remains poised at the edge of understanding.

Bewilderment with Carroll’s work has overcome even art world insiders, notably MoMA’s Barry Bergdoll, and most recently Joyce Wadler of the New York Times (a publication for which Carroll herself has written). In an interview with the artist, published on Oct. 17, Carroll consistently corrects Wadler for not asking the “right” questions, as the journalist focuses on the project’s budget, its funding, and the impact on neighborhood property values. Instead, the artist emphasizes that “Prototype 180” comments on the culture of Houston by imbuing the home with its own autonomy, becoming a free enterprise in itself. Ultimately, Wadler’s most cutting question is what qualifies “Prototype 180” as a work of art. (The simple answer being that Carroll is making readymade architecture “performative.”)

As a conceptual artist, Carroll has no obligation to explain her work. She states in her 2008 monograph, “ … why can’t people take a responsibility to make their own decisions about what they are looking at, the pleasure they derive from it, and what they are seeing instead of being told the supposedly correct interpretation?”

In her presentation to her audience on Thursday immediately before the rotation, Carroll reveals herself as not the cocky outsider artist critiquing the Houston model, but instead somewhat modest, thanking the 2,438 people directly engaged with “Prototype 180,” especially the moving company and the attorney who ironed out any issue with the city. Carroll reveals the degree of thought that went into her project: she’s been researching Sharpstown for over 20 years, wrestling with the implications of the first-ring suburb.

It is no secret that a mountain of complications have arisen in realizing “Prototype 180” — the project was routinely delayed because of the contractual and structural issues that accompany an architectural intervention. Thursday’s event is interrupted by bouts of rain, and the moving truck’s wheels temporarily become entrenched in muddy clay. But Carroll eschews ego and embraces the faults that come with performance — she even entitles a chapter “Mistakes” in her monograph, where she recounts unwittingly performing a work in Puerto Rican-dialect Spanish in Argentina.

By 2:30 p.m., with the aid of a lime powder and wooden planks, Carroll has triumphed. The house has been rotated.

The narrative of “Prototype 180” is not even half complete. The house, although successfully rotated, still stands elevated on the Cherry House Moving truck. A new slab will be paved, and once the home finds its new resting place, Carroll will rehabilitate the building, which was left uninhabited for 13 years. This process includes installing “PIGRO,” plumbing art designed by Carroll while in residency at the Kohler Company in 2007, as well as vertical farming and solar paneling. Architect Charles Renfro, a close friend and collaborator of Carroll’s, said:

The house will be repurposed as a new kind of community center, one founded on ideas and debate. It will become a laboratory for new ways of thinking about making sustainable architecture, not simply by reducing its carbon footprint, but also by rethinking our first-ring suburbs and creating a model of how to keep these neighborhoods vital and sustainable. It will become a site of conversation about architecture and the objects that occupy it. It will also be a local hero, sharing with its neighbors technology that will help lower costs and raise the standard of living to all of the neighborhood.

Renfro’s statement suggests that “Prototype 180” may bring to Sharpstown an approach similar to that of Project Row Houses’ in the Third Ward. If so, Carroll’s elusive language of history and theory will be grounded in the push for sustainability. Renfro’s description of community service, however, remains distant from today’s performance.

Charles Renfro and Mary Ellen Carroll

Cite 83 cover illustration by Joseph Phillips

The Fall issue of Cite (83) is now in the mail and at the Brazos Bookstore, CAMH, MFAH, Issues, Domy, River Oaks Bookstore, and other stores. Below guest editor Ben Koush shares a letter about this special issue and its Table of Contents.

As the title of an article announced in the February 1937 issue of Houston, the old Chamber of Commerce magazine, “Houston is essentially a home city.” The spreading field of individual houses observed 73 years ago continues unabated today as one of the few constants in Houston’s development history. It would be rare, I assume, for the typical Cite reader not to have gone on at least a few house tours and coveted a particular arrangement of kitchen cabinetry, closet shelving, or clever poolside landscaping.

What is it about houses that captivates us and simultaneously blinds us to the problems inherent in using them as the building block of a large metropolitan area—sprawl, congestion, energy use, and their environmental impact?

For one thing they are incredibly efficient expressions of zeitgest. Where else do you see desires, dreams, and ambitions so plainly evident in just a few thousand square feet? People who build houses are tapping into our primal desire for shelter and hearth, however buried it may be in a digitized age. A house tells people your status in your community through its size, location, materials, and planning. It can demonstrate a commitment to rigor and austerity, or embrace the riches of era. It can be proud and expansive, or hermetic and retreating. A house exposes the emotional and, often, the irrational aspects of our personalities. Does the master bathroom really need to be that big? Do we need quoins, keystones, and styrofoam molding covered with imitation stucco all over the place to be happy? Why are our garages so frequently filled with everything but our cars? Do we need a flat roof in a place where it rains so much and where an attic would provide better insulation from the heat? Couldn’t we make do with any old place instead of hiring that expensive architect, “custom” builder, or contractor? Houses are essays in human psychology. It is these kinds of things about them that intrigue me.

As is a tradition in Cite, in this issue we are revisiting and updating subjects that have been previously reported, notably in #9 (Spring 1985), #16 (Winter 1986), and #49 (Fall 2000), all of which were about housing. However, many of the topics in this issue are addressed in novel ways. The article about Curtis & Windham’s remarkable classic houses is perhaps a first for Cite, which has historically privileged modern architecture. The architectural tour of Beaumont gives rare coverage to an interesting nearby neighbor. My article about the Maceo House in Galveston views the Victorian city in a non-traditional way by closely examining one of its best modern buildings. Stephen Fox’s essay reflects on how something as simple as the color white is subtly coded with metaphoric meaning in architecture. Finally, the townhouse articles examine an interesting new trend in speculative building where “design” is being touted as a selling feature, instead of just square-footage or location.

Cite 83 Table of Contents

Citings

News: RDA Partners Becomes rdAgents, Spain Tour, New Orleans Lecture Series, Spotlight
Letter
Calendar
Preservation: Beaumont Mod
Charrette: rdAgents

Features

A Life of Harmony: Jane Blaffer Owen 1915-2010, An Obituary
by Stephen Fox

Traditional Design for Modern Life: The Houses of Curtis & Windham
by Samuel G. White

This is No Crab Shack: Sam Maceo’s Modern House
by Ben Koush

On Spec: A Decade of Designer Townhouses
by Catherine Essinger

Touring the Townhouse Boom: Front Doors, Parking Spots, and Utility Boxes
by Raj Mankad

Readings

Pride in Modesty: Modernist Architecture and the Vernacular Tradition in Italy by Michelangelo Sabatino
by Richard Ingersoll

Hindcite

Townhouses Invaded by Big Box
by Ben Koush

2145 Southgage, Charles B. Thomsen (architect, 1965) / Kellie Mayfield (architect, 2008) [Photograph by Eric Hester]

Rice Design Alliance presents its 2010 Architecture Tour, “Southgate: An Urban Oasis,” this coming Saturday and Sunday, March 20-21, 2010, 1:00 to 6:00 p.m. The tour is open only to RDA members and guests. You can join and buy tickets there. For more information visit ricedesignalliance.org and call 713 348 4976. And enjoy Stephen Fox’s write-up below of houses on the tour.

2239 University Boulevard
2008, Strasser/Ragni Architects with Emily Sing

Located near the busy intersection of University Boulevard and Greenbriar Drive, this two-story, 3,600square-foot house for a family of four is introverted on the outside and extroverted inside. Architects Scott Strasser and Erik Ragni use straightforward means (light gage metal-frame construction, stucco exterior and interior drywall facing) to construct a sense of spatial mystery. They do this with rotational movement, directing circulation through the house in a series of right-angle turns that obscure the size of the house and constantly surprise with framed views of the out-of-doors. This imbues the house with a sense of tranquility and isolation belying its actual location.

The living-dining room-kitchen is the house’s big space, expanding from front to back. But wall planes of cabinetry on one side and a dark-toned panel on the other quiet this space as well. Staggered window openings on the cabineted east wall frame close-up landscape views of bamboo, bringing the outside into what looks from the street like a very closed house. The ground floor also contains a home-work studio; upstairs is the family domain.

Gary Inman of Mainland Construction was general contractor. Matrix Structural Engineers, Inc. provided the engineering work; Gulf Coast was the mechanical engineer; and the landscape architecture was completed by Asakura Robinson Company.

2045 University
2005, Collaborative Designworks (preliminary design with Openshop Studio)

Built on the site of an earlier house, House 2045 is a dramatic modern design that embraces its frontage on University Boulevard with an enormous front window of butt-jointed glass. Architect James M. Evans and his client designed the house around a big room that encompasses living, cooking, and working from home—and can accommodate visitors as easily as it does the owner and her cats. The house’s essentials are on the ground floor; a cluster of closets and bathrooms separates the living area from the master bedroom. The second floor contains guest bedrooms and, behind the syncopated slot windows, a pair of all-purpose spaces.

House 2045 is simply detailed with wide bamboo floor planks, painted drywall, sliding wall panels in place of doors, and a dramatic wall of red kitchen cabinets. Oval skylights bring natural light down into the middle of the main room; metal casement windows stimulate natural airflow. Built of wood-frame construction and faced with stucco, the house’s planar exterior walls overhang the concrete foundation so that the house appears to hover above its site.

The house contains 3,544 square feet of space. Virkus Construction was the general contractor; Matrix Structural Engineers, Inc. provided the engineering work; the landscape design was by McKinnon Associates; and the interiors and furnishings are by Collaborative Design Works.

2056 Dryden
1942, M. R. Van Valkenbergh
1998, rehabilitated

Built at the end of the first phase of Southgate’s development, this house was designed and built by its owner, the structural engineer M. R. Van Valkenbergh. It is a distinctive house in many ways: it was large in size by neighborhood standards, unusual in its plan configuration, and very unusual in its construction of fossilized Texas limestone and clay roof tiles.

Van Valkenbergh substituted a spacious, open-air entrance loggia for the expected front foyer and stair. Cherry paneling in the large living room and pine paneling in the downstairs library and second-floor family room give the interiors their 1940s feel. The combination of limestone facing, red-clay roof tiles, and steel sash casement windows identified the Van Valkenbergh House with the “rock” houses built in the San Antonio suburb of Olmos Park in the 1930s, A stone backyard screen wall containing an outdoor fireplace and decorated with a painted tile scene is an exceptional landscape feature.

2102 Addison
1938, Dixon & Ellis
2009. Rogers + Labarthe Architects

The architects Sam H. Dixon, Jr., and A. B. Ellis designed many of Southgate’s houses during its most active period of development in the late 1930s and early ‘40s. Built on a corner site, this house is a one and a half story brick and shingle clad ‘cottage’. Typical of Houston houses of the 1930s, it was carefully planned so that many of the rooms have two or more exposures. Characteristic of Southgate houses designed by Dixon & Ellis, this house had a downstairs bedroom (now used as a home office) and bathroom, and a pair of second-floor bedrooms that shared a bathroom.

For the present owners, architects John Rogers and Suzanne Labarthe extended and renovated the house, effectively doubling its area. The addition preserved the one and a half story form and massing of the original house, and was located to preserve a significant oak tree. The expansion includes two new porches, a family room, utility zone and garage downstairs, along with a master suite, guest suite and study alcove above. In addition, the original kitchen was transformed, other existing spaces rejuvenated and the building envelope upgraded, incorporating new energy-saving/maintenance-reducing features.

Advanced Construction was general contractor. Gay and Loudermilk Engineers were the structural engineering firm, and Sally Wheat Interiors completed the interior design.

1925 Addison
1938
2006, Z-K Building Design

In a project that he calls Cheat the Wrecking Ball, Robert Fowler of Z-K Building Design subtracted interior partitions from this one- and two-story brick veneer Southgate house to open up its interior. He expanded the second story to produce a new master closet and a new room above what had been a one-story garage. Fowler encased the stair with plywood panels and made the kitchen, rather than the living room, the focus of this restructured house. Consequently, the polished wood strip floor becomes the element that spatially unifies what had been a sequence of separate rooms. Fowler reconstructed bathrooms and captured extra storage space with a cantilevered closet.

Keeland Associates was general contractor for the remodeling. The structural engineer was DaRam Engineers, Inc. Daigoro Tsuruoka was a very helpful intern on the project.

2145 Southgate Boulevard
1965, Charles B. Thomsen

Charles Thomsen and his young family came to Houston in 1964 so that he could join the faculty of Rice University’s School of Architecture. Thomsen designed this small, one-story modern brick courtyard house on Southgate Boulevard. Unlike classic Southgate houses of the pre-World War II period, the Thomsen House was built at grade, rather than elevated on piers. Instead of facing the street, it was screened from the street by a porte-cochère and a walled courtyard. Thomsen created a sense of spaciousness in the 1,845 square-foot house by stretching the living-dining area across the entire width of the house, where it opens through a north-facing wall of glass into the entrance courtyard. The kitchen and family bedrooms were slotted into orderly ranks, with the bedrooms opening out to the walled rear yard.

The Thomsen House marks a transition in the architectural evolution of the Southgate house. It exchanged the outward orientation of earlier houses for an inner orientation to courtyards and the rear yard. The Thomsen family occupied the house very briefly but it has been fortunate in finding sympathetic owners who prize its mid-century modern design.

2201 Southgate Boulevard
2006, Dillon Kyle

The clients for this house had lived in another house in Southgate and were elated when they had the opportunity to acquire this corner site and build a house to their own specifications. Working with architect Dillon Kyle, they shaped a house designed especially for entertaining that was simple to maintain, spacious, and dramatic (the pool is frequently used for fashion photo shoots).

The two-story, wood-framed house is faced with stucco and copper-colored metal shingle tiles. The narrow end faces the street while the long side faces east toward the walled swimming pool courtyard. Inside, the house consists of a two-story room—combining seating and cooking—with a one-story eating area to one side. A curved ceiling rises up from the east-facing wall of glass to encompass a balcony corridor linking the north and south ends of the second floor. The ground floor is polished concrete. Second-floor windows have impressive views of the Texas Medical Center skyline.

Gary Inman of Mainland Construction, Inc. was general contractor, and Gay and Loudermilk were the structural engineering firm. The landscape company was Jon Emerson Associates from Baton Rouge, LA.

2206 Sheridan
2004, Brave/Architecture

The Argentine architect Alejandro Brave designed this two-story, wood-framed, stucco-faced house for his family; his wife is a pediatrician who at the time worked in the Texas Medical Center. Brave collaborated with his brother, the Houston architect Fernando Brave. When Alejandro Brave and his family returned to Buenos Aires (where he designed and built a second house), they sold the house to the present owners.

The pale-green stucco planes of the street front differentiate this house from its neighbors. The living room, dining room, and family room focus on the back yard. Pine plank floors give the interiors a loft-like feel. The glazed entrance foyer brings south light into the house. Because the second floor encompasses space over the garage, the upper floor is quite spacious.

The portions of Southgate from Southgate Boulevard south to Holcombe Boulevard compose the post-World War II section of the neighborhood. It is here that the transition from one-story ranch type houses to newer, bulkier houses is most apparent. The Brave House demonstrates that this change in scale can be managed when simplicity and good proportions prevail.

Virkus Construction was general contractor. Matrix Structural Engineers, Inc. provided the engineering work; and the interiors were designed by Alejandro Brave.

Exterior Photography and 2201 Southgate Interior Photography by Paul Hester. All other Interior photography by Eric Hester.

Kimbell Museum of Art [Photo Serge Ambrose]

In the May 2009 Cite (78), Stephen Fox wrote a commentary on “astute Texan clients [who] have engaged the services of out-of-state star architects to produce buildings that set new design standards in Texas cities.” In the process of writing “The Stars are Big and Bright—Deep in the Heart of Texas” (click to download a pdf copy), he compiled a list of buildings constructed in Texas since 1886 by architects from around the world, not all of them stars by any means but nonetheless sought out by Texan clients. Fox has generously shared the list below with OffCite.org, and invites you to add projects by leaving a comment. (The list was originally posted June 2, and now includes additional buildings and bibliographic information.)

The List

St. Mark’s Church
315 E. Pecan St., San Antonio
1859-1875, Richard Upjohn (New York)
John C. Ferguson, “St. Mark’s and St. James’: The Upjohns in Texas,” Texas Architect 33 (July-August 1983): 54-60.

George W. Brackenridge House, Fern Hill
San Antonio
1883, Charles I. Berg (New York)
“Residence at San Antonio, Texas,” American Architect and Building News 14 (1 December 1883): plate section.

Col. W. E. Hughes House
Maple Ave., Dallas
c. 1884, Rossiter & Wright (New York)
“Residence for Col. W. E. Hughes,” American Architect and Building News 15 (1 March 1884): plate section.

First National Bank Building
213 E. Commerce St., San Antonio
1886, Cyrus L. W. Eidlitz (New York)
“San Antonio National Bank Building,” Architectural Record 1 (July-September 1891): 61.

St. James Church
156 N. Monroe St., La Grange
1886, Richard M. Upjohn (New York)
John C. Ferguson, “St. Mark’s and St. James’: The Upjohns in Texas,” Texas Architect 33 (July-August 1983): 54-60.

George Sealy House, The Open Gates
2424 Broadway, Galveston
1891, McKim, Mead & White (New York) with N. J. Clayton & Co.
Eleanor H, Gustafson, “’The Open Gates:’ The George Sealy House in Galveston,” Antiques 108 (September 1975): 508-514; Richard Guy Wilson, McKim, Mead & White Architects, New York: Rizzoli International Publications, 1983, pp. 124-127; Barrie Scardino and Drexel Turner, Clayton’s Galveston: The Architecture of Nicholas J. Clayton and His Contemporaries, College Station: Texas A&M University Press, 2000, pp. 181-184.

Col. Edward M. House House
1704 West Ave., Austin (demolished)
1891, Frank Freeman (New York)
“Residence for Mr. E. M. House,” American Architect and Building News 32 (2 May 1891): plate section.

Tarrant County Courthouse
100 E. Weatherford St., Fort Worth
1895, Curtiss & Gunn (Kansas City)
Fred T. Comee, “Louis Curtiss of Kansas City,” Progressive Architecture 44 (August 1963): 128-134.

Isaac L. Ellwood House (Pompeian Villa Museum)
1953 Lake Shore Dr., Port Arthur
1900, Nimmons & Fellows (Chicago)

Rosenberg Library
823 Tremont St., Galveston
1904, Eames & Young (St. Louis)
Barrie Scardino and Drexel Turner, Clayton’s Galveston: The Architecture of Nicholas J. Clayton and His Contemporaries, College Station: Texas A&M University Press, 2000, pp. 192-194.

Union Passenger Station
S. Coldwell St. and W. San Francisco Ave., El Paso
1905, D. H. Burnham & Company (Chicago)
Jim Steely, “Rediscovering the Railroad Station,” Texas Architect 34 (May-June 1984): 52-53.

Scanlan Building
405 Main St., Houston
1909, D. H. Burnham & Co. (Chicago)
A. N. Rebori, “The Work of Burnham & Root, D. H. Burnham, D. H. Burnham & Co., and Graham, Burnham & Co.,” Architectural Record 38 (July 1915): 100.

Rather House (Episcopal Seminary of the Southwest)
3007 Duval St., Austin
1911, Brigham, Coveney & Bisbee (Boston) with Endress & Walsh

Majestic Theater
807 Texas Ave., Houston
1911, Mauran & Russell (St. Louis)
“Majestic Theater, Houston, Texas, Mauran & Russell, Architects, St. Louis, Missouri,” Western Architect 18 (September 1912): plate section.

Union Station
501 Crawford St., Houston
1911, Warren & Wetmore (New York)
Peter Pennoyer and Anne Walker, The Architecture of Warren and Wetmore, New York: W. W. Norton & Co., 2006, pp. 113-115.

Southern Pacific Building
913 Franklin Ave., Houston
1911, Jarvis Hunt (Chicago)
“Southern Pacific Railway Building, Houston, Texas, Jarvis Hunt, Architect, Chicago, Illinois,” Western Architect 20 (September 1914): plate section.

Library (Battle Hall)
University of Texas, Austin
1911, Cass Gilbert (New York)
“Library, University of Texas, Austin, Texas, Cass Gilbert, Architect,” Architecture 26 (15 December 1912): plates 110-113; Carol McMichael, Paul Cret at Texas: Architectural Drawings and the Image of the University in the 1930s, Introduction by Drury Blakeley Alexander, Austin: The Archer M. Huntington Art Gallery, 1983; Lawrence W. Speck, “The University of Texas: Vision and Ambition,” in Cass Gilbert, Life and Work: Architecture of the Public Domain, edited by Barbara S. Christen and Steven Flanders, introduction by Robert A. M. Stern, New York: W. W. Norton & Co., 2001, pp. 192-206.

Administration Building
Rice University, Houston
6100 Main Blvd., Houston
1909-12, Cram, Goodhue & Ferguson (Boston)
Franz Winkler, “The Administration Building of the Rice Institute, Houston, Texas,” Brickbuilder 21 (December 1912): 321-324; “William M. Rice Institute, Houston, Texas,” American Architect 102 (11 December 1912): 207-208.; “Rice Institute: Cram, Goodhue & Ferguson, Architects,” Western Architect 19 (February 1913): 20-22; The Work of Cram & Ferguson, Architects, Including the Work of Cram, Goodhue & Ferguson, Introduction by Charles D. Maginnis, New York: Pencil Points Press, 1929, plates 275-284; Frederick Gutheim, One Hundred Years of Architecture in America, New York: Reinhold Publishing, 1957, p. 50; William J. R. Curtis, Modern Architecture Since 1900, Upper Saddle River: Prentice-Hall, 1996, pp. 292-293.

First Presbyterian Church
902 W. Green Ave., Orange
1912, James Oliver Hogg (Kansas City)

Adolphus Hotel
1321 Commerce St., Dallas
1912, Barnett, Haynes & Barnett (St. Louis)
“The Adolphus Hotel, Dallas, Texas, Barnett, Haynes & Barnett, Architects,” Western Architect 18 (February 1912): plate section; “The Adolphus Hotel, Western Architect 20 (July 1914), pp. 80-82.

Casa Ricardo
206 W. Yoakum Ave., Kingsville (demolished)
1913, Louis S. Curtiss (Kansas City)
Fred T. Comee, “Louis Curtiss of Kansas City,” Progressive Architecture 44 (August 1963): 128-134, and Kingsville Merits Your Consideration: A Brief Submitted to the Locating Board, New State Normal Schools, 1917, privately printed, 1917.

St. Louis, Brownsville & Mexico Railway General Offices Building
101 W. Kleberg Ave., Kingsville (demolished)
1913, Louis S. Curtiss (Kansas City)
Fred T. Comee, “Louis Curtiss of Kansas City,” Progressive Architecture 44 (August 1963): 128 134, and Kingsville Merits Your Consideration: A Brief Submitted to the Locating Board, New State Normal Schools, 1917, privately printed, 1917.

Dallas Hall
Southern Methodist University, Dallas
1915, Shepley, Rutan & Coolidge (Chicago)

Texas Company Building
720 San Jacinto St., Houston
1915, Warren & Wetmore (New York)
Fiske Kimball. “Recent Architecture in the South,” Architectural Record 55 (March 1924): 261; Peter Pennoyer and Anne Walker, The Architecture of Warren and Wetmore, New York: W. W. Norton & Co., 2006, pp. 113-115.

Union Station
400 S. Houston St., Dallas
1916, Jarvis Hunt (Chicago)

Morris E. Berney House
1101 Broad Ave., Fort Worth
1916, Adler & Dangler (Chicago)
Stephen M. Salny, The Country Houses of David Adler, introduction by Franz Schulze, New York: W. W. Norton, 2001, pp. 34-35.

Mrs. Neil P. Anderson House
1110 Broad Ave., Fort Worth
1916, Adler & Dangler (Chicago)
Stephen M. Salny, The Country Houses of David Adler, introduction by Franz Schulze, New York: W. W. Norton, 2001, pp. 34-35.

Thomas J. Donoghue House
17 Courtlandt Place, Houston
1916, Warren & Wetmore (New York)

Gates Memorial Library
317 Stilwell Blvd., Port Arthur
1917, Warren & Wetmore (New York)

James G. McNary House (now St. Anthony Seminary)
4601 Hastings Dr., El Paso
1917, Myron C. Hunt (Pasadena)
Myron Hunt, 1868-1952: The Search for a Regional Architecture, Preface and acknowledgements by Jay Belloli, California Architecture and Architects, No. 4, Santa Monica: Hennessey & Ingalls, 1984.

St. Patrick Cathedral
1118 N. Mesa St., El Paso
1917, Barnett, Haynes & Barnett (St. Louis)

University Baptist Church
2310 Guadalupe St., Austin
1918, Albert E. Kelsey (Philadelphia) with F. E. Giesecke
“Perspective of Design for the University Baptist Church, Austin, Texas, Albert Kelsey, Architect,” The Architectural Review 6 (February 1918): plates 18-23.

City National Bank Building
2219 Market St., Galveston
1920, Weary & Alford (Chicago)
I. T. Frary, “The City National Bank of Galveston,” Architectural Record 49 (February 1921): 164-165, 186-187.

Federal Reserve Bank of Dallas Building
400 S. Akard St., Dallas
1921, Graham, Anderson, Probst & White (Chicago)
Sally A. Kitt Chappell, Architecture and Planning of Graham, Anderson, Probst & White, 1912-1936: Transforming Tradition, Chicago: University of Chicago Press, 1992, pp. 133-134.

Humble Building
1212 Main St., Houston
1921, Clinton & Russell (New York)
Fiske Kimball. “Recent Architecture in the South,” Architectural Record 55 (March 1924): 230-231.

Magnolia Petroleum Building
108 S. Akard St., Dallas
1922, Alfred C. Bossom (New York) with Lang & Witchell
Alfred C. Bossom, Building to the Skies: The Romance of the Skyscraper, London: The Studio, Ltd., 1934; Dennis Sharpe and Peter Wylde, “Alfred Bossom and the American Skyscraper,” AAQ: Architectural Association Quarterly 13 (January-June 1982): 22-32; Fiske Kimball. “Recent Architecture in the South,” Architectural Record 55 (March 1924): 229.

Congregation Emanu El Temple
1120 Broadway, Beaumont
1923, Albert S. Gottlieb (New York)

Hugo V. Neuhaus House
8 Remington Lane, Houston
1923, Harrie T. Lindeberg (New York)
Mark A. Hewitt, “Harrie T. Lindeberg and Modern Domestic Architecture,” in H. T. Lindeberg, Domestic Architecture of H. T. Lindeberg, introductions by Royal Cortissoz and Mark A. Hewitt, New York: Acanthus Press, 1996, pp. xiii and 134-135.

Kenneth E. Womack House
8 Remington Lane, Houston
1923, Harrie T. Lindeberg (New York)

D. D. Peden House
2 Longfellow Lane, Houston
1924, Harrie T. Lindeberg (New York)

William S. Farish House
10 Remington Lane, Houston
1925, Harrie T. Lindeberg (New York)

United States National Bank Building
2201 Market St., Galveston
1925, Alfred C. Bossom (New York) with Sanguinet, Staats, Hedrick & Gottlieb (Houston)
Alfred C. Bossom, Building to the Skies: The Romance of the Skyscraper, London: The Studio, Ltd., 1934; Dennis Sharpe and Peter Wylde, “Alfred Bossom and the American Skyscraper,” AAQ: Architectural Association Quarterly 13 (January-June 1982): 22-32.

Houston Public Library
500 McKinney Ave., Houston
1926, Cram & Ferguson, William Ward Watkin, Louis A. Glover, and W. A. Dowdy
Julia Ideson, “The Houston Public Library, Houston, Texas,” Southern Architect and Building News 55 (November 1929): 69-73;Turner, Drexel. Lyceum to Landmark: The Julia Ideson Building of the Houston Public Library. Houston: Rice University School of Architecture and the Friends of the Houston Public Library, 1979.

Cleveland Sewall House
3456 Inwood Dr., Houston
1926, Cram & Ferguson (Boston) with Stayton Nunn
The Work of Cram & Ferguson, Architects, Including the Work of Cram, Goodhue & Ferguson, Introduction by Charles D. Maginnis, New York: Pencil Points Press, 1929, plates 336-337; “The Home of Mrs. Cleveland Sewall.” Antiques 53 (June 1948): 435; Susan Grant Lewin, “A New Life for a Grand Old Spanish Colonial,” House Beautiful 122 (September 1980): 108-111.

Petroleum Building
1314 Texas Ave., Houston
1927, Alfred C. Bossom (New York) with Maurice J. Sullivan and Briscoe & Dixon
“The Petroleum Building, Houston, Texas,” Southern Architect and Building News 54 (May 1928): 62, Alfred C. Bossom, Building to the Skies: The Romance of the Skyscraper, London: The Studio, Ltd., 1934; Dennis Sharpe and Peter Wylde, “Alfred Bossom and the American Skyscraper,” AAQ: Architectural Association Quarterly 13 (January-June 1982): 22-32.

Niels Esperson Building
808 Travis St., Houston
1927, John Eberson (New York)
“Niels Esperson Building, Houston, Texas, John Eberson, Architect,“ American Architect 132 (5 November 1927): 583-588.

Gulf Building
710 Main St., Houston
1929, Kenneth Franzheim (New York), Alfred C. Finn, and J. E. R. Carpenter (New York)
“The Gulf Building, Houston, Texas, Alfred C. Finn and Franzheim & Carpenter, Architects,” Southern Architect and Building News 56 (March 1930): 64.

Heywood Nelms House
3921 Sleepyhollow Court, Houston
1929, Frank J. Forster (New York)
“House of Haywood Nelms, Houston, Texas, Frank J. Forster, Architect,” Architecture 64 (December 1931): 349-356; Frank J. Forster, Country Houses: The Work of Frank J. Forster AIA. New York: W. Helburn, Inc., 1931, pp. 116-137.

Stella Cook Maverick House
401 Torcido Dr., Alamo Heights
1929, George Washington Smith (Montecito)

Caed Mile Failte, John Henry Phelan House
2810 Calder Ave.., Beaumont
1929, Owen James Southwell (Atlanta) and Livesay & Wiedemann
Dorothy M. Hoskins, “’A Hundred Thousand Welcomes:’ The Home of Mr. and Mrs. John Henry Phelan in Beaumont.” Houston Gargoyle 3 (2 November 1930): 17-18; Bradley Brooks, “Owen J. T. Southwell, Architect, and the John Henry Phelan House.” Texas Gulf Historical and Biographical Record 35 (November 1999): 3-17.

Alamo National Bank Building
154 E. Commerce St., San Antonio
1929, Graham, Anderson, Probst & White (Chicago)
“Alamo National Bank,” Southern Architect and Building News 55 (June 1929): 47; Sally A. Kitt Chappell, Architecture and Planning of Graham, Anderson, Probst & White, 1912-1936: Transforming Tradition, Chicago: University of Chicago Press, 1992, pp. 210-211.

J. B. Robertson House
303 Devine Rd., Olmos Park
1930, William McKnight Bowman (New York)
“A Venetian Villa in Our Southwest.” House and Garden 57 (February 1930): 102-105; Edmund B. Gilchrist, “A Venetian Villa in Texas.” Architectural Forum 52 (April 1930): 537-569.

U. S. Custom House (University of Texas Medical Branch)
1700 Strand, Galveston
1933, Bottomley, Wagner & White (New York)

U. S. Courthouse
500 block W. 10th St., Fort Worth
1933, W. G. Clarkson Co. with Paul Philippe Cret (Philadelphia)
Kenneth Reid, “Paul Philippe Cret: Master of Design,” Pencil Points 19 (October 1938): 617; Theo B. White, Paul Philippe Cret: Architect and Teacher, introduction by John F. Harbeson, Philadelphia: The Art Alliance Press, 1973, plate 72.

Walter W. Fisher House
3509 Hampton Rd., Austin
1935, Harry Howe Bentley (Chicago)

Magnolia Lounge
Texas Centennial Exposition, Fair Park, Dallas
1936, William Lescaze (New York)
“Thirteen Years of Fair Building Reviewed in Current Exhibition,” Architectural Record 80 (July 1936): 3.

Anderson Hall
Prairie View A&M University, Prairie View
193_, Louis Edwin Fry (Washington, DC)

George Kraigher House
525 Paredes Line Rd., Brownsville
1937, Richard J. Neutra (Los Angeles)
2008, restoration
“Open-Planned, Window-Walled House in the Southwest,” Architectural Record 85 (May 1939): 111, and Thomas S. Hines, Richard Neutra and the Search for Modern Architecture: A Biography and History, New York: Oxford University Press, 1982; Catherine Gavin, “A Daring Rescue,” Cite: The Architecture and Design Review of Houston 77 (Winter 2009): 24-29.

U. S. Post Office and Court House
615 E. Houston St., San Antonio
1937, Ralph H. Cameron with Paul Philippe Cret (Philadelphia)

Administration Building and Library
University of Texas, Austin
1937, Paul P. Cret (Philadelphia)
Kenneth Reid, “Paul Philippe Cret: Master of Design,” Pencil Points 19 (October 1938): 612-616; Theo B. White, Paul Philippe Cret: Architect and Teacher, Introduction by John F. Harbeson, Philadelphia: The Art Alliance Press, 1973, plates 59-60; Carol McMichael, Paul Cret at Texas: Architectural Drawings and the Image of the University in the 1930s, Austin: The Archer M. Huntington Art Gallery, 1983.

Dan J. Holland House, Motohome
117 Crow St., Baytown
1937, Holden, McLaughlin & Associates (New York)
Ben Koush, “Home Sweet Motohome: A Prefab Modern Landmark,” Cite 55: The Architecture and Design Review of Houston, (Fall 2002): 11.

William S. Howell, Jr., House
1700 Booneville Road, Bryan (demolished)
1938, Delano & Aldrich (New York) with Atkinson & Sanders

Fondren Library
Southern Methodist University, Dallas
1940, Paul P. Cret (New York) with DeWitt & Washburn
“With Record Readers: Record Poll in Dallas Produces Wide Variety of Choices,” Architectural Record 88 (August 1940): 16, 18.

Rancho Encinal, E. L. DeGolyer House
8525 Garland Rd., Dallas
1940, H. Denman Schutt and Burton A. Scott (Los Angeles)
“With Record Readers: Record Poll in Dallas Produces Wide Variety of Choices.” Architectural Record 88 (August 1940): 16, 18; “The Dallas Home of Mr. and Mrs. E. L. De Golyer.” Antiques 53 (June 1948): 429-430; “Every Room of Mr. and Mrs. Everette Lee De Golyer’s House Overlooks a Garden.” House and Garden 87 (March 1950): 102-105.

Pio Crespi House
5535 Walnut Hill Lane, Dallas
1941, Treanor & Fatio (Palm Beach)
Derro Evans, “Dallas: Villa Fiorenza.” Texas Homes 9 (September 1985): 64-71.

70 houses for Dow Chemical Company
W. 4th and W. Broad Sts. between Mesquite and Yaupon Sts., Freeport
1941, Alden B. Dow (Midland, MI)
“Freeport, Texas,” Architectural Record 91 (April 1942): 56-61; Ben Koush, “Dow By the Sea,” Cite 61: The Architecture and Design Review of Houston (Summer 2004): 24-27.

Lake Jackson Town Plan, Town Center Plan, and Commercial Building
101-121 South Parking Place, Lake Jackson
1941-43, Alden B. Dow (Midland MI)
Sidney K. Robinson, The Architecture of Alden B. Dow, Detroit: Wayne State University Press, 1983, pp. 125-126, 130; Ben Koush, “Dow By the Sea,” Cite 61: The Architecture and Design Review of Houston, (Summer 2004): 24-27.

Avion Village
Avion Parkway and Belt Line Rd., Grand Prairie
1942, Richard Neutra (Los Angeles) and DeWitt & Swank
Richard J. Neutra, “Peace Can Learn From War’s Forced Changes,” Pencil Points 23 (November 1942): 28-29; Muriel Quest McCarthy, David R. Williams: Pioneer Architect, foreword by O’Neil Ford, introduction by Arch Swank, Dallas: Southern Methodist University Press, 1984, pp. 136-139; Willis Winters, “Avion Village: Enduring Community of Values,” Texas Architect 38 (May-June 1988), 24-29; Kristin M. Szylvian, “Avion Village: Texas’ World War II Housing Laboratory,” Legacies: A History Journal for Dallas and North Texas 4 (Fall 1992), 28-34.

First Presbyterian Church
5300 Main Blvd. Houston
1949, Hobart Upjohn (New York) and Maurice J. Sullivan

Honolulu Oil Corp. Building
204 W. Illinois Ave. and N. Lorraine St., Midland
1949, John Ekin Dinwiddie and Richard Maxwell (San Francisco)
“Midland, Texas, John Ekin Dinwiddie, Architect, Richard Maxwell, Associate,” Progressive Architecture 31 (June 1950): 72-76.

Sam Maceo House
43 Cedar Lawn Circle, Galveston
1950, Williams, Williams & Williams (Palm Springs)

First Baptist Church
2201 Broadway, Lubbock
1951, Butler & Brasher, Eggers & Higgins (New York), consulting architects

Armstrong Browning Library
Baylor University, Waco
1951, Eggers & Higgins (New York) with Wyatt C. Hedrick (Fort Worth)

Charles P. McGaha House
100 Sarasue Lane, Wichita Falls (demolished)
1951, Paul Laszlo (Beverly Hills)
“Residence of Charles P. McGaha, Wichita Falls, Texas, Designed by Paul Laszlo, Beverly Hills, California,” Architectural Digest 13 (No. 2) 127-146.

John de Menil House
3363 San Felipe Rd., Houston
1951, Philip Johnson Associates (New York) with Cowell & Neuhaus
“Art Collection and Home of the John de Menils in Houston’s River Oaks.” Interiors 123 (November 1963): 84-91; James Johnson Sweeney, “Collectors’ Home,” Vogue 147 (1 April 1967): 184-191; Frank D. Welch, Philip Johnson and Texas, Austin: University of Texas Press, 2000.; and Stover, Jenkins, and David Mohney. The Houses of Philip Johnson. Afterword by Neil Levine. Photographs by Steven Brooke. New York: Abbeville Press Publishers, 2001, pp. 55-59; Richard Payne, The Architecture of Philip Johnson, essay by Hilary Lewis, Boston: Bulfinch Press, 2002, pp. 46-47; Bruce C. Webb, “Menil House,” Texas Architect 57 (September-October 2007): 56-59; Bruce C. Webb, “Living Modern in Mid-Century Houston: Conserving the Menil House,” Journal of Architectural Education 62 (September 2008): 11-19; Martin Filler, “The Real Menil,” Antiques 174 (September 2008): 78-85.

Mayer & Schmidt (J. M. Dyer Co.)
320 S. Broadway, Tyler
1952, Victor Gruen (Los Angeles)
“The Store That Cars Built,” Architectural Forum 96 (May 1952): 132-133.

Sam Wiener House
4808 Westridge, Fort Worth
1952, Edward Larrabee Barnes (New York)
Built in USA: Postwar Architecture, edited by Henry-Russell Hitchcock and Arthur Drexler, New York: The Museum of Modern Art, 1952, pp. 44-45; “A Sweeping Flat Roof Unifies This Large and Complex Plan,” House and Home 7 (June 1955): 116-121.

David J. Stone House
1905 Vicksburg Ave., Lubbock
c. 1952, Cliff May, designer; Thomas Church & Associates, landscape arch.
Western Ranch Houses by Cliff May, ed. by Paul C. Johnson, Santa Monica: Hennessey & Ingalls, 1997, pp. 80-87.

Republic National Bank Building
350 N. Ervay St., Dallas
1954, Harrison & Abramovitz (New York) with Gill & Harrell
“New Thinking on Curtain Walls and Window Sizes for New Dallas Skyscraper and Bank Building by Designer of UN Building,” Architectural Forum 99 (September 1953): 107-111; “Structure, Enclosure, Equipment, Economics and the Architect’s Talents: Republic National Bank of Dallas, Texas,” Architectural Record 115 (April 1954): 186-194; “A New High in the Skyline of Dallas,” Architectural Record 117 (February 1955): 147-154.

Fort Worth Art Center (altered)
1309 Montgomery St.
1954, W. G. Clarkson Co. and A. George King with Herbert Bayer (Aspen) and Gordon Chadwick
“A Community Center for the Arts,” Progressive Architecture 34 (August 1953): 13-14; “Art Museum on the Plains,” Architectural Forum 102 (January 1955): 25.

William L. Thaxton House
12020 Tall Oaks Rd., Bunker Hill Village
1954, Frank Lloyd Wright (Spring Green WI)
“Three New Houses by Frank Lloyd Wright,” House and Home 14 (August 1958): 101, 106-107;William Allin Storrer, The Frank Lloyd Wright Companion. Chicago: University of Chicago Press, 2006, p. 412.

Statler Hilton Hotel
1914 Commerce St., Dallas
1956, William B. Tabler (New York)
“New Shape and Structure,” Architectural Forum 100 (June 1954): 158-163; “The Dallas Statler Hilton: Studied Economy,” Architectural Forum 104 (April 1956): 128-131; “Bill Tabler’s Hotel Boom,” Architectural Forum 107 (July 1957): 114-121; Motels, Hotels, Restaurants and Bars New York: F. W. Dodge Corp., 1960, pp. 212-217.

Church of the Heavenly Rest
602 Meander, Abilene
1956, Philip Hubert Frohman (Washington, D. C.)

Medical Towers Building
1709 Dryden St., Houston
1956, Golemon & Rolfe with Skidmore, Owings & Merrill (New York)
“The Medical Towers,” Progressive Architecture 38 (June 1957): 192-195; Kevin Alter, “SOM in Houston,” Cite 40: The Architecture and Design Review of Houston Winter 1997-1998, pp. 34-37.

Josephine and Bruno Graf House
5423 Park Lane, Dallas
1957, Edward Durell Stone (New York)
“A Residence in Dallas, Texas,” Architectural Record 122 (July 1957): 160-163; “Contrast in Texas,” Architectural Forum 109 (July 1958): 82-87; Curtis Besinger, “The Traditional Graces Give Elegance to This New Environment.” House Beautiful 101 (November 1959): 226-237; Michael Malone, “Oak Court,” Texas Architect 58 (September-October 2008): 82-85.

L. Hernley McCullough House
2301 Farington Rd., Wichita Falls (demolished)
1957, Bruce Goff (Bartlesville)
David Gilson DeLong, The Architecture of Bruce Goff: Buildings and Projects, 1916-1974 New York: Garland Publishing Co., 1977, pp. 314-315 and figures 331-332.

Snyder National Bank Building
1715 25th St., Snyder
1957, Jones & Emmons (Los Angeles)
“Bank by A. Quincy Jones and Frederick E. Emmons, Architects,” Arts and Architecture 75 (August 1958): 22-23.

Southland Center
400 N. Olive St., Dallas
1958, Welton Becket & Associates (Los Angeles) and Mark Lemmon
“Office Building and Hotel Combined: Southland Center, Dallas, Texas,” Architectural Record 126 (August 1959): 141-146; Richard A. Miller, “Blockbuster in Dallas,” Architectural Forum 111 (August 1959): 94-101; “The Sheraton Dallas,” Interiors 118 (June 1959): 68-75; Motels, Hotels, Restaurants and Bars New York: F. W. Dodge Corp., 1960, pp. 193-198; “Building: The New Face of Texas,” Fortune 64 (October 1961): 128-135.

John A. Gillin House
9400 Rockbrook Dr., Dallas
1950-58, Frank Lloyd Wright
William Allin Storrer, The Frank Lloyd Wright Companion. Chicago: University of Chicago Press, 2006, pp. 358-359.

The Museum of Fine Arts, Houston
1001 Bissonnet Ave., Houston
1958, 1974, Ludwig Mies van der Rohe (Chicago)
“Museum Annex, Mies van der Rohe, Architect,” Arts and Architecture 76 (July 1959): 10-11; “Renovation by Devouring: Houston’s Classic Museum is Enlarged by a New ‘Wing” of Considerably Different Classic Cast,” Architectural Forum 112 (January 1960): 128-129; “Building: The New Face of Texas,” Fortune 64 (October 1961): 128-135; Michael Browne, The New Museum: Architecture and Display, New York” Frederick A. Praeger Inc., 1965, pp. 136-137; Peter C. Papademetriou, “Varied Reflections in Houston,” Progressive Architecture 56 (March 1975): 52-56.

University of St. Thomas
3812-3910 Yoakum Blvd., Houston
1957-59, Philip Johnson Associates (New York) with Bolton & Barnstone
“Campus Architecture: The University of St. Thomas, Houston,” Architectural Record 122 (August 1957): 138-139, 142-143; John M. Jacobus, Jr. Philip Johnson, Makers of Contemporary Architecture, New York: George Braziller, 1962; “First Units in the Fabric of a Closed Campus,” Architectural Record 126 (September 1959): 180-182; “Processional Elements in Houston,” Architectural Record 137 (June 1965): 159; Philip Johnson, Philip Johnson Architecture 1949-1965, introduction by Henry-Russell Hitchcock, New York: Holt, Rinehart and Winston, 1966; Frank D. Welch, Philip Johnson and Texas, Austin: University of Texas Press, 2000.; Richard Payne, The Architecture of Philip Johnson, essay by Hilary Lewis, Boston: Bulfinch Press, 2002, pp. 78-79; Michelangelo Sabatino, “Cracking the Egg: The Transformation of the University of St. Thomas Campus,” Cite 73: The Architecture and Design Review of Houston (Winter 2008): 10-17.

Dallas Theater Center
3636 Turtle Creek Blvd., Dallas
1959, Frank Lloyd Wright
“Dallas Theater,” Architectural Record 1233 (May 1958): 168-169; “Christmas Present for Dallas: A Theater by Wright,” Progressive Architecture 40 (December 1959) 79; “A Theatre by Wright,” Architectural Record 127 (March 1960): 161-166; “Building: The New Face of Texas,” Fortune 64 (October 1961): 128-135; William Allin Storrer, The Frank Lloyd Wright Companion. Chicago: University of Chicago Press, 2006, p. 424.

Durst-Gee House
323 Tynebrook Lane, Piney Point Village
1960, Bruce Goff (Bartlesville) and Joseph Krakower
“Goff on Goff: Durst House, Houston, Texas,” Progressive Architecture 43 (December 1962): 116; David Gilson DeLong, The Architecture of Bruce Goff: Buildings and Projects, 1916-1974 New York: Garland Publishing Co., 1977, pp. 351-352 and figures 391-394.

First National Bank Building
500 W. 7th S., Fort Worth
1960, Skidmore, Owings & Merrill (New York) and Preston M. Geren
“Building: The New Face of Texas,” Fortune 64 (October 1961): 128-135; “First National Bank, Fort Worth,” Texas Architect 12 (March 1962): 12-15.

First City National Bank Building
1001 Main St, Houston
1961, Skidmore, Owings & Merrill (New York) with Wilson, Morris, Crain & Anderson
“Tripartite Scheme for Bank, Office Building, and Garage,” Architectural Record 129 (April 1961): 155-164; “Building: The New Face of Texas,” Fortune 64 (October 1961): 128-135. Skidmore, Owings & Merrill. The Architecture of Skidmore, Owings & Merrill, 1950-1962. Introduction by Henry-Russell Hitchcock. Text by Ernst Danz. Translation by Ernst van Haagen and Antje Pehnt. New York: Praeger Publishers, 1963, pp. 152-157; Carol Herselle Krinsky, Gordon Bunshaft of Skidmore, Owings & Merrill, New York and Cambridge: Architectural History Foundation and MIT Press, 1988, pp. 70-72; Kevin Alter, “SOM in Houston,” Cite 40: The Architecture and Design Review of Houston Winter 1997-1998, pp. 34-37.

Amon Carter Museum
3501 Camp Bowie Blvd., Fort Worth (altered)
1961, Philip Johnson (New York) and Joseph R. Pelich
William H. Jordy, “The Mies-less Johnson,” Architectural Forum 111 (September 1959): 117; “Portico on a Plaza,” Architectural Forum 114 (March 1961): 86-89; Russell Lynes, “Everything’s Up to Date in Texas…But Me,” Harper’s Magazine (May 1961): 38-42; “Building: The New Face of Texas,” Fortune 64 (October 1961): 129-135; “Architectural Details 3. Philip Johnson: Amon Carter Museum of Western Art, 1961,” Architectural Record 135 (April 1964): 144-145; Frank D. Welch, Philip Johnson and Texas, Austin: University of Texas Press, 2000.; David Dillon, “Amon Carter Museum, Fort Worth, Texas,” Architectural Record 189 (November 2001): 146-149; Richard Payne, The Architecture of Philip Johnson, essay by Hilary Lewis, Boston: Bulfinch Press, 2002, pp. 92-93.

Andrews High School
1400 block NW Avenue K, Andrews
1960, Reid, Rockwell, Barnwell & Tarics (San Francisco)
John Lyon Reid, ”Two Loft Schools: New Instruments of Education,” Architectural Record 127 (February 1960): 196-202; John Lyon Reid, “The Acoustics of the Andrews High School,” Architectural Record 132 (July 1962): 151-153; Special School: 1. A Flexible Environment for Learning,” Architectural Record 133 (May 1963): 168-173.

Neiman-Marcus
7000 Camp Bowie Blvd., Fort Worth (altered)
1962, Edward Larrabee Barnes (New York) and Preston M. Geren
“Quiet Architecture of Edward Larrabee Barnes: Compact Shopping Center,” Architectural Record 130 (October 1961): 132; “White on White: New Texas Shopping Center is a Village of Cool Cubes,” Architectural Forum 113 (July 1963): 96-99. “A Dallas Institution Captures Rival Fort Worth,” Interiors 123 (August 1963): 58-67; Barbara Koerble, “Buy Design: Stanley Marcus on the Architecture of Merchandising,” Cite 35, The Architecture and Design Review of Houston, Fall 1996, 28-30.

Congregation Mount Sinai Temple
4408 N. Stanton St., El Paso
1962, Sidney H. Eisenshtat & Associates (Beverly Hills) and Carroll & Daeuble Associates
“El Paso-Ciudad Juárez: The International City,” Texas Architect 15 (October 1965): front cover.

Humble Building
800 Bell Ave., Houston
1963, Welton Becket & Associates (Los Angeles) with Golemon & Rolfe and George Pierce-Abel B. Pierce
“Design Against Sun and Glare,” Architectural Record 136 (October 1963): 173-178; “Houston’s Petroleum Club,” Interiors 123 (September 1963): 88-95; William Dudley Hunt, Jr., Total Design: Architecture of Welton Becket and Associates, New York: McGraw-Hill Book Co., 1972, pp. 164-217.

Tenneco Building
1010 Milam St., Houston
1963, Skidmore, Owings & Merrill (San Francisco)
“In Texas the Glass Box Goes 3-D,” Architectural Forum 119 (September 1963): 124-131; Skidmore, Owings & Merrill. The Architecture of Skidmore, Owings & Merrill, 1963-1973. Introduction by Arthur Drexler. Text by Axel Menges. New York: Architectural Book Publishing Company, 1974, pp. 124-127.

T.L.L. Temple Library
300 Park St., Diboll
1964, Desmond-Miremont-Gasaway (New Orleans)

H. C. Beck, Jr., House
10210 Strait Lane, Dallas
1964, Philip Johnson (New York)
Frank D. Welch, Philip Johnson and Texas, Austin: University of Texas Press, 2000.; Jenkins Stover and David Mohney. The Houses of Philip Johnson. Afterword by Neil Levine. Photographs by Steven Brooke. New York: Abbeville Press Publishers, 2001, pp. 190-195; Richard Payne, The Architecture of Philip Johnson, essay by Hilary Lewis, Boston: Bulfinch Press, 2002, pp. 106-107.

Neiman-Marcus Northpark
Boedecker St. and Northwest Highway, Dallas
1965, Eero Saarinen & Associates (New Haven)
“’World’s Largest’ Shopping Center Opens,” Architectural Record 138 (December 1965): 43; “Northpark Regional Shopping Center” Architectural Record 139 (April 1966): 150-159; Eleanor Le Maire Creates a Euphoric Atmosphere for Shopping,” Interiors 125 (December 1965): 92-101; Kevin Roche, Kevin Roche, introduction by Francesco Dal Co, Milan: Electa Editrice, 1985, pp. 94-95; Barbara Koerble, “Buy Design: Stanley Marcus on the Architecture of Merchandising,” Cite 35, The Architecture and Design Review of Houston, Fall 1996, 28-30.

Great Southern Life Insurance Co. Building
3121 Buffalo Speedway, Houston (demolished)
1965, Skidmore, Owings & Merrill (New York) and Wilson, Morris, Crain & Anderson
“Textured Concrete and Air Ducts Mesh Like a Chinese Puzzle,” Engineering News-Record 173 (22 October 1964): 30-32; Kevin Alter, “SOM in Houston,” Cite 40: The Architecture and Design Review of Houston Winter 1997-1998, pp. 34-37.

One Main Place
1201 Main St., Dallas
1968, Skidmore, Owings & Merrill (New York) with Harwood K. Smith & Partners
“Ten Acre Superblock Planned for Dallas,” Architectural Record 136 (July 1964): 14; “Dallas Downtown Project Approaches Reality,” Progressive Architecture 45 (July 1964): 70-71; “Multi-Level Concourse Connects Multiple Uses,” Architectural record 140 (November 1966): 162-165.

Alley Theater
615 Texas Ave., Houston\
1968, Ulrich Franzen & Associates (New York) with MacKie & Kamrath
“Alley: A Director’s Dream,” Progressive Architecture 46 (October 1965): 172-173; “The Search for Appropriate Form,” Architectural Record 139 (May 1966): 136-137; John Morris Dixon, “Houston’s Alley Theater,” Architectural Forum 130 (March 1969): 30-39; Peter Blake, The Architecture of Ulrich Franzen: Selected Works, foreword by George Weissman, Basel: Birkhäuser, 1999, pp. 102-107.

One Brookhollow Plaza
Stemmons Freeway and Mockingbird Lane, Dallas
1969, Paul Rudolph (New York) and Harwood K. Smith & Partners
“Two Projects by Paul Rudolph,” Architectural Record 151 (February 1972): 87, 94-96; Mark Gunderson, “Rudolph and Texas,” Texas Architect 48 (May-June 1998): 50-52.

Galleria and Neiman-Marcus
5015 Westheimer Rd., Houston
1971 and 1969, Hellmuth Obata & Kassabaum (St. Louis) and Neuhaus & Taylor
“Galleria Post Oak,” Architectural Record 146 (July 1969): 143-150; “Supermall,” Architectural Forum 136 (April 1972): 30-33; Jonathan King and William T. Cannady, “Galleria,” Architectural Design 43 (November 1973): 695-697; Walter McQuade, Architecture in the Real World: The Work of Hellmuth, Obata & Kassabaum, New York: Harry N. Abrams, Inc., 1983, pp. 148-153; Barbara Koerble, “Buy Design: Stanley Marcus on the Architecture of Merchandising,” Cite 35, The Architecture and Design Review of Houston, Fall 1996, 28-30; Hellmuth, Obata & Kassabaum, Hellmuth, Obata & Kassabaum: Selected and Current Works, introduction by Martin Pawley, Mulgrave: The Image Publishing Co., 1998, pp. 14-15; Bruce C. Webb, “City Under Glass,” Cite: The Architecture and Design Review of Houston 65 (Winter 2005): 20-23.

Anne Burnett Tandy House
1400 Shady Oaks Lane, Westover Hills
1970, I. M. Pei & Partners (New York)
“A Great House for Two or Two Hundred,” House and Garden (November 1970): 114-121.

John F. Kennedy Memorial
600 block Market St., Dallas
1970, Philip Johnson (New York)
Frank D. Welch, Philip Johnson and Texas. Foreword by Philip Johnson, photographs by Paul Hester. Austin: University of Texas Press, 2000; Betsy Del Monte, “JFK Memorial Restored,” Texas Architect 50 (September-October 2000): 16-17; Richard Payne, The Architecture of Philip Johnson, essay by Hilary Lewis, Boston: Bulfinch Press, 2002, pp. 138-139.

Lyndon B. Johnson Presidential Library
University of Texas, Austin
1970, Skidmore, Owings & Merrill (New York) with Brooks, Barr, Graber & White
Mildred F. Schmertz, “In Praise of a Monument to Lyndon B. Johnson,” Architectural Record 150 (November 1971): 113-120; Carol Herselle Krinsky, Gordon Bunshaft of Skidmore, Owings & Merrill, New York and Cambridge: Architectural History Foundation and MIT Press, 1988, pp. 284-287.

Sid W. Richardson Physical Science Building
Bowie St. and S. University Dr., Texas Christian University, Fort Worth
1971, Paul Rudolph (New York) and Preston M. Geren & Associates
“Two Projects by Paul Rudolph,” Architectural Record 151 (February 1972): 87, 94-96; Mark Gunderson, “Rudolph and Texas,” Texas Architect 48 (May-June 1998): 50-52.

Arthur Temple Memorial Library (originally T. L. L. Temple Library)
Timberland Hwy., Pineland
1971, Desmond-Miremont-Gasaway (New Orleans)

One Shell Plaza
910 Louisiana St., Houston
1971, Skidmore, Owings & Merrill (Chicago) and Wilson, Morris, Crain & Anderson
Jonathan King and William T. Cannady, “One Shell Plaza, Tallest Building West of the Mississippi,” Architectural Design 42 (January 1972): 22-23 “Supershell,” Architectural Forum 136 (April 1972): 26-29; Skidmore, Owings & Merrill, The Architecture of Skidmore, Owings & Merrill, 1963-1973. Introduction by Arthur Drexler, Text by Axel Menges, New York: Architectural Book Publishing Company, 1974, pp. 174-177; Bruce Graham, Bruce Graham of SOM, introduction by Stanley Tigerman, New York: Rizzoli International Publications, 1989, pp. 52-55; Kevin Alter, “SOM in Houston,” Cite 40: The Architecture and Design Review of Houston Winter 1997-1998, pp. 34-37; Nicholas Adams, Skidmore, Owings & Merrill: SOM Since 1936, Milan: Electa, 2007, pp. 248-251.

State National Bank Building
Texas Avenue and N. Kansas Street, El Paso
1971, Charles Luckman Associates (Los Angeles) with Kuykendall, McCombs, Middleton & Staber

The Art Museum of South Texas
1902 N. Shoreline Dr., Corpus Christi (altered)
1972, Johnson/Burgee Architects (New York) with Howard Barnstone and Eugene Aubry (Houston)
“Three New Museums in Texas,” Art in America 60 (September-October 1972): 50-51; Paul Goldberger, “Form and Procession,” Architectural Forum 138 (January-February 1973): 41-45; Alan Lesoff, “An Art Museum for South Texas, 1944-1980,” in Legacy: A History of the Art Museum of South Texas, Corpus Christi: Art Museum of South Texas, 1997, pp. 24-53 Frank D. Welch, Philip Johnson and Texas. Foreword by Philip Johnson, photographs by Paul Hester. Austin: University of Texas Press, 2000; Richard Payne, The Architecture of Philip Johnson, essay by Hilary Lewis, Boston: Bulfinch Press, 2002, pp. 142-143.

Kimbell Art Museum
3333 Camp Bowie Blvd., Fort Worth
1972, Louis I. Kahn (Philadelphia) and P. M. Geren & Associates
“The Mind of Louis Kahn,” Architectural Forum 137 (July-August 1972): 55-61; “Kahn’s Museum: An Interview with Richard Brown,” Art in America 60 (September-October 1972): 44-48; John Anderson, “Kahn’s Kimbell: A Building in Praise of Nature and Light,” Interiors 132 (March 1973): 84-91; “Kimbell Art Museum, Fort Worth, Texas,” American Institute of Architects Journal 63 (May 1975): 38-39; Marshall Meyers, “Master of Light,” American Institute of Architects Journal 68 (September 1979): 60-62; Lawrence W. Speck, “Evaluation: The Kimbell Art Museum,” American Institute of Architects Journal 71 (August 1982): 36-43; In Pursuit of Quality: The Kimbell Art Museum: An Illustrated History of the Art and Architecture, Fort Worth: Kimbell Art Museum, 1987; Louis I. Kahn, Light is the Theme: Louis I. Kahn and the Kimbell Art Museum. Fort Worth: Kimbell Art Foundation, 1988; Patricia Cummings Loud, The Art Museums of Louis I. Kahn, Foreword by Mitchell P. Mezzatesta, Durham: Duke University Press and the Duke University Museum of Art, 1989; Michael Benedikt. Deconstructing the Kimbell: An Essay on Meaning and Architecture. New York: Sites Books, 1991; Michael Brawne, The Kimbell Art Museum: Louis I. Kahn. London: Phaidon, 1992; “Kimbell Art Museum is Honored as the ‘Timeless’ Work of a Master,” Architectural Record 186 (May 1998): 130-131; Louis I. Kahn, Louis I. Kahn: The Construction of the Kimbell Art Museum. Milan: Skira, 1999.

Fort Worth City Hall
10th and Jennings, Fort Worth
1972, Edward Durell Stone & Associates (New York) and P. M. Geren & Associates

Contemporary Arts Museum
5216 Montrose Boulevard, Houston
1972, Gunnar Birkerts & Associates (Ann Arbor) with Charles Tapley Associates
“Contemporary Arts Museum, Houston, Texas,” Architectural Record 150 (October 1971): 110; Jan Van Der Marck, “Houston’s ‘Clean Machine:’ the Contemporary Arts Museum,” Art in America 60 (September-October 1972): 50-51; Peter C. Papademetriou, “Varied Reflections in Houston,” Progressive Architecture 56 (March 1975): 52-56; William Marlin, Gunnar Birkerts & Associates, edited and photos by Yukio Futagawa, Tokyo: ADA Edita, 1982, pp. 144-147; Kay Kaiser, The Architecture of Gunnar Birkerts, Washington DC: American Institute of Architects Press, 2006, p. 82.

Amarillo Museum of Art
2200 S. Van Buren Street
Amarillo
1972, Edward Durell Stone & Associates (New York)
“Three New Museums in Texas,” Art in America 60 (September-October 1972): 50-51.

House
Dallas
1973, Booth, Nagle & Hartray (Chicago)
“Award of Merit,” Housing 54 (August 1978): 81; James Nagle and Kathleen Nagle, Houses: The Architecture of Nagle Hartray Danker Kagan McKay Penney, New York: Edizioni Press, 2005, pp. 20-21.

Post Oak Central
1980-2000 Post Oak Boulevard, Houston
1973-81, Johnson/Burgee Architects (New York), S. I. Morris Associates, and Richard Fitzgerald & Partners
Peter Papademetriou, “Deco-rating Houston’s Skyline,” Progressive Architecture 58 (January 1977): 32; Philip Johnson, Johnson/Burgee: Architecture, text by Nory Miller, photographs by Richard Payne, New York: Random House, 1979, pp. 64-67; Paul Goldberger, The Skyscraper New York: Alfred A. Knopf, 1982, p. 126 Frank D. Welch, Philip Johnson and Texas. Foreword by Philip Johnson, photographs by Paul Hester. Austin: University of Texas Press, 2000; Richard Payne, The Architecture of Philip Johnson, essay by Hilary Lewis, Boston: Bulfinch Press, 2002, pp. 168-171.

Dallas Fort Worth International Airport
International Parkway, DFW Airport
1974, Hellmuth, Obata & Kassabaum (St, Louis) and Brodsky, Hopf & Adler (New York)
Cathy Beal Allgeier, “The Someplace Airport,” Interiors 136 (January 1977): 86-91; John Pastier, “Dallas-Fort Worth: Metroplex and Mega-Airport,” American Institute of Architects Journal 63 (March 1978): 60-69; Walter McQuade, Architecture in the Real World: The Work of Hellmuth, Obata & Kassabaum, New York: Harry N. Abrams, Inc., 1983, pp. 126-129; Mary Anne Norman and James Smallwood, “Founding the Dallas-Fort Worth Regional Airport: The Dallas Perspective,” East Texas Historical Journal 25 (2: 1987), 80-90.

Fort Worth National Bank Building (altered)
500 Throckmorton St., Fort Worth
1974, John Portman & Associates (Atlanta) and Preston M. Geren & Associates
Olga Gueft, “Portman’s Most Intemnsively Shared Space,” Intreriors 134 (November 1974): 96-103; John Portman and Jonathan Barnett, The Architect as Developer, New York: McGraw-Hill Book Co., 1976.

Bass House
Westover Hills
1974, Paul Rudolph (New York)
Mildred Schmertz, “Texas Tour de Force,” House & Garden 163 (December 1991): 164-173; Mark Gunderson, “Rudolph and Texas,” Texas Architect 48 (May-June 1998): 50-52; Roberto de Alba, Paul Rudolph: The Late Work, introduction by Robert Bruegmann, New York: Princeton Architectural Press, 2003, pp. 56-63.

Two Houston Center
909 Fannin St., Houston
1974, William L. Pereira Associates (Los Angeles) and Pierce Goodwin Flanagan
William T. Cannady, “TET-Center, Houston,” Architectural Design 41(April 1971): 217-218.

Fort Worth Water Gardens
14th and Commerce, Fort Worth
1974, Johnson/Burgee (New York)
Peter C. Papademetriou, “Big Splash in Fort Worth,” Progressive Architecture 56 (January 1975): 22-23; Philip Johnson, Johnson/Burgee: Architecture, text by Nory Miller, photographs by Richard Payne, New York: Random House, 1979, pp. 44-51; Frank D. Welch, Philip Johnson and Texas. Foreword by Philip Johnson, photographs by Paul Hester. Austin: University of Texas Press, 2000; Richard Payne, The Architecture of Philip Johnson, essay by Hilary Lewis, Boston: Bulfinch Press, 2002, pp. 164-165.

The Woodlands Information Center
2120 Buckthorne Place, The Woodlands
1975, Bennie M. González (Scottsdale)
Ian L. McHarg and Jonathan Sutton, “Ecological Plumbing for the Texas Coastal Plain,” Landscape Architecture 75 (January 1975): 78-89; “Visitors Center for a New Town,” Architectural Record 159 (February 1976): 101-106.

Best Products Co. Indeterminate Façade (altered)
10765 Kingspoint Road, Houston
1975, SITE (New York)
SITE, SITE: Architecture as Art, essays by Pierre Restany and Bruno Zevi, New York: St. Martin’s Press, 1980, pp. 25-26, 33, 42-49; SITE, Tokyo: Architecture and urbanism Publishing Co., 1986, pp. 34-35; James Wines and SITE: Architecture dans le contexte, ed. by Marie-Ange Brayer, Orléans: Musée des Beaux-Arts d’Orléans, 2002, pp. 60-61; SITE, SITE: Identity in Density, Mulgrave: The Images Publishing Corp., 2005, pp. 40-45.

Pennzoil Place
711 Louisiana Street, Houston
1976, Johnson/Burgee (New York) and S. I. Morris Associates
Paul Goldberger, “Form and Procession,” Architectural Forum 138 (January-February 1973): 37-39; Paul Goldberger, “High Design at a Profit,” New York Times Magazine 14 November 1976, pp. 76-79; William Marlin, “Pennzoil Place,” Architectural Record 160 (November 1976): 101-110; Ada Louise Huxtable, Kicked a Building Lately? New York: Quadrangle/New York Times Book Co., 1976, pp. 67-71; “Pennzoil Place, Houston,” Journal of the American Institute of Architects 66 (May 1977): 48-49; “Project Pennzoil,” Interior Design 48 (June 1977): 134-145; Peter Papademetriou, “Is ‘Wow!’ Enough?” Progressive Architecture 58 (August 1977): 66-72; Philip Johnson, Johnson/Burgee: Architecture, text by Nory Miller, photographs by Richard Payne, New York: Random House, 1979, pp. 44-51; Paul Goldberger, The Skyscraper New York: Alfred A. Knopf, 1982, pp. 124-126; Frank D. Welch, Philip Johnson and Texas. Foreword by Philip Johnson, photographs by Paul Hester. Austin: University of Texas Press, 2000; Richard Payne, The Architecture of Philip Johnson, essay by Hilary Lewis, Boston: Bulfinch Press, 2002, pp. 174-179.

Thanks-Giving Square
Pacific Street and N. Ervay Street
1977, Johnson/Burgee (New York)
Jane Sumner, “The Park That Peter Built,” D: The Magazine of Dallas 4 (November 1977): 108-111; Philip Johnson, Johnson/Burgee: Architecture, text by Nory Miller, photographs by Richard Payne, New York: Random House, 1979, pp. 44-51; Paul Goldberger, The Skyscraper New York: Alfred A. Knopf, 1982, pp. 94-101; Frank D. Welch, Philip Johnson and Texas. Foreword by Philip Johnson, photographs by Paul Hester. Austin: University of Texas Press, 2000; Richard Payne, The Architecture of Philip Johnson, essay by Hilary Lewis, Boston: Bulfinch Press, 2002, pp. 184-187.

Dallas City Hall
1400-1500 blocks Young Street, Dallas
1978, I. M. Pei & Partners (New York) and Harper & Kemp
John Pastier, “Bold Image of a City’s Symbol of the Future,” Journal of the American Institute of Architects 67 (Mid-May 1978): 112-117; “Dallas City Hall,” Architectural Review 164 (November 1978): 300-301; Peter C. Papademetriou, “Angling for a Civic Monument,” Progressive Architecture 60 (May 1979): 102-105; Carter Wiseman, I. M. Pei: A Profile in American Architecture, New York: Harry N. Abrams, Publishers, 1990, pp. 120-137; I. M. Pei: Complete Works, ed. by Philip Jodido, New York: Rizzoli International Publications, 2008, pp. 118-123.

Reunion Place
Houston and Young, Dallas
1978, Welton Becket & Associates (Los Angeles)
Janet Nairn, “Shimmering Success for Dallas Hotel,” Architectural Record 164 (October 1978): 107-112; “Reunion Hotel, Dallas,” Architectural Review 164 (November 1978): 302-303; Paul Goldberger, The Skyscraper New York: Alfred A. Knopf, 1982, pp. 122.

Internorth Energy Building
256 North Sam Houston Parkway East, Houston
1978, Gwathmey, Siegel & Associates (New York)
Walter Wagner, “What’s a High-Style Design Firm Like Gwathmey-Siegel Doing Designing Speculative Office Buildings Along Freeways and In Office Campuses?” Architectural Record 162 (December 1977): 108-111.

Damson Energy Building
260 North Sam Houston Parkway East, Houston
1978, Gwathmey, Siegel & Associates (New York)
Walter Wagner, “What’s a High-Style Design Firm Like Gwathmey-Siegel Doing Designing Speculative Office Buildings Along Freeways and In Office Campuses?” Architectural Record 162 (December 1977): 108-111; Charles Gwathmey and Robert Siegel: Buildings and Projects, 1964-1984, ed by Peter Arnell and Ted Bickford, associate ed Ivan Zaknic, New York: Harper & Row Publisher, 1984, pp. 126-127.

Northpoint Building
262 North Sam Houston Parkway East, Houston
1979, Gwathmey, Siegel & Associates (New York)
Walter Wagner, “What’s a High-Style Design Firm Like Gwathmey-Siegel Doing Designing Speculative Office Buildings Along Freeways and In Office Campuses?” Architectural Record 162 (December 1977): 108-111.

One Dallas Centre
350 N. St. Paul Street, Dallas
1979, I. M. Pei & Partners (New York) and Fisher & Spillman
Stanley Abercrombie, “Glass Tower Brought to Life—and Light,” American Institute of Architects Journal 70 (Mid-May 1981): 215-219.

Triangle Pacific Corporation Building
16803 Dallas Parkway, Addison
1980, Gwathmey, Siegel & Associates (New York)
Charles Gwathmey and Robert Siegel: Buildings and Projects, 1964-1984, ed by Peter Arnell and Ted Bickford, associate ed Ivan Zaknic, New York: Harper & Row Publisher, 1984, pp. 200-201; Deborah K. Dietsch, “Triangle Pacific Corporation, Dallas, Texas,” Architectural Record 173 (July 1985): 106-107.

François de Menil House alterations and additions
19 Crestwood Dr., Houston
1980, Gwathmey Siegel & Associates (New York)
Jane Nisselson, “The Surprise of Color: New Dimension in a Classic Design,” House & Garden, 153 (April 1981): 162-167; “Gwathmey Siegel & Associates, Houston Residence, Houston, Texas,” GA Houses 11, pp. 40-45; Charles Gwathmey and Robert Siegel: Buildings and Projects, 1964-1984, ed by Peter Arnell and Ted Bickford, associate ed Ivan Zaknic, New York: Harper & Row Publisher, 1984, pp. 204-207.

Amax Petroleum Building
1300 West Sam Houston Tollway, Houston
1980, Gwathmey, Siegel & Associates (New York)

First International Plaza
1100 Louisiana Street, Houston
1980, Skidmore, Owings & Merrill (San Francisco) and 3D/International
Janet Nairn, “Skidmore, Owings & Merrill: New Directions in High-Rise Design,” Architectural Record 169 (March 1981): 114-119; “Instant Image,” Interior Design 52 (June 1981): 198-203; Albert Bush-Brown, Skidmore, Owings & Merrill: Architecture and Urbanism, 1978-1983, New York: Van Nostrand Reinhold Co., 1984, pp. 196-199.

One West Loop Plaza
2425 West Loop South, Houston
1980, I. M. Pei & Partners (New York) and Richard Fitzgerald & Partners

Texas Commerce Tower in United Energy Plaza
600 Travis Street, Houston
1981, I. M. Pei & Partners (New York) and 3D/International
Paul Goldberger, The Skyscraper New York: Alfred A. Knopf, 1982, pp. 142-143; “I. M. Pei & Partners: Texas Commerce Tower/United Energy Plaza, Houston, Texas, Design: 1978; Construction: 1978-1982,” GA Document 12 (January 1985): 88-97; I. M. Pei: Complete Works, ed. by Philip Jodido, New York: Rizzoli International Publications, 2008, pp. 172-175.

Brochstein Wing, Anderson Hall
Rice University, Houston
1981, James Stirling, Michael Wilford & Associates (London) and Ambrose/McEnany
Peter C. Papademetriou, “Stirling in Another Context: School of Architecture Addition, Rice University, Houston, Texas,” Progressive Architecture 62 (December 1981): 53-59; David Gebhard, “Critique,” Progressive Architecture 62 (December 1981): 60-61; Michael sorkin, “Anderson Hall Expansion, School of Architecture, Rice University,” Arts and Architecture 1 (Winter 1981): 47-49; Larry Paul Fuller, “Stirling at Rice: A Study in Contextualism,” Texas Architect 32 (January-February 1982): 54-56; Peter C. Papademetriou, “Stirling at Rice: School of Architecture, Rice University, Houston, Texas,” Architectural Review 171 (February 1982): 50-67; Peter C. Papademetriou and Paul Goldberger, “School of Architecture, Rice University, Houston, Texas,” GA Documents 5 (1982): 50-71; Peter Arnell and Ted Bickford, James Stirling Buildings and Projects: James Stirling Michael Wilford, Introduction by Colin Rowe, New York: Rizzoli International Publications, 1984.

J. M. Moudy Building for Fine Arts Communications
Texas Christian University, Fort Worth
1981, Kevin Roche-John Dinkeloo & Associates (Hamden CT)
Walter Wagner, “A Strong New Gateway to a College Campus,” Architectural Record 170 (November 1982): 110-113; Nory Miller, “Moody Visual Arts and Communications Building, Texas Christian University, Fort Worth, Texas, Design: 1976; Completion: 1982; Kevin Roche, John Dinkeloo & Associates,” GA Documents 9 (February 1984): 64-69; Kevin Roche, Kevin Roche, introduction by Francesco Dal Co, Milan: Electa Editrice, 1985, pp. 210-213.

Don and Sybil Harrington Cancer Center
1500 Wallace Boulevard, Amarillo
1981, Paul Rudolph (New York) and Wilson-Doche
Mark Gunderson, “Rudolph and Texas,” Texas Architect 48 (May-June 1998): 50-52

San Antonio Museum of Art
110 West Jones Avenue, San Antonio
1981, Cambridge Seven Associates (Cambridge) with Martin & Ortega and Chumney, Jones & Kell
“Award: Architectural Design: Cambridge Seven Associates,” Progressive Architecture 60 (January 1979): 74-75; Mildred F. Schmertz, “An Old Brewery Born Again as the San Antonio Museum of Art,” Architectural Record 169 (June 1981): 92-99; Peter C. Papademetriou, “Artistic Ferment in San Antonio,” Progressive Architecture 62 (November 1981): 30, 34; David Dillon, “The Alamo and Other Battles,” Architecture 75 (March 1986): 62-64.

City Center I and II
201 Main Street, Fort Worth
1982, 1984, Paul Rudolph (New York) and 3D/International
“Clustered Columns Play Hide and Seek,” Architectural Record 170 (July 1982): 124-127; David Dillon, “Darth Vader at the O.K. Corral,” American Institute of Architects Journal 72 (November 1983): 66-67’ “From Object to Space: An Interview with Paul Rudolph,” Architectural Record 173 (June 1985): 156-161; Mark Gunderson, “Rudolph and Texas,” Texas Architect 48 (May-June 1998): 50-52; Roberto de Alba, Paul Rudolph: The Late Work, introduction by Robert Bruegmann, New York: Princeton Architectural Press, 2003, pp. 104-107.

Holt House
4734 Ocean Drive, Corpus Christi
1982, Batey & Mack (San Francisco) and John Wright
“Houses by Batey & Mack,” GA Houses 10 (1982): 114-127; James Coote, “House on Ocean Drive,” Texas Architect 33 (May-June 1983): 50-52; Charles K. Gandee, “Villa on the Bay, Corpus Christi, Texas, by Batey & Mack,” Architectural Record 172 (Mid-May 1984): 96-103.

Texas Commerce Center
601 Travis Street, Houston
1982, I. M. Pei & Partners (New York) and 3D/International

Warwick Post Oak
2001 Post Oak Boulevard, Houston
1982, I. M. Pei & Partners (New York) and Richard Fitzgerald & Associates
“Strength Through Dignity” The Warwick post Oak Hotel in Houston,” Interior Design 54 (August 1983): 190-198.

Four-Leaf Tower
5100 San Felipe Road, Houston
1982, Cesar Pelli & Associates (New Haven), Albert C. Martin & Associates, and Melton Henry Architects
Paul Goldberger, The Skyscraper New York: Alfred A. Knopf, 1982, p. 148.; Andrea Oppenheimer Dean, “Speaking Softly in Strong Colors,” American Institute of Architects Journal 72 (May 1983): 168-173; “César Pelli & Associates: Four-Leaf Towers and Four-Oaks Place, Houston, Texas, Design: 1979-1980; Construction: 1979-1983,” GA Document 12 (January 1985): 104-108; César Pelli, A+U July 1985 Special Edition, 1985, pp. 110-115; César Pelli, César Pelli: Buildings and Projects, 1965-1990, introduction by Paul Goldberger, New York: Rizzoli International Publications, 1990, pp. 68-71.

Four Oaks Place
1300-1400 Post Oak Boulevard, Houston
1983, Cesar Pelli & Associates (New Haven) and Melton Henry Architects
Paul Goldberger, The Skyscraper New York: Alfred A. Knopf, 1982, pp. 124-126; “César Pelli & Associates: Four-Leaf Towers and Four-Oaks Place, Houston, Texas, Design: 1979-1980; Construction: 1979-1983,” GA Document 12 (January 1985): 104-108; César Pelli, A+U July 1985 Special Edition, 1985, pp. 110-115; César Pelli, César Pelli: Buildings and Projects, 1965-1990, introduction by Paul Goldberger, New York: Rizzoli International Publications, 1990, pp. 68-71.

Park Regency Terrace Residences
2333 Bering Drive, Houston
1983, Venturi, Rauch & Scott Brown (Philadelphia) and McCleary Associates
John Kaliski, “Diagrams of Ritual and Experience: Learning from the Park Regency,” Cite: The Architecture and Design Review of Houston (Spring 1983): 8-13.

First City Bank-North Belt Building, Houston
400 North Sam Houston Parkway East
1983, Gwathmey, Siegel & Associates (New York) and Urban Architecture
Charles Gwathmey and Robert Siegel: Buildings and Projects, 1964-1984, ed by Peter Arnell and Ted Bickford, associate ed Ivan Zaknic, New York: Harper & Row Publisher, 1984, pp. 238-239; Deborak K. Dietsch, “First City Bank, Houston, Texas,” Architectural Record 173 (July 1985): 108-111.

RepublicBank Center
700 Louisiana Street, Houston
1983, Johnson/Burgee Architects (New York) and Kendall/Heaton
Paul Goldberger, The Skyscraper New York: Alfred A. Knopf, 1982, pp. 155-157; John Ferguson, “RepublicBank Houston,” Texas Architect 34 (January-February 1984): 56-60; Pilar Viladas, “Gothic Romance,” Progressive Architecture 65 (February 1984): 86-93; John Pastier, “A Tale of Two Towers,” Architecture 73 (April 1984): 38-43; “John Burgee Architects with Philip Johnson: RepublicBank Center,” GA Document 12 (December 1985): 80-87; Robert A. M. Stern, “Four Towers,” A+U Architecture and Urbanism 172 (January 1985): 35-42, 49-59; Philip Johnson and John Burgee, Philip Johnson/John Burgee Architects, 1979-1985, introduction by Carleton Knight III, New York: Rizzoli International Publications, 1985, pp. 105-117; Frank D. Welch, Philip Johnson and Texas. Foreword by Philip Johnson, photographs by Paul Hester. Austin: University of Texas Press, 2000; Richard Payne, The Architecture of Philip Johnson, essay by Hilary Lewis, Boston: Bulfinch Press, 2002, pp. 228-231.

Transco Tower, Houston
2800 Post Oak Boulevard
1983, Johnson/Burgee Architects and Morris Aubry Architects
Paul Goldberger, The Skyscraper New York: Alfred A. Knopf, 1982, pp. 156-157; Jim Murphy, “It Towers,” Progressive Architecture 65 (February 1984): 94-97; Beverly Russell, “Powerful Tower,” Interiors 144 (December 1984): 132-143; “John Burgee Architects with Philip Johnson: Transco Tower,” GA Document 12 (December 1985): 97-109; Robert A. M. Stern, “Four Towers,” A+U Architecture and Urbanism 172 (January 1985): 43-48, 49-59; Steve Brady, Presence: The Transco Tower, text by Ann Holmes, Houston: Herring Press, 1985; Elizabeth McBride, “The Transco Fountain,” Cite: The Architecture and Design Review of Houston (Summer 1985): 19-21; Philip Johnson and John Burgee, Philip Johnson/John Burgee Architects, 1979-1985, introduction by Carleton Knight III, New York: Rizzoli International Publications, 1985, pp. 72-79; Frank D. Welch, Philip Johnson and Texas. Foreword by Philip Johnson, photographs by Paul Hester. Austin: University of Texas Press, 2000; Richard Payne, The Architecture of Philip Johnson, essay by Hilary Lewis, Boston: Bulfinch Press, 2002, pp. 216-221.

Allied Bank Plaza
1000 Louisiana Street
Houston
1983, Skidmore, Owings & Merrill (San Francisco) and Lloyd Jones Brewer & Associates
Janet Nairn, “Skidmore, Owings & Merrill: New Directions in High-Rise Design,” Architectural Record 169 (March 1981): 128-129; “Skidmore, Owings & Merrill: Allied Bank Plaza, Houston, Texas, Design: 1980; Construction: 1981-1983,” GA Document 12 (December 1985): 96-88; “Allied Bank Plaza, Houston, Texas, USA: Skidmore, Owings & Merrill,” A+U 177 (June 1985): 43-48; Albert Bush-Brown, Skidmore, Owings & Merrill: Architecture and Urbanism, 1978-1983, New York: Van Nostrand Reinhold Co., 1984, pp. 204-207; Maeve Slavin, The Lone Star State Streaks Ahead,” Interiors 143 (November 1983): 73-77; John Pastier, “A Tale of Two Towers,” Architecture 73 (April 1984): 38-43.

ARCO Building
1601 Bryan Street, Dallas
1983, I. M. Pei & Partners (New York)
Edie Lee Cohen, “Arco Tower, Dallas,” Interior Design 55 (August 1984): 146-155.

Mobil Exploration and Production Research Laboratory
13777 Midway Road, Farmers Branch
1983, I. M. Pei & Partners (New York)
Loring Leifer, “Upward Mobility in Open Office Design,“ Interiors 143 (March 1984): 109-113; Nora Richter Greer, “Lighting as a Tool of Design,” Architecture 73 (October 1984): 58; Andrea Truppin, “The Art of Attitudes,” Interiors 144 (November 1984): 144-145.

Charlton House
4608 Meadowood Road, Dallas
1983, Edward Larrabee Barnes and Amir B. Avakian (New York)
Herbert L. Smith, Jr., “Private House, Dallas, Texas, by Edward Larrabee Barnes and Amir B. Avakian,” Architectural Record 172 (Mid-May 1984): 112-121; David Dillon, “Blend of Modernism and Regionalism,” Architecture 75 (May 1986): 176-183; Edward Larrabee Barnes, Edward Larrabee Barnes, Architect, introduction by Peter Blake, New York: Rizzoli International Press, 1994, pp. 54-61.

Haddon Townhouses
2013-2029 Haddon St., Houston
1983, Arquitectónica (Miami)
“An Introductory Passage,” Architectural Record 172 (August 1984): 86-91; Beth Dunlop, Arquitectonica, foreword by Philip Johnson, Washington DC: American Institute of Architects Press, 1991, pp. 56-57.

Greenhill Lower School
4141 Spring Valley Road, Addison
1984, Gwathmey, Siegel & Associates (New York)

Dallas Museum of Art, Dallas
1717 North Harwood Street
1984, Edward Larrabee Barnes (New York) and Pratt, Box & Henderson
David Dillon, “Dallas Arts District,” Progressive Architecture 64 (June 1983): 35, 37; John Morris Dixon, “Art Oasis: Dallas Museum of Art,” Progressive Architecture 65 (April 1984): 127-136; :Edward Larrabee Barnes: Dallas Museum of Art, Dallas, Texas, Design: 1978-1980; Completion: 1983,” GA Document 10 (May 1984): 66-75; “Dallas Museum of Arts, Dallas, Texas, 1983,” A+U 168 (September 1984): 29-38; Peter C. Papademetriou, “Dallas Museum of Art: Extending the Modernist Tradition of E. L. Barnes,” Texas Architect 35 (January-February 1985): 36-47; Joel Warren Barna, “Dallas Museum Addition Marks Reorganization,” Progressive Architecture 74 (December 1993): 12; Edward Larrabee Barnes, Edward Larrabee Barnes, Architect, introduction by Peter Blake, New York: Rizzoli International Press, 1994, pp. 214-221.

One Broadcast Center, KVII-TV Studio
SE 10th Ave., S. Fillmore St., SE 11th Ave., and S. Taylor St., Amarillo
1984, Paul Rudolph (New York)

Towers at Williams Square
5215 N. O’Connor Boulevard, Irving
1984, Skidmore, Owings & Merrill (San Francisco)

Herring Hall
Rice University, Houston
1984, Cesar Pelli & Associates (New Haven)
Peter C. Papademetriou, “Pattern and Principle,” Progressive Architecture 66 (April 1985): 86-97; David Dillon, “Combining Adventure and Respect,” Architecture 74 (May 1985): 174-181; William F. Stern, “Robert R. Herring Hall,: Cite: The Architecture and Design Review of Houston (Spring 1985): 20-21; César Pelli, A+U July 1985 Special Edition, 1985, pp. 120-143; Cesar Pelli, Cesar Pelli: Buildings and Projects, introduction by Paul Goldberger, New York: Rizzoli International Publications, 1990, pp. 188-203.

Knoll Building Houston
2301 Main Street, Houston
1984, Tigerman Fugman McCurry (Chicago) and Ray Bailey Architects
Charless Gandee, “But Is It Avant-Garde?” Architectural Record 172 (April 1984): 114-123; Janet O’Brien, “Knoll Building, Houston,” Cite: The Architecture and Design Review of Houston (Spring-Summer 1984): 17; “Knoll Building, Houston: Stanley Tigerman Resurrects a 1919 Building,” Interior Design 55 (June 1984): 264-271; Mark A. Hewitt, “Knoll in Houston,” Texas Architect 34 (July-August 1984): 70-75; “Tigerman Fugman McCurry, Ray B. Bailey, Associate Architects, Knoll Building, Houston, Texas; Design: 1982; Completion: 1983,” GA Document 11 (September 1984): 96-101.

Innova (altered)
20 Greenway Plaza, Houston
1984, Cambridge Seven Associates (Cambridge) and Lloyd, Jones, Brewer & Associates
Beverly Russell, “Center of Attraction,” Interiors 144 (March 1985): 124-131; Jan O’Brien, “Innova,” Cite: The Architecture and Design Review of Houston (Winter 1985-1986): 24-25; David Dillon, “Houston Design Center Made a Monumental Cutaway Cube,” Architecture 75 (March 1986): 76-79.

Taggart Park Townhouses
6402 Taggart Avenue, Houston
1984, Arquitectonica (Miami)
Charles K. Gandee, “Those New Kids in Town,” Architectural Record 173 (June 1985): 116-123; Douglas Milburn, “P.S. I Don’t Quite Love You,” Architectural Record 173 (June 1985): 133; Beth Dunlop, Arquitectonica, foreword by Philip Johnson, Washington DC: American Institute of Architects Press, 1991, pp. 54-55.

Milford Townhomes
1220 Milford Street, Houston
1984, Arquitectonica (Miami)
Charles K. Gandee, “Those New Kids in Town,” Architectural Record 173 (June 1985): 116-117, 128-132; Douglas Milburn, “P.S. I Don’t Quite Love You,” Architectural Record 173 (June 1985): 133.

Mandell Residences
4901-4903 Mandell Street, Houston
1985, Arquitectonica (Miami)
Charles K. Gandee, “Those New Kids in Town,” Architectural Record 173 (June 1985): 116-117, 126-127; Douglas Milburn, “P.S. I Don’t Quite Love You,” Architectural Record 173 (June 1985): 133; Beth Dunlop, Arquitectonica, foreword by Philip Johnson, Washington DC: American Institute of Architects Press, 1991, pp. 82-84.

The Mesa: A Better Home and Living Center
5551 Chimney Rock Street, Houston
1985, Arquitectonica (Miami)
Stephan Hoffpauir, “The Mesa,” Cite: The Architecture and Design Review of Houston (Summer 1985): 22-23.

Mesa West
7756 Northcross Dr., Austin
1985, Arquitectonica (Miami)
Kenneth Hafertepe, “Austin Buildings,” in Austin: Its Architects and Architecture (1836-1986), ed.Hank Todd Smith, Austin: Austin Chapter American Institute of Architects, 1986, p. 48.

Conoco Building
600 North Dairy Ashford Road, Houston
1985, Kevin Roche, John Dinkeloo & Associates (Hamden)
Kevin Roche, Kevin Roche, introduction by Francesco Dal Co, Milan: Electra Editrice, 1985, pp. 230-231; Nory Miller, “Kevin Roche, John Dinkeloo & Associates: Conoco Inc., Petroleum Headquarters, Houston, Texas; Designed: 1979; Completed 1985,” GA Documents 14 (December 1985): 48-61; Carleton Night III, Serene Pavilions Traversing a Lake,” Architecture 75 (December 1986): 56-61; “Conoco, Inc., Petroleum Headquarters, Houston, Texas, 1979-1984,” A+U Extra Edition 8 (August 1987): 160-167; William F. Stern, “Floating City,” Cite: The Architecture and Design Review of Houston (Fall 1989): 12-13.

HEB Company Headquarters
646 South Main Avenue, San Antonio
1985, Hartman-Cox (Washington DC) and Chumney/Urrutia
Leonard Lane, “HEB Pulls Out the Artillery for Its Supermarket Offices,” Texas Architect 35 (November-December 1985): 104-109; David Dillon, “The Alamo and Other Battles,” Architecture 75 (March 1986): 118-125; M. Stephanie Stubbs, “’80s Retrospective: Attention to Its Users,” Architecture 78 (December 1989): 45-57; George E. Hartman, Hartman-Cox: Selected and Current Works, introduction by Richard Guy Wilson, Mulgrave: The Image Publishing Group, 1994, pp. 107-113.

The Crescent
Cedar Springs Road and Pearl Street, Dallas
1985, Johnson/Burgee (New York) and Shepherd & Partners
Philip Johnson and John Burgee, Philip Johnson/John Burgee Architects, 1979-1985, introduction by Carleton Knight III, New York: Rizzoli International Publications, 1985, pp. 130-133; Michael Sorkin, “The Real Thing,” Architectural Record 174 (September 1986): 78-85; Justin Henderson, “The Hotel Crescent Court in Dallas Is Inspired by the Grand Hotels of the 19th Century,” Interiors 148 (November 1988): 35-36; Frank D. Welch, Philip Johnson and Texas. Foreword by Philip Johnson, photographs by Paul Hester. Austin: University of Texas Press, 2000; Richard Payne, The Architecture of Philip Johnson, essay by Hilary Lewis, Boston: Bulfinch Press, 2002, pp. 256-257.

Frito Lay Building
7701 Legacy Drive, Plano
1986, Fujikawa, Conterato Lohan (Chicago)
Andrea Truppin, “Human Nature,” Interiors 146 (November 1986): 129-137; Kay Tiller, “Frito-Lay’s Prairie Campus,” Landscape Architecture 78 (April-May 1988): 40-45.

Townhouses
4102-4110 Douglas, Dallas
1986, Arquitectonica (Miami)

Hard Rock Café
2801 Kirby Drive, Houston (demolished)
1986, Tigerman Fugman McCurry (Chicago) and Ray Bailey Architects
Jan O’Brien, “Soft Images for the Hard Rock,” Cite: The Architecture and Design Review of Houston (Spring 1986): 9.

Lillie and Hugh Roy Cullen Sculpture Garden, Museum of Fine Arts, Houston
Bissonnet Ave. and Montrose Blvd., Houston
1986, Isamu Noguchi (Long Island City) and Fuller & Sadao
Peter C. Papademetriou, “Noguchi Garden in Houston,” Progressive Architecture 67 (July 1986): 25-26; Andrew Bartle, “Romancing the Stone: the Cullen Sculpture Garden by Isamu Noguchi,” Cite: The Architecture and Design Review of Houston (Fall 1986): 14-15; Jamie Lofgren, “Seeing Houston With a Sculptor’s Eye,” Texas Architect 37 (July-August 1987): 38-41; Alison de Lima Greene, Valerie J. Fletcher, and Marc Treib, Isamu Noguchi: A Sculpture for Sculpture: The Lillie and Hugh Roy Cullen Sculpture Garden, photography by Rocky Kneten, Houston: The Museum of Fine Arts, Houston, 2006.

Fountain Place
1445 Ross Avenue, Dallas
1986, I. M. Pei & Partners (New York), Harry Weese & Associates (Chicago) and WZMH
“ I, M, Pei & Associates: Fountain Place Central Business District Development-Phase I, Dallas, Texas; Design: 1982-1983; Construction: 1983-1986,” GA Document 12 (January 1985): 94-95; Robin Karson, “Conversation with Dan Kiley,” Landscape Architecture 76 (March-April 1986): 56-57; David Dillon, “Constantly Changing Minimalist Tower,” Architecture 75 (December 1986): 44-49; David Dillon, “The People Commandeer a Plaza,” Landcape Architecture 81 (January 1991): 44-46; George Hazelrigg, “Still Walking on Water,” Landscape Architecture 96 (October 2006): 78.

College of Architecture Building
University of Houston, Houston
1986, Johnson/Burgee (New York) and Morris Aubry Architects
Mark A. Hewitt, “Much Ledoux About Nopthing?” Cite: The Architecture and Design review of Houston (Fall 1983): 8-9;Philip Johnson and John Burgee, Philip Johnson/John Burgee Architects, 1979-1985, introduction by Carleton Knight III, New York: Rizzoli International Publications, 1985, pp. 136-139; Allen Freeman, “Architecture School Patterned on 18th-Century Precedent,” Architecture 75 (March 1986): 84-87; John Kaliski, “Master Johnson’s House of Education,” Cite: The Architecture and Design Review of Houston, Summer 1986, pp. 16-18; Michael Sorkin, “The Real Thing,” Architectural Record 174 (September 1986): 78-85; Frank D. Welch, Philip Johnson and Texas. Foreword by Philip Johnson, photographs by Paul Hester. Austin: University of Texas Press, 2000; Richard Payne, The Architecture of Philip Johnson, essay by Hilary Lewis, Boston: Bulfinch Press, 2002, pp. 250-253.

Momentum Place
1717 Main Street, Dallas
1987, Johnson/Burgee (New York) and HKS Architects
“John Burgee Architects with Philip Johnson: Transco Tower,” GA Document 12 (December 1985): 25; Philip Johnson and John Burgee, Philip Johnson/John Burgee Architects, 1979-1985, introduction by Carleton Knight III, New York: Rizzoli International Publications, 1985, pp. 140-141; Frank D. Welch, Philip Johnson and Texas. Foreword by Philip Johnson, photographs by Paul Hester. Austin: University of Texas Press, 2000; Richard Payne, The Architecture of Philip Johnson, essay by Hilary Lewis, Boston: Bulfinch Press, 2002, pp. 264-267.

Menil Collection
1515 Sul Ross Avenue, Houston
1987, Renzo Piano (Genoa) and Richard Fitzgerald & Associates
Peter Davey, “Piano Practice: Menil Collection Art Museum,” Architectural Review181 (March 1987): 36-42; Peter C. Papademetriou, “The Responsive Box,” Progressive Architecture 68 (May 1987): 87-97; John Pastier, “Simplicity of Form, Ingenuity in the Use of Daylight,” Architecture 76 (May 1987): 84-91; Richard Ingersoll, “Pianissimo: The Very Quiet Menil Collection,” Texas Architect 37 (May-June 1987): 40-47; Deborah K. Dietsch, “Ove Arup & Partners: The Engineer as Designer,” Architectural Record 175 (September 1987): 124-125; Mary McAuliffe, “The Erasure of the Canopy: Spatial Definition at the Menil Museum,” Crit 19 (Winter 1987): 32-37; “AIA Honor Awards 1988,” Architecture 77 (May 1988): 155; Peter Buchanan, Renzo Piano Building Workshop: Complete Works, Volume 1, London: Phaidon Press, Ltd., 1993.

Lucile Halsell Conservatory, San Antonio Botanical Center
555 Funston Place, San Antonio
1988, Emilio Ambasz (New York) and Chumney Jones & Kell
Douglas Brenner, “Et in Arcadia Ambasz,” Architectural Record 172 (September 1984): 120-121, 126-127; “The Lucile Halsell Conservatory,” Progressive Architecture 66 (January 1985): 120-121; Andrea Truppin, “Inventive Genius,” Interiors 146 (April 1987): 187; David Dillon, “Drama of Nature and Form,” Architecture 77 (May 1988): 148-153; Natalye L. appel, “Paradise Made: Two New Gardens in Texas,” Cite: The Architecture and Design Review of Houston (Spring-Summer 1988): 13-15; Mark Alden Branch, “Paradise Missed,” Progressive Architecture 76 (June 1995): 86-91.

Robert Hoffman House
9019 Broken Arrow Lane, Dallas
1988, Charles Moore and Mullen Architects
Patrick Peters, “An Aedicula for the Prodigal Sun,” Cite: The Architecture and Design Review of Houston (Fall 1989): 16.

Morton H. Meyerson Symphony Center
2301 Flora Street, Dallas
1989, I. M. Pei & Partners (New York)
Joel Warren Barna, “Meyerson Symphony Center: A Preview of I. M. Pei’s New Twist,” Texas Architect 39 (September-October 1989); 40-41; Joel Warren Barna, “Pei’s Dallas Hall Opens,” Progressive Architecture 70 (November 1989): 23, 26; Bruno Suner, “Contrapunto barroco: I. M. Pei en Dallas,” Arquitectura Viva 10 (January-February 1990): 18-20; “Pei: L’Auditorium de Dallas,” L’Architecture d’Aujour d’Hui 268 (April 1990): 162-171; “The Morton H. Meyerson Symphony Center, Dallas, Texas,” A+U 242 (November 1990): 7-37; Laurie Shulman, The Meyerson Symphony Center: Building a Dream, introduction by Morton H. Meyerson, Denton: University of North Texas Press, 2000; Carter Wiseman, I. M. Pei: A Profile in American Architecture, New York: Harry N. Abrams, Publishers, 1990, pp. 264-286; I. M. Pei: Complete Works, ed. by Philip Jodido, New York: Rizzoli International Publications, 2008, pp. 188-193.

Cityplace Tower
2711 North Haskell Boulevard, Dallas
1989, Cossutta & Associates
Charles E. Gallatin, “Four Dallas Projects,” Texas Architect 36 (July-August 1986): 48-49; David Dillon, “Zoned to Sell: Learning from Dallas,” Cite: The Architecture and Design Review of Houston (Fall 1991): 21-23.

National Bank of Commerce Building
112 East Pecan Street, San Antonio
1989, Cambridge Seven Associates (Cambridge) and Lloyd Jones Filpott
Blair Calvert Fitzsimons, “Design Unveiled for San Antonio Bank Tower,” Texas Architect 37 (September-October 1987): 12.

IBM Westlake
5 West Kirkwood Boulevard, Westlake
1989, Mitchell/Giurgola Associates (Philadelphia), Office of Peter Walker and Martha Schwarz (San Francisco)
“Westlake and Southlake Office Development and Village Center,” Landscape Architecture 78 (November 1988): 69-71; Joel W. Barna, “Solana in the Sun,” Progressive Architecture 70 (April 1989): 65-74; David Dillon, “IBM’s Colorful ‘Place in the Sun,’” Architecture 78 (May 1989): 100-107 Daralice D. Boles, “PA Profile: Peter Walker and Martha Schwarz,” Progressive Architecture 70 (July 1989): 60; Ann Jarmusch, “Solana,” Landscape Architecture 79 (October 1989): 102-104; The Architecture of Ricardo Legorreta, ed. by Wayne Attoe with Sydney H. Brisker, Austin: University of Texas Press, 1990, pp. 86-93; Mark Alden Branch, “Silence at Solana,” Progressive Architecture 75 (December 1994): 74-77; John V. Mutlow, The Poetic Architecture of Ricardo Legorreta, New York: Rizzoli International Publications, 1997, pp. 112-119.

IBM Southlake
State Highway 114 and Kirkwood Boulevard, Southlake
1989, Legorreta Arquitectos (Mexico DF) and Leason Pomeroy Associates, Office of Peter Walker and Martha Schwarz (San Francisco)
“Westlake and Southlake Office Development and Village Center,” Landscape Architecture 78 (November 1988): 69-71; Joel W. Barna, “Solana in the Sun,” Progressive Architecture 70 (April 1989): 65-74; David Dillon, “IBM’s Colorful ‘Place in the Sun,’” Architecture 78 (May 1989): 100-107 Daralice D. Boles, “PA Profile: Peter Walker and Martha Schwarz,” Progressive Architecture 70 (July 1989): 60; Ann Jarmusch, “Solana,” Landscape Architecture 79 (October 1989): 102-104; ; The Architecture of Ricardo Legorreta, ed. by Wayne Attoe with Sydney H. Brisker, Austin: University of Texas Press, 1990, pp. 86-93; John V. Mutlow, The Poetic Architecture of Ricardo Legorreta, New York: Rizzoli International Publications, 1997, pp. 112-119. Mark Alden Branch, “Silence at Solana,” Progressive Architecture 75 (December 1994): 74-77.

Marty Leonard Community Chapel
4701 West Rosedale Street. Fort Worth
1990, Fay Jones & Maurice Jennings (Fayetteville AK)
David Dillon, “House of the Spirit,” Architecture 80 (March 1991): 94-97; Joel Warren Barna, “Piecing Together a House of Worship,” Texas Architect 41 (November-December 1991): 40-43; Barbara Koerble, “Texas Jones,” Architectural Review 1142 (April 1992): 38-45.

Solana Village Center
Village Circle and West Kirkwood Boulevard, Westlake
1991, Legorreta Arquitectos (Mexico DF) and Leason Pomeroy Associates, Office of Peter Walker and Martha Schwarz (San Francisco)
“Solana Arrivals Garden and Village Center,” Landscape Architecture 80 (November 1990): 36-37; David Dillon, “Of the Land: Solana Marriott Hotel, Westlake,” Architecture 79 (November 1990: 94-101; The Architecture of Ricardo Legorreta, ed. by Wayne Attoe with Sydney H. Brisker, Austin: University of Texas Press, 1990, pp. 86-93; Mark Alden Branch, “Silence at Solana,” Progressive Architecture 75 (December 1994): 74-77; John V. Mutlow, The Poetic Architecture of Ricardo Legorreta, New York: Rizzoli International Publications, 1997, pp. 112-119.

8300 N. Mopac Building
8300 N. Mopac Expressway, Austin
1991, Hammond Beeby Babka (Chicago)
Philip Arcidi, “Entered from the Garage,” Progressive Architecture 72 (April 1991): 88.

Alice Pratt Brown Hall
Rice University, Houston
1991, Taller de Arquitectura (Barcelona) and Kendall/Heaton Associates
Bartomeu Cruells, Ricardo Bofill, Barcelona: EDITORIAL GUSTAVO GILI, 1992, PP. 102-105; Gerald Moorhead, “Classical Music: Alice Pratt Brown Hall, Shepherd School of Music, Rice University, Houston, Texas,” Architectural Record 180 (March 1992): 74-83.

George R. Brown Hall
Rice University, Houston
1991, Cambridge Seven Associates (Cambridge) and RWS Architects
William Curtis, “St. Luke’s Medical Tower,” Cite: The Architecture and Design Review of Houston (Spring 1991): 7; Ray Don Tilley, “Mortared Logic,” Architecture 81 (April 1993): 62-67.

St. Luke’s Medical Tower
6624 Fannin Street, Houston
1991, Cesar Pelli & Associates (New Haven) and Kendall/Heaton Associates
César Pelli, César Pelli: Buildings and Projects, 1965-1990, introduction by Paul Goldberger, New York: Rizzoli International Publications, 1990, pp. 176-177; Ray Don Tilley, “Urban Vigor,” Architecture 80 (July 1991): 42-45; César Pelli, César Pelli: Current and Selected Works, Mulgrave: The Images Publishing Group, 1993, pp. 38-41.

Stretto House
8939 Rockbrook Drive, Dallas
1991, Steven Holl (New York) and Max Levy
Joel Warren Barna, “Stream and Consciousness,” Progressive Architecture 73 (November 1992): 54-63; Michael Benedikt, Stretto and Style,” Progressive Architecture 73 (November 1992): 63; Enrico Morteo, “Steven Holl: Stretto House, Dallas, Texas,” Domus 744 (December 1992): 56-65; “AIA Honor Awards: Stretto House, Dallas, Texas, Steven Holl, Architect,” Architecture 92 (May 1993): 110-111; “Steven Holl: Stretto House, Dallas, Texas,” GA Houses 38 (July 1993): 32-59; Steven Holl, Stretto House: Steven Holl Architects, New York: Monacelli Press, 1996; “Steven Holl, Compressed Planar Library, Dallas, Texas, USA,” GA Houses 66 (2001): 64-69; Kenneth Frampton, Steven Holl Architect Milan: Electa Editrice, 2002, pp. 358-371; Steven Holl 1983-2003, ed. by Fernando Márquez Cecilia and Richard Levene, Madrid: Croquis Editorial, 2003, pp. 134-145; “Steven Holl: Sretto House, Dallas, Texas, USA, 1992,” GA Houses 101 (January 2008): 160-163.

House in River Oaks
2920 Lazy Lane, Houston
1992, Robert A. M. Stern & Partners (New York) and Richard Fitzgerald & Partners
Robert A. M. Stern, Robert A. M. Stern: Houses, New York: Monacelli Press, 1997, pp. 372-397; Robert A. M. Stern, Robert A. M. Stern, Buildings and Projects, 1993-1998, ed by Peter Morris Dixon, New York: Monacelli Press, 1998, pp. 34-39; Robert A. M. Stern, Robert A. M. Stern: Houses and Gardens, ed. by Peter Morris Dixon, introduction by Witold Rybczynski, New York: Monacelli, 2005, pp. 82-105.

Federal Reserve Bank of Dallas Building
2200 North Pearl Street, Dallas
1992, Kohn Pederson Fox (New York) and Sikes Jennings Kelly Brewer (Houston)
David Dillon, “Downtown Gateway,” Architecture 82 (February 1993): 60-67.

Children’s Museum of Houston
1500 Binz Avenue, Houston
1992, Venturi, Scott-Brown & Associates (Philadelphia) and Jackson & Ryan
Gerald Moorhead, “Caryakids at Play,” Architectural Record 181 (March 1993): 78-83; David Dillon, “Decorated Shed,” Architecture 82 (April 1993): 46-51; Drexel Turner, “Little Caesar’s Palace,” Cite: The Architecture and Design Review of Houston 30 (Spring-Summer 1993): 29-35.

House on Turtle Creek
5 Willow Wood, Highland Park
1993, Antoine Predock (Albuquerque)
Antoine Predock, Antoine Predock Architect, compiled by Brad Collins and Juliette Robbins, New York: Rizzoli International Publications, 1994, pp. 180-197; Kurt Anderson, “Architecture: Antoine Predock: Sensuous Modernism in Dallas,” Architectural Digest 51 (March 1994): 104-111; Clifford A. Pearson, “For the Birds,” Architectural Record 182 (April 1994): 76-83; “Antoine Predock: Turtle Creek House, Dallas, Texas,” GA Houses 42 (June 1994): 78-93; Jean Gorman, “Turtle Creek House, Dallas, Texas,” Interiors 154 (January 1995): 102-103; Antoine Predock, Turtle Creek House, New York: Monacelli Press, 1998; Antoine Predock, Antoine Predock 3: Houses, edited by Brad Colllins, New York: Rizzoli International Publications, 2000, pp. 172-199.

Simmons Biomedical Research Building
University of Texas Southwestern Medical Center, Dallas
1993, Edward Larrabee Barnes & John Lee (New York) and F&S Partners

Cy Twombly Gallery, Menil Collection
1501 Branard Avenue, Houston
1995, Renzo Piano Building Workshop (Genoa) and Richard Fitzgerald & Associates
Shunji Ishida, “Renzo Piano: Renzo Piano Building Workshop: The Cy Twombly annex of the Menil Collection, Houston, Texas,” GA Documents 36 (April 1993): 70-71; David Dillon, “Piano Designs New Menil Gallery in Houston,” Architecture 92 (July 1993): 23; Karen D. Stein, “Art House,” Architectural Record 183 (May 1995): 78-83; “Renzo Piano: The Cy Twombly Annex of the Menil Collection, Houston, Texas, 1992-1995,” A+U 302 (November 1995): 6-17; William F. Stern, “The Twombly Gallery and the Making of Place,” Cite 34: The Architecture and Design Review of Houston, (Spring 1996): 16-19.

San Antonio Central Library
600 Soledad Street, San Antonio
1995, Legorreta Asociados (Mexico DF), Sprinkle Robey, and Johnson, Dempsey & Associates
Drexel Turner, “Going South: The New San Antonio Main Library,” Cite: The Architecture and Design Review of Houston (Fall 1991): 10-12; David Dillon, “Texas Flower,” Architecture 85 (October 1995): 80-87: John V. Mutlow, The Poetic Architecture of Ricardo Legorreta, New York: Rizzoli International Publications, 1997, pp. 184-193; “Legorreta Arquitectos: San Antonio Main Library, San Antonio, Texas, USA,” GA Documents 55 (June 1998): 120-129; Louise Noelle, “Ricardo Legorrerta: Biblioteche per il nuovo secolo,” Architettura 531 (January 2000): 34-43; Ricardo Legorreta GA Document Exyta 14, ed. and photographs by Yukio Futagawa, Tokyo: A.D.A. Edita Tokyo, 2000, pp. 84-95.

Hilltop House
Toro Canyon Road, Austin
1996, Gwathmey, Siegel & Associates (New York)
Ten Houses: Gwathmey Siegel, ed Oscar Riera Ojeda, Gloucester: Rockport Publishers, 1995, pp. 88-95; “Gwathmey Siegel: Hilltop Residence, Austin, Texas, USA,” GA Houses 48 (March 1996): 44-47; Charles Gwathmey and Richard Siegel, Gwathmey Siegel Houses, ed Brad Collins, foreword by Robert Siegel, preface by Robert A. M. Stern, introduction by Paul Goldberger, New York: Monacelli Press, 2000, pp.400-463;,Charles Gwathmey and Robert Siegel, Gwathmey Siegel: Buildings and Projects 1992-2002, ed Brad Collins, introduction by Robert A. M. Stern, New York: Rizzoli International Publications, 2003,92-107

Woodlands High School
6106 Research Forest Drive, The Woodlands
1996, Perkins & Will (Chicago) and PBK Architects
“The Woodlands High School, The Woodlands, Texas,” Architecture 83 (March 1994): 39.

Anne and Charles Duncan Hall
Rice University, Houston
1996, John Outram (London) and Kendall/Heaton Associates
Richard Ingersoll, “Quasimodo Returns,” Cite: The Architecture and Design Review of Houston 32 (Fall 1994-Winter 1995): 6-7.

Holocaust Museum Houston
5401 Caroline Street, Houston
1996, Ralph Appelbaum Associates (New York) and Mark S. Mucasey
Reed Kroloff, “Dark Remembrance,” Architecture 85 (November 1996): 114-119.

Herman and Elaine Proler Family Chapel
Beth Israel Cemetery, Houston
1997, Daniel Solomon (San Francisco) and Barry Moore
Peter Rockrise, “Beth Israel Chapel and Cemetery,” Cite: The Architecture and Design Review of Houston 30 (Spring-Summer 1993): 4; Joseph Giovannini, “Sacred Ground,” Architecture 87 (June 1998): 128-133; Bruce Webb, “Proler Chapel at Woodlawn Cemetery,” Cite: The Architecture and Design Review of Houston 40 (Winter 1997-1998): 40-41; Frank Edgerton Martin, “Nature and the Journey to the Final Resting Place,” Landscape Architecture 91 (May 2001): 28.

Dell Butcher Hall
Rice University, Houston
1997, Antoine Predock (Albuquerque) and Brooks/Collier
Antoine Predock, Antoine Predock Architect 2, edited by Brad Collins and Elizabeth Zimmermann, New York: Rizzoli International Publications, 1998, pp. 166-179; Gerald Moorhead, “Making Connections,” Cite: The Architecture and Design Review of Houston 48 (Summer 2000): 11-13.

Byzantine Fresco Chapel Museum
4011 Yupon Street, Houston
1997, Francois de Menil (New York)
“Fresco Chapel,” Progressive Architecture 76 (January 1995): 100-101; Joseph Giovannini, “Modern Reliquary,” Architecture 86 (April 1997): 67-75; Jonathan Hagood, “A Spiritual Display,” Texas Architect 47 (September-October 1997): 74-75; Catherine Slessor, “Out of This World,” Architectural Review 1215 (May 1998): 82-85.

Shorthand House
2233 University Boulevard, Houston
1997, Francois de Menil (New York)
Edie Cohen, “The Shorthand House,” Interior Design 69 (October 1998): 124-131.

Sonic 2000
Richardson
1997, Machado & Silvetti Associates (Boston) and Boice-Raidl-Rhea
Richard Ingersoll, “Super Sonic,” Architecture 87 (May 1998): 104-107.

James A. Baker III Hall
Rice University, Houston
1997, Hammond Beeby Babka (Chicago) and Morris Architects

Howard Rachofsky House,
8605 Preston Road, Dallas
1997, Richard Meier & Partners (New York)
Richard Meier, Richard Meier Houses, 1962-1997, introduction by Paul Goldberger, essay by Richard Rogers, New York: Rizzoli International Publications, 1996, pp. 216-223; “Richartd Meier: Rachofsky House, Dallas, Texas,” GA Houses 51 (March 1997): 70-85; Thomas S. Hines, “Richard Meier: Bridhing the Public and Private Realms in a Dallas House,” Architectural Digest 54 (April 1997): 118-127; “Howard’s House,” Architecture 86 (July 1997): 71-79; Richard Meier, Richard Meier, Architect, 1992-1999, essays by Kenneth Frampton, Joseph Rykwert, and Arata Isozaki, New York: Rizzoli International Publications, 1999, pp. 26-47; Richard Meier, Richard Meier, Architect, New York and Los Angeles: Monacelli Press and Museum of Contemporary Art, Los Angeles, 1999, pp. 240-247; “Richard Meier: Rachofsky House, Dallas, Texas, USA, 1991-1996,” A+U 397 (October 2003): 102-110; Richard Meier, Richard Meier: Houses and Apartments, New York: Rizzoli International Publications, 2007, pp. 82-99.

Mary D. and F. Howard Walsh Center for the Performing Arts
2800 S. University Dr., Fort Worth
1998, Hardy Holzman Pfeiffer Associates (New York) and KVG Gideon Toal
Susan Williamson, “Student Performance,” Texas Architect 47 (March-April 1997): 54; David Dillon, “A Pair of Performing Arts Centers in Texas,” Architectural Record 187 (May 1999): 232-239.

Lisa Blue and Fred Baron House
5950 Deloache Avenue, Dallas
1999, Robert A. M. Stern (New York)
Robert A. M. Stern, Robert A. M. Stern: Buildings and Projects, 1993-1999, ed. by Peter Morris Dixon, New York: Monacelli Press, 1998, pp. 190-191; Philip Nobel, “A Shining Lone Star: Robert A. M. Stern Takes on a Texas-Size Commission,” Architectural Digest 60 (October 2003): 270-276; Robert A. M. Stern, Robert A. M. Stern: Houses and Gardens, ed. by Peter Morris Dixon, introduction by Witold Rybczynski, New York: Monacelli Press, 2005, pp. 194-227.

San Angelo Museum of Fine Arts
1 Love Street, San Angelo
1999, Hardy Holzman Pfeiffer Associates (New York) and Chakos Zentner Marcum
Lawrence Connolly, “New Museum for San Angelo,” Texas Architect 49 (July-August 1999): 13; David Dillon, “Brash Beauty: A Bold, Quirky Building by HHPA’s Malcolm Holzman for Texas’s San Angelo Museum of Fine Arts Is Intentionally Dissonant,” Architectural Record 188 (November 2000): 100-105.

Lucille Lupe Murchison Performing Arts Center
University of North Texas, Denton
1999, Hardy Holzman Pfeiffer Associates (New York)
David Dillon, “A Pair of Performing Arts Centers in Texas,” Architectural Record 187 (May 1999): 232-239; Rebecca L. Boles, “Roadside Dynamism” Texas Architecture 50 (September-October 2000): 46-49.

Virginia Tatham Fine Arts Center, St. John’s School
Westheimer Road and Buffalo Speedway, Houston
2000, Graham Gund Associates (Boston) and Morris Architects

Audrey Jones Beck Building, Museum of Fine Arts, Houston
5601 Main Boulevard, Houston
2000, Rafael Moneo (Madrid) and Kendall Heaton Associates
Martha Thorne, Rafael Moneo: Audrey Jones Beck Building, The Museum of Fine Arts, Houston, photography by Joe C. Aker and Gary Zvonkovic, Opus 36, Stuttgart: Axel Menges, 2000; Farès el-Dahdah, “Shedding Light on the Beck,” Cite 47: The Architecture and Design Review of Houston. (Spring 2000): 16-21; Ned Cramer, “Palazzo Beck: José Rafael Moneo Builds an Art Palace of the People in Houston,” Architecture 89 (March 2000): 92-103; David Dillon, “Is Rafael Moneo’s New Beck Building at the Museum of Fine Arts in Houston Equally Extraordinary Inside and Out?” Architectural Record 188 (June 2000)): 124-129; Raymund Ryan, “Solid Walls; Filtered Sky: Museum of Fine Arts, Houston, USA,” Architectural Review 1242 (August 2000): 38-43; Richard Ingersoll, “Rafael Moneo: Audrey Jones Beck Building, Houston,” Casabella 682 (October 2000): 122-133; Rafael Moneo: Museoak, Audirioak, Liburutegiak, San Sebastian: Kuxta Fundazoia, 2005, pp. 72-79.

Humanities Building
Rice University, Houston
2000, Allan Greenberg (Washington D.C.)
Ned Cramer, “On the Boards: Projects at Rice University,” Architecture 90 (May 2001): 74-75.

Bayou Parkland Pavilion, McGovern Lake, and Jones Reflecting Pool and Smith Plaza and Overlook
Hermann Park, Houston
2000, 2001, 2004, Olin Partnership (Philadelphia)
2009, Overland Partners
Barry Moore, “Taking the Edge off Houston,” Metropolis 13 (June 1994): 56-57; Barrie Scardino, “Hermann Park Masterplan,” Cite 32: The Architecture and Design Review of Houston (Fall 1994-Winter 1995): 16-19; Jim Zook, “The State of the Park,” Cite 43: The Architecture and Design Review of Houston (Winter 1999): 32-35; Jay Baker, “Hermann Park Comes Full Circle,” Texas Architect 51 (November-December 2001): 16; Marty Carlock, “A New Heart: Reviving Its Heart Leads to a New Cure for Hermann Park, Houston’s Ailing Greenspace,” Landscape Architecture 96 (September 2006): 108-115.

Meadows Museum, Southern Methodist University
5900 Bishop Boulevard, Dallas
2001, Hammond Beeby Rupert Ainge (Chicago)

Act II House
1319 Banks Street, Houston
2001, FdM: Arch (New York)

Sarah M. and Charles E. Seay Psychology, Child Development, and Family Relationships Building
University of Texas at Austin, Austin
2001, Cesar Pelli & Associates (New Haven) and Page Southerland Page
Arthur Andersson, “Psychology Today: At the University of Texas at Austin, a New Classroom Building Updates Campus Design Traditions as Defined by Gilbert and Cret,” Texas Architect 53 (July-August 2003): 34-37.

Wiess College
Rice University, Houston
2002, Machado & Silvetti (Boston) and Kirksey & Partners
Ned Cramer, “On the Boards: Projects at Rice University,” Architecture 90 (May 2001): 74-75; Gerald Moorhead, ”Evolution of Form,” Cite: The Architecture and Design Review of Houston 62 (Fall 2004): 11-12.

Martel College and additions to Jones and Brown Colleges
Rice University, Houston
2002, Michael Graves (Princeton) and Pierce Goodwin Alexander & Linville
Ned Cramer, “On the Boards: Projects at Rice University,” Architecture 90 (May 2001): 74-75; Gerald Moorhead, ”Evolution of Form,” Cite: The Architecture and Design Review of Houston 62 (Fall 2004): 11-12; Michael Graves: Buildings and Projects, 1995-2003, ed. by Karen Nichols, essay by Francisco Sanin, New York: Rizzoli International Publishers, 2003, pp. 194-203.

Modern Art Museum of Fort Worth
3200 Darnell, Fort Worth
2002, Tadao Ando (Osaka) and Kendall/Heaton Associates (Houston)
Barbara Koerble, “Harmonic Progression: Fort worth’s New Modern Art Museum by Tadao Ando,” Cite: The Architecture and Design Review of Houston 38 (Summer 1997): 22-25; Ronnie Self, “Modern Art: Tadao Ando Intertwines Art, Architecture and Nature to Create His Modern Art Museum of Fort Worth,” Texas Architect 53 (March-April 2003): 20-31; Richard R. Brettell, “Ando’s Modern: Reflections on Architectural translations,” Cite: The Architecture and Design Review of Houston 57 (Spring 2003): 24-30; Michael Webb, “Ando in Texas,” Domus 857 (March 2003): 34-51; David Dillon, “Tadao Ando Brings His Concrete-and-Glass Poetry to the Texas Plains at His New Museum of Modern Art of Fort Worth,” Architectural Record 191 (March 2003): 98-113; Craig Kellog, “Museum of Modern Art of Fort Worth,” Architectural Design 73 (May-June 2003): 114-116; “Tadao Ando: Museum of Modern Art of Fort Worth, Fort Worth, Texas, USA,” GA Document 74 (June 2003): 36-49; Ronnie Self, “Una cuestión de belleza: Tadao Ando, Museo de Arte Moderno de Fort Worth,” Arquitectura Viva 91 (July-August 2003): 94-99; Miquel Adriá, “Museos tejanos,” Arquine 25 (Autumn 2003): 7; Roger Morant, “Boxing with Light: Fort Worth Modern Art Museum, Texas, USA,” Architectural Review 1278 (August 2003): 32-39; Tadao Ando” Light and Water, introduction by Kenneth Frampton, New York” Monacelli Press, 2003, pp. 234-243; Tadao Ando 3: Details, ed, by Yuki Futugawa, Tokyo: A.D.A. Edita Tokyo, 2003, pp. 50-61; “Tadao Ando, Architect, and Associates, Kendall-Heaton Associates: Modern Art Museum of Fort Worth,” Japan Architect 52 (Winter 2004): 115-116; Tadao Ando, Tadao Ando 2: Out of Japan, Tokyo: TOTO Shuppan, 2008, pp. 86-117; Tadao Ando: Museum of Modern Art if Fort Worth, New York and Fort Worth: Rizzoli International Publishers and the Museum of Modern Art of Fort worth, 2008.

Courtyard Theater
Plano Performing Arts Center
1509 H Avenue, Plano
2002, Holzman Moss Architecture (New York)

Enron Center
1500 Louisiana Avenue, Houston
2002, Cesar Pelli & Associates (New Haven) and Kendall/Heaton Associates
William F. Stern, “1500 Louisiana Street: A 21st-Century Skyline,” Cite 55: The Architecture and Design Review of Houston, (Fall 2002): 22-25.

Hobby Center for the Performing Arts
800 Bagby Street, Houston
2002, Robert A. M. Stern (New York) and Morris Architects
Malcolm Quantrill, “How Did the Hobby Center Go Wrong?” Cite: The Architecture and Design Review of Houston 55 (Fall 2002): 26-27; Terrence Doody, “Knowing One’s Place,” Texas Architect 52 (November-December 2002): 30-33; Robert A. M. Stern, Robert A. M. Stern: Buildings and Projects, 1999-2003, ed. by Peter Morris Dixon, New York: Monacelli Press, 2003, pp. 256-269.

Janice and Robert McNair Hall
Rice University, Houston
2002, Robert A. M. Stern (New York) and Morris Architects
Robert A. M. Stern, Robert A. M. Stern: Buildings and Projects, 1999-2003, ed. by Peter Morris Dixon, New York: Monacelli Press, 2003, pp. 438-449.

House
3509 Crescent Avenue, Highland Park
2002, Merrill & Pastor (Windsor Beach) with Phillips Ryburn

Texas Twister House
Rey Rosa Ranch, Ellis County
2003, Mockbee Coker Architects (Memphis) and Russell Buchanan (Dallas)
“Edge House, Rey Rosa Ranch,” GA Houses 59 (February 1999): 127-129.

Nasher Sculpture Center
2001 Flora Street, Dallas
2003, Renzo Piano Building Workshop (Genoa), Interloop A/D, and Beck Architecture
“Renzo Piano Building Workshop: The Nasher Sculpture Center, Dallas, Texas, USA, 1999-2003,” A+U 400 (January 2004): 46-53; David Dillon, “Renzo Piano Creates an Oasis in Downtown Dallas, the Nasher Sculpture Center, A Building of Lapidary Precision in a Lush Garden,” Architectural Record 192 (January 2004): 100-106; David Dillon, “For Dallas an Urban Solution: Filling in the Arts District and Pulling People Downtown,” Landscape Architecture 94 (March 2004): 84-91; Richard Brettell, Lightness Rendered Artfully,” Texas Architect 54 (March-April 2004): 20-27; Robin Abrams, “The Nasher’s ‘Living’ Room,” Texas Architect 54 (March-April 2004): 28-29; W. Mark Gunderson, “Urban Garden: Nasher Sculpture Center,” Cite: The Architecture and Design Review of Houston 60 (Spring 2004): 24-25; Peter Buchanan, “Tuned Instrument: Sculpture Museum, Dallas, Texas, USA,” Architectural Review 1288 (June 2004): 44-53; “Oasis de arte: Nasher Sculpture center, Dallas, Texas,” Arquitectura Viva 105 (2005): 102-107; “Centro de Escultura Nasher, 1999-2003, Dallas, Estados Unidos,” AV Monografías 119 (May-June 2006): 74-81.

Latino Cultural Center
600 Soledad Street, Dallas
2003, Legorreta+Legorreta (Mexico DF) and Halff Associates

Student Union Building
Texas Tech University, Lubbock
2003, 2005, Holzman Moss Architecture (New York)

Hilton Americas-Houston
1600 Lamar Avenue, Houston
2003, Arquitectonica (Miami) and Gensler
Mark Oberholzer, “Houston’s Hilton America’s to Open, Boosting Chances for Big Conventions,” Texas Architect 53 (November-December 2003): 13; Beth Dunlop, Arquitectonica, New York: Rizzoli International Press, 2004, pp. 192-193.

Austin City Hall and Plaza
301 West 2nd Street, Austin
2004, Antoine Predock (Albuquerque) and Cotera+Reed Partners
Lawrence Connolly, “Keeping Austin Weird,” Texas Architect 55 (March-April 2005): 24-29; Antoine Predock, Antoine Predock Architect 4, ed Brad Collins, New York: Rizzoli International Publications, 2006, pp. 90-103.

Northup Hall
Trinity University, San Antonio
2004, Robert A. M. Stern (New York)
Michael G. Imber, “Stern Praises Trinity’s New Northup Hall on the Campus Designed by O’Neil Ford,” Texas Architect 54 (November-December 2004): 16; Mildred Schmertz, “A Divine Dialogue: Architect Robert A. M. Stern’s New Design for Trinity University,” Architectural Digest 61 (November 2004): 131, 136, 138; Vincent B. Canizaro, “Less is More; More is Loss,” Texas Architect 55 (January-February 2005): 22-25, 57.

Audubon House
9794 Audubon Place, Dallas
2004, Allan Greenberg (Washington, D.C.)

American Bank Center Bayfront Arena and Convention Center Expansion
1901 North Shoreline Boulevard, Corpus Christi
2004, Thompson, Ventulett, Stainback & Associates (Atlanta), Arquitectonica (Miami), and Gignac & Associates

House
4800 Preston Road, Highland Park
2004, Quinlan & Francis Terry (Dedham, Essex, UK) and Larry Boerders
David Watkin, Radical Classicism: The Architecture of Quinlan Terry, New York: Rizzoli International Publications, 2006, pp. 193-205; Mirabel Cecil and David Mlinaric, Mlinaric on Decorating, London: Frances Lincoln, 2008, pp. 246-248.

Federal Reserve Bank of Dallas Houston Branch
1801 Allen Parkway, Houston
2005, Michael Graves (Princeton) and PGAL
Michael Graves: Buildings and Projects, 1995-2003, ed. by Karen Nichols, essay by Francisco Sanin, New York: Rizzoli International Publishers, 2003, pp. 270-271; George Dodds, “Follow the Money: Houston’s Third Federal Reserve Building,” Cite 65: The Architecture and Design Review of Houston. (Winter 2005): 16-19; Donna Kacmar, “Graphic Design.” Texas Architect 56 (July-August 2006): 28-31.

Performing Arts Center
Texas A&M University-Corpus Christi
6300 Ocean Drive, Corpus Christi
2005, Holzman Moss (New York) and Cotten Landreth Kramer Architects & Associates
Jeanette Wiemers, “Texas A&M Performing Arts Center,” Texas Architect 54 (July-August 2004): 51.

Frisco City Hall and Library
6101 Frisco Square Boulevard, Frisco
2005, Holzman Moss (New York)

Architecture and Art Building
Prairie View A&M University, Prairie View
2005, RoTo Architects (Los Angeles) and HKS (Dallas)
Sarah Amelar, “Teaching by Example: Roto Raises Brickwork to Imaginative New Levels with the Architecture and Art Building at Prairie View A&M in Texas,” Architectural Record 194 (January 2006): 102-107; Anna Mod, “The Brick Wanted to Dance,” Texas Architect 56 (January-February 2006): 32-37; Ronnie Self, “Prairie Style,” Cite: The Architecture and Design Review of Houston 66 (Spring 2006): 14-16; Michael Rotondi, Roto: Michael Rotondi, Clark P. Stevens, essay by Albert Pope, New York: Rizzoli International Publications, 2006, pp. 207-227.

Floating Box House
900 Live Oak Circle, Austin
2005, Peter L. Gluck & Partners (New York)
“Floating Box House,” Texas Architect 56 (September-October 2006): 48-49; Joseph Giovannini, “Above and Beyond: Near Austin, Sculptured Form Becomes One With the Land,” Architectural Digest 64 (October 2007): 212-219.

South Texas Institute for the Arts
1902 Shoreline Boulevard, Corpus Christi
2006, Legorreta Arquitectos (Mexico DF) and Pender Architects
Stephen Sharpe, “Work Begins on Legorreta’s STIA Wing,” Texas Architecture 55 (July-August 2005): 12.

Globe-News Center for the Performing Arts
500 South Buchanan Street, Amarillo
2006, Holzman Moss Architecture (New York)
Ron Nyren, “The Power of Performance,” Urban Land 66 (September 2007): 84-88.

Tom Green House
505 Lake Cliff Trail, Austin
2006, Gluckman Mayner Architects (New York)

Blanton Museum of Art
University of Texas at Austin, Austin
Michener Gallery, 2006, Kallman, McKinnell & Wood (Boston) and Booziotis & Co.
Smith Building, 2008, Kallman, McKinnell & Wood (Boston) and Booziotis & Co.
Richard R. Brettell, “A Question of Size,” Cite 69: The Architecture and Design Review of Houston (Winter 2006): 14-17; Mark Oberholzer, “The Art of Deference,” Texas Architect 59 (May-June 2009): 56-61.

Experimental Sciences Building
Texas Tech University, Lubbock
2006, CO Architects (Los Angeles) and Adling Associates
Maryalice Torres-Macdonald, “Good Neighbor,” Texas Architecture 58 (January-February 2008): 38-43.

Science and Engineering Research Building
University of Houston, Houston
2006, Pelli Clarke Pelli (New Haven) and Kendall/Heaton Associates
William F. Stern, “Raising the Bar,” Cite 68: The Architecture and Design Review of Houston (Fall 2006): 26-29.

Margaret M. Alkek Building for Biomedical Research,
Baylor College of Medicine, Houston
2007, Lord, Aeck & Sargent (Atlanta)
Geoffrey Brune, “Light and Flexible,” Texas Architect 58 (July-August 2008): pp. 76-79.
Paul L. Foster School of Medicine Building
Texas Tech University Health Science Center at El Paso, El Paso
2007, CO Architects (Los Angeles)

One-Two Townhouses
608 A-B Stanford Street, Houston
2007, FdM: Arch (New York)
Ingrid Spencer, “One Two Townhouse,” Architectural Record 196 (October 2008).

Mexican American Cultural Center
600 River Street, Austin
2007, Teodoro González de León (Mexico DF), CasaBella, and Del Campo & Maru (San Francisco)
Edward R. Burian, “Cultural Monument,” Texas Architect 58 (July-August 2008): 52-57.

D6 Ranch House
North Commons Ford Road, Travis County
2007, Gwathmey Siegel & Associates (New York)

Booker T. Washington High School for the Performing and Visual Arts
2501 Flora Street, Dallas
2008, Allied Works Architecture (Portland)
“BTW High School for the Performing and Visual Arts,” Texas Architect 55 (November-December 2005): 17;Michael Malone, “Cloepfil Addresses Dallas Forum on Booker T. Washington School,” Texas Architect 58 (July-August 2008): 16.

Susan and Raymond Brochstein Pavilion
Rice University, Houston
2008, Thomas Phifer & Partners (New York)
Ronnie Self, “Inspirations,” Cite: The Architecture and Design Review of Houston 76 (Fall 2008): 30-33; Beth Broome, “Thomas Phifer and Partners Floats a Modern temple Onto a traditional Campus With Its Raymond and Susan Brochstein Pavilion,” Architectural Record 197 (March 2009): 84-89.

Trinity River Audubon Center
6500 South Loop 12, Dallas
2008, BRW Architects and Antoine Predock (Albuquerque)
Stephen Sharpe, “Audubon Takes Flight,” Texas Architect 58 (November-December 2008): 34-39; Michelangelo Sabatino, “Dallas Reaches for the Stars,” Cite 78: The Architecture and Design Review of Houston (Spring 2009): 21.

Beachtown
Galveston
2008, DPZ (Miami)

Jane and Arthur Stieren Center for Exhibitions
McNay Art Museum
6000 North New Braunfels Avenue, San Antonio
2008, Jean-Paul Viguier (Paris) and Ford, Powell & Carson
Rafael Longoria, “The Evolution of the McNay,” Cite: The Architecture and Design Review of Houston 78 (Spring 2009): 12-17: Ronnie Self, “Innovative Insertion,” Texas Architect 59 (May-June 2009): 38-43; Stephen Sharpe, “Viguier Presents Design of McNay Wing,” Texas Architect 54 (May-June 2004): 8.

Grand Hyatt
600 E. Market St., San Antonio
2008, Arquitectonica (Miami), Gensler, and Kell Muñoz
South Plant
Rice University, Houston
2008, Antoine Predock (Albuquerque) and Morris Architects

Lady Bird Johnson, LeMans, and Hunt Halls
St. Edward’s University, Austin
2009, Alejandro Aravena (Santiago, Chile) and Cotera+Reed
Lawrence Connolly, “Canyon Village,” Texas Architect 59 (July-August 2009): 54-59.

Fort Worth Museum of Science and History
1509 Montgomery St., Fort Worth
2009, Legorreta+Legorreta (Mexico DF) and Gideon Toal

Margot and Bill Winspear Opera House
2403 Flora St., Dallas
2009, Foster+Partners (London) and Kendall/Heaton associates
Russell Buchanan, “Dissolving the Exterior of the Future Opera House Would Create a Unique Venue, Designer Says,” Texas Architect 54 (May-June 2004): 7; Linda V. Trinh, “Revised Winspear Concept Unveiled,” Texas Architect 55 (July-August 2005): 15, Dallas Michelangelo Sabatino, “Dallas Reaches for the Stars,” Cite 78: The Architecture and Design Review of Houston (Spring 2009): 18-25.

Dee and Charles Wyly Theater
2400 Flora St., Dallas
2009, OMA (Rotterdam)/REX (Seattle) and Kendall/Heaton Associates
Russell Buchanan, “After Reorganizing the Dallas Arts District, OMA’s Ramus Envisions a ‘Gateway’ Theater,” Texas Architect 54 (March-April 2004): 9, 15; “OMA: Dee and Charles Wyly Theater, Dallas, Texas, USA,” GA Document 85 (May 2005): 10-15; “OMANY: Dee and Charles Wyly Theater, Dallas, Texas, USA, 2004,” A+U 247 (April 2006): 126-133; Michelangelo Sabatino, “Dallas Reaches for the Stars,” Cite 78: The Architecture and Design Review of Houston (Spring 2009): 18-25.

Bioscience Research Collaborative Building
Rice University, Houston
2009, Skidmore, Owings & Merrill (San Francisco) and FKP

McMurty and Duncan Colleges
Rice University, Houston
2009, Hopkins Architects (London) and Hanbury Evans Wright Vlattas (Norfolk)
Rob Gregory, “Repatriating Innovation: Hopkins Architects Leads by Example with Four New University Projects,” Architectural Review 1334 (April 2008): 78-83.

Norman Hackerman Building
University of Texas at Austin, Austin
2010, CO Architects (Los Angeles) and Evan Taniguchi

U.S. Courthouse
500 E. San Antonio St., El Paso
2010, ASGC (Anchorage) and Antoine Predock (Albuquerque)
John E. Czarnecki, “Inspired by Landscape, Predock Wins Two Federal Courthouse Competitions,” Architectural Record 190 (September 2002): 48; Anna Holzman, “Antoine Predock Architect: U.S. Federal Courthouse, El Paso, Texas,” Architecture 93 (February 2004): 40; Ed Soltero, “Courthouse Emanates From His Concept, But Without Predock’s Name as Designer,” Texas Architect 57 (November-December 2007): 9.

Brockman Hall for Physics
Rice University, Houston
2011, KieranTimberlake Associates (Philadelphia), Perkins + Will (San Diego), and Jackson & Ryan

Baker and Will Rice Colleges
Rice University, Houston
2011, Hopkins Architects (London) and Hanbury Evans Wright Vlattas (Norfolk)

Kimbell Art Museum expansion
3333 Camp Bowie Blvd., Fort Worth
2012, Renzo Piano Building Workshop (Genoa)

U.S. Courthouse
401 W. 4th Street, Austin
construction to begin in 2010, Mack Scoggin Merrill Elam Architects (Atlanta) and Page Southerland Page
Stephen Sharpe, “Interlocking Spaces Key to Proposed Design of Federal Courthouse in Austin,” Texas Architect 54 (November-December 2004): 9.

Asia House Texas
1310 Southmore Boulevard, Houston
construction in abeyance 2009, Yoshio Tanaguchi (Tokyo) and Kendall/Heaton Associates

Linda Pace Foundation
South Flores Street
2009 in design, Adjaye Associates (London)

Interior from the Cordell House by Robertson Design and Numen Development [All photographs by Paul Hester]

For some, living small is a virtue. Consciences are burdened by their carbon foot prints, a small house means less resources used. For others, living small is a necessity. A job is lost, the household income shrunk, and the budget can’t fit the bonus rooms. And for another group, living small is both virtue and necessity, but also a challenge to design. It is an opportunity to create a house that is efficient, intricate, and lovely.

The 2009 Rice Design Alliance (RDA) Home Tour, this March 28-29 weekend, features nine homes under 2,000 square feet including the winning entry for the 99K House competition and the Rice University Solar Decathlon House.

The RDA publishes this blog so this is a straight pitch. Tickets are required for the house tour, and you need to be an RDA member or guests of a member to buy a ticket. But there is a special promotion. If you get a membership now, you will get a complementary ticket. RDA Memberships beginning at $45 can be purchased in advance. (Household level and higher include two complimentary tickets). Another big reason to get a membership is the accompanying subscription to Cite. Go to rda.rice.edu to join.

Here is a Google map showing the house locations. Below you can read a description of each house written by Anchorage fellow and Houston’s preeminent architectural historian Stephen Fox.

Zerow House
Alumni Drive near Inner Loop Road
Rice University
2008-09, Student Design

In 2007 a proposal submitted by Rice engineering student Roque Sánchez to participate in the 2009 Solar Decathlon in Washington, D.C. was accepted by the U.S. Department of Energy and the National Renewable Energy Center. As a result, Rice is one of 20 universities awarded the opportunity to design, build, and exhibit a house with a maximum 800 SF footprint that demonstrates sustainable and renewable practices for the biennial decathlon, to be held in October. Sánchez was joined by architecture student David Dewane, social sciences student Allison Elliott, and nearly 100 other students from engineering, architecture, the natural sciences, and social sciences, all supervised by the Rice School of Architecture’s Rice Building Workshop (Danny Samuels and Nonya Grenader) and Brent C. Houchens, assistant professor of mechanical engineering and materials science, in designing and constructing the Zerow (Zero Energy Use Row) House. Once it returns from the decathlon competition on the National Mall, the Zerow House will permanently serve as a home at Project Row Houses in Houston’s Third Ward.

The one-story, sloped-roof house is 14′ wide and just under 50′ long. It is built with 2″x6″ wood studs and 2″x10″ joists, sheathed with plywood to produce a thick, insulating envelope. The house will be faced with horizontally corrugated, coated sheet steel. The wood superstructure is bolted to a steel chassis raised above grade on six steel “feet,” which can be adjusted to account for uneven ground conditions. This will also facilitate the completed house’s being trucked to Washington, then back to Houston. The house is designed with a wet core (containing all plumbing connections), a light core (the glass-walled court void in the center of the house), the living unit (the bays of space to either side of the light core containing a sitting room on one side and the kitchen, bath, and bedroom on the other), and a rear mechanical closet. Demountable decks and a ramp expand the size of the house and ensure that it is accessible by wheelchair.

Photovoltaic solar collectors on the roof serve a solar hot-water system. The house must produce not only the hot water and electricity that its occupants will require, but also enough surplus electricity to power an electric car. Gray and black water will be separated to enable re-use of the gray water. This house contains 460 SF of enclosed area plus the 160 SF light core. Three additional variants of the Zerow House have been designed that expand in size to 1,300 interior SF and two stories in height.

CORE, the 99K House
4015 Jewel Street
2008-09, Robert Humble, Joel Egan, and Brian Spencer of Hybrid Seattle and Owen Richards, Tom Mulica, and Kate Cudney of ORA

This design, called CORE, was the winner of a competition organized by RDA and the American Institute of Architects, Houston for a 1,400 SF (maximum) house for a family of four built with sustainable construction practices and materials and costing not more than $99,000 to build. Two stories high and 1,200 SF in area, CORE was designed by two Seattle architecture firms and was selected from 182 entries. Under construction by D. E. Harvey Builders, with consulting services by Haynes Whaley Associates and Eco-Holdings Structural engineers, CORE is being built in the Frenchtown section of the Fifth Ward on a lot provided by the City of Houston’s Land Assemblage Redevelopment Authority. Upon completion, the 99K House will be sold to a low-income family.

The wood framed house is 24′x25′ in plan and is organized around a central stack (the “core”) equipped with a solar-powered fan to pull air up through the house. The floor plate is raised above grade on concrete piers. The house contains three bedrooms and one bathroom on the second floor and a flexible-use room and second bathroom on the first floor. A two-story screened porch faces south toward the street. Interiors are designed with movable partitions. Wide eaves provide shade for upper-story walls and windows. Exterior walls are faced with cementitious panels. A pair of vertical rainwater storage tubes, fed by a rainwater collector on the roof, will be used for landscape irrigation. Biofiltration beds around the house will treat gray water and storm water. The driveway will be surfaced with recycled concrete.

Small House 2
5910 Grace Lane
2006, m+a architecture studio

Architects Anne Eamon and Mark Schatz began m+a architecture studio in 2004, ten years after they bought the first of the three contiguous 50′x100′ feet lots they now own in the Griggs Terrace subdivision, a residential neighborhood abutted by industrial uses. They designed and personally built their first house, Small House 1, completed in 2002, around six pecan trees while they were still architecture students at the University of Houston. This two-story house is only 700 square feet in area. Their next house on the site, Small House 2, is 900 SF in size and was designed as a two-story, two-bedroom, two-and-a-half bathroom house with a one-car garage. m+a uses this house as their architectural studio; the garage serves as their fabricating workshop. Again, they built the house themselves.

Small House 2 is of wood-frame construction on a concrete-slab foundation that is built at grade. It is faced with exposed concrete masonry units and corrugated, coated steel panels like the neighboring industrial sheds. The curved roof was designed to fit beneath the tree canopy. Eamon and Schatz have treated the gardens around the two houses as outdoor living space, which opens to the street and the neighborhood rather than being closed off behind walls or fences. Future plans call for a third building, adding to what the architects describe as their “village” of small houses.

Shot Trot House
4914 Curtin Street
2004, Brett Zamore Design

This one-story (plus attic loft), 1,250 SF, wood-framed house was built on a raised foundation of drilled concrete piers because its site, two lots in the Dixie Addition of Houston’s East End, backs up to what was once the streambed of the now channeled Country Club Bayou and is subject to storm water retention. As the name Shot Trot implies, the gable-roofed, 16′x80′ house is a combination of two nineteenth-century regional house types: the long, narrow shotgun cottage and the double-pen dogtrot cabin. Brett Zamore combined these types to take advantage of the spatial efficiency of the shotgun cottage and the potential that the dogtrot cabin has for being opened to the landscape.

Zamore’s client wanted to get as much house as possible for the budget. This was achieved by constructing the house with standardized materials: prefabricated wood trusses to support the standing seam metal roof, cementitious plank siding, recycled wood floors inside, and windows produced locally by Ram Industries. The house was designed with two bedrooms and one-and-a-half bathrooms. Zamore opened the interior beneath the peaked roof, so that it feels quite spacious. The louvered wood panels, shuttering French doors in the living room, slide to one side to open the house to the landscape. Or they can remain in place to secure the house and deflect the morning and afternoon sun.

The Shot Trot House served as a model for the larger raised house BZD designed for Architecture for Humanity and the Biloxi Model Home Program, built in Biloxi to replace housing destroyed in Hurricane Katrina. It is also the basis of the kit houses BZD’s spin-off, Zamore Homes, has built at Center and Thompson streets in 2008. The Shot Trot House has been published in Dwell (January-February 2005), Time (5 December 2005), Metropolis (September 2006), and Karrie Jacobs’s book The Perfect $100,000 House.

Savino-Kusey House
1302 Knox Street
2003-04, Savino Architecture

Architect Monica Savino designed this two-story, 20′x40′ house and garage as part of what she describes as a “master plan” for a pair of corner lots in the Woodcrest Addition in the West End containing a small cottage built in the 1920s. Her plan was to design flexibly for alternative uses in the future. To begin with, the two narrow lots were treated as the primary living space, with what Savino describes as a “great room,” being a paved-and-landscaped outdoor courtyard alongside the existing cottage. The cottage became a studio and guest room. For the backside of the property, facing Schuler Street, she designed the two-car garage, with a one-bedroom, one-bathroom dwelling above as a residence; her husband’s studio is alongside the garage. Monica Savino restructured the site, building up much of it with fill, but using the unfilled portion to retain storm water during sudden downpours.

The house is built of 2′x6′ wood-stud construction on a concrete-slab foundation supported on drilled piers. The exterior is faced with corrugated, coated sheet steel. Aluminum casement windows were manufactured locally by Ram Industries. The second floor (extended to 850 feet in area by cantilevering the kitchen outward) is a single space, slotted behind the south-facing side street front. The kitchen occupies the cantilevered bay at the west end, the sitting room lies in the middle, and the bedroom is at the east end. Moveable translucent panels screen the bedroom from the sitting room. A spacious closet and bathroom are set in the house’s northeast corner. Floors are surfaced with medium density fiberboard (mdf) panels. The kitchen cabinetry is from IKEA. The Schuler Street front is shaded by a wide overhang of the house’s low-pitched gable roof. The house was designed so that a third floor could be added.

Forty-eight Foot House
1851 Lexington Street
2005-06, Interloop A/D

Architects Dawn Finley and Mark Wamble designed the Forty-eight Foot House (it measures 48′x24′) on a 59′ lot that backs up to US Highway 59 in the Richmond Place subdivision. It is a live-work house, with Finley and Wamble’s architecture studio occupying a 600 SF space on the ground floor next to a two-car carport and a 1,200 SF, two-bedroom, one-bathroom family residence on the second floor. The house is of wood frame construction on a 4′x8′ construction module and is supported on a concrete-slab foundation. Exterior walls are faced with corrugated, coated sheet steel painted a light gray. First-floor surfaces are polished concrete; the second-floor is surfaced with sanded and stained structural pine decking, except in the kitchen and bathroom where slate was used. Kitchen cabinets are from IKEA but the stair rail and the perforated closet doors were custom designed.

Finley and Wamble pushed the house to the back of the lot, giving the owners the option of constructing a front building in the future (the house is also engineered to accept a third story). The 18′ high concrete sound barrier walling off the Southwest Freeway creates a microclimatic condition, stimulating airflow to pull breezes through the one-room deep house and the breezeway-like carport. Upstairs, the bedrooms, bathroom, stair landing, and kitchen project into the 48′ long sitting and dining room; the house’s social areas are all the space not assigned to some other room. Large, carefully proportioned window openings frame views of the deep front lawn and big shade trees along the street, enabling the house to fit unobtrusively into the 1930s neighborhood despite its architectural unconventionality. Ted Anderson built the Forty-eight Foot House.

Columbia Street House
614 Columbia Street
2000-01, Carlos Jiménez Design Studio

Built on a lot in Houston Heights facing the former right-of-way of the Missouri-Kansas-Texas Railway line, this two-story, 1,930 SF house consists of two rectangles that are offset in plan. Of wood-frame construction on a concrete-slab foundation, the house is faced with stucco that has been painted a vivid grass green, although two panels adjacent to the entrance are painted gray blue. The street-facing garage bay has a shed roof; the rear (garden) bay an asymmetrically gabled roof. Internally, the ground floor is a polished concrete slab. Wood decking is used on the second floor.

The house is very simple in plan. The ground floor is divided between a two-car garage facing the street and a single space containing the sitting room, dining room, and — screened by a central, mango-colored partition — a rear-facing galley kitchen. French doors open to a south-facing side garden terrace framed with a wooden pergola. High set panels of glass block bring north light into the living-dining room. The second floor is more spatially complex than the ground floor. A study-library is at the head of the stairs and connects the master bedroom and bathroom above the living-dining-kitchen wing to a guest room and bath above the garage. Jiménez uses panels of glass block to filter west light into the study, balancing it with side light from the south. The sill and head heights of second-floor openings are lowered to give the rooms an intimate scale, while windows set at or near corners perceptually enlarge rooms. Carlos Jiménez uses linear reveals to outline baseboards and openings, imparting a sense of subtle precision to the simply finished house. Ted Anderson was the contractor.

Blossom Street House
5011 Blossom Street
2007-08, Nonya Grenader Architect

This two-story, 1,600 SF house is related to the house next door at 5015 Blossom. Both were designed for the same client at the same time by Nonya Grenader to work as a pair. It contains a two-car garage, a studio, and storage space on the ground floor and an 800 SF, one-bedroom dwelling on the second floor. The house is of wood-frame construction and is set on a concrete-slab foundation. It is surfaced externally with corrugated, coated sheet steel and has a shed roof. The second floor is surfaced with bamboo decking. Counter tops are brightly colored quartz. All rooms—a study and guest alcove slotted in alongside the stair landing, the central sitting, dining, and kitchen space, and the bedroom—face south toward a rear lawn. The house is pulled forward on its lot in the Brunner Addition in West End to conserve space in what had been (until Hurricane Ike) a wooded enclosure, shared with the house next door. Windows on the other three walls of the house tend to be high-set, letting in light but shielding the interior from adjoining buildings. To economize on space in the compact house, the cross walls separating the three principal spaces are thick storage walls incorporating shelves, drawers, closets, and work surfaces.

South orientation, a one-room depth, an aluminum awning shading casement windows, and the raised living floor make this small house seem much larger than its size while adapting it to site and micro-climate. Gary Inman was the builder.

Cordell House
206 Cordell Street
2005-07, Robertson Design and Numen Development

A year after architect Christopher Robinson moved his practice from Austin to Houston, he provided the schematic design this ingenious, one-story house in collaboration with Katie Nichols and John Walker of Numen Development and Michael Palmer to demonstrate the feasibility of sustainably designed speculative housing. Constructed on a 50′x100′ lot in the Brooke-Smith Addition, just off North Main Street, the Cordell House comprises three steel cargo shipping containers offset in a pinwheel configuration to frame a central open space. Nichols and Walker built the house using sustainable materials, appliances, and practices. Finishes were selected by the homeowners, who bought the house during construction.

The three containers (8′-6″ wide and 20′ long) form the kitchen bay (facing Cordell), a child’s bedroom and bath (north side), and the master bedroom and bath (south side). Portions of the container’s sidewalls were cut away. In between the containers is the 20′ square sitting and dining room, which opens onto a rear deck framed by a fourth container (9′-6″ wide and 40′ long) housing a guest suite and a workshop and storage space. The house is raised above grade on concrete piers. “Attics” were built atop the cargo containers to house the high-pressure, small-duct air-conditioning system and wiring. Steel beams span the central space and support a shed-roofed skylight, which introduces south light into the master bedroom—and into the central room through translucent extruded fiberglass screen walls. Structural insulating panels of Styrofoam, sandwiched between plywood, comprise the floor and roof envelope; interior floor surfaces are woven-strand “tiger” bamboo and carbon-strand bamboo. Medex, a medium density recycled-wood fiberboard, was used in place of gypsum board. An external shade screen in front of the south side of the building and low emission ceramic paint provide additional layers of exterior insulation. The driveway is paved with water-permeable recycled glass.

Co-developer and builder Katie Nichols observes that the Cordell House is as “green as possible on an aggressive budget.” Nichols and Walker are already planning a second container house, two-stories high, on the lot immediately south of 206 Cordell.