PaperCity Magazine

PaperCity Houston March 2022

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Page 41 of 163

G reat design has the power to engage, inspire, intoxicate, and sometimes simply provide an escape. In our first annual portfolio, we celebrate 100 Design Icons of Texas — people, places, architecture, and objects that are emblematic of the state's design lexicon. From John Staub to Charles Dilbeck, Ellsworth Kelly's installation Austin at the Blanton Museum of Art to the movie Giant, the sweeping survey took countless hours to compile as we pored through hundreds of possibilities, helped along the way with guidance from colleagues in the design world. Catherine D. Anspon, Billy Fong, Shelby Hodge, Holly Moore, Rebecca Sherman THE ALAMO, San Antonio (1718): Long before it was a fortress, it was a religious outpost of the Spanish empire named Mission San Antonio de Valero. After it was converted to an armory, the 1836 Battle of the Alamo cemented this structure into the hearts of Texans — a symbol of independence. AMON-CARTER MUSEUM OF AMERICAN ART, Fort Worth (1961): The institution was designed (and twice renovated and expanded) by Philip Johnson and is the third museum, highest on the hill, to comprise Fort Worth's Cultural District. Established through the generosity of Amon G. Carter Sr. to house his collection of paintings and sculpture by Frederic Remington and Charles M. Russell. ARK PANELS AT TEMPLE EMANU- EL, Dallas (1956): Bauhaus-trained textile designer Anni Albers, wife of artist Josef Albers, created eight 20- foot tall ark coverings for Temple Emanu-El that slide open to reveal Torah scrolls. The panels' green, blue, and gold color scheme is taken from the sanctuary's stained-glass House of the Century designed in 1972 by Ant Farm, resides in Angleton, TX, page 46. 40

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