"This ambitious study of Staub's work by architectural historian Stephen Fox goes beyond a description of Staub's houses. Fox analyzes the roles of space, structure, and decoration in creating, defining, and maintaining social class structures and expectations and shows how Staub was able to incorporate these elements and understandings into the elegant buildings he designed for his clients. In the process, he contributes greatly to a fuller understanding of Houston's emergence as a premier American city."--BOOK JACKET.

Alleys and back buildings have been largely overlooked in studies of the American urban environment. And yet, rental alley houses, servant and slave quarters, carriage houses, stables, and other secondary structures have lined the alleys and filled the backyards of Galveston since its early days as a growing port city on the upper Texas Gulf Coast. Like their counterparts in other cities, these buildings and their inhabitants have had a profound visual, physical, and social impact on the history and development of Galveston. Interweaving written documents, oral interviews, and pictorial images, Beasley presents a vivid picture of Galveston’s alleys and alley life from the founding of the city into the twentieth century. The book blends a unique combination of research, photography, and the voices of those who have lived and live along the alleys. Beasley has uncovered and analyzed a wealth of new information not only about the back buildings of Galveston but also about their occupants and the complex cultural forces at work in their lives.

In sixty-seven exquisite watercolors and drawings, nationally famous architect Eugene Aubry captures on paper the sensibilities, the memories, and the grace that evokes Galveston, especially for those who are BOI (“born on the island”). Commissioned by the Galveston Historical Foundation, these works of art are intended to enhance the visual record of the buildings and the unique local architectural style that so many have appreciated over the years.? In the aftermath of Hurricane Ike, Galvestonians became more aware than ever of the treasure of the island’s historical architecture and the vulnerability of this heritage to forces beyond human control. Aubry’s art captures the almost palpable sense of past glories these buildings bring to mind. Aubry—himself BOI—has fashioned these pieces in a way that resonates with those who love the island’s ethos. With a fine eye to the artist’s intent and a mastery of detail, architectural historian Stephen Fox expertly and eloquently introduces the work as a whole and, in discursive captions that accompany each image, informs the reader’s appreciation of Aubry’s art. So much more than a tribute, Born on the Island: The Galveston We Remember stands as a loving homage to Galveston—one that will call its readers home to the island, even if they have never ventured there before.

In the early twentieth century, developers from Baltimore to Beverly Hills built garden suburbs, a new kind of residential community that incorporated curvilinear roads and landscape design as picturesque elements in a neighborhood. Intended as models for how American cities should be rationally, responsibly, and beautifully modernized, garden suburban communities were fragments of a larger (if largely imagined) garden city—the mythical “good” city of U.S. city-planning practices of the 1920s. This extensively illustrated book chronicles the development of the two most fully realized garden suburbs in Texas, Dallas’s Highland Park and Houston’s River Oaks. Cheryl Caldwell Ferguson draws on a wealth of primary sources to trace the planning, design, financing, implementation, and long-term management of these suburbs. She analyzes homes built by such architects as H. B. Thomson, C. D. Hill, Fooshee & Cheek, John F. Staub, Birdsall P. Briscoe, and Charles W. Oliver. She also addresses the evolution of the shopping center by looking at Highland Park’s Shopping Village, which was one of the first in the nation. Ferguson sets the story of Highland Park and River Oaks within the larger story of the development of garden suburban communities in Texas and across America to explain why these two communities achieved such prestige, maintained their property values, became the most successful in their cities in the twentieth century, and still serve as ideal models for suburban communities today.

Facing Southwest is a colourful exploration of the life and work of Santa Fe architect John Gaw Meem. Regarded as the leading southwest architect of his time, John Gaw Meem brought the Santa Fe style to its peak in the 1920s and 1930s. With original drawings, floor plans and stunning colour photographs, this book explores Meem's signature design elements and numerous examples of his unique Spanish- and Pueblo-influenced residences. It includes 176 colour and 100 black-and-white illustrations.

Many of the historic houses in and around the town of Victoria, Texas, were built between 1875 and 1910 by immigrant owners. From 1973 to 1975, with the support of a grant from the National Endowment for the Arts, Rick Gardner traveled throughout the region, taking photographs of these historic homes. Gardner relied on his own instincts and guidance from knowledgeable locals as to where he should aim his lens. This book is an appreciative glimpse at what these vernacular houses looked like a century after their construction. Gardner has teamed up with Victoria historian and preservationist Gary Dunnam to present these rich images along with brief historical sketches of the houses and, where possible, the persons who occupied them when they were newly constructed. The result is an understated and elegant suggestion of what life may have been like for the merchants, bankers, agriculturalists, and others who built and lived in these homes during the late nineteenth and early twentieth centuries. Designed to appeal to those with a love for old houses and especially for the preservation of historic structures, All the Houses Were Painted White offers its readers a stately appreciation of these homes and their place in the South Texas landscape. It is also a tribute to the architects, owners, and anonymous craftspeople who built the houses—to their vision, skill, ingenuity, imagination, creativity, and endurance.

In this rapidly globalizing world, any investigation of architecture inevitably leads to considerations of regionalism. But despite its omnipresence in contemporary practice and theory, architectural regionalism remains a fluid concept, its historical development and current influence largely undocumented. This comprehensive reader brings together over 40 key essays illustrating the full range of ideas embodied by the term. Authored by important critics, historians, and architects such as Kenneth Frampton, Lewis Mumford, Sigfried Giedion, and Alan Colquhoun, Architectural Regionalism represents the history of regionalist thinking in architecture from the early twentieth century to today.

Since the beginnings of their architectural practice in 1992, William Curtis and Russell Windham have dedicated their work to the principle that classical architecture, in its best sense, should embody the same rigor, the same attention to surroundings, and the same thoughtful approach to design theory that fuels the most forward-looking styles and movements. In this graciously appointed book, Curtis and Windham reflect on more than two decades of the practice of classical contemporary architecture, providing an expansive view of eighteen representative projects. Opening with a contextualizing introduction by esteemed architectural historian Stephen Fox, A Vision of Place documents the authors' quiet assertion that carefully considered work performed along traditional lines can be, in its own way, groundbreaking. Curtis and Windham demonstrate the versatility of classical ideals and methods for instilling a contemporary resonance of place.

In 1900, just a few months after the deadly hurricane of September, W. L. Moody Jr. and his family moved into the four-story mansion at the corner of Broadway and Twenty-sixth Street in Galveston. For the next eight decades, the Moody family occupied the 28,000-square-foot home: raising a family, creating memories, building business empires, and contributing their considerable wealth and influence for the betterment of their beloved city. In 1983, Hurricane Alicia damaged the mansion, and Mary Moody Northen, eldest child of W. L. Moody Jr., moved out so a major restoration could begin. When the mansion opened to the public as a museum, education center, and location for community gatherings in 1991, it had been restored to its original grandeur. The Mary Moody Northen Endowment then commissioned award-winning author Henry Wiencek to write a history of the Moodys of Galveston and their celebrated home. Robert L. Moody Sr., grandson of W. L. Moody Jr. and nephew of Mary Moody Northen, contributes a foreword, giving a brief introduction and personal tone to the book, which also features fifteen color photographs of the Moodys and their home. An epilogue by E. Douglas McLeod summarizes the family's accomplishments and developments associated with the mansion since Northen's death in 1986. " The Moodys of Galveston and Their Mansion" is a must-read for Galvestonians, for the thousands of visitors who tour the mansion each year, and for anyone interested in the captivating tale of this influential and generous family and their magnificent house.