Introducing New Colections Home Interior Design

Now, granted, we don't have any buildings that one can literally rent or buy that someone built before the advent of Monotheism. And one would be hard pressed to even find a building constructed before the 1900's over here. Be that as it may, we are slowly gaining an appreciation for our own history, so long as it doesn't get in the way of gigantic sports stadiums, theme parks, car dealerships, parking lots, or anyone with a large enough wad of cash to make us forget that maybe there was a reason for that quaint old place to stay there.

The Arlignton Historical Society seeks to preserve what few historic landmarks remain in "The Heart of Arlington," and our duty for this assignment was to help them present a case for preserving certain structures. I chose "The Old Mayor's House" on 814 E. Abram Street. I also had no idea what I was in for. For one thing, aside from this article that you are reading right now, you won't find a single reference to it on the web except for a tiny blurb on a scanned in 1-liner next to a single current-day photo, from a pamplet advertising to tour historic Arlington. Go ahead and look, this article will be here when you come back...

...

...Done looking? I couldn't even find a reference to the current owner. I tried contacting the Historical Society and received no answer. So far the only information I had been able to find out was from that one liner blurb on the pamplet.

On a hunch, my professor gave me the name and number of a very kind woman named Geraldine who was able to give me the current owner's name (Xavier Carrillo) and the greenlight to visit the site. Meanwhile, I visited the University of Texas at Arlington Special Collections archives to see if I could find anything at all about the building. My search turned up absolutely nothing. I found one photo of the 800 block of East Abrams, but it was taken between 1910-1915, and according to the pamplet, the house was built in 1928, and the archives were closing for the evening.

The next morning, I visited the site to find it was currently a Tax Specialist office.

So, I headed along to the side of the office to get a better look.



It is a beautiful house, well restored Tudor-Revival House with what appears to be Mid-Atlantic Tan brickwork and stained-glass windows. The place has a very loved, well-manicured look about it. I head to the front and find it closed. Then I realize the driveway actually leads to a parking lot in back. Perhaps that would be where I need to park and enter through the back. No such luck, it's closed and locked too.

Geraldine had greenlit my taking photos of the house, but I wanted to be extra careful not to offend anyone, so I called the non-emergency line for the Arlington Police Department, and informed them of what I was doing. For any students of architecture, history, photography, etc. Whenever you have to study a site, it's always a very good idea to let the police know exactly what you are doing, why, for how long, what you are wearing, and so forth. Otherwise, at best you might merely be stopped by the police and inconvenienced for half an hour while they figure out if your story is legit. At worst, you might get shot for trespassing by a panicked owner. My conscience clear, I stepped out of the car and got as many exterior photos as I could.

The front photos aside, one thing I noticed is the house is now ADA Compliant. Complete with a handicapped parking spot, a ramp. The house also now has a fire escape as a method of egress. Both would be required for a business, technically, but doing so is always difficult because one ultimately risks damage to the historic nature of the house, the look and spirit of the place can become ruined. I think in this case, they did quite a good job. The ramp access is in back, so that the front of the house is preserved, and yet it gives easy access and parking. I noticed on the side opposite the driveway was a very picturesque garden, and had to take a closer look.

Wow. Makes me wish I had one of these. What looks like a roof is actually a portico with a trellis, and a thick layer of foliage along the top. The flagstone, arches, greenery, and shade makes a great refuge from the heat and noise of the house's unfortunate surrounding context of auto shops, convenience stores, and fast food chains.

I took another couple of pictures when sure enough, someone approached me to see what I was about. I explained my situation as honestly as possible and it turned out she was the property manager, had access to the interior, and would be happy to show me around the place. She even knew of a few old photos of the place and a few articles. I had struck archival gold!

The first thing she showed me was a couple of photos of the place before it had been bought and restored by Mr. Carrillo.


As you might be able to tell, the two front corners of the house had been cut out and replaced with large plate glass display windows. That's because it had been a dress shop before it had been purchased by Mr. Carrillo. It also had no central heating and air conditioning. It had no driveway, no parking lot in back, and the whole house itself, though handsome, was in a considerable state of disrepair. But Xavier Carrillo had seen promise in the place, and sought to restore its original beauty. He did a great job. In fact, he did so well, they gave him an award.

The property was acquired by Xavier Carrillo in 1993, who renovated it over 9 months, and won the top honor "Excellence Award" in urban design in 1994 for revitalization of a city landmark. Here's a partial list of what he did:

• Original slate roof was restored, though in 2006 had to be replaced with a standard composite roof due to prohibitive cost.
• Plate glass window on northwest corner was replaced with brick.
• Plate glass window on southwest corner replaced by arched window to match the rest of the house’s theme.
• Back porch portico converted into interior space with large arched windows.
• House completely rewired.
• Brick was cleaned.
• Central A/C and Heating installed.
• ADA ramp installed.
• Arbor, curbs, sidewalks, and a drive for rear parking were all installed.

The property manager also showed me a few photos and articles of other houses restored by Mr. Carrillo, which looked great. He apparently restores historic landmarks as a personal hobby, and one at which I must say he's become quite proficient. I asked if they had any older photos or information on the house, at which point the Property Manager directed me to this painting.

What you are looking at now is a painting of the house as it would have looked prior to the crude re-purposing the dress shop had inflicted on the property (~1950's). As you can see, there is a significant difference in the look of the place. The artist is a miss Gretchen Schwab, who painted this in 1996 as a gift for Mr. Carrillo. The east (left) part of the house is shown as an open porch with an arched portico which has since been converted into internal space with arched windows and an external portico added. And, of course, no tacky plate glass display windows.

As previously mentioned, Carrillo internalized the arched portico space, converting it into a great connecting rear foyer. The room is beautifully decorated and the brickwork matches the rest of the house perfectly. The third photo you see used to be the back door leading to the portico.

This is the other side of that door. We are now in the signing room, what would at one time have been the formal dining room. It is, likewise, beautifully done.

The fireplace is gas. I never did get a final answer on whether or not the actual framework of it is original or not.

The dining room sports a simple, but elegantly vaulted ceiling...

...with the original chandelier, which I later found out was designed by the home's architect.

The stained glass windows are all original, as are the arched doorways. I'm not certain whether or not the doors themselves are, however. When I was attempting to get a better shot of the front door, I saw this:

When I asked about it, the PM told me it used to be a phone booth, and that Mr. Carrillo had decided to leave it like it was. As it turns out, this was an incredibly wise decision. When I returned to the UTA Special Collections Archives later that day, I decided to change my tactic, and search for things relating to "The Old Mayor" rather than the house. Barney C. Barnes was mayor from 1947 to 1951, and is the person the house got it's nickname from. By odd coincidence, he was also instrumental in getting UTA up and running, though it wasn't called UTA at the time. Perhaps one of those photos, articles, or books somewhere would have something about the house.

I should take a moment to mention that searching through Special Collections archives is a painfully slow task. In an age where high-speed wireless internet access and streaming video of nearly everything in the world is available on most modern cell phones, the archives are like a black hole of knowledge which never escapes to the digital world. Hardcopies are actually stored according to how many linear feet they take up. Checking out even one single item requires first thumbing through literal pages upon pages of finding-aids, guessing at what box might have something about what you're looking for, filling out a form, waiting for it to be processed, the box to be looked up, carted out, gloves worn to manually examine the contents one at a time. The vast, vast majority of the time you will not find what you are looking for, and will have to start the process all over again.

Assuming you do find a photo, article, or anything else that you would like, you will need to fill out two additional forms, wait for them to be processed. The item you wish to have copied will need to be returned internally to a special lab where you might see your copy in about half an hour if you are lucky enough to only need a xerox of an article or post card. If you actually need a scan of a photo, it will cost you six dollars per copy and a few days wait. These areas are also typically only open during normal business hours.

I don't say this to denigrate the UTA Special Collections by any means. They have their processes in place for very good reasons, and serve a vital purpose to researchers. What I wish to convey to the reader is that this type of research will not only seem alien to you if you've never done it before, but it is also not a quick process. Should you ever have a project that requires access to a Special Collections archive, expect it to take days to find even one relevent item.

Well, as it turns out, after three visits, there just happened to be a book (thus only a 30 minute wait for the reproduction) on historic politics in Arlington that had a photo of Mayor Barnes...

Recognize that phone booth? Now look closely at the phone. It's a rotary-dial phone, as opposed to a crank-switch. And why on Earth would someone have taken a photo of the mayor on the phone, at his house, while he obviously poses for the shot?

I found the answer about two hours later, thumbing through the Special Collections' randomly clipped and saved articles from the Fort Worth Star Telegram.

There's more to the article, but there's the important part. Or most of the important part. It turns out that, for at least a brief time, thanks to a deal brokered by B. C. Barnes, Arlington had the most advanced phone system on Earth, and that the very first use of that new phone system was at none other than the Mayor's house, at 814 E. Abram St. So, the age of the building aside (over 80 years old), there is reason number two for its preservation: an historically significant event, and photo documentation to prove it. Reason number three came after I'd finally gotten in contact with Mr. Carrillo, who, in addition to answering some questions about the house, had remembered that it had been built by a Mr. Hutsell. A bit more investigation finally gave me the name of the architect, Clifford D. Hutsell.

Clifford D. Hutsell was a rather prolific architect in the Dallas area. After a trip to California in 1929, he was an architect specializing in Spanish Colonial revival style. His flamboyant style typically incorporated multi-colored ceramic tile, wide-arched stained glass windows, balcony porches, exterior stairs, and several houses of his together in a row would seem to fit together like a jigsaw puzzle. He is credited as the primary architectural influence in the Lakewood County Club District as well as Highland Park--two of the most exclusive neighborhoods in Dallas. However, before he left for California, he was not an architect, but merely a Grapevine-born city planner who had tried his hand at designing two houses. One was at 1306 W. Abram St. The other was at 814 E. Abram St., designed for a certain cattle baron (Dave Martin) who had inherited a patch of land. The house was later sold to W. T. Waggoner (the richest man West of the Mississippi) who built Arlington’s 1st and only Horse Racing Track.

So, there are two more previously unknown reasons for its preservation. The architect was a native-born Texan (an extreme rarity for the time, as most of our architects came from "Damned Yankee States"), and was a major architectural influence on the area. The last reason is because of the figures of note who lived there, (Waggoner and Barnes). Thus, the case for preservation is made. I will be producing a CD with my powerpoint, findings, and original photos for myself, the UTA Special Collections, and Mr. Carrillo, should anyone need more information. This article was primarily about the journey. The powerpoint is far more succinct and chronological.

I'm still trying to decide if I like this house or not, but it seemed like a good practice to combine the curves, straight lines, and shadows that I've been practicing into one particular sketch. It did not come out as well as I'd hoped. In sketching it, I found the scene to be far more complicated to sketch than what I'd thought it would be.

I did rather poorly on the pool, and the arches on the right-side are laughable. My inner lines for the windows on the right are off as well. However, drawing without a ruler, compass, or any other tools, I am happy with how straight and evenly curved the structure turned out. I think the strongest part of the sketch is definitely in the left-hand side.

Our class took a field trip out to the Dallas Art's district and I got some incredible photos. I'll be sharing them as soon as I can edit them.

In the center of Southlake Town Square is the Town Hall, which also serves as a municipal courthouse, public library, Tarrant County commissioner's office, and more. To say the least, it is a large building that draws a lot of traffic.

The building itself is handsome, stately, and cuts a fine figure from the park plaza in front. Situated as the center of town square, this red brick structure stands above all the others surrounding it. The area in front of it is meant as a public gather space for the city during special events, and it does this to great effect. See yesterday's entry about the Town Square for more on that.

The front is a mixture of function and facade that blends tastefully. The large Ionic columns serve to support a rather large balcony, from which special proclamations and civic ceremonies may be officiated and overseen. Though it is difficult to tell from the photo, the City Hall is actually four stories, with the bottom story being about 3/4 below the ground-line, like one might see in Seattle.


Some of the more interesting external elements are seen in the corners. I especially like the dented corners, which soften the building's outline a bit while adding more dimension. The top of the indention is a nice counter to the crown of the facade, which in and of itself is a nice touch. The triangular pennant design adds just the right amount of Tex-Mex character to the building. The fake balcony, while attractive, always puzzles me wherever I encounter it. It would be only a minor increase in cost to make a small, functional balcony with a window-door behind it. The fake balcony, conversely, suffers more drawbacks than a real balcony in that it is a perfect haven for bird nests and flying debris like leaves, plastic bags, etc. Yet it provides no access to actually clean it out, like a balcony would. Some other form of decor, such as the Lone Star bas-relief on the other wall would require much less maintenance to keep clean. It seems like it'd make a lot more sense to replace the fake balcony with a real one or something else.

Immediately inside of the front door are symmetrical square-spiral staircases to the left and right of a very attractive, simple design, with plenty of natural light from the numerous windows.

I love this view. The grand ballroom-style foyer of the Town Hall is incredibly elegant, and reminds me of an a lot of an Arabic courtyard I saw in one of the books I've read. It would be only the work of minutes to replace the furnishings with tables, linens, and fancy chairs, and you have a room fit for a black-tie affair, or a wedding reception. I'm not sure if the city had this in mind when they approved the design, but considering most city and county courts and offices are closed on Saturdays, it seems like an ideal time to rent out the space for just such an event.

I would have liked to be able to do a more thorough spread on the building, like I did for Big Ol' Red, but unlike The Old Red Courthouse, this one is still very much in use for private city business. Would that my own city had that kind of money.

(All rights reserved 2009) The following photos are all my own work, but are free for non-commercial use so long as I am credited. Larger, uncropped, higher resolution images are available upon request. Please contact me if you have a desire to use them in any commercial work.

In part two of this week's main photo spread, we explore the interior of E. Fay Jone's "Marty Leonard Chapel" and witness the sublime beauty within. If you have not yet seen the exterior photos of the chapel, please see Part One of this spread by clicking here.

As one steps through the door of the Marty Leonard Chapel, there is an ever present aura of peace and light. The glass ceiling and crossbeams overhead illuminates the floor with a light grid all the way from the nave to the bema. The saltire "X" pattern is used to great effect in nearly every glassed area of the chapel, the exception being the slanted casings shown in yesterday's exterior footage. From within, at this angle, the slanted window casings give each side a complimentary column of half-chevrons made of light. The effect of the concentrated light is unmistakable: the focus should be upon those who walk up or down the aisle, and those who stand before it. Though the congregation is certainly not left in darkness, their presence is quietly muted from eyesight.

This is achieved through an extremely intricate pattern of crossing saltire beams in the vault. Rather than using arches, Jones has supported the weight of the ceiling through an incredible number of precisely placed triangles which from one angle appear organic and chaotic...

...and yet from another angle, snap into orderly patterns that mesmerize and crystallize. The subtext of finding order in chaos, of patterns in nature, and the sanctity of space.


As the crossing is approached, the transepts are beautifully realized, and yet remain far enough off to the side that they are hidden from view except for those actively looking at them. The power of the "light grid" on the floor is such that the eye wishes to look at the altar, not those sitting to the far left and right of it.

The corner of the transepts use a great deal of indirect lighting to counteract the contrasting darkness of being outside the nave. One way this is achieved without drawing attention to either side is by turning the corners into long windows with the slanted panes seen earlier. Then, a subtle brick column in front lends depth as well as a block against the direct light. The space also creates a quiet spot for an usher to wait comfortably, or perhaps for a congregant to unobtrusively move from the nave to the transept, blocked from view by both.

Past the crossing, upon the bema, looking forward towards the nave, the officiant is treated to nearly as beautiful a sight, with the slanted window casings creating full chevrons to either side just before the transepts begin. And if one looks upward from this angle...


...the most beautiful, illuminated view of the vault is seen. Again, the symbolism of the layout and position of the sun cannot be lost. From the congregation's point of view, the focus is on the officiant and the altar. From the officiant's point of view, the focus is on the heavens. It stands to reason that one who devotes their life to their god would have a better view of the heavenly demesne.


Much like Frank Lloyd Wright, E. Fay Jones designed every aspect of the building, down to the even the light fixtures. This theme for the light fixture remains consistent throughout most of the chapel, and is used to great effect as an object of beauty, light, and shadow.

To either side of the balcony is a pair of windows that carries another very thematic shape through the structure. On the house left, pictured above, is a tiny sound and lighting booth where tech crew can keep an eye on the house to catch their cues.

On the house right, the window helps to illuminate a stairwell leading up to the balcony.

The door frames leading to the balcony are a great counterpoint to the windows, while at the same time being vaguely recognizable as a religious shape, without being specific enough to decide what kind.

The view from the balcony is incredible, even more colorful than the view from the primary level.

Even the tiny stairwell leading up to the sound and lighting booth, is planned with great care to provide the utmost aesthetic quality, while at the same time providing ample light to see by.

From the sound and lighting booth, yet another perspective on the ceiling helps one to appreciate just how intricate a work of art it is.

The office on the lower level even has a desk and trash cans designed by Jones as a part of its furnishings.


The reception hall within is modest, unassuming, and elegant in its simplicity. Indirect lighting above gives a soft, relaxing light. To the left are three photos of the Thorncrown Chapel, also designed by E. Fay Jones.

Lastly, the exit leading to the ambulatory is well-shaded, designed such that the mind is focused, and given a sense of purpose before leaving the sanctuary within. All around, The Chapel is probably one of the most beautiful works of architecture in Fort Worth, Texas, and is made even more so for me in that my wife and I were married here three years ago. I would heartily recommend this site for any ceremony, for its beauty, convenience, and friendly staff.

If you have not yet seen the exterior photos of The Chapel, please see yesterday's blog entry for the first half of the photo session.

Special thanks to the staff at Marty Leonard Chapel for the tour, warm welcome, and tolerance of my countless photographs. Anyone wishing to know more about The Chapel can visit their website at http://www.martyleonardchapel.org