A Field Guide to Architecture

Austin, TX

A Field Guide to Architecture

A Field Guide to Architecture

Austin, TX

Caitlyn Cotter

Styles of Architecture 8- Revival

10- Modern

Buildings 12- Paramount Theater

16- Driskill Hotel

20- Norwood Tower

24- The Capitol

28- 816 Congress

32-Arthouse

36- Austin City Hall

40- United States Courthouse

44- 360 Condominiums

48- One American Center

52- Frost Bank Tower

56- The Austonian

SourcesColophon

98

Styles of ArchitectureClassic Revival

Romanesque Revival

Gothic Revival

Renaissance Revival

Neoclassical architecture is an architectural style produced by the neoclassical

movement that began in the mid-18th century, manifested both in its details as a

reaction against the Rococo style of naturalistic ornament, and in its architectural

formulas as an outgrowth of some classicizing features of Late Baroque. In its

purest form it is a style principally derived from the architecture of Classical Greece

and Rome and the architecture of the Italian architect Andrea Palladio. In form,

Neoclassical architecture emphasizes the wall rather than chiaroscuro and maintains

separate identities to each of its parts.

Romanesque Revival is a style of building employed beginning in the mid-19th

centuryinspired by the 11th and 12th century Romanesque architecture. Unlike

the historic Romanesque style, however, Romanesque Revival buildings tended

to feature more simplified arches and windows than their historic counterparts.

Popular features of these revival buildings are round arches, semi-circular arches on

windows, and belt courses.

The Gothic Revival is an architectural movement that began in the late 1740s in

England. Its popularity grew rapidly in the early 19th century, when increasingly

serious and learned admirers of neo-Gothic styles sought to revive medieval

Gothic architecture, in contrast to the neoclassical styles prevalent at the time. The

Gothic style dictated the use of structural members in compression, leading to tall,

buttressed buildings with interior columns of load-bearing masonry and tall, narrow

windows. But, by the start of the 20th century, technological developments such

as the steel frame, the incandescent light bulb and the elevator led many to see

this style of architecture as obsolete. Steel framing supplanted the non-ornamental

functions of rib vaults and flying buttresses, providing wider open interiors with

fewer columns interrupting the view.

Renaissance Revival is an all-encompassing designation that covers many 19th

century architectural revival styles which were neither Grecian nor Gothic but which

instead drew inspiration from a wide range of classicizing Italian modes. Under the

broad designation “Renaissance architecture” nineteenth-century architects and

critics went beyond the architectural style which began in Florence and central Italy

in the early 15th century as an expression of Humanism; they also included styles

we would identify as Mannerist or Baroque. Self-applied style designations were rife

in the mid- and later nineteenth century: “Neo-Renaissance” might be applied by

contemporaries to structures that others called “Italianate”, or when many French

Baroque features are present (Second Empire).

1110

Modern

Postmodern

Deconstructivism

Formalism

Modern architecture is generally characterized by simplification of form and an

absence of applied decoration. It is a term applied to an overarching movement,

with its exact definition and scope varying widely. In a broader sense, early modern

architecture began at the turn of the 20th century with efforts to reconcile the

principles underlying architectural design with rapid technological advancement

and the modernization of society. It would take the form of numerous movements,

schools of design, and architectural styles, some in tension with one another, and

often equally defying such classification.

The great 19th century architect of skyscrapers, Louis Sullivan, promoted an

overriding precept to architectural design: “Form follows function”.

While the notion that structural and aesthetic considerations should be entirely

subject to functionality was met with both popularity and skepticism, it had the

effect of introducing the concept of “function” in place of Vitruvius’ “utility”.

“Function” came to be seen as encompassing all criteria of the use, perception and

enjoyment of a building, not only practical but also aesthetic, psychological and

cultural. To restrict the meaning of (architectural) formalism to art for art’s sake is

not only reactionary; it can also be a purposeless quest for perfection or originality

which degrades form into a mere instrumentality”.

Deconstructivism is a development of postmodern architecture that began in

the late 1980s. It is influenced by the theory of “Deconstruction”, which is a

form of semiotic analysis. It is characterized by fragmentation, an interest in

manipulating a structure’s surface or skin, non-rectilinear shapes which appear to

distort and dislocate elements of architecture, such as structure and envelope.

The finished visual appearance of buildings that exhibit deconstructivist styles

is characterized by unpredictability and controlled chaos. There are additional

references in deconstructivism to 20th-century movements: the modernism/

postmodernism interplay, expressionism, cubism, minimalism and contemporary

art. Deconstructivism attempts to move away from the supposedly constricting

‘rules’ of modernism such as “form follows function,” “purity of form,” and “truth to

materials.”Postmodern architecture began as an international style the first examples of which

are generally cited as being from the 1950s, but did not become a movement until

the late 1970s and continues to influence present-day architecture. Postmodernity

in architecture is said to be heralded by the return of “wit, ornament and reference”

to architecture in response to the formalism of the International Style of modernism.

As with many cultural movements, some of Postmodernism’s most pronounced

and visible ideas can be seen in architecture. The functional and formalized shapes

and spaces of the modernist style are replaced by diverse aesthetics: styles collide,

form is adopted for its own sake, and new ways of viewing familiar styles and

space abound. Perhaps most obviously, architects rediscovered the expressive

and symbolic value of architectural elements and forms that had evolved through

centuries of building which had been abandoned by the modern style.

1312

1514

sculptural bas relief detailing

emphasis of planar qualities

isolated elements

Paramount Theater

713 Congress Ave

Architect: John Eberson

Style: Classical Revival

Height: 63’

Date Opened: 1915

www.austintheatre.org

The Paramount Theatre has stood on Congress

Avenue in the heart of downtown Austin for nearly 100

years. The site of the Paramount Theatre was once

home to Sam Houston’s office and the War Depart-

ment of the Republic of Texas and later the Avenue

Hotel. As Austin’s oldest surviving theatre built in 1915,

the Paramount has a long history of entertaining Cen-

tral Texas audiences.

Originally conceived as a Vaudeville and

variety house, it continues to bring a wide array of

programming to its stage. The Paramount presents

comedy, drama, music, dance, spoken word, children’s

programming and films to more than 200,000 Central

Texans each year. More than 10,000 of those are chil-

dren who gain admission for free or at greatly reduced

prices because of our youth outreach programs.

The Paramount holds special historical significance as a

City of Austin Landmark and State Landmark. It is also

listed on the National Register of Historic Places and is

one of the few remaining ‘hemp houses,’ using ropes

and sandbags, left in America.

The Paramount Theatre plays a significant role

in the many communities that make Austin unique.

It is home to Austin’s red carpet film premieres and

is part of the SXSW and the Austin Film Festival. It is

a vibrant player in the Austin music scene, hosting

release parties, booking local talent and presenting

touring acts. And through its own quality programming

and by serving as a venue for area arts organizations,

the Paramount serves as the anchor for the Austin arts

community.

1716

1918

round arches

belt courses

semi-circles over windows

Driskill Hotel

604 Brazos

Architect: Jasper N. Preston and Son

Style: Romanesque Revival

Cost: $400,000

Date Opened: 1886

www.driskillhotel.com

Built in 1886 as the showplace of cattle baron

Jesse Driskill, The Driskill Hotel remains a legendary

landmark in Texas hospitality. As a member of The

Historic Hotels of America and Associated Luxury

Hotels International, The Driskill offers an elite level

of luxury accommodations and services, as one the

world’s finest hotels.

Located in downtown Austin, the iconic

and historic hotel is convenient to the best of

Austin - including the Texas State Capitol, the Austin

Convention Center, Lady Bird Lake, The Long Center

for the Arts, Austin City Limits at the Moody Theater,

opera, symphony, casual and fine dining, shopping,

and Austin’s world famous 6th Street music scene.

Known as the Live Music Capital of the World®, Austin

is home to almost 200 music venues, many within

walking distance of The Driskill.

The Driskill Grill, established in 1929, has

received numerous awards and accolades through

the years, and is legendary for incredible service

and inventive cuisine. Recently, the Grill has been

included in Zagat’s Top 25 Hotel Restaurants, secured

the coveted Foder’s Choice Award and received

OpenTable’s Diners’ Choice Award. Wine Spectator,

America’s leading wine publication, has honored The

Driskill Grill with their “Best of...” Award of Excellence

given to restaurants whose wine lists offer a uinique

selection of “quality producers, along with a thematic

match to the menu in both price and style.”

2120

2322

rose window

finials

Norwood Tower

114 West 7th

Architectural Firm: Giescke and Harris

Style: Gothic Revival

Height: 189’

Date Opened: 1929

www.norwoodtower.com

Hailed as the most dazzling building in Austin

since its 1929 debut, the Norwood Tower resembles

a classic fairy-tale castle. The dramatic façade of this

elegant Gothic Revival office tower stuns the viewer

with its eclectic confection of finials, gargoyles and

ornate tracery full of romance, mystique and nostalgia.

The lobby entry is adorned with travertine

marble wainscoting and columns with marble capitals

and bases resting on polished Texas limestone

flooring. Its ornamental plaster ceiling is adorned with

gold leaf medallions.

The building’s owners, members of President

Lyndon Johnson’s family, have deep roots in Austin and

many ties to the Norwood Tower. Johnson’s daughter

and her husband have chosen to make their home in

the building’s penthouse, affirming their commitment

to downtown revitalization, urban living, and the

building’s rich, historic significance.

2524

2726

large round arches

arcade

The Capitol

Congress Ave and 11th St

Architect: Elijah E. Meyers

Style: Renaissance Revival

Area: 51.4 Acres

Built: 1885

http://www.tspb.state.tx.us/

The Texas Capitol is an extraordinary example

of late 19th century public architecture and is widely

recognized as one of the nation’s most distinguished

state capitols. It was placed on the National Register of

Historic Places in 1970 and designated a National His-

toric Landmark in 1986 for its “significant contribution

to American history.”

Sited on one of Austin’s highest points, the

Capitol anchors the northern periphery of the down-

town commercial district and commands a sweeping

view towards the Colorado River from its southern

façade. The main campus of The University of Texas at

Austin is situated four blocks to the north. Wonderful

views of the Capitol’s dome from many vantage points

throughout the Austin area are protected from obscu-

ration by state law.

Completed in 1888 as the winning design from

a national competition, the Capitol’s style is Renais-

sance Revival, based on the architecture of 15th-cen-

tury Italy and characterized by classical orders, round

arches and symmetrical composition. The structural

exterior walls are “sunset red” granite, quarried just

50 miles from the site. Additional structural support is

provided by masonry walls and cast iron columns and

beams. The foundation is limestone. Texas paid for

the construction not in dollars, but in land: some three

million acres in the Texas Panhandle that would later

become the famous XIT Ranch.

2928

3130

visual expression of structure

industrial materials

horizontal/vertical emphasis

816 Congress

816 Congress Ave

Architect: Holt, Fatter, Scott

Style: Modernist

Height: 242’

Date Opened: 1984

http://www.816congress.info

816 Congress is a twenty-story, 433,024 square

foot office property that features a native granite

exterior and a plaza entrance that leads to rich lobby

finishes of granite, limestone and marble. 816 Con-

gress offers tenants stunning Capitol and hill country

views. Located just south of the Texas State Capitol

at Congress Avenue and 9th Street, 816 Congress is

within walking distance of a multitude of popular des-

tination amenities including upscale dining establish-

ments, world class historic, four-star hotels, museums,

art galleries, theaters and the lively Sixth Street and

Warehouse entertainment district.

3332

3534

Arthouse

700 Congress Ave

Architect: Lewis. Tsurumaki. Lewis.

Style: Deconstructivist

Construction Costs: $4.4 million

Date Opened: 2010

www.amoa-arthouse.org

The new AMOA-Arthouse is an expansion

of the existing contemporary art space, reworked to

maintain many of the original architectural qualities

of the building as it has evolved over the past 100

years. The new design employs inventive elements

that combine function with aesthetics, and features

tactical additions that intensify the building’s layered

history. The new design is a vital urban presence for

contemporary architecture and art in the heart of

downtown Austin.

The usable space of the building is expanded

from 7,000 to 20,830 square feet as the previously

inaccessible 2nd floor now boasts a large column-

free gallery and features a mobile suspended 57 feet

long by 13 feet high wall. In addition, the building

is reconfigured to house an entry lounge, first floor

galleries, a dedicated video/film gallery, a 90-seat

community/screening room, two studios, a public

mezzanine lounge and a rooftop event space. The

glass-lined entry lobby opens the building up to the

street, allowing views from the sidewalk far into the

building. A sculptural plaster awning, referencing

the former department store, intensifies the public

presence and openness of the building. The exterior

skin of the building is perforated with 177 custom

laminated glass units 4 inches wide by 16 inches

high, which are clustered to selectively allow light

into the building. Illuminated by LED lights at night,

the blocks animate the public faces of the building.

The original Queen Theater’s large stucco murals are

exposed as are the original wooden ceiling and steel

trusses. Throughout the building, historical features

and contemporary additions are creatively intertwined.

Playful and grand, the central stair provides spatial and

visual connections to the second floor gallery. non-rectangular shapes

fragmentation

ornamentation

3736

3938

non-rectangular shapes

fragmentation

unpredictability/chaos

Austin City Hall

301 West 2nd

Architect: Cotera, Kolar, Negrete, and Reed

Style: Deconstructivism

Height: 67’

Date Opened: 2004

www.austintexas.gov/government/city-hall

www.predock.com/Austin/Austin.html

Antoine Predock, in association with Cotera,

Kolar, Negrete, and Reed, designed the building not

as a “suit-and-tie” city hall, but rather as a reflection

of the warm informality that characterizes Austin. This

is embodied in part by the way the structure angles

away from adjacent streets, standing in contrast to the

formality of the surrounding grid. These inflections

from the urban perimeter also create several mini-pla-

zas around the building, further encouraging informal

gatherings, and they also allow oblique views toward

Lady Bird Lake from inside the building.

Landscape dominates the project. A massive

arc of Lueders limestone, emerging from bedrock at

the lowest level of the parking garage, anchors the

project to the site. Metamorphosing out of this wall is

a limestone base that encloses the first two stories. A

scrim-like copper skin, resting on the limestone base

and capped with a folded copper roof, encloses the

upper levels. As the arcing wall cuts through the build-

ing it creates an open four-story lobby transected by

catwalk-like bridges at each level. A reflective copper

ceiling over the lobby reflects light from a skylight into

the space below.

On the exterior, limestone, copper, glass,

water and shade come together to create the city’s

“living room.” Terraces spill out of the building into the

plaza in the same way the geologic forces in Austin’s

hill country produce the limestone overhangs known as

balcones. These terraces, shaded with trees are prime

locations for viewing the activities on the plaza below

and Lady Bird Lake beyond.

4140

4342

United States Courthouse

5th & San Antonio

Architect: Mack Scogin Merrill Elam Architects

Style: Formalist

Size: 223,000 s.f.

Date Opened: 2012

msmearch.com/type/government-and-civic/united-states-courthouse-austin-texas

Located in downtown Austin, the new

courthouse occupies a full city block directly west of

Republic Square Park. The square configuration of the

site sponsors a highly compact, cubic building form.

The stability of the form exemplifies the strength,

coherence, and dignity of the judicial system. Floor

plates approach a square configuration. A plinth forms

a base holding the sidewalk-edge, providing anti-ram

protection and addressing the scale of the park.

Level four marks the beginning of a rotated

and interlocking courtroom distribution scheme. All

floor to floor heights at the courtroom levels meet the

ceiling height requirement for offices and chambers,

with courtrooms attaining their required ceiling

heights by penetrating the floor directly above. Like

courtrooms are stacked affecting a rationally organized

structural system and an efficient area to volume ratio.

On each courts level, one district and one magistrate

courtroom share a public space.

The scheme demands a diagonal exchange of

public space that takes advantage, like the courtrooms,

of the double-height space. All courtrooms, jury

deliberation rooms, chambers, public spaces and

witness / attorney conference rooms are located at

exterior surfaces where natural light is available.

function is key

aesthetic, yet clearly organized

4544

4746

mish mash of forms

ornamentation

360 Condominiums

360 Nueces

Architect: Preston Partnership, LLC

Style: Postmodern

Height: 562.76’

Date Opened: 2008

www.360condominiums.com

The 360 Condominiums are comprised of 430

condos built above 14,300 square feet of ground floor

retail. It is conveniently situated along Shoal Creek,

on the western end of downtown Austin; and offers

restaurants, clubs, and outdoor activities such as the

Hike and Bike Trails, Lady Bird Lake, the Second Street

retail district, Republic Square Park, the Warehouse

District, and the Market District, all within easy walking

distance. This 44 story residential skyscraper towers

nearly 563 feet, making it the second tallest building

in Austin and the second tallest residential skyscraper

in Texas. Offering a myriad of floor plans, units can be

purchased or leased through a real estate professional.

4948

5150

pluralism

expansion of Modernism

One American Center

600 Congress

Architect: Morris-Aubry

Style: Postmodern

Height: 397’

Date Opened: 1984

www.oneamericancenter.info

Situated in the heart of Austin’s thriving Central

Business District, at the intersection of Sixth Street and

Congress Avenue, One American Center is surrounded

by Austin’s finest hotels, dining and shopping

establishments, and is walking distance from the

Capitol and Federal Courthouse. The distinctive three-

tier tower contributes to its prominence on the Austin

skyline and the dramatic five-story atrium features

granite stairways to the mezzanine levels, rose and

brown granite flooring, sculptured limestone paneling,

and granite columns. On-site amenities including a

full-service bank, ATM, coffee shop, juice bar, florist,

document service, deli, and overnight courier drop

box. One American Center’s central location provides

easy access to Interstate 35 and Mopac Expressway.

5352

5554

conceptual characteristics

ornamentation

Frost Bank Tower

401 Congress

Architect: Duda/Paine Architects, LLP

Style: Postmodern

Height: 515’

Date Opened: 2004

www.tpgre.com/properties/Frost_Bank_Tower.htm

As the premier building in Austin, Frost Bank

Tower is the focal point of the city with its unique

architectural design. Built in 2003, the signature

33-story Trophy tower features 535,078 square feet

of premier office space in the heart of the Central

Business District on the corner of Congress Avenue

and Fourth Street, just blocks from the State Capitol.

On-site amenities include conference facilities,

dry-cleaner, full-service bank, ATM, deli/carry-out

restaurants, coffee shop, overnight courier drop box,

and a fitness center. In addition, the property features

an 11-level parking garage with more than 1,400

parking spaces. Frost Bank Tower is easily accessible to

and from Mopac Expressway and Interstate 35.

5756

5958

verticality

sculptural forms

The Austonian

200 Congress

Architect: Ziegler Cooper Architects

Style: Postmodern

Height: 683’

Date Opened: 2010

www.theaustonian.com

The Austonian is proud to participate in

the Austin Energy Green Building Program with

environmentally sensitive and friendly materials and

resources, indoor air quality monitoring, water and

energy conservation, and more. The building’s high-

rise configuration provides an overall reduced impact

on land, energy and other resources compared to

scores of typical suburban homes. By putting life within

walking distance, owners of The Austonian have much

less need to drive, reducing pollution and congestion.

The Austonian has achieved a four-star rating

designation through the Austin Energy Green Building

Rating System. This rating is approximate to the LEED

Gold Rating from the USGBC.

The Austonian residences have been designed

to maximize outdoor views. Specially coated and

insulated glass provides year-round energy savings

and comfort by helping manage the sun’s energy and

maximizing HVAC efficiency. All adhesives, sealants,

paints and coatings used throughout public and

private spaces adhere to the strict VOC requirements

designed by the LEED’s Green Building Rating System.

These low-emitting materials achieve energy savings

through reduced ventilation requirements and improve

indoor air quality and all come from sustainable

sources. The Austonian’s roofing system combines

reflective materials and other green features to

minimize the building’s contribution to Austin’s urban

heat island effect.

6160

http://en.wikipedia.org/wiki/Classical_Revival_architecture

http://en.wikipedia.org/wiki/Romanesque_Revival_architecture

http://en.wikipedia.org/wiki/Gothic_Revival_architecture#Details_of_Gothic_revival_architectural_elements

http://en.wikipedia.org/wiki/Renaissance_Revival_architecture

http://en.wikipedia.org/wiki/Modern_architecture

http://en.wikipedia.org/wiki/Postmodern_architecture

http://en.wikipedia.org/wiki/Deconstructivism

http://en.wikipedia.org/wiki/Architecture#Modernism_and_reaction

6362

CreatedIn March 2013

For Junior StuidoTaught by Natalie Davis

At St. Edward’s University