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    On The Market

    Marked as teardown, now a treasure: Houston's only Frank Lloyd Wright house is a preservation beauty

    Barbara Kuntz
    Barbara Kuntz
    Jul 24, 2014 | 7:46 am

    Editor's Note: Houston, the surrounding areas and beyond are loaded with must-have houses for sale in all shapes, sizes and price ranges. In this continuing series, CultureMap snoops through some of the best and gives you the lowdown on what's hot on the market.

    The Houston-area's only Frank Lloyd Wright-designed house was once plagued with architectural and design interruptions as former owners painted over redwood walls, added distracting pineapple details and eventually put the property on the market as a teardown in the early 1990s.

    Preservationists stepped in, thankfully, as did the most recent owners. The Thaxton House, named after its first occupants who commissioned Wright, is once again an architectural gem for sale at $3,195,000.

    Walk through
    Owners enter the property, located at the end of the cul-de-sac at 12020 Tall Oaks St. in Bunker Hill, through a gated drive, revealing the 1.2-wooded acre lot. The large front yard keeps the home even more secluded, while a circular driveway welcomes with plenty of parking for guests.

    Even the cushions in the built-in sofa are actually parallelograms puzzled together. The fireplace is angled to face the living room, and is made for logs to burn upright.

    The original 2,000-square-foot structure is nestled beyond the trees. Owners walk in to immediately see Wright's signature design elements, including red-pigmented concrete floors, concrete block walls, walls of windows overlooking the patio and swimming pool and knotless redwood paneling on walls and ceilings. Built-in sofas and bookcases — more Wright techniques, these he employed to keep residents from changing room arrangements, are found throughout the home.

    As are angles.

    "The house is distinctive for being planned on a 30 degree-60 degree diagonal grid, rather than a 90-degree grid," Stephen Fox, architectural historian and a lecturer at the Rice School of Architecture explains in an email. "Wright felt like this 'reflexive geometry' - his term - provided for more open spaces than a conventional right-angled plan geometry."

    Even the cushions in the built-in sofa are actually parallelograms puzzled together. The fireplace is angled to face the living room, and is made for logs to burn upright. The dining table, attached to a wall, is a reproduction of the original dining table with irregular-shaped stools with cushions. Triangular skylights bring natural light into the kitchen.

    Two other rooms in the small abode were once bedrooms following the same architectural styling. And Wright must have had an interesting sense of humor, or was a gentleman fan of folly. He incorporated an elongated window in a bathroom as a jumping point into the swimming pool.

    "Most of Wright's houses, especially those built in the last 25 years of his practice, 1934-'59, are fairly small," Fox says. "The houses from the 1930s-'50s correspond to the house type Wright called 'Usonian' —Wright's term for 'American,' his ideal house for a middle-income American family. They tend to have expansive living areas, organized around a fireplace, but small bedrooms and baths."

    Big addition

    Beyond the original structure, preserved almost as a Wright museum in its intimate space, is the substantial annex that wraps around the back of the Wright house, touching it at either end but otherwise stepping back from it and creating an inner courtyard.

    The addition, which was completed in the 1990s, brings total square footage to more than 8,000, but is done in a most complementary fashion.

    The addition, which was completed in the 1990s by Kirksey Architecture for the most recent owners, brings total square footage to more than 8,000, but is done in a most complementary fashion. Intentionally not seamless, the three wings make nods to the famous architect with stained concrete floors cut in triangular patterns, walls of glass and wood paneling and accents in maple.

    Gallery-style hallways with high ceilings, exposed beams and glass walls take owners from the original home to a public wing with new kitchen, dining room and expansive living area to the children's wing lined with bedrooms to the master wing. Floor-to-ceiling windows open three sides of the house to views of the courtyard and backyard gardens from every room.

    All bedrooms include en suite baths, walk-in closets, spacious lofts and French doors leading outside. In total, the house has seven bedrooms and six and one-half baths.

    Step outside
    The scored concrete flooring continues to a deck, once a screened-in porch overlooking the swimming pool. The flooring here shows, as it does in the original house, where new and old construction meet. The swimming pool is very angular.

    Covered parking is available under a carport — a term Wright himself coined. As Wright is quoted to say, "A car is not a horse, and it doesn't need a barn."

    Square footage: 8,026 plus loft space

    Asking price: $3,195,000

    Listing agent: Karen Harberg, Martha Turner Sotheby's International Realty

    The Wright home is open for touring from 11 a.m.-2 p.m. Thursday, July 24; private viewings can be arranged by contacting the agent.

    Welcome to 12020 Tall Oaks St., a Frank Lloyd Wright house sitting on about 1.2 wooded acres as a gated compound. The large front yard is surrounded by a circular driveway.

    On the Market 12020 Tall Oaks St. Frank Lloyd Wright house July 2014 front exterior
    Photo courtesy of © TK Images
    Welcome to 12020 Tall Oaks St., a Frank Lloyd Wright house sitting on about 1.2 wooded acres as a gated compound. The large front yard is surrounded by a circular driveway.
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    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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