a whole new world

Meet 4 artists behind Meow Wolf Houston's immersive multiverse

Move between worlds at Meow Wolf.

Photo by Arturo Olmos

Meow Wolf — what a phenomenon! While the original location in Santa Fe, New Mexico, was once an artistic pilgrimage, people living in or traveling to more accessible cities are able to finally get a taste: Las Vegas, Denver, Grapevine (Dallas), and now Houston belong to the Meow Wolf universe. The experiential art venue will open its fifth location named Radio Tave on Thursday, October 31, expanding the story of the intergalactic takeover of community radio station ETNL in the fictional East Texas town of “Little Thicket.”

Each individual space relies on the abilities of the contributing artists, while following along with the narrative of each of the other Meow Wolf locations. But, how does that work? As with anything of this grandiose nature, someone has to be holding the reins to ensure that everything is cohesive and coherent — in terms of Meow Wolf, anyhow.

We caught up with key members of the Meow Wolf design team, including principal creative director Spencer Olsen and story editor Sarah Bradley, to understand how the historic Moncrief-Lenoir sheet metal factory became an effective, immersive experience that seems poised to become Houston’s newest must-visit art destination.

Overall Design

CultureMap: There are multiple creative directors who designed Radio Tave. Your official title is “Principal Creative Director.” What does that mean, exactly?
Spencer Olsen: What that means for my part on the exhibition as a whole is I lead and mentor the team of creative directors who each work on their individual spaces. ‘The Bailiwick’ is the one space I worked on myself rather than delegating to a staff level creative director.

CM: How did this location come to be?
SO: The historic Moncrief-Lenoir building was a pretty incredible site to get to design an experience in. Most notably, the very high ceilings allowed us to either leave some spaces full-height open to structure for a very grand-feeling experience like our front of house lobby, the ‘Amalgam,’ or add a drop ceiling below the structure for hiding MEP (mechanical, electrical, plumbing) for spaces that creatively called for a more natural or intimate feeling like ‘The Bailiwick’ and the ‘ETNL Radio Station.’

CM: Houston is a city that has always straddled industrial powerhouse and bayou-driven natural wonderland. How does this work within the Meow Wolf universe?
SO: Meow Wolf has created several natural feeling environments, and one of the creative challenges is to conceal the fact that guests are in a building, and not out in nature. For ‘The Bailiwick’ we took careful considerations of sight lines and vantage points to craft experiential reveals to guests.

We also designed a decaying sci-fi feeling structure within the space inspired by what you might encounter in an open-world video game and filled it with trees, creatures, roots, and foliage overgrown in the structure to make it feel alive and inviting.

CM: Meow Wolf has over 50 artists represented within Radio Tave. What direction does the principal creative director give to artists so that there is continuity in the overall narrative, while granting individual artistic license to local creators?
SO: Dozens of creative people worked on ‘The Bailiwick.’ In order to balance creative and narrative needs with allowing artists’ agency to make the art they wanted to make, it was important to set experience objectives without necessarily directing teams on how they should get there.

Setting an objective truth to weigh decisions against really helps artists make great choices. I remember saying frequently things like ‘it should evoke a feeling of reverence,’ or ‘tell a story of metamorphosis,’ and that worked well for a variety of disciplines from scenic painters and sculptors to lighting and audio designers.

Meow Wolf Houston radio station lobby The Meow Wolf team studied historical photographs to capture the right aesthetic for ETNL.Photo by Tarick Foteh

ETNL Community Radio

One of many interesting aspects of a Meow Wolf experience is that it can be as interactive as one wants it to be. For those who love a bit of mystery and detective work, an entire day can easily be spent attempting to follow all of the clues to discover what exactly happened to the employees of ETNL Radio and their fellow Little Thicket residents.

Crafting an intricately detailed story like this takes quite a creative mind. Senior creative director and story editor Sarah Bradley shared some behind the scenes trivia on how the design and storyline of ETNL Radio came to be.

CultureMap: Is the ETNL Radio station meant to be from a specific era or more ambiguous? What was your inspiration for that overall vibe?
Sarah Bradley: The ETNL Community Radio station was a massive collaborative effort, and in addition to doing the overall design of the radio station, I worked with our writers, graphic designers, and prop specialist to create the story and details that brought it to life.

Our design effort happened during Covid-19, so we relied largely on photographs. The website Radiosurvivor.com has an impressive archive of radio station tours done by Jennifer Waits, and her photography was invaluable for us to capture a vibe and aesthetic that celebrated these.

CM: What was the design process?
SB: The design process took inspiration from a number of sources, which then informed the design of the story, visuals, and other elements. The building facade, for instance, was inspired by the beautiful 1940s architecture of WPFT in Raleigh, NC, which in turn led us to establish ETNL's roots in the late 1940s.

CM: What is the story of Little Thicket?
SB: Though the story would be set in the present, we wanted the interiors to look dated, like renovation hadn't happened in a while, or happened unevenly across the building. We juxtapose the older interior with contemporary items and photographs, as well as an archive of historical photographs and newspaper articles capturing the history of the radio station throughout the decades.

This deep history also led us to develop the town that ETNL was originally from, a small town in East Texas called Little Thicket. Being a community radio station, ETNL's ties to this quirky town are seen throughout the decor and help create a sense of place for us to break later when it's revealed that the station is no longer in Little Thicket.

The Amalgam

Radio Tave’s main lobby, aka “The Amalgam,” is a pastel dreamscape. Soaring ceilings and windows allow for so much natural light that, as a canvas, this space will always impress. Dani Herrera, the creative director for front of house, shared more about that experience, and what visitors should make sure not to miss.

CultureMap: As the creative director for “The Amalgam,” what do you feel are some cool design elements of that space that people wouldn’t know from just being in there?
Dani Herrera: Some cool design elements that first come to mind are murals, the underfloor diorama, mobiles, and the faux stained glass window.

We really wanted murals by local Houston artists to be one of the first things visitors see when entering the lobby. Lobby murals were designed and painted by nine different Houston artists and one Meow Wolf artist.

Below the stained glass window, we have a recessed underfloor diorama. The recess was part of a load-in area for trains when it was a former sheet metal factory. The stained glass window and mobiles add another layer of interest by casting their color and light across the space — most brilliantly closer to sunset.

CM: What was it like from your perspective to make sure that each of the nine designers were represented, while staying within a cohesive aesthetic?
DH: Early on in the project, I put together a creative deck with mood boards, a base color palette, concept art, and lots of 3D views. It served as a shared starting point for artistic collaboration and considerations.

In the lobby, there’s an incredible range of artists, specialists, designers, and fabricators, etc. I wanted to create elements and an environment that offered a lot of range and interest for different types of artists. I hoped this base palette would provide enough cohesiveness that artists could have more range to create from their unique sensibilities and aesthetics.

CM: The murals in the Amalgam begin approximately seven feet above the floor, with the wall space below painted in a colorful checkered pattern. You mentioned previously that it’s a trick to keep the murals from being damaged, hiding practicality in your design. Are there any other tricks like that happening in the lobby?
DH: In the front of house spaces there’s a lot of balancing and blending of aesthetics with operational/ functional and budgetary needs. Placing the murals above eye level was meant to draw your attention up to further add to the grandeur and volume of the space and decrease the need for maintenance on the murals.

Another example is how we managed to conceal operational doors following some of the planning principles of a piazza or courtyard. We have a central open and wide space for circulation symmetrically surrounded on both sides with smaller lingering spaces that mask the operationally-required doors and pathways.

Meow Wolf Speaking In Reflections Nickelodeon influenced Neon Thrash's mural.Courtesy of Neon Thrash

One to Watch

Those who appreciate ’90s nostalgia will be pleased to know that Houston artist Neon Thrash has an installation that will set any millennial’s heart aflutter. Named “Speaking In Reflections,” this artist’s installation is also one of the only installations that includes a mirror — one simply must be allowed a selfie. Neon Thrash shared some insights into his inspiration for the room.

CultureMap: Your characters and cartoons are so familiar, and their features are very nostalgic of the ’90s. Was that intentional?
Neon Thrash: A lot of my work comes from inspirations I don't realize I'm tapping into until after I've finished a piece. It's like using paper that has imprints from previous writing you didn't see at first. Nickelodeon cartoons really left a mark as I got older, so unique and full of artistic style. They were new and fresh compared to a lot of Saturday morning cartoons. Ren and Stimpy, Ah! Real Monsters, and Rocko's Modern Life were all very formative for me.

CM: What is your overall goal with “Speaking In Refections?” Do you think it will resonate with visitors in a positive way? Your characters have found themselves to be equally scary, charming, and adorable.
NT: We look at real life all day. What appeals to me are things I would never be able to see, the weirder the better. Illustration lets me bring to life creations that have no purpose other than to make me and, hopefully, other people smile. I really want to bring people back to that joy of falling in love with new cartoons when they were growing up. It's even more awesome if I can recreate that as a shared experience for people with their kids.

Radio Tave is an unbelievably majestic experience that really has to be experienced to appreciate. With the rate that the Meow Wolf universe is expanding, fans may eventually request an intergalactic passport. Just be sure to get it stamped in Little Thicket.

design interviews meow wolf visual-art

right on track

First look at members-only work club’s vintage-filled new East End outpost

Courtesy of Switchyards

Signature boothbank seating takes center stage just off of the cafe.

Houston’s trendy East End neighborhood continues to heat up as the newest Switchyards work club sets its opening date for Monday, August 31. Following the wildly successful Montrose location that — like all Switchyards clubs of 2025 – sold out its memberships on opening morning, the new East End club (3401 Harrisburg Blvd, Suite H.) is sure to perform just as well.

Self-described as “kinda like an Italian soccer internet cafe combined with a really cool vintage shop,” each of the 39 individual clubs is designed with a strong focus on the history of the neighborhood and local culture. The East End club is located in the historic Imperial Laundry building from the 1940s — joining popular dining destination Street to Kitchen, among others.

It’s a fair assertion that the popularity of the network of Switchyards work clubs boils down to, well, vibes. Not that 24/7 access, fast Wi-Fi, and free locally-sourced coffees and teas aren’t a heck of a draw, but Switchyards has quickly developed a brand identity that is as enviable as it is recognizable.

Swoon-worthy vintage furniture, locally-shopped vintage decor and accessories, creativity-sparking art and design books ready to stretch their spines, and cozy rugs underfoot are all carefully chosen to offer ideal working spaces and conditions for any and every one of the 250 club members — that’s the membership cut off, by the way. After those initial spots fill on drop day, it’s waitlist city.

CultureMap recently toured the nearly-completed site to meet the design team and to chat with Switchyard’s head of design Jared Erickson about the newest club, the process of designing each individual club, and more.

“In our spaces we try to mix the best of a hotel lobby, a dive bar, and your local neighborhood coffee shop, creating these different zones so no matter what type of work you’re looking to do, you have the right seat for that work,” explains Erickson. “What are the best neighborhoods in America and where can we fit in there? We want to be always tucked away. We aren’t looking at the downtown, coolest spots where all the big brands go, but for what feels like part of the neighborhood. Behind us we have streets and streets of houses and anyone who wants to walk here doesn’t have to drive across town. That’s why we want to go into awesome cities and plant ourself in the best neighborhoods.”

Not only is the East End location extremely walkable, it’s directly across from a Houston Metrorail line and just down the street from a busy railway interchange.

“It’s funny because Switchyards is really a train term and somehow we do find ourselves pretty close to transit and to trains,” he says. “We have a couple of places in Chicago that are right on the Blue Line.”

The Switchyards brand is so far opposite from other similar concepts that it’s a bit of a disservice to group them into the “shared workspace” category. While it is absolutely a space for work, it reads and lives more like a lifestyle brand. It’s a safe space for no-nonsense creative types and people who were into Bret Easton Ellis long before he was reduced to a Ryan Murphy shill. And good luck ever overhearing a member say something ridiculous like “let’s circle back.” Switchyards people are the cool kids — in this author’s opinion.

“You have your nine-to-five tech worker that’s going to come work out of here a couple of hours a day — maybe it’s on their way from dropping their kids off at school — and they can come in and knock out a full day’s work in four hours,” says Erickson. “Then you have your gig workers that are doing something else during the day and either have a side project or something they want to work on at night. We take anyone, but it’s also a space that’s not for everyone — you know?”

Switchyards may be the company’s name, but they make it a point to stay very much on track. Multiple, work-focused quiet zones coexist with more relaxed, flexible spaces for mixing and mingling. Private “phone booth” spaces make allowances for calls, while “heads down” spaces are completely no-nonsense. The only sound allowed in these spaces is the comfortable hum of white noise machines. Breakout rooms are available to book free of charge as well.

“The team works really closely together to think about everything that’s going to go into the space and how to tell the story and feel cozy,”explains Erickson. “We mix old and new. We will have an older style credenza and club chairs and then mix and match where we need to to get that little high-low feel.”

The team used the Imperial Laundry facility’s history as its jumping off point. Erickson was even able to score an original trucker-style ball-cap from eBay. It sits in the lobby trophy case with other local trinkets and finds related to the neighborhood and to the laundry business.

“We leaned into the space and into the neighborhood and that kind of tells us where we are going with the decor. We have our base — what we call our 80 percent items — that we just know we are going to use: booth runs and table tops. Then we mix in some found objects or anything we come across. Each space is unique, but very ‘Switchyards’ at the same time.”

The lobby display case is a bit of a Switchyards staple, with each club receiving its own antique or vintage display or trophy case. Erickson sources these, usually in bulk, from old schools. Which is charming, considering the strong mid-century academia aesthetic that pulses through all of their clubs.

“We always try to include this kind of display or trophy case to keep all of our treasures,” says Erickson.“I think of that as ‘What would the guy that owned this space before we got here — what would he be collecting? What was their thing that they liked, held onto, and put into a display or trophy case to save for later?’ We find that as a point of inspiration for our members, too. As they’re walking through or maybe waiting on someone at the door, they can have something to look at.”

Members will find everything from nostalgic vintage letterman’s jackets and pennants to old ashtrays and wooden thread bobbins behind the glass cabinet doors. Take a break from work to stroll through the cafe area and into the lobby to get lost in all the fun bits and bobs in the trophy case — as a treat.

Speaking of the variety of pennants throughout the space, Erickson admits that not all of the beautiful felted wool pieces are authentic vintage. Switchyards enjoys a partnership with Oxford Pennant, who help create custom pieces that lean into the older aesthetic and fill any gaps they may have in their vintage inventory. The team chooses the best vintage designs from each decade, working them into the space in a way that feels cohesive.

“We use an 80/20 rule. It’s sort of like we try to have 80 percent of it — tables, chairs, the things that matter but don’t really matter—or that we know are tried-and-true, and then we fill with 20 percent of these highly-curated items,” explains Erickson. “So we do try to locally source, especially in markets that we’re already in. What can we buy locally and keep in the neighborhood, keep in the city, and keep in its market?”

Switchyards is headquartered in Atlanta, where Erickson and his team create the majority of the design plans for the clubs before packing their core pieces and hitting the road. Their approximately 20,000-square-foot warehouse is also where the team keeps its bulk vintage scores from around the country — even from right in Houston’s kitschy neighbor Round Top.

“Since we are building out so many spaces, we like to buy entire collections. Like the big barrels and the hundreds of green bins from a warehouse that was going out,” says Erickson. “Then we ask how we can bring these things into a space and use them — the filing cabinets are kind of our signature move. Instead of building a wall, we will do a row of filing cabinets to divide up the space and make it a bit more cozy. I bought about 200 vintage Eames chairs [at the Round Top spring show] — the stackable shell chairs with fabric — and got a killer deal on them and that made it all worth it.”

As for the rest of that 20 percent of the design, the design team shopped local thrift and resale shops in the area to find everything they needed to make the space feel like it can tell more of a story.

“We went to a local creative reuse store and bought up a bunch of little pails and build-up items,” explains Erickson. “One of my favorite things I got there is this weird welded piece (it currently lives atop a cafe cabinet). It was probably someone’s practice-weld piece, but we just love it. We love unique items that feel handmade and that you’re not going to find anywhere else. I love it when you find that special store and come across a vintage Thurston lamp for $20 when you know it’s a $400-600 item — it feels good.”

The cafe area has an interesting selection of wall decor. That starts with a custom made light box containing a cork bulletin board for club news and upcoming events like “iced coffee Fridays” among historical papers and pennants. Erickson’s original pen and paper design sketches live beneath a nonchalant tac in the drywall — all centered around the site plan for Erickson’s babies, the tanker desks that became a gift that kept on giving.

“I knew we were going to use tanker desks”, he says. “Those are probably my favorite pieces here. I bought about 200 of these from a warehouse office that was going out of business. It was pretty wild, because we got a great deal on them and the drawers still had items in them. We’ve used some of those pieces throughout the space as well. Yeah, that’s probably one of my favorite parts.”

The entire design for the space is highlighted by the heavy assist from the original industrial windows from the building’s construction in the 1940s. In spaces that are somewhat beyond the reach of the abundant natural lighting, lamplight fills the gaps. All artificial lighting has been designed to be soft and relaxing — nothing too stark or bright.

Switchyards, including the lighting, is anything but sterile. Erickson says the aesthetic successes of each work club comes from embracing what’s there, like the steel windows.

“I’m always inspired by just using what I have. There are so many options out there, especially online, and ‘trends’ that come and go. I think just finding that style that speaks to you and just having a sense of taste and what can go together — that you may not see on Pinterest — works. And using what you have is and can be a super power if you just lean into it.”

Membership info

Memberships, priced at $129 per month, will go on sale at 10 am on Thursday, August 27. Sneak peaks and pop-ins run from August 24-26 (RSVP here). Once the first 250 memberships have sold, Switchyards will maintain a waitlist. There is an early access email list as well as a text notification list for receiving the membership registration link on August 27. Switchyards has hinted that links may go out via text alerts first, so do with that what you will.

Courtesy of Switchyards

Original 1940s windows set the tone for the design.

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