Urban Home Austin-San Antonio August/September 2015 by Trisha Doucette

HOME CELEBRATING INSPIRATIONAL DESIGN AND PERSONAL STYLE

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FROM THE EDITOR It takes a special person to recognize the importance of preserving a historic property, or one that simply has a history. There’s more to it than cleaning up the rough edges and modernizing with comfortable amenities. It’s about appreciating the knowledge of a home’s original architect and respecting the structure that not only enhances the lives of its new owners but of the neighborhood and city as well. This isn’t the first time O’Neil Ford has been celebrated for his influence in San Antonio architecture. The homeowners who purchased the 1956 Ford-designed home were committed to restoring it phase-by-phase with architect Tobin Smith. After addressing major issues like flooding, Smith gravitated outside, creating the signature pool and landscaped exterior courtyard spaces that showcase original sculpture. Bobby Dent is one interesting guy. He’s been many things, including a hotel owner, a personal assistant to a close friend/actress and now a promoter of elephant conservation in Asian countries while working out of The Elephant Story in Comfort’s historic downtown. It’s above one these buildings where Dent renovated his personal loft. With a life of world travel, it’s no wonder that his home is a well-curated documentation of where he’s been. Clusters of collectibles can be found throughout the space and highlight the original structure that Dent sought to maintain. The second time was the charm for homeowners who wanted to live in one of Austin’s historically designated neighborhoods. After purchasing their first home and learning of the stringent rules regarding permitting through the city’s historic commission and other organizations, they decided to sell and start over. This time they were under the guidance of Jeff Bullard of Avenue B Development. Their completely renovated home is now a modern version of its former self and fits perfectly within the neighborhood. Other examples of successful historic preservation can be seen in the numerous barns found in and around Austin and San Antonio. From renovations on-site to moving structures rock by rock, and even board by board from another state, the repurposing of these magnificent structures has provided them a second life. Until fall,

Trisha Doucette

On The Cover: Architect Tobin Smith, along with homeowners who appreciated the history of their prized O’Neil Ford house, continues to bring back the 1950s home to its original glory, and then some. Page 20

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EDITOR’S ESSENTIALS TACODELI After eating my way through a Mexican vacation, I came home wanting more. Tacodeli has it. Their Tikin Xic, achiote marinated and grilled salmon with salsa negra and habanero onion escabeche, kept the vibe going. Tacodeli.com CITRINE HOME Citrine Home is designer Casey Roy’s latest venture where you can find furniture, vintage pieces and home accessories like lighting, art, rugs and pillows. Her line of signature candles are a true indulgence in scents like Citrine with a mix of lemongrass, bluegrass and dandelion leaf, Malachite with crisp and clean hints of white blossoms and privet hedges and Tiger’s Eye which blends Rubrum lily and magnolia. Caseyroydesign.com SAN ANTONIO MISSIONS UNESCO announced recently that the five San Antonio Missions have been named a World Heritage Site – the only site in Texas. From a design standpoint, the UNESCO website states, “The San Antonio Missions are also an example of the interweaving of Spanish and Coahuiltecan cultures, illustrated by a variety of features, including the decorative elements of churches, which combine Catholic symbols with indigenous designs inspired by nature.” And they are a true testament of Colonial architects’ abilities to understand geometry, astrology and acoustics. The Official World Heritage Celebration Weekend will take place October 16-18. Missionsofsanantonio.org THE ST. ANTHONY CLUB I think the term ‘two martini lunch’ may have been invented here! If only the walls of The St. Anthony Club could talk. Included in the extensive renovation of the historic hotel, it was created in 1959 as a private club where guests could buy liquor by the drink — back in the day this was only allowed in private clubs. The idea behind Southwest Airlines was sketched on one of its cocktail napkins and much of San Antonio’s beloved HemisFair was planned in its dining room. It’s reopened — no membership required! Thestanthonyhotel.com urbanhomemagazine.com

Push Pull Open Close The Mobile Decorative Hardware Store 2015 | VOL. 10 | NO. 4 Publisher Louis Doucette Editor Trisha Doucette Contributing Editor Catrina Kendrick – Catrina’s Ranch Interiors Contributing Writers Claudia Alarcon, Jackie Benton, Elizabeth Bond, Julie Catalano, Mauri Elbel, Angela Rabke Photography Dror Baldinger, Casey Fry, Michael Hunter, Mark Menjivar, Jennifer Siu-Rivera Strategic Media Placement Diane Purcell – Ttlmgt.com Advertising Sales Sandy Weatherford, Chancey Blackburn, Gerry Lair, Janis Maxymof

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August / September 2015

CONTENTS

cover 20 Respecting Ford’s Vision Photography by Mark Menjivar

featured homes 28 Bringing Comfort Home Photography by Dror Baldinger

34 Historically Modern Photography by Casey Fry

highlights 50 Creative Craftsmanship 52 History In The (Re)Making 54 Barns So Noble

departments

Why This Space Works 40 Designer Spotlight: Kim Bates of Bates Design Associates, LLC Commercial Design 46 Lunching At The Leaning Pear Food Design 60 Seaside Escape Fabulous Finds 62 Destination: Historical Texas Theatres

Contributing Editor 53 Catrina Kendrick, Catrina’s Ranch Interiors 66 Advertiser Index

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RESPECTING

FORD’S VISION By ANGELA RABKE Photography by MARK MENJIVAR

uietly tucked into a San Antonio hillside sits an architectural gem with endless views of a twinkling horizon and a marvelous history of collaboration between architects, artists and residents. Over the course of time, many aspects of the Rockridge House, built in 1956, had fallen into disrepair, but when the house — designed by celebrated architect O’Neil Ford — became available several years back, owners Toby and Emma Calvert knew that it was a project well worth the effort. “We knew this was a house that we could live in for the rest of our lives. It has such good bones. We were in it for the long haul,” says Toby. “It’s a little like a marriage, and we are fully committed to it.” After eight years in the residence, the results of their commitment are evident in every detail. Early in the process, projects addressed big basics like replacing the roof and air conditioning system. Serving as their own general contractors along the way, the Calverts lived in the threebedroom residence with their two young daughters throughout all of the remodeling projects, and laughingly note that while the girls weren’t big fans of their new home in the beginning phases, it has become a central location for their gatherings today, largely in part to the stunning exterior and landscaping plan developed urbanhomemagazine.com

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by San Antonio architect Tobin Smith. In addition to addressing practical matters such as drainage (the entry hall famously flooded during their first big rainstorm), Smith’s plan draws the eye outward. The home’s dramatic sliding doors and windows offer peaceful views on all sides, and additional transparency was created by replacing solid doors with glass in some cases. An infinity pool with a sweeping view of the city serves as a focal point for both interior views and exterior experiences, and replaces what used to be an overgrown mass of plants that obscured the dramatic view. Built by Artesian Pools, the pool appears to soar into open space and required thoughtful engineering given its cliffside location. Originally Smith and the Calverts considered putting the pool in a different area, but ultimately decided that the extra effort would be well worth it. Smith gave equal attention to each outdoor space, resulting in a series of delightful courtyards and water features that, in the words of the Calverts, “inspire our kids to look out.” The stories 22

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that come with the exterior spaces add to the home’s collaborative narrative, beginning with a clay wall fountain of three children climbing a tree. The fountain, tucked into the corner of a central courtyard and designed by San Antonio artist Martha Mood, was an important relic. “It didn’t work when we moved in, but we knew it was important to keep it here and to make it functional,” said Toby. “The three children in the sculpture are actually the kids who originally lived in this house, the Fitzsimmons kids, climbing the tree of life. It’s really almost the soul of the house.” Each and every detail in the home is deliberate in its connection between the past and present, and the Calverts have often used artisans who were involved in the original design. As a result, old and new aspects of the home, and the stories that go along with them, fit together seamlessly across generations. Another of the exterior fountains was actualized after the Calvert’s neighbor, Boone Powell, brought over some original sketches he had made of a fountain, created with an array of copper canoe-shaped vessels, urbanhomemagazine.com

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while he was traveling in Europe back in the 1960’s. Powell, who was one of O’Neil Ford’s partners in architectural practice, was well-acquainted with the home and felt a fountain would be a good addition to the courtyard. Inspired by the drawings, Smith translated the idea into triangular forms and scaled it to fit the Saltillo backdrop. The copper fountain, which offers a tranquil focal point from the kitchen area, was created by San Antonio metal smith Denise Kocurek, the same artist who created the original metalwork for the home’s address when she worked for artist and craftsman Lynn Ford, O’Neil’s brother. The elaborately carved front doors, made of teak, were created by Lynn and are original to the residence, while the eye-catching bar, immediately inside the home’s entryway, is new, and was designed by San Antonio cabinet maker Peter Zubiate to mirror original paneling designs from Ford homes and reflect the unique front doors. “We knew we wanted to keep the integrity of the house, and finish what the previous owners started,” said Emma. Keeping 24

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that principal in mind and applying it to the outdoor spaces, Smith utilized Saltillo tile for exterior flooring, a material that was an important element of the previous outdoor seating area. Concrete and river stones define all of the outdoor spaces, with steel details that mimic the home’s roof. Rain chains are beautiful and functional, and custom gates created with galvanized steel and Ipe wood complete the peaceful outdoor spaces. A separate guest house, recently renovated, includes the original mid-century kitchenette, complete with vintage appliances — all in working order. The quiet guest quarters also serve as a media room for family movie nights. An additional structure, simple and elegant, is tucked into a separate courtyard. This building provides another interesting bit of history for the property, having originally been designed by architect Chris Carson, another one of Ford’s partners. Now dedicated to Toby’s hobbies, it offers a glimpse of another personalized aspect of the home’s interior design: the speakers. Calvert enjoys building urbanhomemagazine.com

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speakers, and created the beautifully designed (and yes, incredibly powerful) wall-mounted speakers in the main living area of the home. Facing them is a stunning piece by artist Laddy John Dill. The Rockridge House is still a work in progress, but the Calverts are excited about the future. “It’s a big commitment, but it’s a fun one. One of the best parts has been talking to Tobin, dreaming about how the house will look one day,” said Toby. Their next projects are a bit smaller: a fire pit and an extensive bathroom remodel, but with such stewards the results are sure to contribute to the Rockridge House’s authenticity and history. v TOBIN SMITH ARCHITECT 210.326.6646 Tobinsmitharchitect.com 26

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BRINGING COMFORT

HOME By MAURI ELBEL | Photography by DROR BALDINGER

Some people possess a rare gift enabling them to walk into a space and envision what it’s meant to be from the very beginning.

lancing around Bobby Dent’s historic loft in downtown Comfort, dripping with eye-catching conversation pieces that read like the story of his welltraveled life, it’s obvious he’s got an innate eye for design. “I know what I like,” Dent shrugs. “I just walked into this space and knew exactly what I wanted to do.” Dent’s knack for perfecting interiors more than compensates for his lack of a design degree, as evidenced by his 1500-squarefoot, two-bathroom, one-bedroom loft sitting on the second story of a 1891 building overlooking High Street in downtown Comfort. The building that once served as the town’s original saloon is now an eclectic swirl of industrial, antique and midcentury modern vibes punctuated with unique furnishings Dent has accrued from around the world, each one with an interesting story behind it.

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Take the Beverly Hills Rodeo Dr. and Wilshire Blvd. street signs mounted in the hallway for example. “I noticed this street sign sitting on the floor of an antique shop and noticed it had no price on it,” Dent recalls from his time living in Los Angeles. “I asked if it was for sale and the owner told me it was already sold and that the person that bought it was picking it up that day. So, while I had some cash on me, I left and went to an ATM and got more. I returned to the shop and waited until the person came to pick it up. After a lengthy conversation and negotiation, it left in my car.” When the city of Beverly Hills ordered 900 new street signs and started installing them in 1950, Dent says it kicked off the installation with a media campaign featuring the star of a newly released film. “It was no other than Gloria Swanson who was starring in URBAN HOME AUSTIN – SAN ANTONIO

Sunset Boulevard and I have a photo of her on a ladder posing with one of the new street signs,” he says. “Now every time I walk up the stairs I see the street sign, I’m reminded of my time in LA.” While Dent has traveled around the world, he is no stranger to Comfort. Born and raised in Georgia, he actually came to Texas on a fluke when he was 30 years old and saw a historic 1880 building in downtown Comfort that spoke to him. “I was traveling through Texas driving through Comfort and saw that building with a ‘For Sale’ sign and couldn’t get it out of my head,” recalls Dent who returned to Atlanta where he was part-owner in a computer supply company. “I must have had a bad day at work or something because the next thing I knew urbanhomemagazine.com

I had bought the building in downtown Comfort and moved here.” Dent says his parents thought he had lost his mind when he left Atlanta at age 30 for the tiny town in Texas, but the bold move he made in his young and fearless days became a Comfort bed and breakfast he operated for 22 years. He’s since sold the hotel, but over the past decade he’s rescued, restored and resold historic properties alongside his close friend and business partner Joey Story. When they stumbled on the two dilapidated historic buildings sitting in downtown Comfort, the 1891 building Dent now occupies and the 1913 building next to it which once served as the town’s pool hall, the real estate move became something more. “Joey and I bought these buildings, restored them and put them for sale, but Joey’s husband, Ed Story, suggested not selling them but starting The Elephant Story instead,” says Dent. The Elephant Story (the-elephant-story.com), which operates out of the neighboring 1913 building, is one of Comfort’s most unique shops, promoting elephant conservation in Asian elephant countries by increasing awareness about endangerment caused by deforestation in Thailand, Laos and Myanmar and selling indigenous crafts and textiles from Asian countries. Net profits from The Elephant Story benefit various Asian elephant support foundations. Today, Dent manages The Elephant Story, residing in Comfort since 2014 after leaving to become a personal assistant to his longtime close friend and famous actress URBAN HOME AUSTIN – SAN ANTONIO

Madeleine Stowe who has starred in films including The Last of the Mohicans and 12 Monkeys. “Once I sold the hotel, she asked me to come to LA to work for her,” says Dent. “We have been friends for more than 25 years and her daughter is my goddaughter so I moved to LA for three years. That explains my eclectic collection –– a lot of it was from traveling with Madeleine.” Whether it is the Irish China or the Italian linens and dishes found in Dent’s loft, most of his furnishings and finds serve as tangible souvenirs of the places he has been and the memories made there. Take a look around his loft and point to an item and chances are it was collected from one of a dozen or so countries around the world. Myriad elephants and fabrics were collected from Thailand, Cambodia and Vietnam –– countries Dent has been traveling to since 2007. “My love of elephants has me always looking for them –– I have them on fabrics like an antique Thai flag, there are wooden elephants and cast iron ones,” he says. “I am drawn to the native hill tribe fabrics which capture the quality of their craftsmanship, many of which I’ve had framed as works of art.” Dent’s pottery dishes and glassware are from Ireland where he lived for three months in 2001 when Stowe was filming The Magnificent Ambersons. “We would venture out and explore on our off time and we found our way to the Nicolas Mosse Pottery and Jerpoint Glass studios,” he says. “We both bought the hand-made, hand-painted pottery dishes from Nicolas Mosse and hand-blown glassware from Jerpoint. I still use them every day and it is a constant reminder of my time there.” A cast iron planter on the dining room table that holds Dent’s collection of antique stone fruit was found in Spain –– a must have because it’s red, his favorite color. The two pendant lights over the kitchen island contain glass pieces which are flea market finds from Santa Monica, parts of a commercial coffee maker from the 60’s he thought would make interesting statements. Dent’s love for southern pottery, especially pieces from Georgia and North Carolina, can be seen in the five gallon double-handled jugs used to store syrup and other liquids. And he’s decorated with pieces that contain personal, ancestral ties as well. 32

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“My fraternal grandmother was part Cherokee Indian,” says Dent. “I have an extensive collection of Cherokee Indian river cane baskets and Cherokee Indian souvenir tomahawks that were sold to tourists in and around Cherokee, North Carolina.” Dent loves original painted antique furniture so he kept the loft’s color scheme a creamy white, allowing each piece to stand out. “All my antique furniture are southern pieces, primarily from Georgia, South Carolina, North Carolina and Texas,” says Dent. “I like pieces that have their original paint or surface.” While Dent made a point to retain the original look and character of the building, he called on his go-to craftsman Don Biermann where refinishing and remodeling were needed. Biermann came to the rescue by removing walls to open up the space, re-milling original woodwork and installing a sliding ladder across the kitchen to allow access to the upper cabinets that stretch to meet the 12 foot ceilings. “We are fortunate to have a great contractor who listens to what we want and can make anything happen,” says Dent of Biermann. “He is a Comfort native and we work with him exclusively on all of our restorations. While I can’t drive a nail straight, if I tell him what I want, he can make it happen.” Out of the many places Dent has lived, he says he feels at home in his historic loft overlooking downtown Comfort’s main drag. “What I love about this space is that it overlooks the main drag (High Street), it has these great 12-foot ceilings, all of the original woodwork which is a very time consuming craftsmanship that you just don’t see anymore, original windows that flood this space with light and beautiful pine floors,” says Dent. “People who walk in here say they would expect to see this kind of place in New York City and they are always surprised to find it here in Comfort, Texas.” v BOBBY DENT 830.446.9908 Dssquaredproperties.com BIERMANN CONSTRUCTION COMPANY 830.995.3464 urbanhomemagazine.com

AWARD-WINNING INTERIOR DESIGN custom homes • lofts spec homes • commercial Stephanie J. Villavicencio, ASID Texas Registered Interior Designer

512.443.3200 www.bellavillads.com

HISTORICALLY

MODERN By ELIZABETH BOND | Photography by CASEY FRY

URBAN HOME AUSTIN – SAN ANTONIO

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BUILDING WITHIN A CITY’S HISTORIC PRESERVATION GUIDELINES CAN BE A CHALLENGE. HERE’S THE STORY OF ONE AUSTIN COUPLE WHO LEARNED THE INS AND OUTS FIRSTHAND.

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hen Ann Czarnik and Jason Fernandez moved to Austin from the East Coast, they first rented in the Hyde Park neighborhood, established in 1891 and considered the city’s first suburb. Once they decided to buy a home, they picked one on the east side of town and bought it — but never moved in. Their subsequent path to finding, purchasing, renovating and finally moving in to a home of their own turned out to be an intensive lesson on historical home permitting. “To put it simply, we took a roundabout journey to getting where we are,” said Ann, who’s an ER doctor. In their 2012 home search, the couple looked throughout Central Austin and found that many of the homes were highly priced, “and even then, you’d have to redo the kitchen or something,” she said. They were feeling harried about the search process when they went to a party thrown by a college friend and loved the look of their friend’s home. “We found out Jeff Bullard had worked on it, and we knew we wanted him to work on our future home before we even had decided on a property,” Ann said. “From then on, the idea was to find a house we could remodel — use the existing structure and add on to it.” Jeff Bullard is the co-founder of Avenue B Development, an award-winning construction and remodeling firm specializing in classic Austin homes. The firm is focused on enhancing the character of Austin’s unique neighborhoods with homes grounded in classic design and modern functionality. The couple bought the home in East Austin and started drawing the plans. But then they hit a roadblock. “Ten people in the neighborhood wrote letters saying they didn’t want us to build,” Ann said. Part of the foundation might have been from 1898, she said, and the roof was put on around the 1940s. Therefore, it fell under certain restrictions put on both historical structures and any new or renovated structures in historically designated areas. 36

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To work out the proper permitting, they learned that they must take into account the neighbors’ letters of complaint during a hearing held by the city historical commission and also communicate with the neighborhood association and the city’s planning and zoning office. Each of these entities has a different role. The neighborhood association can make recommendations about changes it would like to see, the city determines whether to give permits for construction work and the historical commission handles any complaints. Local historic districts help to preserve the unique character and history of Austin’s older neighborhoods by urbanhomemagazine.com

protecting existing historic buildings and ensuring compatible new design, according to the city’s website. Ann and Jason decided the process had become too complicated to move forward with the project. “We sold the property and started all over,” Ann said. “Fortunately for us, the Austin market is pretty robust and we were able to sell it.” The home search was back on. In time, they settled on a home in Bryker Woods where they could pursue a renovation project with their chosen contractor. As it turns out, their connection with Jeff led them to the property. urbanhomemagazine.com

“We found the new property through a job Jeff had — he renovated the bathroom of our now next-door neighbor, who told him the house would soon be for sale,” Ann said. “They took an offer off the market.” This time, they took a much more cautious approach to making renovation plans. “We didn’t start drawing until we got approval from the neighborhood association, the city and the historical commission,” the homeowner said. “The work took place from September to June so that we could make sure everything was in compliance. We learned that lesson the hard way because we just URBAN HOME AUSTIN – SAN ANTONIO

didn’t know what we were doing the first time.” Studying up on the Bryker Woods neighborhood revealed that the area’s homes are built in a variety of styles that reflect a number of time periods but have a general aesthetic in common. Most homes are pier and beam and generally of a modest size with inviting front porches and open front yards, garages placed in back of the home and outdoor spaces with mature trees providing lots of shade. The streets of this neighborhood near the Shoal Creek greenbelt are fairly narrow and walkable, and the neighborhood is part of the Old West Austin Historic District, which is recognized on the National Register of Historic Places by the United States Department of Interior for its historic significance. The neighborhood association did raise concerns about such things as the pitch of the roof and roof materials. Because of the homeowners’ hard-won familiarity with the proper processes, these matters were settled fairly easily. “I feel like we kept the house in the feeling of the neighborhood,” Ann said. “It was very important to us to do something that wasn’t garish.” With the potential for permitting issues out of the way, there was only one other major obstacle. The plans called for using the framing and all the original oak flooring, but the roof was taken off the weekend of the flooding that delayed ACL Fest. Water damage scrapped those plans. But things did move forward, and a house that had been 1,400 square feet became 3,100 square feet of what Ann calls “modern industrial farmhouse.” With that theme in mind, the homeowners made decisions on picking out each and every feature, including industrial-looking chandeliers hung in rooms with sliding barn doors. The house has metal and concrete accents but there’s also hardwood and shiplap throughout. “We picked out every single detail of the house down to mixing my own paint colors I found on Houzz,” Ann said. “Jeff would recommend a tile person or a fabricator for countertops, 38

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for example, and was able to do everything we asked him to do. He created a fireplace in the back and added sliding doors inside. I found the hardware for those online and they figured out how to make it work.” Now living comfortably in a home they designed and carefully took from idea to reality, the couple is pleased with the process as they look back. “I love the whole house,” she said. “It’s a serene, beautiful place. It’s very different from the original structure but we feel like it fits in the neighborhood.” v BUILDER Avenue B Development 512.910.9656 | Avenuebdev.com urbanhomemagazine.com

works WHY THIS

SPACE

By MAURI ELBEL | Photography by MICHAEL HUNTER

Designer Spotlight: Kim Bates of Bates Design Associates, LLC

To create this backyard beauty unfolding behind a palatial Barton Creek home sitting adjacent to the golf course, the homeowners called on the expertise of Bates Design Associates, LLC. A believer that each project should be executed in collaboration with her clients, principal Kim Bates worked to bring their vision to life. “The couple travels extensively, and enjoys entertaining in their home when they are in town,” says Bates. “These two have a slightly more contemporary bent which is expressed in their updated outdoor living space.” Below Bates shares how she worked to incorporate the couple’s sense of style and character into the new design, creating a space they love to enjoy by themselves and share with friends and family. “These clients are well-traveled and have been exposed to great architecture and design,” says Bates. “This makes my work easier, as I can really focus on curating their taste. In addition, their focus on family and friends really cemented the need for a welcoming feeling in the space.” 40

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What were some of the flaws of the original design? KB: The old stone surfacing was rustic and uneven and the original pool tiles were somewhat dated. The original waterfall features were supposed to have a natural look, but they were out of place with other updates to the home and gave the pool a definite 80’s look. What did your clients envision for their new outdoor space and how did you help them achieve it? KB: My clients wanted to update the outdoor space from a rustic French feel to a more transitional look with cleaner lines. They needed a space where they could entertain but wanted an elegant and relaxing feeling. We went with a large scale Lueders limestone paver in a random rectangular pattern to give the space a more calming, sophisticated feeling. Pool tiles were changed out to provide a richer, more glamorous look. We removed the waterfalls and added elegant stone walls with finished stone coping in its place. From before to after, tell us a few of your favorite changes that really stand out. KB: I love that we really cleaned up the lines of this area as well as the softer colorations we developed. From darker colors to a more natural palette in fabrics and furnishings; from artificial-looking waterfalls and water features to classic stone coping and rich glass tile –– the space was refined to give it a classical, transitional look that reflects the clients’ style as well as the interior of their residence. urbanhomemagazine.com

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This outdoor area appears as if it was part of the home’s original construction. How did you integrate new updates while ensuring a flawless fit with the existing home? KB: The patio Lueders pavers are a beautiful complement to the interior use of Lueders pavers. The interior pieces have a high honed and rectangular finish while the exterior pavers are rougher cut, random rectangles. The pool lining was a clear choice once we found the fabulous Lunada Bay glass tile for the spa area. These tiles added a touch of glamour to the spa-like retreat. Smooth stone coping adds a classic finish to the elevated areas. In terms of furnishings and seating, what did this space need? KB: Furnishings were selected for comfort and quality with design and color that added to the calm, spa-like feeling of the space. Warm grays, natural canvas and muted greens reinforce the theme of tranquility. Accessories and drapery panels were details added to give the space a more finished and polished look. The client already possessed some wrought aluminum and teak Smith & Hawken® pieces so we worked with existing pieces, adding the wicker Smith & Hawken sofa to soften the look. We changed out all upholstery to unify the look and added throw pillows for a more finished appearance.

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Lounging in the outdoor oasis now, what is the dominant vibe? KB: This backyard space has a very spa-like, elegant and sophisticated look. It is a place of comfort and tranquility. It is a place to rest or to comfortably entertain. From the lush landscaping surrounding the outdoor area to the furniture orientation, how do these details work to enhance the overall aesthetic? KB: The beauty of the golf course which is enhanced by the client’s own landscaping gives the space ample privacy without making it feel closed off. The furniture placement assures this privacy while maintaining a view. The combination is a relaxing retreat. Why does this space work for your clients? KB: My clients tend to gravitate toward clean lines and elegant finishes in a calming setting. This space is a fabulous reflection of their characters and personalities. It allows them to entertain in small numbers or large groups. Whether they are hosting good friends for dinner, or getting their grown kids and their families together for holidays, they now have the functionality in this beautiful and relaxing backyard oasis. v BATES DESIGN ASSOCIATES, LLC 512.464.1166 | Batesdesignassociates.com

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Dawn F. Hearn ASID, NARI, CAPS Texas Registered Interior Designer #9501

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COMMERCIAL n DESIGN

URBAN HOME AUSTIN – SAN ANTONIO

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LUNCHING AT

THE LEANING PEAR By MAURI ELBEL Photography by DROR BALDINGER

oft sunlight pours through floor-to-ceiling windows and bathes blonde cedar walls while friendly chatter and mouth-watering scents fill the air at The Leaning Pear. A cup of tomato bisque swimming with blue cheese crumbles arrives in front of me. Once it has vanished, a generous golden crab cake drizzled with cilantro-buttermilk dressing accompanied by a heap of chayote slaw takes its place. The bites are delectable; the space is lovely. It’s a food-design marriage that blends to create an unparalleled lunchtime experience in Wimberley. But that was the point. Owned and operated by Texan natives Rachel and Matthew Buchanan, who brought what they learned from their culinary exploration in Perugia, Italy and professional training at the Culinary Institute of America in New York back to the Texas Hill Country, The Leaning Pear was designed to embrace a philosophy centered around creating unique dishes made with local, seasonal ingredients in an inspiring setting. “The open space, warm light and rustic-yet-contemporary feel all make it a place where our guests feel comfortable to enjoy good food, good conversation and the making of good memories,” says Rachel. The duo has always thought of The Leaning Pear as a community restaurant and they wanted a space that would further their idea of Wimberley, explains Rachel. More than six years after opening its original location in one of Wimberley’s oldest structures, the Lowery House at 111 River Road, The Leaning Pear expanded with a new building. Just a stone’s throw away, the popular restaurant sits back closer to Cypress Creek atop a natural bluff overlooking the lush creek meadow. Designed by Overland Partners, The Leaning Pear celebrates the rustic character of its original site and the eclectic spirit of Wimberley through its new clean-lined, environmentally sensitive design. “Overland Partners did an amazing job of taking our magazine clippings, random pictures and vague descriptions to put into reality what we had only envisioned in our mind and hadn’t really figured out how it would all come together,” Rachel says. Materials are representative of the Texas Hill Country, including the limestone harvested from Rachel’s grandparents’ ranch. Cedar and corrugated metal siding continue from the exterior to the interior with ample windows ushering in views of the surrounding property.

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URBAN HOME AUSTIN – SAN ANTONIO

“They (Overland Partners) understood our local, seasonal, sustainable food philosophy and designed a structure that not only represented that, but also serves as a message to the folks who walk through our door each day,” she says. In designing the space, Overland Partners created a concept that followed the food. “It was Rachel and Matthew who really shared with us their dream of having a place that speaks to the native-inspired cuisine, elevated and modernized to fit its place and time,” says Michael Rey, principal at Overland Partners. “The architecture simply supports this with fitting into the land, being as sustainable of a design as possible, and giving a warm, comfortable place to call home to The Leaning Pear’s patrons.” Entering the space, dividing walls provide space enclosures and separation while maintaining a warm vibe and visual interest. Broken down into multiple zones, the dining space allows patrons to have a variety of experiences and gives the chefs in the kitchen the ability to interact within the space while providing the separation needed for servers to take orders and hosts to greet entering guests. One of the initial goals behind the design concept included creating a larger kitchen that would allow The Leaning Pear to expand the menu and serve more patrons. Another objective was to relocate the dining experience closer to the river, taking full advantage of the idyllic site. “This directly translated into the key architectural concept of a series of terraces that cascade down from the gentle hilltop towards the river ending with a perched outdoor experience amongst the trees overlooking the river’s edge,” Rey explains. The buildings rest upon one of the terraces and the last one, close to the river and trees, has two small open-air, screened-in structures. Nestled against a variety of large trees on one side is 48

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a great room called the treehouse and the other, bookending the large outdoor terrace, is a small bar. The terraces are made of heavy materials including stone, concrete and planting materials in the landscape while the structures, rails and other building elements are comprised of lighter materials including wood and metal which touch lightly on the new landscape and bring together the overall design. “Conceptually the floor levels of the restaurant and outdoor terraces were always perceived as an extension of the landscape, cascading down the hill towards the river,” says Rey. Another key concept was to create a highly sustainable structure, taking full advantage of the rainwater capturing system to feed the on-site gardens the restaurant utilizes daily. “The roof is mainly seen as an opportunity to capture the rainwater and utilize each drop,” says Rey. “ It also has an experiential goal for the patrons who sit inside and get a sense of warmth from the northern light, the wood-lined ceilings in the dining area and opening up from the outdoor terrace to the river view below while providing shade from the southern light.” All materials utilized are all-natural, and when possible, 100 percent recycled, according to Overland Partners. For example, recycled aluminum panels and cedar make up the interior and exterior siding. Low-e glazing was used on the glass with a thermally broken curtain-wall system. Recycled steel creates the structure, recycled metal forms the roof panels and sealed and stained concrete were used on the interior flooring. Dry stacked stone was used for landscaped walls and interior elements like the fireplace. All the finishes used are environmentally sensitive and emitted low-VOC to zero-VOC when possible. Full-cut off lighting avoids polluting the Texas Hill Country night sky. Overland Partners also limited the air-conditioned space to the smallest footprint of the building as possible, utilized local materials and labor, and on the site, worked with the existing grade limiting the cut/fill across the site and saving all the trees provided. “The project is meant to fit the property; not the reverse,” says Rey. Throughout the process, Overland Partners and the Buchanans worked together to ensure all areas of the project would be accessible to everyone, including the various terraces and outdoor areas. “We are proud of how this project is friendly to all ages while still maintaining a sense of adventure through its proximity to the river and perched amongst the trees, hence its famous treehouse dining area on the lower terrace,” Rey says. While this proved to be an exciting challenge that the entire team owned and carefully managed in order to execute, it’s also what makes The Leaning Pear stand out. “Anytime you build carefully to preserve the unique characteristics of the site, it takes a bit of extra time,” Rey says. “But the advantages are tenfold.” v ARCHITECT Overland Partners 210.829.7003 | Overlandpartners.com Office 4 Architecture (Architect of Record) 210.218.5585 BUILDER Vista Construction 512.396.9610 | Vistaconstruction.com urbanhomemagazine.com

Creative Craftsmanship By ELIZABETH BOND Photography by JENNIFER SIU-RIVERA

Lightening up the look of a home requires nuanced design, not simply subtraction. The team at CROSS found this to be more true than ever with a home renovation in Terrell Hills.

he 1980’s saw many homes constructed with heavylooking features. And although recognizable ‘80s styles like high-waisted jeans and colorful one-piece jumpers are currently back in fashion in the world of apparel, the decade’s domestic looks have not had a similar resurgence in 2015. So it’s no wonder that the owner of a thirtysomething-year-old home in San Antonio recently opted to redo the entire first floor. The detailed project, which took more than four months, covered the master bedroom, master bath, living room, dining room, butler’s pantry and powder bathroom. The work was done by CROSS, a full-service residential remodeling and custom home builder that’s unique in the San Antonio area for having its own in-house craftsmen. The update called for highly skilled carpenters who could do some truly creative thinking to execute ambitious plans. When heavy features are built into a home, they can’t simply be removed in an effort to lighten up the space. That approach can leave behind a hole — a space that can feel blank and gutted rather than thoughtfully crafted as airy and light. 50

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Before

That was the challenge of the kitchen in this Terrell Hills home. It had been dominated by thick, heavy wooden beams that crisscrossed the vaulted ceiling. They added geometric definition but also cluttered the space above one’s head. From there hung a three-lamp lighting fixture with a brassy look that would not be out of place as part of the set of the barroom comedy “Cheers.” At the center of the kitchen was an 8-footlong island topped with dark marble, a sink and a cooktop. Bradshaw Designs was hired to design the spaces. The company is owned by one of the state’s leading home renovation experts specializing in kitchens and bathrooms, so they knew just the steps to take to make the most of the room’s potential. Interior designer Crystal Romero of Bradshaw Designs said the remodel was meant to clean and modernize the look of the existing house, using mostly colorless materials. That way, the interior would not distract from the artwork, fabrics and antique pieces that the homeowner had collected. Having white as a constant also enables the homeowner to change out patterns and colors as desired. With that in mind, they first addressed the beams overhead urbanhomemagazine.com

Installation was much easier with the more manageable weight of the fabricated “beams,” and the cost advantage was significant as well. This is the type of workaround that is not possible without having highly skilled, experienced carpenters with clever ideas, Bizzell said. “On smaller remodels, we don’t sub out our work, and that’s unique in San Antonio. It makes a difference in the level of quality because we are able to control the quality,” she adds. Their innovative ideas and skill were also put to work in fitting the custom range hood in place over the stove and adding crown molding to the vaulted ceiling. Finishing out an angular surface with high-quality custom trim is no easy task. The floor presented another construction challenge because the slab had to be reduced by two inches. Removing old carpet put the floor at differing levels between rooms so evening things out left the flooring flush with the doors from room-to-room. The kitchen was gutted entirely, and the island was replaced with a custom-made piece that’s nearly twice the size. In addition to creating more storage space within the island, there is also plenty of room to seat three or four around it at counter-height barstools. And a comfortable sitting area is just off the kitchen, making a communal space work in a way that’s relaxed.

which lined the ceiling and joined to create large triangles. Bradshaw’s plan did not do away with the beams entirely. Instead, a sparer version of them was created to act almost as an outline for the room rather than an element intended to take up space. The color was also changed to be overlaid with a brushing of white. The construction process itself demanded a high level of creativity. While the beams were not supportive structures for the house, they were made of solid wood and were very heavy, and removal of the original weighty beams was a demanding task. As a replacement, CROSS’s solution was to create faux beams — composed of real wood but not solid. The boards were attached to form a hollow U-shape then sent through a very particular treatment process to create a weathered look. “Our men burned them, sanded them and whitewashed them. This was all done in-house by CROSS’s very talented craftsmen,” said operations manager Martha Bizzell. urbanhomemagazine.com

The brassy light fixture was replaced with two more finely boned, gilded lanterns. Calacatta marble on the countertops and backsplash lends a fresh look with beautiful continuous veins — the result of butterflying the marble. Throughout, sunlight filters in thanks to made-to-order Marvin® French doors leading outdoors. Unmatched in fit and finish, these doors combine traditional design and energy efficiency. The renovated space now flows seamlessly as a kitchen/living area with updated finishes executed with the highest of quality craftsmanship. v BUILDER CROSS 210.826.7200 | Cross-tx.com DESIGNER Bradshaw Designs, LLC 210.824.1535 | Bradshawdesignsusa.com URBAN HOME AUSTIN – SAN ANTONIO

HISTORY IN THE

(RE)MAKING By JACKIE BENTON Photography courtesy of FORD, POWELL & CARSON

o, you’ve always had a “thing” for older homes. You love the way they look, the feeling you get when you walk inside, and can just imagine how wonderful life would be to live in one. You’ve prepared yourself by watching countless hours of HGTV and now feel you’re something of an expert. You’ve decided to make the leap and purchase the home of your dreams: a historic home. Easy enough, right? Not so fast, say Michael Guarino and Jay Louden. Guarino is an architect with Ford, Powell & Carson Architects in San Antonio where he is also the Chair of the City’s Historic and Design Review Commission, and is past President of the King William Association and Vice Chair of the Villa Finale Museum Advisory Council. Louden is a practicing architect and partner with Work5hop, a design firm with specializations in planning and craft-oriented projects. And they do more than just talk the talk. These two walk the walk: in addition to their professional credentials and experience with historic home projects for clients, both are historic homeowners themselves. “This is not going to be just another house you’re living in. I look at it as being a conservator of the past,” says Louden. “There’s a lot of joy, and it’s important to maintain it and renovate it and make sure the next person gets to have that joy.” Louden advises taking the time to find a home inspector who has had experience with inspecting historic homes. He also says finding an architect to work with you on your restoration project should be a first priority for would-be historic homeowners, noting that architects are trained to finding creative solutions for rooms, and installing HVAC systems and plumbing in homes that have more restrictions than modern homes. “If you’re going to do renovations such as addons, you really need to work with an architect before purchasing to be sure the home is going to do what you want to do. Additions are doable in a historic neighborhood, but there are restrictions on what you can do to the house, and

how you do it. You need someone who knows the parameters.” Guarino believes one of the best resources available to a new historic homeowner is your new neighbors. “Get to know your neighbors on the block, because everyone in your historic neighborhood has done work on their houses, and they can make good recommendations for architects, contractors, material sources and available grants to help you.” San Antonio, where both Guarino and Louden reside, takes a different approach to historic homes than other Texas cities. “The city’s about to be 300 years old, and we now have more than 27 historic districts. As the chair of the San Antonio Historic and Design Review Commission, we often see cases where homeowners don’t know they live in a historic district, or bought houses before districts were created around them.

Laguna Gloria is the former home of Clara Driscoll, the “Savior of the Alamo.” Built in 1916 in West Austin, Driscoll donated the 6,600-squarefoot home and grounds to the Texas Fine Arts Association for use as museum. Laguna Gloria is an official city, state and national landmark. Between 2002-2003, Ford, Powell & Carson did extensive renovations on the historic property that is now used as an art museum and school for The Contemporary Austin.

URBAN HOME AUSTIN – SAN ANTONIO

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DECORATOR’S ADVICE

REMODELING

EXTRAVAGANZA! By Catrina Kendrick, Catrina’s Ranch Interiors

They are surprised to discover they have to have a Certificate of Appropriateness to do most kinds of maintenance, even landscaping,” Guarino says, adding, “That sounds punitive but the City’s Office of Historic Preservation is a great source of advice on restoration and care for older homes. ‘Historic’ now includes mid-century modern structures.” Guarino advises historic homeowners to take advantage of information offered by local city programs and neighborhood associations. Although there are costs associated with restoring a historic home to its original glory, Guarino says programs offered by the city of San Antonio can help offset those costs, such as a preservation tax credit that will freeze property taxes for ten years. He also says there some historic neighborhood associations that offer grant funds to help with window and roof restoration. “The other thing about taking care of a historic house, which is bigger than just the homeowner’s comfort and pocketbook, is that every house that’s saved in a neighborhood makes the area, and ultimately the city a more desirable place to live,” says Guarino. “People love San Antonio because it IS different from Everyplace USA, it looks like no place else and it has more historic neighborhoods, by far, than any Texas city. I’ve told all my neighbors that the only way I’ll leave King William will be feet first.” v FORD POWELL & CARSON 210.226.1246 | Fpcarch.com WORK5HOP 210.268.2084 | Work5hop.com SAN ANTONIO HISTORIC AND DESIGN REVIEW COMMISSION (HDRC) 210.215.9274 | Sanantonio.gov/historic/hdrc.aspx

recently had the pleasure of working on a remodel in Lakeway, Texas, with a very creative and exceptional builder, Terry Polston of New Austin Homes. The property sits on several acres with amazing views of Lake Travis. The original 3,158-square-foot timber framed home was built in 1932 with shiplap pine walls in the great room, small baths and bedrooms and a choppy floorplan. Everything needed updating except for the rock exterior and rock fireplaces. The additions include two bedrooms totaling 737 square feet and a master suite wing at 1,149 square feet. 1,248 square feet of new outdoor living spaces include a front porch, master terrace and back terrace. One particularly interesting feature in the original house is a stairwell that folds out of the ceiling and hangs by two cables suspended from the rafters. There had been two of these stairwells that unfolded with the push of a button and accessed the upstairs loft. One was salvaged, and when folded up in the ceiling, the stairwell is hidden in the beautiful shiplap ceiling made of long leaf pine. Downstairs I am making a bar for the living area, carved with Labrador retrievers, an oak tree and deer with the back bar modeled after the look of an old saloon. The barstools are chocolate and turquoise tooled leather. Throughout the house, black and copper elements balance each other. Black Galaxy granite with copper flecks contrasts the creamy Travertine with different colored tile accents in each room. For instance, I am using a mix of Travertine and black onyx tiles on the master shower that extend three-quarters up the wall and then transitions to small glass tiles with different copper tones and patterns that continue across the entire ceiling. We are installing a large copper soaking tub and a huge open shower that drains to the middle of the floor. All of the vanities and cabinets are Canadian alder, but the kitchen and master cabinets are hand-carved and the doors on the master bath cabinets have hammered copper panels to match copper mirrors that we have made. v

So if you have a remodel project on your horizon, please call us. Catrina’s Ranch Interiors works hand-in-hand with builders in San Antonio and Austin as well. Who knows, maybe we will have a store in Austin soon! 830.755.6355 / 210.535.3070, Catrinasranchinteriors.com.

ARNS BSO NOBLE

By JACKIE BENTON

here’s just something about antique barns in Texas that is every bit as much a part of the Lone Star state as oil and cattle. Whether it’s memories of growing up in the country,

summer vacations spent with family back home (or just wishing you had), there’s no mistaking there’s something about antique barns that tugs at our heart strings and makes us yearn for days when times were simpler and slower.The simple, quiet beauty of the architecture and character of antique barns is something that needs to be appreciated up close as a testament to the people who built them. And, just as times have changed, so have antique Texas barns. They’ve been repurposed and redesigned, sometimes dismantled and moved, and in one notable case hauled in from out of state. But one thing remains the same for these antique barns in their latest incarnations: they still remain the center of activity.

MOVING ON UP Photo courtesy of The San Antonio Conservation Society

Originally built as part of August C. Stuemke’s lumberyard about 155 years ago, Stuemke Barn was moved in 1982 from 215 N. Flores to 107 King William in San Antonio, where it currently sits behind the stately Wulff House, home of the San Antonio Conservation Society. The Conservation Society acquired ownership of the barn from Frost National Bank, and the bank provided a generous donation to finance the move, enabling the Society to contract the services of master stonemason Curtis Hunt

Jr. to move the two-story, native limestone structure. Hunt spent incalculable hours numbering and photographing each stone, then painstakingly dismantled the structure piece by piece and accurately reconstructed the barn under the huge live oak tree on the Conservation Society’s grounds. Today, Stuemke Barn provides the Society with additional meeting and working space, with its oversized side door large enough for livestock serving as quiet testimony to its past life in Stuemke’s lumberyard. A NEW LIFE Photo courtesy of The San Antonio Botanical Garden

With its beautiful stonework and round-arched Richardsonian Romanesque style, most first-time visitors to the Sullivan Carriage House located at the entrance of the San Antonio Botanical Garden would never guess the large and beautiful stone structure was originally located at 4th Street and Broadway. The Carriage House represents another barn, like the Stuemke Barn, that was moved under the direction and sponsorship of the San Antonio Conservation Society to prevent its loss to development. Originally built in 1896 for early Texas entrepreneur Daniel J. Sullivan (Sullivan founded D. Sullivan & Co. Private Bankers, whose loans made the legendary post-Civil War cattle drives possible), the Carriage House served Sullivan and his family well. The ground floor of the Carriage House had stalls for Sullivan’s horses and storage for his carriages. The upper story served as quarters for his groomsmen. The property stayed with 54

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the Sullivan family until the late 1960s when it was eventually sold to the Hearst Corporation, which was using the building to store newsprint used in printing its newspaper, The San Antonio Light. In 1987, the Carriage House was offered to the San Antonio Botanical Society by the Hearst Corporation, with one stipulation: the Carriage House had to be moved within three months so the newspaper corporation could develop the lot on which the Carriage House stood. The Carriage House was carefully disassembled stone by stone, with each block cleaned and numbered, and moved to its new location at the Botanical Garden. Stonemasons worked for years to reassemble the limestone blocks, and in 1995 Anne Marie’s Carriage House Bistro now enjoys its second life as a restaurant where diners sit in quaint seating areas that were once horse stalls. FROM BARN TO CLASSROOM Photo courtesy of The San Antonio Zoo

About a hundred years ago, no trip to the San Antonio Zoo and Brackenridge Park was complete for a small child without a ride through the park saddled up on one of the little donkeys that were kept stabled at the zoo’s hay barn. Later, the Donkey Barn became a maintenance yard and offices for the city Parks and Recreation Department, and then was abandoned in 2009 and the San Antonio Historic Design and Review Committee intervened to halt plans to tear down the barn. The new remodeling project has allowed the Donkey Barn to retain the charming historic rockwork exterior, and now features a classroom space on the lower level and three offices, a conference room, work area, a kitchenette and restrooms on the top floor. The restoration work has preserved much of what gives the Donkey Barn its unique charm: the original rock work in the old section has been restored, and the location of the hay loft is still visible. Changes in construction over the years and the different grades of concrete used to keep the rock work together are also apparent, and a testimony to a unique chapter in the history of the San Antonio Zoo when donkeys were as commonplace a sight as the lions and tigers and bears. urbanhomemagazine.com

WINEDALE — ALL THE WORLD’S A STAGE Photography courtesy of Brenham/Washington County Chamber / Convention & Visitors Bureau

It seems almost like a line from an old Andy Rooney-Judy Garland movie: “My uncle has a barn. Let’s put on a show!” And yet, that’s exactly what the University of Texas at Austin’s Shakespeare at Winedale program has been doing since 1970. The Winedale Historical Center, located near Round Top, is home to two antique barns, as well as two historic homes, two log cabins and a one-room schoolhouse, says Barbara White, spokesperson with the Winedale Historical Complex. The Theater Barn was constructed in 1894, and has been fortified with old major timbers pulled from a cotton gin on the property to accommodate the addition of an interior stage. The FourSquare barn was built sometime between 1830 and1860 and was constructed without nails, using only wooden pegs. “It’s a traverse barn, and one of the oldest in Texas,” says White. “It has four corn cribs on each side, and dovetail stacked logs.” The owner and visionary behind the theater program was philanthropist Ima Hogg, known as The First Lady of Texas, who was an avid collector of art and early American antiques. Hogg had amassed an amazing collection of early Texas furnishings and Texas German itinerant paintings in her refurbished dogtrot located in Winedale, and wanted to share them with the world. She approached Dr. James Ayres with the UT English department with the idea of creating a Shakespeare Festival in one of the old barns on the property to bring in visitors from the surrounding area. “We’re now in our 45th year of the Shakespeare Festival, which runs in the summer and the spring, and gets more than 10,000 visitors a year,” says White. “She wanted this to be a cultural place where people could have exposure to the plays, the arts, see her houses and their furnishings.”

URBAN HOME AUSTIN – SAN ANTONIO

PRE-CONSTRUCTION

THE BRANDED T RANCH PARTY BARN – TEXAS TRANSPLANT Photography by Jason Roberts & Associates

Like a lot of other Texans, it wasn’t born in Texas, but it got here as fast as it could. The Branded T Ranch, nestled in the hill country of Kendall County, features an English hay barn transported from Glen, New York. Built circa 1870 and measuring 40 feet wide by 100 feet long, the barn was the largest project ever undertaken by Heritage Restoration which managed the barn’s move from New York to Texas, where it now enjoys its new life as the Party Barn at Branded T Ranch. Todd Glowka, president of Todd Glowka Builder Inc., was the mastermind behind pulling all the resources together necessary to update a 142-year-old hay barn into a posh party place. “A lot of people think they can get into old houses and barns and restore them easily,” says Glowka. “But it’s really not a simple process. After we located the right barn we wanted to purchase through Heritage Restoration, I got with my architect and my interior designer and created a design that added all the porches, all the stone, all the siding and windows. We put in a commercial kitchen and all the appliances, more than 2,000 square feet of outdoor living areas overlooking the lake, and a vintage saloon bar.” The massive reconstruction of the barn took about eight months. “We were able to raise the barn and stand it up on its old timbers within two to three days after we started using cranes,” Glowka says. “We had a new construction shell built around the barn on the outside, so you would not physically affect the look and integrity of the interior of the barn, and building on the outside 56

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allowed us to insulate and not lose any dimensions or cut into any of the old timbers,” explains Glowka. “We added custom barn wood red sliding doors that run on tracks hand forged by Amish craftsmen, and used additional reclaimed barn wood and expansive windows — all the finishing touches to make it as beautiful as it is functional.” But for all the additions to the exterior, the bones of the Party Barn’s interior remain. Glowka was able to retain the very large sawn Hemlock timbers, as well as the barn’s unique truss design in the three middle bents. “The one thing that kind of baffles me is there’s not a nail in the barn,” says Glowka of the original carpentry used to construct the barn. “So we had to drill out any of the old rotted dowels, and replace with dowels we created. It was all originally put together with a kind of joinery called mortise and tenon, used by cabinetmakers. There were no nails in the original structure, and we were able to keep it that way.” urbanhomemagazine.com

URBAN HOME AUSTIN – SAN ANTONIO

A PEARL FOR ALL OCCASIONS Photography by Scott Martin

Built in 1894, Pearl Stable originally served as the lavish home for the brewery’s prized horses. The barn’s unique elliptical shape and exquisitely ornamental brickwork was evidence to the brewery’s success and the love for their horses that pulled the Pearl Brewery beer wagons. The brewery shifted to delivery trucks in the early 1900s, and the stable served as a storage facility until it was renovated into a western-themed banquet facility called the Pearl Corral in 1950. Later, in 1971, the stables were renovated again — this time into a theme venue based on Judge Roy Bean’s Jersey Lily saloon. When the brewery finally closed in 2001, so did the Jersey Lily. When Silver Ventures, Inc. purchased the brewery, it was decided to renovate the stable one more time, and restore it to its original opulence. “It felt like the right thing to do,” says Elizabeth Fauerso, chief marketing officer with Pearl Brewery. “We wanted to put the space back to work, and let everyone enjoy its beauty. It’s so easy for history to slip through our hands,” reflects Fauerso on the recent renovation work. “It was so beautifully made, it’s hard to believe a place this ornate was where they kept their horses. Since we’ve reopened, we’ve hosted corporate events, weddings, cultural events and more. It’s an extremely versatile space well suited for intimate as well as large events.” v 58

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FOOD n DESIGN

SEASIDE

ESCAPE By CLAUDIA ALARCON

MONGERS

If you didn’t get a chance to enjoy a beach getaway this summer, there’s always next year. But if you’re still craving fresh-off-the-boat -seafood, you are in luck. We’ve done some research for you, and have found four local establishments that will transport you to that special seaside retreat. From Latin flare to classic Gulf vibes, you’re bound to find what you’re looking for. You can almost feel the ocean breeze…

MONGERS

MONGERS MARKET + KITCHEN 512.215.8972 | Mongersaustin.com Photography by Matt Lankes

In Austin’s trendy East side, Chef Shawn Stark — formerly of Paggi House and Kenichi — joined seafood purveyor Roberto San Miguel to create Mongers Market + Kitchen. San Miguel, a Texas Gulf offshore seafood specialist, had been selling fresh ocean catch to local restaurants for a few years. “We teamed up after a couple years of buyer/seller relationship at both Paggi

PHOTO BY JESSICA ATTIE

URBAN HOME AUSTIN – SAN ANTONIO

SHUCK SHACK

ALCOMAR

House and Kenichi,” says Chef Stark. “Roberto had always been talking about opening a seafood market, and we decided that a small grill would be a great idea to accompany it,” he adds. The refurbished space definitely has a Gulf Coast feel to it, designed by Chef Stark’s wife Julie, who also runs the front of house. The ocean blue space is lined with whitewashed boards, and a Gulf of Mexico mural graces an entire dining room wall. To create a laid back beach cottage vibe, the room is decorated with tasteful nautical elements, including cleverly-built seashell and driftwood hanging curtains and simple tables and chairs. Guests can also pull up a stool at the raw bar, or grab a picnic table on the patio deck. Both the menu and market are centered on fresh Gulf offerings like shrimp, grouper, amberjack, snapper and oysters, which San Miguel brings from Freeport, Texas himself, and are available for purchase to take home and fire up the grill. “I wanted the menu to be simple, approachable seafood, focusing on the Gulf but also sourcing from the Northeast, my neck of the woods,” says Stark. “So far, one of the most popular items is the smoked fish dip, which is actually from my time spent throughout Florida and The Bahamas.” Other popular items include the fish BLT, the BBQ Gulf shrimp, fish and grits, Gulf yellowfin tuna ceviche and littleneck clam chowder, enjoyed alongside a small but thoughtful selection of local beer and boutique wines. urbanhomemagazine.com

SHUCK SHACK

ALCOMAR MARISCOS Y MAS

210.236.7422 | Shuckshack.com Photography courtesy of Shuck Shack

512.401.3161 | Alcomaratx.com Photography by Scott Roberson

A similar concept has just hit San Antonio, and I mean hit. Jason Dady’s newest venture, Shuck Shack, brings a beach getaway to the heart of the city, in the up-and-coming Government Hill. The family-friendly eatery has been packed daily since it opened in early July, and with good reason. The food is every bit as good as you’d expect from Dady, served in a laid-back, no-frills environment that is perfect for sharing good times with friends and family. “We’re not trying to reinvent seafood,” says the chef. “The concept is simple fare, super fresh seafood and just a kick-back vibe for hanging out.” Aside from freshly shucked oysters — served raw or baked in three different styles — the menu boasts an East Coast feel with New England style clam chowder, fish ‘n chips and decadent whole Maine lobster rolls that are worth the splurge. For the kids, they offer hot dogs and burgers made with beef from 44 Farms in Cameron, Texas. The cozy, rustic shack is itself a labor of love, practically handbuilt by Dady and his brother Jake. “It was an old shuttered thrift shop, and prior to that a house with a small residential kitchen, single restroom, broken walls, etc. It was a mess,” says Dady. The brothers worked tirelessly over several months to secure the structure and install the weathered wood interiors, build a commercial kitchen, and add a bar with a large window facing the patio with its playground centerpiece. Sitting at the bar, sipping on a glass of chilled rosé and washing down a dozen cold water oysters, you would swear there’s a pier just outside that window. “I loosely had the concept and a menu written,” says Dady. “But the venue was perfect and dictated finalizing our ideas.”

And since we’ve touched on Latin influences, there’s an Austin newcomer worth discovering — Alcomar, the latest endeavor from El Chile group, helmed by Carlos Rivero and renowned chefs Jeff Martinez and Alma Alcocer-Thomas. About a year ago, Rivero traveled to Peru to visit his sister, Maribel. The two went on a culinary tour of several South American countries, tasting so much incredible seafood that he left inspired to bring this interesting, delicious and vibrant food back to Austin. The name Alcomar is a combination of the chefs’ last names, as well as a play-on-words: mar is Spanish for sea. And just like the name, Alcomar’s menu is a complete collaboration between Martinez and Alcocer-Thomas. “The collaboration on the menu and concept felt like we had never stopped creating dishes — where one started the other finished,” says Alcocer-Thomas. “We have a really good time and hope that our guests can feel it in our food.” “We always try to use as much local produce as we can find,” adds Martinez, “so our menu will inevitably change from time to time. We also offer weekly specials that incorporate seasonal ingredients which compliment new offerings of coastal cuisine in interesting ways.” The menu includes Mexican staples with a gourmet twist, such as tostadas topped with grilled octopus al pastor, and scallops Veracruzana served with cauliflower flan. There are ample South American influences, like a Peruvian-style cebiche accompanied by corn nuts and yucca chips, or a Bolivian potato soup enhanced with your choice of crab or oysters. The wine list is carefully selected to match the cuisine, and the cocktails are not to be missed — try the Alcomar margarita, made with Tequila reposado, damiana, grilled pineapple and fresh lime, rimmed with Bolivian pink salt. These creative offerings are matched by a serene, inviting space. The building was formerly occupied by an old Tex-Mex standby, but had fallen in disrepair. It came back to life with subtle maritime motifs that evoke the ocean side, such as a color palette in tones of blue and macramé window treatments. The horseshoeshaped bar is covered in colorful Mexican tile, and the tiny patio offers a shady spot to while away the afternoon with a cocktail and a snack. The transformation was a team effort between architect Juan Carlos de Leon, marketing director Bryan Gonzales and Rivero himself. “We wanted our guests to feel like they are taking a break in a little casual seaside place,” says Gonzales. “We have been respectful of this great Austin building, and hope to keep the tradition of it being a special restaurant for a long time.” v

MARISCOS EL BUCANERO 210.408.9297 | Elbucanerosa.com

But one can’t talk about seafood in San Antonio without including El Bucanero, the city’s foremost proponent of Mexicostyle seafood. The Cervantes family started serving traditional recipes from their home state of Sinaloa — the shrimp capital of Mexico — in a tiny shack on W.W. White Road. Today, loyal customers pack the two large locations in north San Antonio on a daily basis, thanks to their ample menu that includes unique takes on ceviche, seafood platters brimming with oysters and plump shrimp and a fiery shrimp aguachile that rivals that of any restaurant in Mazatlán. In the dining room the ambiance is festive and bright, with murals of sea creatures lining the walls and tables filled with families in lively conversation. We are most impressed with the Michelada Bucanera, a frosty goblet of the beer of your choice, seasoned with lime juice and spices, and rimmed with fresh poached shrimp and cucumber slices — a cocktail and appetizer in one. Take a sip, close your eyes and pretend to stick your toes in the sand. urbanhomemagazine.com

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FABULOUS n FINDS

DESTINATION: HISTORIC TEXAS THEATRES By JULIE CATALANO

MAJESTIC

EMPIRE

PARAMOUNT

BRAUNTEX

With today’s multi-screen megaplexes and gargantuan concert venues, it’s easy to forget a time when theatres were lovingly designed to be intimate, unique and often dazzling. Lucky for us these historic theatrical treasures survived and thrived — sometimes against almost impossible odds — continuing to entertain and delight audiences for generations to come.

MAJESTIC THEATRE, SAN ANTONIO 210.226.5700 | Majesticempire.com Photography by John Dyer

Few theatres in or outside of Texas are as aweinspiring as the Majestic, as evidenced by the oohs and aahs that emanate from first-timers who step into the ornate Mediterranean-style lobby. It’s a sneak peek of things to come as audiences stream into the 2,311 seating area, not knowing where to look first, although “up” is always a good place to start — the expansive vaulted blue “sky” features twinkling “stars” and 62

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moving “clouds.” The 1929 one-time vaudeville venue and movie palace remains one of the most stunning atmospheric theatres in the country, designed and built by John Eberson for Karl Hoblitzelle’s Interstate Theatres. It was also the first theatre is Texas to be fully air conditioned. Two major renovations in 1989 and 1996 ensured that this Mediterranean-style architectural treasure survived. It is on the National Register of Historic Places and is also a National Historic Landmark. Mike Rilley, general manager of the Majestic and Empire urbanhomemagazine.com

and I spilling over into a nearby drinking fountain, to a brilliant Dr. Seuss’s The Cat in the Hat, one of Rilley’s favorites. The Majestic’s Broadway in San Antonio series celebrates its 25th season this year, bringing smash hits and headliners to this one-ofa-kind venue. “It’s a testament to the city that this theatre was not knocked down,” says Rilley. “It makes what we do here so special.” CHARLINE MCCOMBS EMPIRE THEATRE, SAN ANTONIO 210.226.5700 Majesticempire.com Photography by John Dyer

theatres, says renovations continue regularly to keep the theatre consistently refreshed. “We replace probably 400 seat cushions a year, so every five years we essentially have all new seats.” The ornate theatre holds a surprising secret that no one would guess. “The first rule of the Majestic is, if it looks like wood, it’s plaster; if it looks like metal, it’s plaster; if it looks like plaster, it’s plaster.” It was cheaper, says Rilley, “to do molded casts and paint them than it was to carve wood.” Plaster, too, gets regular TLC from longtime painter/ craftsman John Coutu, who spends up to 20 days a month repairing and repainting the scratches and dents, matching the new to blend in with the old. “I think about what the original artists might have been thinking of when they did all of this. It’s awesome,” he says. More awesomeness awaits downstairs, where countless Broadway touring companies and entertainers of every stripe have left their mark on the maze of walls in whimsical, quirky and occasionally superb artwork — everything from a spoton trompe l’eoil of The PHOTO BY JULIE CATALANO Producers door, to The King urbanhomemagazine.com

When the Empire was built in 1913 it was the largest and most modern theatre in San Antonio. Designed by St. Louis architects Mauran, Russell & Crow, the theatre hosted vaudeville acts and movies in a grand and gilded setting. “Gold,” says Mike Rilley, general manager of the Empire and Majestic theatres, “is a huge element in the Empire. Gold leaf, gold paint, gold dust.” Metals were big back in the day; aluminum and gold leafing were inexpensive, along with powdered silver, bronze and copper. Then the floods came, and nine feet of water made a mess that was “fixed” by painting everything white. “Paint was the cleanup process of the 1920s,” says Rilley. The biggest challenge of the 1998 restoration was “undoing the decade of neglect when the theatre was closed.” A year later it was listed on the National Register of Historic Places. Today the lustrous, intimate and sophisticated Empire is home to diverse musical offerings, and also serves as support space for its neighbor, the Majestic (with whom it shares a common backstage wall) when megamusicals like Les Miserables, The Lion King, Phantom of the Opera and others come to town.

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PARAMOUNT THEATRE, AUSTIN

1915

512.472.5470 Austintheatre.org Photography courtesy of Austin Theatre Alliance

The Paramount is celebrating its 100th birthday and the block party promises to be a blockbuster. Opened in 1915, the Paramount is one of less than 25 theatres in existence designed by John Eberson (San Antonio’s Majestic is another one). The 1970s-80s saw much-needed restorations, enjoying a renaissance landing on the National Register of Historic Places in 1977. “It hasn’t had a real internal facelift since the early 1980s,” says Jim Ritts, CEO and executive director of the Austin Theatre Alliance, “so this is something we’re going to be working on in the years to come.” In the meantime, the main event at the September celebration will be the lighting of the new, completely reconstructed 50foot blade (vertical neon sign). “The original was taken down for repair in 1963 and never seen again,” says Ritts. With only black and white photographs, identifying the blade’s color palette was a challenge — until someone showed up with color footage of President Lyndon B. Johnson in a parade down Congress with the blade in the background. The 1,400-bulb neon wonder will be the ultimate symbol of the Paramount’s centennial. Says Ritts, “We’ve been thinking of it as the candle on our birthday cake.”

Deco-style theatre opened Christmas Day 1935 with the rom-com The Bride Comes Home starring Claudette Colbert and Fred MacMurray. A 1981 redo restored it to its period luster, and a $3.5 million renovation in 1998 resulted in new dressing rooms, rehearsal hall and lobby. In 2006, flooding caused by a city water main break closed the theatre until its reopening in 2011, which included bringing film back with complete digital capabilities. “The historic part of this theatre is the beautiful front facade and its neon blade,” says Jim Ritts, CEO and executive director of the Austin Theatre Alliance. The blade received a $100,000 rebuild three years ago after electrical problems frequently turned the sign into “The Stat Theatre.” Now in operation about 250 nights a year with various professional and community events, the theatre is home to the education and outreach program, hosting 20,000 young people at free or low-cost shows. BRAUNTEX PERFORMING ARTS THEATRE, NEW BRAUNFELS 830.627.0808 | Brauntex.org Photography courtesy of Brauntex Performing Arts Theatre Association, Inc.

In January 1942, movies everywhere were providing an escape from the worries of war, and the brand new, state-of-the-art Brauntex movie theatre built in late Art Deco-style was no exception. Time took its toll on the once-grand theater, and by 1998 a diverse group of New Braunfels citizens banded together to save it. By 2000, more than $1 million in contributions poured in to enlarge the tiny movie theatre stage and restore the balcony on the cherished structure, listed in the National Register of Historic Places. Now celebrating its 15th anniversary season, the Brauntex sponsors about two dozen professional events a year, a mix of concerts and musicals in the 578-seat theatre. “We are constantly renovating,” says executive Jason Irle, adding that “the next big project will turn the entire backstage wall into a hi-definition $1 million 4-mm pixel screen so that we’re able to do interactive backdrops and scenery.” There are also plans for a catwalk, along with bringing back films in a “new theatrical movie experience.” A capital campaign is in the works, with the goal of increased collaboration with rural arts groups. “Between now and 2020 we’re hoping to have a new generation of the Brauntex unleashed not just on New Braunfels but on Central Texas arts.” v

STATE THEATRE, AUSTIN 512.472.5470 | Austintheatre.org Photography courtesy of Austin Theatre Alliance

The State Theatre is one of Austin’s original movie houses and the first to be built specifically for that purpose. The Art 64

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