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    Healthy Homes

    Giving green building a chance: Sustainable builders see the forest, save thetrees with ingenuity

    Heather Staible
    Jun 2, 2011 | 1:55 pm
    • After Forest Design Build remodeled and redesigned a Austin house.
    • Rather than tear down this Austin house, Forest Design Build rehabbed it.
    • A new lofty space.
    • The home was opened up to reveal soaring spaces.
    • Friends and owners of Forest Design Build, (L-R) Gerard Marichal and JosephFowler.
    • The Austin house before the remodel.
    • The interior of Define studio.
    • Define Studio on West Gray

    Gerard Marichal and Joseph Fowler have heard all the reasons not to go green when remodeling or building. It’s too expensive, it takes too long, I didn’t vote for Obama.

    And for every excuse, the owners of Forest Design Build have multiple reasons to choose environmentally-friendly materials, building and construction. There’s a truly healthy home, the preservation of natural resources and what Fowler calls “the warm fuzzy feeling” of doing the right thing. The duo have countless residential and commercial projects under their tool belts and are convinced the road to green living starts with just a few simple steps.

    Most of the clients contacting Marichal and Fowler do their homework, choosing a sustainable company to do their project. They know the benefits of a healthy home (no migraines, less allergies and asthma) and are willing to look at a remodel or new build through a green lens, reusing items and buying as much as possible from local vendors. It’s the prospective clients, the ones who are all but convinced green building isn’t for them that Marichal and Fowler go through the process with.

    “Often the greenest thing to do is not tear it down,” Fowler says. “Green construction doesn’t mean going off the grid.”

    The team is working in a 1,700 square foot home on a corner lot in West University that has sat vacant for 10 years, creating a neighborhood eyesore. Rather than remove it, Marichal and Fowler discovered enough good in the house to maintain the basic structure, eliminating off-gassing, the emission of especially noxious gasses often associated with new construction and typical materials like carpet, insulation and plywood.

    “It takes four to five years for new construction to stop off-gassing, so with older homes you don’t have to worry so much about that,” he says. Urea formaldehyde is the most common culprit found in materials and Fowler says there is no reason consumers should have that in their homes when there are formaldehyde-free options.

    One of the biggest myths about green remodeling is the expense involved. Marichal says people often think it’s 20 percent more than typical construction, but he and Fowler are big believers in repurposing items to save money. The start of a remodel job can take a few extra days because everything that comes out of a house is taken out carefully, separated into piles (reuse, recycle and trash) and then cleaned and prepped for future use.

    “You spend a little more time, saving money and not spending on new materials,” Marichal says. “You have to go into it thinking how we can use this or that. It’s changing a mentality and not about instant gratification.”

    Wood from one job was milled and turned into cabinet doors, while bulletproof glass from a bank turned car wash on Richmond became coffee tables. They etched the sides of the glass to make it look nicer and saved it from a landfill.

    Both men get a dreamy look in their eyes when describing aged wood that has taken on a rich caramel hue with time or the strength of old wood that is as valuable in 2011 as it was 60 years ago. The real struggle comes from changing the industry as a whole. Time is money after all.

    “The biggest hurdle for us is to retrain builders who are used to doing the day-to-day operations the same way,” Fowler says. “Ask your builder about green materials to lessen the carbon footprint, and they may get annoyed with you, but at least you just educated your builder.”

    Even if there’s not a major remodel in your future, Fowler and Marichal say there’s lots of way to make a big impact on a home space starting with using non-toxic paints and materials like wool carpet instead of fiber and Silestone and IceStone for countertops. Putting in sky lights and solar tubes, reclaiming rain water and water from air conditioning units and buying locally are other fairly basic ways to add some green to living and work spaces. The attention to healthy materials has caught the eye of businesses like Define Body & Mind, One Green Street, The Green Painter and New Living.

    It’s easy to get caught up in the minutiae of environmental dedication, but Fowler and Marichal don’t want people to get too bogged down in the details.

    “See what’s important to you and have reasonable expectations,” Fowler says. “That’s the best way to have healthier, more efficient, sustainable homes.”

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    news/home-design

    dive in

    Houston designer dishes on Tulum-inspired look of chic Montrose cocktail lounge

    Emily Cotton
    Jun 12, 2026 | 12:00 pm
    1111 cocktail lounge interior
    Photo by Par Bengtsson
    Tulum's cenotes inspired the monolithic central bar.

    Globally-recognized luxury design firm Nina Magon Studio’s continued foray into the realm of hospitality has wowed Houstonians once again. The Architectural Digest, Elle Decor, and Forbes favorite introduces an immersive experience unlike anything else in the city. Unlike Magon’s previous, ultra-glamorous hospitality projects 5115 Saks Fifth Avenue and Cocody, her latest concept is unlike anything yet seen from the designer. Organic in nature, pared down, and entirely unpretentious, the new 1111 cocktail lounge in Montrose is a masterpiece of escapism.

    1111 (read as “eleven-eleven”) is the latest concept by nightlife impresarios Army Sadeghi and Brandon Duliakas (Clarkwood and Melrose). Featuring cocktails created by bartenders who worked at Mexico City’s world-renowned Handshake Speakeasy and cuisine by chef Emmanuel Chavez of Houston’s Michelin-starred Tatemó, it’s only fitting for the interior spaces to be helmed by an elite designer as well. The result is a brilliant trifecta of offerings poised to satiate the most sophisticated tastes.

    While food and cocktail menus look squarely to Mexico City for their source material, Magon chose to venture the path less traveled. Stepping away from her signature polished and glamorous aesthetic, the interiors of 1111 are decidedly earthy, naturalistic, and even primal. Inspired by the cavernous sunken swimming holes, known as cenotes, outside of Tulum, earthy greens, warm taupes, terracotta hues, oxidized tones, and muted stone textures evoke the raw beauty of Mexico’s landscapes.

    “It was very fun, because we were able to get to be very creative and create something that is different from our portfolio to show the extent of where design can go and how we can bring authenticity from other cities into our hometown of Houston,” explains Magon. “You feel like you’re in a space that doesn’t necessarily feel like you’re in the glamour of Houston; we wanted something more authentic to Mexico.”

    Anchored by a monolithic central bar, the open-concept space utilizes seating and tables of various materials and scale to accommodate any of the lounge’s many functions. Textural Venetian plaster in shades of the deepest greens drench the walls and ceilings, lending a cavernous quality to the overall atmosphere. Along one wall, a dramatically-curved overhang draws the eye back to the central bar, where a recessed ceiling gives way to a cascade of backlit flora and fauna, harkening to the idea that guests are gazing up through a void in the earth.

    “When you’re in a cenote, you have rays of sunlight coming through from the foliage, and so that’s what we’re emulating. Everything is done with that thought in mind,” says Magon. “It feels like this underground — not in Houston — feel that we were going for. The design is unexpected, and with the unique, big play on lighting, it’s very unlike Houston.”

    The heavy use of drapery, extensive architectural curvature, and cinematic lighting throughout continue the idea that the space is deep underground, with light merely sneaking in through cracks and voids. To soften the space, warm wooden panels are strategically positioned to provide both form and function. Laser-cut patterns were inspired by a design Magon admired in Mexico City. Though originally cast in stone, Magon’s backlit interpretation is equally striking.

    In residential settings, the use of decor and accessories helps define a space and set the desired tone. Restricted by the realities of 1111, where a DJ starts spinning at 9 pm, and patrons move more freely, Magon parlayed this limitation into a grand opportunity. Along the eastern wall, 18 custom, backlit niches create an illuminated gallery of vintage Mexican pottery — each piece chosen by Magon and her team.

    “It’s all vintage pieces, and the pots really bring in that originality of Mexico,” explains Magon. “We only used natural materials. Anything that’s glamorous, you’re not going to see here.” This naturalistic theme continues with the organic yarn wall hangings, and eagle-eyed patrons will notice the subtle mountain landscape — and other clever shadow-play — dyed into the wall-hung works.

    To keep the low lit, earthy vibes from becoming too monotonous, Magon chose a bright terracotta and bone color palette for the restrooms. All too aware that mirror selfies are highly de rigueur, the hallway is a colonnade of recessed full length mirrors leading up to the burst of color waiting beyond the doors. Bright terracotta plaster, oversized mirrors in organic, fluid shapes, stone vessel sinks, draped foliage, and fire-baked floor tiles in playful patterns beckon patrons to take advantage of the flattering rosy lighting.

    “We always want, in everything we do, a photo moment, a place where everyone takes photos,” explains Magon. “I didn’t want green everywhere. I wanted it to be a different experience, because everything in this space is an experience. From the moment you walk in, to when you’re seated, to the cave portion of the cenote, it’s all a different experience and different view point of this lounge. So, in the bathrooms, we wanted to make sure we weren’t missing any moments. Terracotta is very prevalent in Mexico City, and that’s why we wanted to bring in that terracotta color to the hallways and bathrooms — everything is fresh.”

    The entire interior concept was conceived of the instinctive desire to escape the everyday. From its sculptural architecture to its richly layered materiality, 1111 stands as one of Nina Magon Studio’s most immersive hospitality projects to date, an environment where bold design vision and cultural authenticity converge in a deeply sensory experience.

    “I’ve been wanting to do something like this for the last three years, just based off of my travels,” 1111 co-owner Army Sadeghi tells CultureMap. “I felt that Nina, with her strong residential portfolio, would be a unique opportunity for everybody to collaborate on a big stage — being hospitality — and I think she delivered. We worked very closely with her team, and they did a great job throughout the process — I think they nailed it. They created a space that’s a unique, sculptural, architectural sort of luxe space that hasn’t been seen in the country.

    1111 cocktail lounge interior

    Photo by Par Bengtsson

    Tulum's cenotes inspired the monolithic central bar.

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