Visionary architects who defined the iconic style of Austin

Austin, Texas is a city defined by a unique sense of balance in its architecture: a mix of historic and modern. Ranging from the stately Capitol building to the sleek high-rises downtown, architecture in the city of Austin is a testament to the many pioneering architects who have, for the better part of the last century, had a hand in shaping the city's style. Bequeathed among these pioneering architects was an indelible architectural legacy to Austin, one that remains to define the character of the city.

Arthur Fehr: Modernizing Public Spaces in Austin

First among the precursors and influential architects to set the tone in Austin was Arthur Fehr. Born in 1904, Fehr found his academic calling in architecture at the University of Texas, then set out in the 1930s on his own architectural career. Unique from the beginning, his work was so noted for the innovations in public building design which he drew from the streamlined aesthetics of Art Moderne and PWA Moderne styles.

Some of his most recognized works of this time are the Austin Public Library, from 1933, and the U.S. Courthouse, from 1936. Both present long horizontal lines, soft rounded corners, and fairly unadorned simplicity that has come to epitomize the era's machine-age aesthetics. The library is particularly outstanding, with its curved façade and striking glass-block windows.

The works got rid of the more historical, classical tastes of public architecture in Austin. Fehr's modern designs established new standards for public buildings within the city and also set the stage for post-war architectural innovation.

Fehr & Granger: Architects Who Designed the Mid-Century

Following World War II, Arthur Fehr joined with another architect, Charles Granger, and formed the partnership of Fehr & Granger. Together, the two men would go on to design many of the Mid-Century Modern homes that came to define Austin's residential architecture of the 1950s and '60s.

They had clean lines, flat or low-sloping roofs, and large expanses of windows that gave one the sense of dissolving the lines of the indoors into the outdoors. They often featured natural materials—such as wood and stone—always intent on making the best use of natural light and ventilation in the hot Texas climate.

Some of the best residential examples of Fehr & Granger are to be found in the Barton Hills area of Austin, houses such as the Sneed Residence of 1952 and the Barton House of 1956, that sum up everything the firm stands for: open plans, exposed beams, interpenetration with the site.

Fehr & Granger also influenced beyond individual homes. Among their other projects, they masterminded large-scaled residential projects, including the 1948 Commodore Perry Estate—an expansive compound-cum-luxury hotel. The low-slung buildings and broad sweeps of space, combined with the use of native materials, like Texas limestone, became the epitome of relaxed but sophisticated living that Fehr & Granger brought to residential architecture in Austin.

David C. Graeber: Designing Institutions Innovatively

If Fehr and Granger were contributing to the residential legacy in Austin, then David C. Graeber was leading the way in institutional design. Born in 1920, Graeber first studied architecture at the University of Texas before founding his own firm in Austin in 1946.

In the 1950s and 60s, Graeber designed many high-profile buildings in Austin that showcased his radical approach to modernist architecture. Of those designed by the architect during the same period stands the IBM Building (1962), an office tower clad in cast concrete on the exterior in deep-set windows and integral sunshades.

What set Graeber's design for the IBM Building apart was that it was revolutionary for its time, not only in materials but also in response to the local climate. The concrete wrapping on the outside of the building insulated it from the hot Texas sun, and the use of recessed windows and sun shades added protection from the heat. This resulted in not only a dramatic visual statement but also a very efficient building.

Another significant design of Graeber's in this period is the 1954 Austin National Bank Building, now the Starr Building. The exterior is also cast concrete, as in the IBM Building, but more sculptural and textured, with an apparent play of light and shadow on the facade. The ground floor is set back from the street, making a covered pedestrian arcade in front that gives shade and protection from the elements.

Graeber's institutional designs have had a profound impact, both for their aesthetic innovation and their responsiveness to the locale. By using materials and design elements that effectively addressed Austin's hot and sunny climate, Graeber created buildings that were both beautiful and functional. These structures set a new standard for the city’s institutional architecture. Moreover, their ease of maintenance has proven ideal for cleaning services, ensuring that the buildings remain pristine and serve as lasting examples of thoughtful design.

Harwell Hamilton Harris: An Iconic Landmark

Though not a native Austinite, the California architect Harwell Hamilton Harris certainly drew a firm stamp on this city with the design of Seaholm Power Plant (1951-1958). This building, located along the shores of Lady Bird Lake, is one such prominent piece without which the mention of the architectural identity of Austin would be incomplete.

Harris had designed a very fascinating sample of Art Moderne style for the power plant, reflecting long horizontal lines, rounded corners, and streamlined forms. Clad in smooth white stucco, the exterior of the building sharply contrasts with the windows, set in a steel frame, and with the bold red-painted steel beams that support the roof.

Even in its industrial capacity, Seaholm Power Plant is awash with sculptural qualities that emanate from Harris' forms and the play of light and shadow. It is due to this creative genius of Harris, and the fact that he has been able to design a building that is at the same time aesthetic and functional, that the Seaholm Power Plant is a major work of art and a beloved symbol of Austin.

A legacy that abides

The architects who framed the iconic style of the early to mid-20th-century Austin gave the city an indelible legacy—a legacy that continues to breathe life into the built environment of the city to this day. From the modernist public buildings of Arthur Fehr and the Mid-Century Modern homes by Fehr & Granger to the creative institutional designs by David Graeber and Harwell Hamilton Harris's iconic power plant, these visionaries contributed to a singular architectural language: unmistakably Austin.

Their work reflected a strong adherence to the principles of modernism, an awareness of local climate and environment, and an approach to design that was committed to buildings being both functional and impactful. The inspiration came from the natural landscape that surrounds most of Central Texas; regional materials, such as limestone and wood, were utilized. Buildings responded to the hot, sunny climate in considerations like deep overhangs, shaded arcades, and generous openings to light and air.

Today, Austin remains a city of architectural innovation and creativity. New building and development are often a tribute to the modernist legacy of Fehr, Granger, Graeber, and Harris while pushing the envelope on what can be done with new materials, technologies, and sustainable design practices.

With the evolution and continued growth of Austin, it is imperative to always keep in mind and celebrate the legendary architects who have left an iconic style to its destiny. As the city thrives and expands, the work of these architects necessitates maintenance that respects their vision. This ongoing care often includes house cleaning services that ensure these storied buildings remain in pristine condition, reflecting the original architectural intent.

Their legacy is one of not merely historic interest but a living testament to the enduring power of architecture in shaping our cities, our communities, and our lives. By studying their work and being inspired by their example, we can continue to create buildings and spaces that are utilitarian in purpose but beautiful; that respond to the needs of our time while also transcending time.