The studio is currently owned by Shirley Blair and John Griffith andforms a part of their residential property to the west. Used for aproximately a decade by Ms. Blair for her interior design companythe Blair Design Group, she now uses the space for her own personalworkspace.

Good.The structure is currently being repainted to match its original color scheme with advisory input by its original designer David W. George( now FAIA ). Other work may be performed to bring it back into pristine shape including a reroofing which would remove the 'roof-on-roof' stacking which currently exists.

The studio is the first 'glass-box' Modern structure built in north centralTexas.The two-story steel frame stucture sits atop a slight hillock and is surrounded by small trees and other growth rendering it almost invisible to unknowing passersby. It is entered by a steel bridge from the west / uphill side and a cantilevered balcony projects from the east elevation continuing the spatial thrust of the entry bridge. The bridge spans to the studio from a poured-in-place reinforced concrete plinth to the west which contained the original mechanical system. Both bridge and balcony are centered in the middle north-south bay defining a strong symmetrical axis which is offset elegantly by the assymmetrical volumeof the interior painting space. The original structure had plain canvas sunshades mounted to theexterior facade for protection from the harsh Texas daylight.In 1968 Ms. Brants commissioned architectural designer Glen Alan Galaway to design a residence for her immediately to the west whichwas extensively remodeled in 1989 as part of a new and larger residence by architect Emery O. Young, AIA for the new owners Shirley Blair and John Griffith. Designed utilizing a 7' by 7' conceptual module, the studio is 4 bayswide ( east - west ) and 5 bays wide ( north - south ) giving the flat-roofed building a plan footprint of 28' by 35'. The northernmost interior bays form the two-story high painting area itself and a small kitchen is located at the lower level in the west side. A second entry is provided from the north wall at the lower level directly to the outside. Various exterior bays not glazed were infilled with natural tan cementstucco infill. The steel framework was painted flat black, resulting in aninteresting hybrid of Miesian frame and Wrightian color / material palette.

Conceived as a design / build collaboration and prefabricated offsite,the structure consists of painted steel angles bolted back-to-back andthen glazed with clear single-glazing on site. The frame itself wasassembled first offsite to verify tolerances and fit, then taken apart,transported to the site and reassembled on the poured-in-place reinforced concrete foundation slab. The roof deck, which is exposedto form the interior ceiling and the upper level, and the second floorframing / first floor ceiling are of painted 1x6 wood planks. Interior wallsare simple gypsum board, painted, on wood framing.Flush, solid core exterior wood doors were painted and hung with continuous piano-hinges. Simple steel frame screen doors are mountedoutside each pair of bridge / balcony doors. Roofing consisted of asphalt-impregnated membranes with gravel ballast and copper edge flashing. The second roof, now on top, usedgalvanized metal edge flashing rather than copper. Various mechanicalconduit and other lines are presently exposed on the exterior of thestucco infill panels.

The Brants family property sits on the south side of the golf coursebelonging to Ridglea Country Club which was under development at thetime of this construction. Originally dairy farm, Ms. Brants and familyspent considerable time riding horses there and lived in a home completed in 1935 and designed by Hubert Hammond Crane. The house is still extant as is the later Brants family home designed by renowned Houston architect John Staub. The hillock site of the studio is now surrounded by adjacent homesand Sealands Lane was cut almost immediately below the building.It is a bit difficult to imagine its original purity on the hill.

The design / build nature of the project, unusual for 1950, along with it's early use of prefabricated components as described in 'Construction'give this modest project a larger presence in the history of such concerns in the region. The builders were considered the best availableat the time for such residential construction in Fort Worth.The use of steel angles without thermal breaks in conjunction with theclear single glazing resulted in considerable heat transfer into the studio.though interestingly, no owner mentioned being bothered by this issue.It's unpretentious material palette and means of assembly belie theconsideration given to the architectural clarity of the finished product.

Cynthia Brants was a highly- regarded painter in the region whose workis in the permanent collection of the Modern Art Museum of Fort Worthas well as significant personal collections and her college friendshipwith Ruth Carter Stevenson, a Fort Worth native and daughter of AmonCarter ( owner of the Fort Worth Star-Telegram ) remained a lifelongtie. Ms. Stevenson was the first female chair of the National Gallery ofArt and has served on numerous boards including the Board of Regentsof the University of Texas. She has been a patron of world-classarchitecture for most of her life including works by Philip Johnson, Harwell Hamilton Harris, Roche - Dinkeloo, et al.

As the first 'glass-box' Modern structure to be constructed in the northcentral Texas region it's significance is considerable.Hood Chatham went on to practice in San Francisco and had a notedarchitectural career until his death a few years ago and David Georgestill practices in the region in the modest architectural vocabulary whichthis early work typifies.

The studio is little-known, even among architects in the region, but it's importance in the overall architectural history of Texas is quite notable.It's concern for world-class architectural conceptions expressed insuch unassuming material palette and techniques is extraordinary. The mere fact that it still exists, in a cultural climate where such structures are considered expedient and not highly regarded isremarkable.

Personal conversations on site and by phone with Cynthia Brants,Shirley Blair, David W. George, Hood Chatham and Don W. Kirk overthe past four years.