PaperCity Magazine

September 2014 - Houston

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SEPTEMBER | PAGE 71 | 2014 Interlocking spaces seen in the kitchen. Saarinen rosewood dining table from Knoll. Eames molded plywood dining chairs from Herman Miller. Vincent Valdez's The Strangest Fruit, 2014, part of a suite of five drawings, from David Shelton Gallery. Perforated corrugated siding at the front dogtrot. Seletti Hybrid coffee cup and saucer from Kuhl-Linscomb. In the kitchen, concealed steel framing on the first floor allows for large areas of north-facing windows with a view of the side garden. Leicht kitchen cabinets from Arete European Kitchens. Kelly O'Connor sculpture Small World (Endless Column), 2014, from David Shelton Gallery. The exterior cladding is Snow White corrugated metal siding by MBCI. In some areas, perforated-metal panels were made to match. Western red cedar from Clark's Hardwood Lumber Co. was used in the breezeways. Outdoor Rapson rockers by Loll Designs and antique concrete flamingo, all from Kuhl-Linscomb. elevations. (The one seemingly arbitrary design move — raising the floor at the living room a few steps up — was done to enhance this spatial richness and counter what the architects describe as the "bowling alley" effect of the long, narrow house.) The exterior of the house continues the perforated theme. Most of the corrugated metal cladding at the western street-facing elevation was perforated, at some expense and ingenuity, to shade and screen the entryway and front-facing windows but still allow views out. To achieve this, the architects found perforated flat metal panels that they then had corrugated to match those in the rest of the house. In addition to referencing southern vernacular, the Perforated House also stylistically invokes Houston's local regional modern architecture, known as the tin houses. Beginning in the late 1960s, modern architects in Houston appropriated corrugated metal, first seen on prefabricated warehouse buildings erected in marginal inner-city neighborhoods, for art-exhibition buildings and artists' houses. By the 1990s, the movement had coalesced in the West End and gained national attention. In the 2000s, a third generation of younger architects (including LOJO) joined the fray and began designing

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