In the early 1920s, architect John F. Staub, a native of Knoxville, Tennessee, who had studied at MIT and worked in New York, came to the burgeoning city of Houston as an assistant to nationally prominent architect Harrie T. Lindeberg. Staub was charged with administering construction of three houses designed by Lindeberg for members of the city's rapidly emerging elite. He would go on to establish one of the most influential architectural practices in Houston, where he would remain until his death in 1981. Over four ...
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In the early 1920s, architect John F. Staub, a native of Knoxville, Tennessee, who had studied at MIT and worked in New York, came to the burgeoning city of Houston as an assistant to nationally prominent architect Harrie T. Lindeberg. Staub was charged with administering construction of three houses designed by Lindeberg for members of the city's rapidly emerging elite. He would go on to establish one of the most influential architectural practices in Houston, where he would remain until his death in 1981. Over four decades, Staub designed grand houses in such communities as Shadyside, Broadacres, and, perhaps most notably, River Oaks. His clients included the Hoggs, for whom he created Bayou Bend; the Mastersons, his clients for Rienzi; and members of the Wiess, Cullen, Farish, Welder, Fay, and Elkins families. Although Staub also completed commissions for clients elsewhere in Texas and the United States, it was primarily in Houston that his work and influence took root. This ambitious study of Staub's work by architectural historian Stephen Fox goes beyond a description of Staub's houses. Fox analyzes the roles of space, structure, and decoration in creating, defining, and maintaining social class structures and expectations and shows how Staub was able to incorporate these elements and understandings into the elegant buildings he designed for his clients. In the process, he contributes greatly to a fuller understanding of Houston's emergence as a premier American city. Stunning color images by architectural photographer Richard Cheek, combined with Fox's well-grounded and expansive thesis, create a volume that will enchant, inform, and entertain. Students and aficionados of American domestic architecture of the 1920s, '30s, '40s, and '50s will appreciate the wealth of material, and the volume's contribution to architectural history and the sociology of architecture will commend itself to readers across the nation.
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Seller's Description:
There is a previous owner's name, inscription, or from the library of label inside. The book has been read but is in good condition. There is minor to moderate wear to the outside, including scuffs, corner dings, & edge curls. It stand/lays flat. The majority of pages are undamaged with minimal creasing. Used books should not be expected to come with working access codes or bundled media. Please ask to verify before purchase.
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Good. Connecting readers with great books since 1972! Used textbooks may not include companion materials such as access codes, etc. May have some wear or writing/highlighting. We ship orders daily and Customer Service is our top priority!
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Very good. Connecting readers with great books since 1972! Used books may not include companion materials, and may have some shelf wear or limited writing. We ship orders daily and Customer Service is our top priority!
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Cheek, Richard (photographs) Fine in Fine jacket. Folio-over 12-15" tall Profusely illustrated with color photographs and floor plans, Clean, bright, and unmarked.
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Fine in Very Good jacket. Book Fine in a Very Good dust jacket. Half-title page bears a very large, stylized S or F, possibly the signature of the author. No other marks. Jacket has a small nick at the back edge of the spine. No chips or tears. 388 pages.
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Richard Cheek. Near Fine in Near Fine jacket. Book 388 pages. Hardcover, bound in black cloth covered boards and wrapped in an illustrated paper dustjacket. Texts in English. Mild shelfwear and faint bumps to the corners of the boards with associated and equally light wear to the edges and covers of the dustjacket. Else, the binding is tight, with a clean and unmarked interior. Lavishly illustrated with color photography by Richard Cheek.