Enter the world of Carlos “DJ Styles” Garza, who has in turn been a high school b-boy and aspiring graffiti artist, an up and coming club DJ, producer for the highly creative hip hop artists Odd Squad and Devin the Dude, and an independent producer and audio engineer. This digital collection contains approximately 50 artworks, sketches, fliers, and promotional items from the eighties to the 2000s, related to Garza’s life in hip hop.
Carlos Garza was born in Reynosa, Mexico in 1968, and settled in Houston with his family in the 1970s. As a teenager in Bellaire, he fell in love with hip hop through the music of the original pioneers, and films like Wild Style. In the mid-1980s Carlos began break dancing under the name DJ Pace Master. He and a few friends formed the Dynamic Crew, a break dancing group which performed at parties and participated in contests. They and other friends also sketched hip hop style artwork and practiced making potential graffiti tags. After a year of break dancing, Garza decided to switch to DJing and began performing at house parties and school events under the name DJ Styles.
Garza got a job at Soundwaves Records on South Main in 1987, where he worked until 1992 as the store’s buyer for hip hop (at a time when many music stores in Houston were not stocking hip hop). During that period, he launched the career of the legendary producer DJ Premier by recommending his friend to a New York label owner who was looking for a member to join the group Gang Starr.
In the early 1990s, Garza began working with the group Odd Squad (Rob Quest, Devin, and Jugg Mugg) as a producer, contributing to their classic Rap-A-Lot album Fadanuf Fa Erybody. He has also done production for Devin the Dude and the Coughee Brothaz, and these artists are represented in the digital collection.
This collection highlights the career of Donald Barthelme (1907–1996), the first Houston architect to gain national prominence in the years after World War II. These 57 items illustrate his work through pencil sketches, photographs, and the detailed working drawings used to construct his buildings.
Barthelme first gained attention in 1936 as the lead designer for the Hall of State, the principal building of the Texas Centennial Exposition in Dallas. In 1948 he won an award from the American Institute of Architects for Houston’s St. Rose of Lima Catholic Church, applauded for its simple Scandinavian modern forms. Yet he made his reputation with the West Columbia Elementary School of 1951, which won many awards and was published internationally. Its innovative design departed from the traditional practice of placing classrooms along both sides of a long corridor. Instead, Barthelme arranged the building around two large courtyards; classrooms opened to the courts through floor-to-ceiling glass walls. This flooded the rooms with light while providing a sheltered environment for the students. At the main entrance a flamboyant scalloped canopy greeted visitors.
In addition to the St. Rose and West Columbia buildings, the collection includes Barthelme’s own residence. He built this small modernist house for his family about 1939. The original drawings are lost, but he enlarged it slightly a decade later, and the collection preserves his 1949 drawings for this remodeling.
Of particular interest, and rarely seen, are a few of his studies for the Adams Petroleum Center (1954–58), his largest and most ambitious project. The Ada Oil Company, owned by K.S. "Bud" Adams Jr., wanted to develop its large site as an office park. Barthelme planned to build the complex in four phases, beginning with the client’s own building. He spent hundreds of hours studying different designs for the APC tower and preparing a dramatic aerial view. The company later abandoned the scheme and constructed only a modest building without the tower.
Barthelme helped shaped the look of Houston during its postwar boom. Today only the church buildings still stand, but the West Columbia school district has preserved his entrance canopy at the original site of the elementary school.
Several of Barthelme’s children became prominent writers, and the works of his eldest son, Donald Barthelme, Jr., are preserved in the Donald Barthelme Literary Papers.
The original materials are available in the UH Libraries' Special Collections in the Donald Barthelme, Sr. Architectural Papers.
During the turbulent political period of the early 1870s in France, artists satirized the people and events around them in witty and grotesque caricatures. This collections includes 607 of these works related to the Franco-Prussian War of 1870-1871 and the Paris Commune of 1871, rendered primarily as pen and ink drawings, drawings with gouache (watercolor), and hand colored lithographs.
In July 1870, war broke out between an expanding Prussia, led by Otto von Bismarck, and an overconfident France, led by Napoleon III (the nephew of Napoleon I). After France suffered multiple defeats in battle, in September 1870 Napoleon III surrendered and the Third Republic was established. During the winter of 1870-1871 the Prussians besieged Paris, and the city’s inhabitants suffered starvation and bombardment. The beleaguered city surrendered in January 1871. A settlement was negotiated with Prussia to form a new French government, but in March 1871 a group of socialists led an insurrection against that government and established the Paris Commune. The Communards ruled the city until their defeat in May 1871. That same month, the Treaty of Frankfurt ended the Franco-Prussian War.
Many of the caricatures in this collection depict political figures from the period such as Napoleon III (referred to by his nickname Badinguet) and Adolphe Thiers (head of the provisional government). Notable artists represented include Honoré Daumier, Cham, and André Gill. The caricatures were sold as individual sheets, as sets, or included in the many newspapers produced in France at this time, and many were created during the Siege of Paris when outside news was scarce.
The original prints were donated to the UH Libraries by art patron and collector Alvin Romanksy. They are available in UH Libraries' Special Collections.
This collection is now available at the new UH Digital Collections site! See Fritz Leiber Science Fiction & Fantasy Convention Flyers & Programs at UHDC.
Significant to the architectural history of Houston was the work of architect Kenneth Franzheim (1890–1959). The Kenneth Franzheim Collection is comprised of photographs and architectural drawings and models of Franzheim’s work. In addition to Houston landmarks such as the Foley’s Building and the Gulf Building, the collection surveys a broad range of works; included are corporate offices, high-rise apartments, theaters, private residences, airport facilities and others. Beyond Houston, the works contained herein were built and/or proposed for a variety of locales within and outside Texas. Represented are Franzheim’s contributions to the architectural landscapes of New York, Boston, Chicago and elsewhere. The collection’s images comprise the collected works of Franzheim as they appear in three self-published volumes: Kenneth Franzheim, Architect, New York City (1940), Drawings and Models of Some of the Recent Work of Kenneth Franzheim, Architect, Together with Sketches of a Few Proposed Buildings (1952ca) and Drawings and Models of Some of the Recent Work of Kenneth Franzheim, Architect, Together with Sketches of a Few Proposed Buildings (1960).
Through his early drawings, this digital collection captures architect Lucian Hood’s eye for detail and exemplifies his artistry and graphic skills. These drawings, done before architects were aided by AutoCAD and other drafting software, embody the craftsmanship and sense of detail from a bygone era. The hand-drawn pencil drawings include floor plans, interior and exterior elevations, foundations, and plots.
Many of the drawings are from Hood’s early work on residential homes, which are representative of the architectural trends and influences of the early 1960s. These homes, located throughout the Houston neighborhoods of River Oaks, Tanglewood, and Memorial, are highly sought after in the marketplace, and owners are often interested in the original drawings in order to restore the homes to their original specifications.
Hood was a 1952 graduate of the University of Houston who studied under Donald Barthelme. He was one of Houston’s early modernist architects and his work was in great demand for more than 40 years, from the 1950s through the 1990s.
SEM (1863–1934), né Georges Goursat, was a French illustrator and caricaturist who rose to fame during the Belle Époque. The Digital Library’s SEM Collection is comprised of four volumes from the UH Architecture and Art Library’s Kenneth Franzheim II Rare Books Room. Le Vrai & le Faux Chic (1914), White Bottoms (ca. 1920), the self-titled SEM (ca. 1920) and Le Nouveau Monde (1925) affectionately and mercilessly document the Parisian high society of a bygone era, and showcase the wild and whimsical work of SEM.
The Park People hosted Annual Awards Dinners to honor the efforts of organizations and individuals who shared a mission. This collection includes invitations for events held from 1992 to 2005 that reflect the mission championed by The Park People: to preserve and expand green space in Houston. Because the awards event began as a simple affair in 1981 without formal invitations, a summary is included that lists awardees through 1990.
The Park People emerged in 1978 as an organization devoted to advocacy for parks and green space in the Houston area. Following the environmental protest organizations of the 1960s, The Park People became a model for collaboration and cooperation by inviting government, business interests, non-profit organizations, and private citizens to join the effort to preserve and expand Houston’s green spaces.
The Park People relied on multiple avenues of community outreach to carry their message and expand support, and the awards ceremony became an anticipated avenue of outreach. An innovation in 1981, the awards event grew into a gala affair welcomed by those who spearheaded community-wide efforts to promote parks and green space.
From the 1992 event that heralded publication of Sarah Emmott’s Memorial Park: A Priceless Legacy to introduction of the Green Tie Affair concept in 1996, these creative invitations reflect not only The Park People’s success but also the spirit of woodsy and easy elegance that characterized the organization.