sion meetings and presented to the East Cesar Chavez planning team for input. “Every inch of the site is used in some way,” he says. “We had to begin with the multiple, competing requirements such as parking, ADA, Subchapter E, and IBC, which were often in conflict on this small site, and come up with a scheme that didn’t just meet requirements, but created a special environment.” Meanwhile Setzer and Reynolds worked on the economics of the development and conducted a door-to-door public relations campaign in the community. “We wanted to make sure that our neighbors supported the project,” says Setzer. “It was important to us that we set an example of how to accomplish this kind of project the right way. And as longtime East Austin residents, we wanted to make sure our neighbors understood our intention to run a neighborhood-oriented business.” Achieving consensus among the neighborhood and approvals from the City of Austin was challenging. But Krager, who has built a reputation for innovative and progressive approaches to development and building, was undeterred. The project ultimately required twelve administrative vari-
Krager drew from his experiences at boutique hotels in places like Istanbul and London, where small existing structures are woven into historic fabric. ances and conditional use approval from the planning commission. “There were overlays on overlays,” Krager says. Architects and owners presented the project’s unique ambitions and qualities and successfully showed how it complied with the neighborhood association’s voluntary design standards. Once approvals and financing were in place, attention turned to the design of the spaces. within the skeleton of an arts and crafts bungalow required a thoughtful touch. Krager drew from his experiences at boutique hotels in places like Istanbul and London, where small existing structures are woven into historic fabric and make the most of the available resources. “For me, those kinds of hotels are the essence of travel,” he says. They provide a powerful connection to the place you are visiting, allow you to meet other travelers as well as locals, and give you an intimate, personal experience.” The design solution is organized around three public spaces that consider the rhythms and needs of visitors and help create connections among people as well as place. The first of these spaces begins as guests approach the hotel through a landscaped forecourt that sets the tone for the architecture. From the street, the hotel maintains its bungalow appearance; only the signage clues passersby to its function as a hotel. The lobby’s doubleheight ceilings create a bright and airy centerpiece, and custom casework gives the relatively small space a comfortable efficiency. Long-leaf pine flooring and the original eight-inch baseboards warm the space, which is furnished with easy mid-century pieces and rich textures. Two guestrooms are located off this lobby, the only ones to be incorporated into the original footprint of the house. A staircase opposite the front entrance draws the eye upward, reinforcing the verticality of the space and rewarding guests with the unexpected revelation of a second-floor courtyard terrace. This is the second floor of the new addition, which is mostly obscured by the original house and connected to it by a small bridge and green roof. The addition’s ground floor provides covered parking. The remaining five guestrooms are gathered Achieving a mid-century aesthetic
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5/6 2012