House that Art Built Cover

The neighbors call it the “warehouse,” and even on its modest street lined with small frame houses and light-industry buildings, it is unprepossessing—on the outside. The surprise is that inside the two-story corrugated metal building is the home and art collection of Houston gallery owner Fredericka Hunter.

Situated on a corner lot in an area east of Houston’s Memorial Park, the shed-roofed duplex is almost hidden by trees and desert plants. The neighborhood is a democratic mixture of blacks, Chicanos, and whites with a retinue of children and pets, plus a Popsicle man who comes around every afternoon.

Fredericka Hunter, owner of the Texas Gallery (a well-regarded establishment that deals, despite its name, mainly with contemporary young New York and California talent), built the house to display her extensive art collection as well as pieces that are too large for the gallery floor. Initially she wanted a New York-style loft with large open areas and high ceilings. When she had no luck finding loft space in Houston, she asked Eugene Aubry, partner in the architectural firm of S. I. Morris, for help. “There were two limiting factors,” Fredericka says. “First, I needed an enormous amount of wall space and, second, I wanted to build as economically as possible.” With this in mind, Aubry designed a simple rectangle of corrugated iron over a conventional wood frame. The result is a living area 90 feet long by 22 feet wide by 20 feet tall. Lofts at either end flank the soaring central space, and the total area, including lofts, is approximately 3000 square feet. The interior design is the result of collaboration between Fredericka and her partner, Ian Glennie, who is a graduate of the Rice School of Architecture.

All the walls are white and architectural details have been kept to a minimum, providing a neutral background for the art. “In fact,” Fredericka says, “there were only two pages of drawings for the entire house.” Doors, windows, trim, and hardware are likewise simple. “We thoroughly insulated both walls and ceilings when we were building and, as a result, only half the expected tonnage of air conditioning was needed.”

Including appliances, burglar alarms, and smoke detectors, the total cost came to a frugal $22 per square foot.

The house is sparsely furnished and looks as if all but the bare necessities have been pared away, but artwork gives tremendous life to the space. A thirty-foot painting in three parts by David Novros hangs on one wall of the living room, while the opposite wall holds four pieces ranging from large painted canvases to stick constructions. Various metal sculptures are placed about the house, as well as an extraordinary collection of rugs, tapestries, and quilts.

“The kitchen isn’t elaborate,” says Fredericka. “It’s not much more than one long counter.” But the cabinets hold a collection of Mexican Fiestaware in every hue, and on one side, sliding glass doors open onto an enclosed deck for breakfast out-of-doors.

From a bedroom loft, which looks as if it is suspended in space, there is a striking view of the living area below. The stairs and landing are covered with sisal in a repeated chevron pattern and the bed with a patchwork quilt from Federicka’s collection. A Billy Al Bengston screen fills one corner, and beside the bed is a menagerie of folk-art animals: wooden duck decoys and sandpipers, painted fish and old lures, and a fantastic wood, straw, and stick porcupine by Felipe Archuleta.

Looking across to the other loft, which doubles as a library and second bedroom, one has a good view of Alan Shields’ mobile, which spans the space between the two balconies. Three tiers of shelves line two walls of the loft, containing a fine collection of prehistoric American Indian pottery as well as a variety of books. A colorful canvas by David Novros and an early-American rag rug combine to make this one of the most inviting rooms in the house.

Fredericka’s home is extremely flexible. Besides providing a background for her art collection, the large central space flanked by balconies provides a perfect setting for the small impromptu music, dance, and dramatic productions that Fredericka frequently holds when friends from other areas of the art world come to visit. The space becomes a stage just by shoving aside the few pieces of furniture. “It’s a wonderful space,” she says, “roomy and open for large gatherings.” When everything is put back in its place, the house provides a cool quiet atmosphere in which to rest and contemplate.

The simple furnishings of the living room are set off by a large 19th-century French Canadian hooked rug. The new three-piece oil painting by David Novros has been hung to dry and is for sale. On the floor are metal sculptures by Clark Murray. A snakeroot sculpture sits on a “tea table” by Billy Al Bengston, and Jo Baer's “M. Refractarius” hangs on the stairwell wall.
The simple furnishings of the living room are set off by a large 19th-century French Canadian hooked rug. The new three-piece oil painting by David Novros has been hung to dry and is for sale. On the floor are metal sculptures by Clark Murray. A snakeroot sculpture sits on a “tea table” by Billy Al Bengston, and Jo Baer’s “M. Refractarius” hangs on the stairwell wall.
“Bear” by Felipe Archuleta guards the entry hall. Above it is a drawing by Barry Le Va and to the right are a Paul Mogensen canvas and a Chuck Arnoldi stick creation.
“Bear” by Felipe Archuleta guards the entry hall. Above it is a drawing by Barry Le Va and to the right are a Paul Mogensen canvas and a Chuck Arnoldi stick creation.
: On the bed is a 19th-century Amish quilt from Ohio. The 1875 Terrace-style Navaho blanket on the stair rail is a collector’s piece. The Billy Al Bengston screen (right) and Joe Goode oil (over the bed) pick up the colors of the quilt. Leaning against the wall is Gary Stephan’s painting, “Hours 3.”
: On the bed is a 19th-century Amish quilt from Ohio. The 1875 Terrace-style Navaho blanket on the stair rail is a collector’s piece. The Billy Al Bengston screen (right) and Joe Goode oil (over the bed) pick up the colors of the quilt. Leaning against the wall is Gary Stephan’s painting, “Hours 3.”
Ralph Humphrey’s heavily textured black oil provides a dramatic background for the colorful watermelon centerpiece carved from cottonwood and painted by Felipe Archuleta. Around the table are original Cesca (light) and Thonet (black) chairs.
Ralph Humphrey’s heavily textured black oil provides a dramatic background for the colorful watermelon centerpiece carved from cottonwood and painted by Felipe Archuleta. Around the table are original Cesca (light) and Thonet (black) chairs.
David Novros’ large canvas repeats the colors of the Amish quilt on the bed. The Mimbres and Sikyatki American Indian pottery on the first row of shelves date to 1300, but Peter Voulkos’ 1973 plate is a perfect complement. Above the shelves is Gary Stephan’s “Garden Cycle 5.” The American hooked rug dates from the 19th century. Above the windows is a rope and twine creation by Chuck Arnoldi.
David Novros’ large canvas repeats the colors of the Amish quilt on the bed. The Mimbres and Sikyatki American Indian pottery on the first row of shelves date to 1300, but Peter Voulkos’ 1973 plate is a perfect complement. Above the shelves is Gary Stephan’s “Garden Cycle 5.” The American hooked rug dates from the 19th century. Above the windows is a rope and twine creation by Chuck Arnoldi.
The open shelves over the kitchen counter hold an array of foods ranging from pasta to imported chutneys. In the foreground are a Mexican table and chairs of cowhide and split cedar.
The open shelves over the kitchen counter hold an array of foods ranging from pasta to imported chutneys. In the foreground are a Mexican table and chairs of cowhide and split cedar.