The 7 Most Fire Modern To Rustic Houses You’ll See In Marfa, Texas

The 7 Most Fire Modern To Rustic Houses You’ll See In Marfa, Texas

ARCHITECTURE  & INTERIOR DESIGN

The 7 Most Fire Houses In Marfa, Texas

When Donald Judd began his Marfa project in the early 1970s, he would never have predicted the near-mythic status it would end up achieving. The small town of 2,000 residents is 20 miles from the next town and nearly three hours from the nearest major airport, yet it features a contemporary art museum, the Chinati Foundation, and the highly instagrammable Prada Marfa, and attracts artists, celebrities, and urbanites looking for a simpler life—or the latest music festival—all year-round. Besides the austerely beautiful high-desert landscape, this creative enclave is also well known for is its minimalist interiors, architecture, and furniture. Last month, the Monacelli Press published Marfa Modern: Artistic Interiors of the West Texas High Desert, Helen Thompson’s look at 21 homes that illustrate the former water-stops sky, light, and unique sense of isolation. Here, a preview of seven of the homes featured inside.

The Coolest Pool

Trendsetting Austin hotelier Liz Lambert renovated Marfa’s 1950s-era Thunderbird Hotel into a boutique hotel, transformed a large plot of land into El Cosmico, a “nomadic hotel and campground”, and spiffed up an adobe bunkhouse that used to belong to her uncle for herself in the meantime. A water tank is a short jeep ride from the house—it’s her favorite spot for a quick swim and a breathtaking desert view.
Image of Marfa Texas Architecture
Image of SB SE Marfa Texas 115 735x900
Image of Marfa Texas Architecture1

“Trendsetting Austin hotelier Liz Lambert renovated Marfa’s 1950s-era Thunderbird Hotel into a boutique hotel.”

Image of Marfa Texas Architecture6

Pop Art in the Desert

Houston-based architectural designer Barbara Hill, a red-haired “Miss Texas, 1956”, prefers to remove decorative and architectural elements rather than add them. She spent a year and a half transforming this adobe building, which had been a private dance hall, grocery, and candy store in turn.
Image of Marfa Texas Architecture5
The house is located downtown and passersby, curious to see what’s beyond the wall, often peer over the top for a look. Their curiosity is rewarded by a view of a fire pit that anchors the front yard, which was created by Houston and Marfa-based metal artist George Sacaris. Marfa resident and landscape architect Jim Martinez designed the garden.
Image of Marfa Texas Architecture7
Hill used birth plywood on both the ceiling and the floor of her home, for visual continuity. White plaster walls add luminous glamour to the rough-and-ready décor. Deep-set windows throughout soften Marfa’s glaring midday light and suggest that the hefty structure is here to stay.
Image of Marfa Texas Architecture3
In another 864-square-foot adobe house in Marfa, Hill removed acoustical-tile ceiling in the two front rooms to reveal three additional feet above. Hill installed pink neon light behind the seven-foot-tall Warhol that presides over the dining table and its black and white Bertoia chairs. The bar cart in the kitchen is from Kuhl-Linscomb in Houston.
Image of Marfa Texas Architecture1

“Marfa, Texas Has Really Come Into Its Own As A Central Hub For A Flourishing Creative Art Scene.” – Asher Hardt

Earthy Meets Modern

Image of Marfa Texas Architecture8
King and Lisa Grossman purchased this century-old adobe building from Barbara Hill; she used it as a weekend retreat but it was once a lawyer’s office and later, a beauty parlor. Two delicate-looking steel rods stretch across both edges of the room’s width—these necessary structural elements are much stronger than they look and give the adobe lateral support. The hay bale coffee table is by The Art Guys, and a pair of Charles and Ray Eames sofas flank the table.
Image of Marfa Texas Architecture9
A long French work table, designed by Barbara Hill, now makes an inviting dining table. Blackened steel cabinets are a dramatic counterpoint to the luminous white plaster walls throughout.

2.0 Sliding Doors

Image of Marfa Texas Architecture 77

“The chairs at the dining table were made as part of a Works Progress Administration project in the 1930s,” says Helen. “The green hand-built chair belonged to Martinez’s great-grandmother.”

Image of SB SE Marfa Texas 170 900x763

The 80-degree angle floor plan of the home is a nod to Jim Martinez’s grandmother whose New Mexico home had the same east-facing floor plan.

Image of SB SE Marfa Texas 175 742x900

“The chairs at the dining table were made as part of a Works Progress Administration project in the 1930s,” says Helen. “The green hand-built chair belonged to Martinez’s great-grandmother.

Image of Marfa Texas Architecture992

Color That Pops

Image of Marfa Texas Architecture
When Houston interior designer Marlys Tokerud made the decision to purchase a 1904 adobe house in 1999, she planned to tear down the 550-square-foot pink stucco frame house also on the lot. But Tokerud soon realized she could renovate the little house to live in while she remodeled the main house and soon found oak flooring and a perfectly preserved longleaf pine ceiling that had been the underside of the original roof. A horse trough serves as a tub in the master bath, where vintage blue bottles line a concrete shelf lit by a slit window in the plaster walls.
Image of Marfa Texas Architecture 4
Image of Marfa Texas Architecture3894
In the main house, elements such as the 10-foot-high ceilings, 14-inch walls, and painted wood doors were kept intact. Longleaf pine floors were used elsewhere in the house. Not long after Tokerud and her partner, Rick Houser, finished renovating, however, another fire broke out in the kitchen. The repairs offered an opportunity for upgrades, such as plaster walls, discreetly recessed track lighting, and multiple coats of a glossy paint on the ceiling. Houser built a kitchen island out of half a bowling lane imported from El Paso and brought in industrial lighting form his Houston woodworking shop. In the living room, a Christian Liaigre chaise serves as an antidote to the circa 1904 house’s rustic underpinnings. Metal artist George Sacaris built the base for the pine dining table, which was formerly a Mexican door.

Gallery Living

Image of 2Marfa Texas Architecture04895
On the site of a former Volkswagen repair shop known as George’s Garage, Vilis Inde, a lawyer turned art collector and gallery owner, and his partner, Tom Jacobs, decided to build a gallery and residence. Pard Morrison’s fired-pigment-on-aluminum sculpture Schneewittchen, 2013, stands tall in a courtyard between the gallery side of the building and the residence. An orange chair by Donald Judd is just visible beyond, in the gallery. A grid pattern inlaid in the interior courtyard defines the space.
Image of Marfa Texas Architecture00129
Image of Marfa Texas Architecture9928
This is a house built for living, but also for art. The all-white residence and gallery are designed to help it recede in an unobtrusive way—both from the perspective of the viewer in the street as well as from a visitor stepping inside. Box shapes play a dominant role in the gallery’s design, and squares appear as a recurring motif throughout the bedroom, as with the bookshelves and the chair.

Texture Play

Image of Marfa Texas Architecture0021
On a lot next to a gas station, on a highway a few blocks West of downtown, Jamey Garza, of Garza Marfa, built a 1200-square-foot cinder-block house covered in gray stucco for a Los Angeles-based couple looking to make a design connection in Marfa. Initially, the couple had wanted a roadhouse but decided on a private getaway after logistics and reality set in. Concrete floors, which were part of the original plan remained and exposed steel trusses and cypress ceilings cover the main room, which includes living, dining, sleeping, and cooking spaces. The casement windows wrap three sides of the room and were painted in a rich orange hue of auto body lacquer. White hard-plaster walls provide a luminous contrast to the velvety gray stucco on the facade. A screened porch on the Westside offers both protection from the sun and a destination for perfect breeze-catching.
This home was painstakingly remodeled over the course of eight years by Austin-based chef Terry Nowell. He added a bathroom and upstairs sleeping loft and modernized the kitchen. Nowell painted the portrait that hangs above the sofa and the red ladder he built that leads to a sleeping loft.
Image of Marfa Texas Architecture2324
Image of Marfa Texas Architecture124
A dried agave plant in a corner of the downstairs bedroom emphasizes the ceiling height (which Nowell raised from seven to ten feet). A “truth window” above the pairs of windows exposes the original adobe brick. Both inside and out, the adobe blocks are covered in cement. Nowell made the white pine bed, woodblock table, the desk, and the floor lamp. He also built the wood side table.
Witten by: LOUISE HART
PHOTOGRAPHS BY:

Want new articles before they get published?
Subscribe to our Awesome Newsletter.

East Melbourne Terrace House (2016) by Wolveridge Architects

East Melbourne Terrace House (2016) by Wolveridge Architects

East Melbourne Terrace House (2016) by Wolveridge Architects located in East Melbourne, Australia | The Hardt

 

Love the materials being used at East Melbourne Terrace House (2016) by Wolveridge Architects located in East Melbourne, Australia. Replanning the ground and first floors while reinterpreting their various functions became fundamental to the way the occupants live and work in their home. East Melbourne Terrace also offers its owners the promise of proximity to work and an inner-urban lifestyle easily accessible on foot. While the interior and rear exterior have been transformed sensitively yet strikingly, the new elements have been born from the existing bones, referencing these heritage elements and celebrating the longevity of their nineteenth-century form.

 


 

The renovation of a dark terrace house has resulted in a contemporary, light-filled home with striking timber elements and comfortable connections to nature. Originally, myriad small rooms were clustered at the front of the house, creating a series of thoroughfares through which to travel from one space to another. A lounge room accessed immediately off the entry seemed caught in the rabbit warren, with two points of access into the room. To resolve this, Jerry closed the hallway door with a continuation of the solid wall, giving privacy to the room while defining the entry space as a separate vestibule. The original staircase ascending to the second floor was re-carpeted and given new timber handrails, reinvigorating the stair as an arresting sculpture in all its dark timber glory.

 

 

 


 

The cluster of ground-floor rooms was reconfigured, creating a guest bedroom and powder room, while a grand drawing room was designed adjacent to the stair. Tall, steel-framed windows were punched through the south-facing external wall, creating picture windows between the skirting and cornice to frame a small bamboo garden. The existing fireplace was wrapped by tall, dark veneer joinery panels, emphasizing the height and scale of the room and referencing proportions typical of late-nineteenth-century residential architecture. The journey from the existing house to the rear extension is taken through a low glass passage, framed on two sides by dark-stained timber battens. Behind the vertical wall of timber, natural light is filtered through to the new guest bedroom window, while a small garden and a courtyard sit either side and soften the external edges. Incorporating garden outlooks is an important element in Jerry’s built work and design philosophy.

 

Replanning the ground and first floors while reinterpreting their various functions became fundamental to the way the occupants live and work in their home. East Melbourne Terrace also offers its owners the promise of proximity to work and an inner-urban lifestyle easily accessible on foot. While the interior and rear exterior have been transformed sensitively yet strikingly, the new elements have been born from the existing bones, referencing these heritage elements and celebrating the longevity of their nineteenth-century form.

 

Photos by Derek Swalwell

 


 

Aesthetically and Geographically Related Projects:

 

 


Home in Mitre (2016) by Bajet Giramé

Home in Mitre (2016) by Bajet Giramé

Home in Mitre (2016) by Bajet Giramé located in Barcelona, Spain | The Hardt

 

Home in Mitre (2016) by Bajet Giramé located in Barcelona, Spain. The project consists of remaking a home in a 1970’s apartment in Barcelona. The former spaces were based on program requirements resulting in a series of small rooms and corridors with predefined functions. Those spaces were shaped by non-load bearing walls given its ‘properly modern‘ free plan. However, columns, beams, and slabs were concealed within the internal partitions as shameful bones. The aim of the project was to make the apartment again (remake it), with a significant setting and character changes. This would be achieved two-fold: by unveiling the hidden qualities of the 70’s architecture and by defining a new series of suggestive settings.

 

 

 


 

The project endows the former idea of free plan, but exposes it ‘as found’ leaving its (‘modern’) steel columns and beams freestanding with their rough welds, as well as uncovering the (traditional) gentle ceiling vaults; enhancing very specific qualities of the construction means of those 1970’s in Barcelona. This way an ‘infrastructural space’ is defined, as a permanent envelope in which smaller and temporary interventions will arrange ‘inhabitable settings’. A series of timber pieces are displayed within that envelope stressing the divorce between space and structure. Their shape, size, and material qualities suggest places to be lived-in, from the sheltered interior of a paneled room to the gathering central space of the house.

 

 

Aesthetically and Geographically Related Projects:

 

https://thehardt.com/architecture/la-moraleja-house-2014-by-otto-medem-de-la-torriente/

https://thehardt.com/architecture/can-limona-2017-by-mesura/

https://thehardt.com/architecture/house-and-studio-yc-santiago-parramon-by-rta-office/

 

 


 

Andri & Yiorgos Residence (2013) by Vardastudio Architects and Designers

Andri & Yiorgos Residence (2013) by Vardastudio Architects and Designers

Located in Cyprus, Andri & Yiorgos Residence (2013) by Vardastudio Architects and Designers | The Hardt

 

Located in Cyprus, Andri & Yiorgos Residence (2013) by Vardastudio Architects and Designers. Formally, the house is composed of two volumes on two levels, outwardly distinguished by the materials, while uniting internally through a concise interior that integrates the living spaces. The upper deck, lined with corten steel, rests on the soft concrete floor and opens at the back creating an L-shaped terrace. Downstairs, the living room also opens onto a back deck and a garden that follows it. The finishes are carefully detailed to compose with the formal concept and create a building that seems inevitable and designed without any effort.

 

 

© Creative Photo Room

 


 

Aesthetically and Geographically Related Projects:

 

https://thehardt.com/architecture/casa-faber-2014-by-ong-ong-pte-ltd/

https://thehardt.com/architecture/house-mv-2017-by-cristian-alvarado-espinoza/

 

 

Plane House (2011) by K-Studio

Plane House (2011) by K-Studio

Situated in Skiathos Island, Greece, Plane House (2011) by K-Studio | The Hardt

 

Situated in Skiathos Island, Greece, Plane House (2011) by K-Studio. Summer in the Greek islands is all about being outside. The aim of the Plane House is to merge internal and external space, maximizing the benefits of both and minimizing the impact on the surrounding landscape. To avoid block volumes that split and dominate space, horizontal planes are inserted into the slope, immediately providing levels for sunbathing, sleeping and eating, as well as vast, open area of shade. They cool and shade the space beneath whilst allowing the flow of sunlight and maintaining the stunning 270-degree view over the coastline. Space between the planes is defined by various flexible panels and glazed screens. Designated cooking, eating and relaxation zones are offset from each other to provide coziness without sacrificing openness.

 

 

 


 

The pool is strategically placed to enjoy the view but also to create a cooling breeze over the terrace and into the house as the north wind flows uphill and over its surface. Photovoltaic panels power the pool mechanics and grey-water is recycled and used for irrigation, toilet flushing, and fire extinguishing. The landscape is respected and continues over the green roof plane, creeps up along the site boundaries and penetrates vertically through the roof as existing trees stand in the space, undisturbed. The powerful identity of the concrete planes creates a strong narrative on approaching the house from the coastal road that winds below. From a distance, the planes are distinctively separated but as you draw nearer and approach the house from the side, the perspective alters closing the gap between them. On arrival and on entering the space they part once more, opening to reveal the breathtaking view and let the fresh air flow through.

 

© Yiorgos Kordakis

 


 

Aesthetically and Geographically Related Projects:

https://thehardt.com/architecture/jungle-house-studio-mk27-marcio-kogan-samanta-cafardo/

https://thehardt.com/architecture/house-in-otori-2014-arbol-design/

https://thehardt.com/architecture/reslope-house-in-kobe-by-tomohiro-hata/

 


 

MENU
SEARCH
The Hardt

Pin It on Pinterest