Howard Rachofsky encouraged and allowed Richard Meier to explore and experiment in this 10,000 square foot home on Preston Road. The seemingly simple, effortlessly floating stark facade belies its massive and intricate structure that gives it its grace. As you move around this architecturally significant masterpiece, the home transforms itself from soaring planes juxtaposed with vertical cylinders, to a series of massive flat squares and horizontals protruding from the plane of glass responding to the vertical slabs of granite in the rear garden, to the compelling diagonals of the interior stairs that slice through the horizontal outline of the house.

One of my favorite houses in one of my favorite neighborhoods is this Robert Johnson Perry designed home in Mayflower Estates. Emilie and Phillip Schepps originally owned a home across the creek on three acres which allowed them to carve out a creek ledge on the corner of the lot and build a home.

Ross Avenue was a street with house after house of individual splendor. On the edge of town, each mansion was built with the proper amount of land and magnificence to make it its own destination point. Early pictures show croquet being played on the lawns and exquisitely dressed ladies sipping lemonade on the front porches. This era combined opulence and craftsmanship as does the Alexander Mansion now owned by the Dallas Woman's Forum.

Architect William Benson was joined by the Dallas’ top modern interior designer Louise Kahn and celebrated landscape architect Richard Myrick. The result is a home that defines a modern era that continues to inspire and engage. The spaces are both commodious and efficient.

This space was designed by Glen Allen Galaway, a friend and protégé of Philip Johnson, for his art, his friends and as his own home. This residence is a piece of art in itself - a 2,000 square foot sculpture set in a private garden, hidden in University Park.

Sited on a peninsula, a footbridge leads you over the creek to the house defined by the meandering creek on three sides. Jim Wiley of the Oglesby Group designed this 2,000 square foot home for Mr. and Mrs. Bartram Kelley in 1956 to accommodate their love of music. A 48 foot square shell is built around a concert room with 16 foot ceilings. This main room has two walls of stacked eight foot windows framed by four inch square posts, laid out on a four foot module, that serve as the sole support of these walls that allow a full view of the surrounding creek.

Harwell Hamilton Harris is one of the most important architects to have ever designed a home in Dallas. His work appears from the East to the West Coast, but he is most closely associated with the California mid-century modernist movement. He became Dean of the University of Texas, School of Architecture in Austin and relocated his practice to Dallas in the 1950s. The home he designed for Jean and Seymour Eisenberg was his finest and certainly his sentimental favorite. 9624 Rockbrook was designed in 1957. Hidden from the street, you enter the front door under a trellis and proceed into rooms of efficiently used space, but with materials light in volume that best represents a mid-century home.

Architect Larry Boerder designed this Edwardian estate home on top of Idylwood Hill. Surrounded by acres of trees, lawns, gardens and creeks you have a true sense of a country estate.

In 1932, David Williams built his last private home which also was his first home to become widely recognized and applauded.

Charles Dilbeck was a prolific architect, much loved and currently featured at the Meadows Museum's architecture exhibit Crafting Traditions. This four-bedroom Dilbeck home across the street from Williams Park was designed in 1934 next to another architectural masterpiece, the home designed by David Williams for the mayor of University Park in 1932. Having the best work of Charles Dilbeck and David Williams side by side allows these architectural landmarks to define this period of Dallas and the architectural legacy of each other. Charles Dilbeck introduced indigenous Texas design and materials to Dallas architecture, the same years as David Williams.

A most remarkable project is the gallery and guest house in Preston Hollow designed by Bill Booziotis. Bill has designed major museums and important houses, but this is definitely his best work. In collaboration with Andree Putman, Bill has created a space that is at once a museum and a residence, intimate and voluminous, and one with diffused light and a subtle play of light. Angled walls, corner doors and windows allow the space to unfold with uninterrupted walls for art under the complex curve of the barrel vaulted ceiling.

This complex house on a difficult site of trees and stone ledges is known for its simple lines, serene views and beautiful craftsmanship. O'Neil Ford, at his best, designed this home with Texas materials, hand carving and the continuation of a folk quality that permeates his homes. A sense of refinement comes from the precision of the intricate craftsmanship, interlocking spaces and buildings that create a compound - a residence as an architectural village, a Texas house for Texas art.

This home overlooking White Rock Lake, was designed by Frank Welch in 1997 for John and Barbara Bradfield. It draws directly from O'Neil Ford and David Williams. The balconies evolved directly from O'Neil Ford's Trinity University in San Antonio. It has vertical steel straps and a wood cap railing. The egg crate redwood grid frames a screened in porch in much the same way as O'Neil Ford treated the porch on the Wendover home designed in 1939.

Edward Larrabee Barnes was selected to design the Dallas Museum of Art. Ralph and Nelba Greenley, who were very involved in the Dallas Museum of Art project, retained Edward Larrabee Barnes to design their home at 4608 Meadowood. Edward Larrabee Barnes is a modernist who designed the subterranean first floors and the aboveground second levels with a crisp, modernity on a site of several acres overlooking a creek.

Arch Swank and O'Neil Ford designed this architecturally significant home in 1939 for the Brombergs who lived in the home for 60 years. You can see references of earlier David Williams and O'Neil Ford homes in the carvings, railings, doors, ceilings and screened-in porches with fireplaces. Originally, the home was built on several acres. The family was oblivious to sensitive land planning and sold off many acres for a suburban style 1960s cul-de-sac of builder spec homes. Fortunately, years later the family kept the remaining acres together by a deed restriction when the last of the homestead was ultimately sold at the end of the 20th century.

4800 Preston Road was designed in 1910 and remained a landmark for 90 years. Not only was it one of the first homes built in Highland Park, but it was magnificent from either Preston Road or Lakeside Drive. It was the long-time home of Governor Bill Clements and Rita Clements. This 10,000 square foot home was torn down to make room for something larger.

A Bent Tree lot was found overlooking the Preston Trails greenbelt. This home takes its cue from the modernism cubes of the Frank Welch home designed in the 1970s when this suburban neighborhood was first developed. A generous clerestory fills the living spaces of this 4,000 square-foot geometric home with light and becomes a dramatic architectural feature. Steel and bleached redwood sunscreens further enhance the facade. A distinguishing detail on this subtle home are the metal castings of leaves oriented vertically on 13-inch shafts anchored to the walls of the front facade entry and courtyard creating dramatic botanical shadows on the muted tones of the stucco. See more images and information on this modern home offered for sale in Dallas Featured Listings.

5555 Walnut Hill Lane was the most important home designed in Dallas in the first half of the twentieth century. The Crespi/Hicks Estate was designed by Maurice Fatio in 1939. Maurice Fatio and William Treanor were voted the most popular architects by their peers in New York in the 1920s. Maurice Fatio came from a prominent family in Switzerland and was trained in a classical tradition. His classical elements and proportions were more subtle than the architectural exuberance of Addison Mizner who preceded him in Palm Beach. His skill was further demonstrated when he went beyond designing estate mansions and designed a Moderne house in Palm Beach that received the Paris Medal of Honor in 1937. Better Homes and Gardens awarded him the top honor for a proposed suburban home. Whether the designs were for small or large homes, they reflected a graciousness, perfect proportion and exquisite detail.

The renovation of this internationally important residence, including reclaiming the pool and floating dining room island, was completed in 2007.

In 1929 Colonel Alvin and Mrs. Lucy Ball Owsley built one of the most important homes in Dallas. They retained John Scudder Adkins of Cincinnati, Ohio, to design this neo-classical home with French influences in the architectural spirit of McKim, Mead and White. They christened this three-story home faced in a random pattern of Indiana limestone "Mansfield."

Bob James designed this AIA award-winning home to blend into the neighborhood and provide dramatic views by the surrounding creek and woods. With 3,450 square feet, it is both stylish and practical. It is sited on one-half acre overlooking Royal Branch Creek and a public wilderness park behind it. In a gesture to the neighborhood of 1960s ranch style homes, Vicki's Creek House blends into the streetscape.

"Please consider, therefore that there is nothing chimerical about this beautiful residence park. There is no speculation as to its future,...its importance will increase as the city expands." This is how the Munger Brothers first touted their new development that had replaced a 300 acre cotton field on the eastern edge of the city limits.

This home on Rockbrook was designed in 1993 by Steven Holl. Thin curved roof planes shelter open and closed spaces. Four sharply detailed concrete masses correspond to the dams on the creek. The effect is a structure firmly anchored and simultaneously in flight. Reflections in the water and backdrop of a big Texas sky further evoke a sense of fluidity and motion to this very disciplined plan.

The seven metal roof caps create a dramatic line interrupted by several chimneys. This Texas Modern home was also influenced by Frank Lloyd Wright, with whom David George apprenticed. Ted Larson was the renovation architect of this one-room deep house overlooking a deep ravine and creek. A mix of stained concrete floors, soft brick and a variety of wood contribute to its Texas Modern style.

George Woo trained with I.M. Pei and has designed commercial and residential projects in both the US and in Asia. One of his most important early projects is one he designed at 20 Summit Place in Cedar Hill. This post modern home built in 1987 is designed at the top of the highest hill in Dallas County. See more images and information on this architect designed modern home offered for sale in Dallas Featured Listings.

This home was designed by James Pratt and Hal Box in 1959 for Edward and Mary Jane Wilson. Mary Jane Wilson had grown up in a Lang and Witchell designed home on Swiss Avenue. It is one of many cases where children who grew up in an architect designed home employed an architect for their own home.

Goodwin and Tatum designed this Colonial Revival home for Henry W. Strasberger, the founder of one of Dallas' oldest law firms, and his wife, who was an architectural student at the time. It has always been one of Dallas' favorite homes. Not because it is grand with imposing ceilings or dramatic architecture, but just the opposite. Its appeal comes from being sympathetic and authentic to its immediate surroundings of Rock Creek lined with dense forest and the topography and winding streets you find in this secluded neighborhood of Turtle Creek Park. In this setting, the random cut stone winding up to the front door is charming, not contrived. The wood shingles cantilevered over the first floor of random cut country stone are warm and inviting, not flimsy or without weight. Wings, sun porches and curved bay walls suggest real places to enjoy the views. This home represents a residence as a retreat or refuge and still a beacon of hospitality. In 1983, architects Robbie Fusch and Wilson Fuqua were invited by the granddaughter to expand the home which they did within the spirit of the original design.

Burton Schutt and Denman Scott were brothers that made up the architectural firm Schutt Scott. Because of the anti-German sentiment in the first half of the twentieth century, Denman changed his surname to Scott. They were important California architects who designed Hotel Bel-Air in California, along with many other significant and historic residences and buildings in Bel-Air and Beverly Hills. In 1937, they came to Dallas to design a 21,000 square foot home for oilman Everett Lee DeGolyer on 44 acres at 8525 Garland Road, on the shores of White Rock Lake.

John Staub was a prominent architect in Houston who came to Dallas in 1936 at the request of Alex Camp and Roberta Coke Camp to design their home on 22 acres on the shores of White Rock Lake. While 8,500 square feet, it is sited in the landscape in an unimposing way. Architect James Pratt notes the natural light within all the principal rooms. Architect Frank Welch states "the Camp House is wonderfully realized, terribly handsome, the best of regional vernacular." The doors slide into the walls, the floor plan is open, breezes from across the lake sweep through the elevated balconies and porches. It is a home that has influenced many regional architects. Arch and Patsy Swank reminisced that O'Neil Ford and Arch were not formally involved in the design of this home, they would, however, quietly review the plans, offer suggestions and most of all, bolster Mrs. Camp's confidence before the prominent Staub would come to town for meeting and review.

Young modern architects in 1950 explored form that followed function, diligently evaluating family needs and designing rational approaches for those needs while investigating modern materials to fulfill their design, and always searching for a site equal in importance to the home.

This Spanish Eclectic Grand Mission style home is one of many that Marion Fooshee and James Cheek designed on Beverly Drive in Highland Park. This home they built for the Sterrettes in 1921 was widely successful. Much like the Higginbothams, who built a home next door to 5002 Swiss for their daughter at 5020 Swiss Avenue, the Sterrettes built the home next door to them at 4208 Beverly for their son. This home was also built by Fooshee and Cheek in a Spanish Colonial Revival style.

Anton Korn designed 4700 Preston on 7.7 acres in 1917. This home was built for Highland Park developer Hugh Prather, former owners include Electra Waggoner. His other important homes on Preston Road have regrettably been torn down, this has survived partially a result of significant but sensitive expansions by D.C. Broadstone.

3635 Beverly was designed in 1924 by Anton Korn. The oak timbers were replaned from the grand Oriental Hotel when it was torn down.

Clifford D. Hutsell designed 7035 Lakewood for himself in 1930. At a cost of $10,000, this was one of the most expensive new residences in Lakewood and the same cost as many of the mansions that had been built on Swiss 20 years earlier. Hutsell was a prolific Spanish Eclectic architect prior to building his own home, but his 1929 trip to California were he visited the home of cowboy star, Tom Mix, greatly influenced and refined his design for this home and others in the future.

The Jerry Bywaters Studio faithfully conveyed the early Texas homes that David Williams and O'Neil Ford so faithfully sketched as an inspiration for the Texas modern architecture. This Texas landmark remained intact and unaltered for 75 years before it was town down to make room for a new home designed by David Lake and Ted Flato, proteges of O'Neil Ford. Most architectural historians, preservationists and patrons of the arts did not consider this home to be in jeopardy as it was a secondary structure to the main building site and could be easily moved to another position on the existing site or reconstructed at Old City Park to give this museum park the best example of early regional architecture in the state.

In 1926, architect David Williams, the father of Texas Modernism, designed a house at 700 Paulus for his youngest brother and physician, Raworth Williams. While this residence incorporates Spanish idioms such as wrought iron, carved stone, multi-hued roof tiles, cathedral ceiling beams, columns and arches, architect David Williams introduced many elements central to his regional and modern style.

This home was designed by Hal Thomson in 1914 for George Greer, the president of Magnolia Petroleum Company, which later became Mobil Oil. Truly eclectic, the home is not true to a design of the eighteenth century, but includes Georgian details and a nod toward Italian Renaissance. The home is listed in the National Register of Historic Places by the U.S. Department of the Interior National Parks Service as the George Greer home.

Wilson McClure designed many beautiful homes in the 1940s, 1950s and 1960s. Many of these had a Georgian influence, but this home on Chapel Hill, built in 1940, is pure Texas Modern. It was designed as one of the three original homes on the east side of White Rock Lake.

An East Texas/Louisiana influence is seen on the facade, but this home makes a further leap into Texas Modernism. The continuous beams from the living room to the arched verandas, the courtyards and the balconies reflect the style of Texas homes that grew as families expanded. Central Texas idioms are explored by artists and craftsmen, perpetuating the exuberance of the Texas imagination.

In 1987, Lionel Morrison designed a modern single-family attached townhome in Northern Heights. Other important architects followed, including Frank Welch, Graham Greene, Ron Wommack and others, both in Northern Heights and throughout the Turtle Creek Corridor. These townhomes allowed people to have a stark, stylish residence at an affordable price.

Lionel Morrison is the starkest of the regional modernists. Reduction, not exuberance, is his goal. This 1994 home, while very elegant and precise, can be seen as a shed with a dogtrot and compound wall to accommodate the stairs, or as a simple rectangle with a two story glass appendage allowing the staircase to be an integral part of the design.

The many compliments of this new home indicate that it has struck a chord with Dallas. This Romanesque styled home is built out of Texas fossilized limestone. We see many new homes in Dallas that are romanticized revivals of Georgian, Tudor or Italian homes. The exterior of these homes are often very polished with bulging cast stone trim and oversized windows. This Beverly home, designed by Rick Robertson, originally from Dallas, revives a style, but it is the 1920s and 1930s homes found in Beverly Hills or the Italian styles expressed in Palm Beach.

This Lionel Morrison attached single family modern home was selected as one of Dallas' 50, Significant Homes for the AIA, Dallas Chapter's 50th Anniversary. In Northern Heights, along the Katy Trail, this home inspired this small neighborhood to have the greatest collection of architect-designed homes in the city.

Scott Lyons originally worked for O'Neil Ford and continued exploring the same architectural themes. As a one-man office, he designed important Highland Park residences and country homes using indigenous materials, screened-in porches and sprawling houses that created courtyards. On the fascia of the Lexington House, he introduces cobalt blue ceramic tile imported from Asia for this stone Texas Modern home he designed in 1958.

This might be the first concrete structure in Dallas. Created by Joseph Kovandovitch in 1914 overlooking R.L. Thornton Freeway.

This Mediterranean style home designed in 1919 along Hackberry Creek in Highland Park, is significant both architecturally for its renovation and for who has lived in the home over the years. Architect Wilson Fuqua did the renovation and expanded the home in one of the most beautiful and effective ways to enjoy the creek and lush gardens. Florence and Pio Crespi rented this home before they moved to the Owsley home at 6801 Turtle Creek. Architect Bud Oglesby later chose this home as his residence.

In 1951, Howard Meyer designed this International Modern style home for Mr. and Mrs. Ben Lipshy. It was beautifully restored by Carolyn and James Clark in 1981. Art and architectural historian Rick Brettell calls this "the finest International Modernist house in Texas." A few years earlier Howard Meyer designed the Morris Zale residence at 4400 Rheims Place. This home with its pronounced horizontal bands of irregular stone and wide flat eaves protruding from the gently sloped roof, is truer to the Prairie style homes of Frank Lloyd Wright than is the Frank Lloyd Wright designed home in Dallas. Tragically, this home on a double lot was torn down for a 2003 speculative Mediterranean mansion. This house, more than any other, exemplified the strong architectural connection between Chicago and Dallas and the forward thinking modernism of Dallas in the mid-century.

In 1950, Frank Lloyd Wright began his only residential project in Dallas. This home, designed for John Gillin, was completed after three years of construction in 1958, Wright's last home constructed before his death. The home was designed in response to his client's enormous Texas architectural appetite, the Southwest climate and its site of seven acres overlooking a creek. Elements drawn from a 70 year career can be found in this home.

David Braden designed this home in Oak Cliff at 665 West Colorado in 1950. This home is just a cube with square-hipped roof but built on a severe slope by a creek and in a flood plain. It visually becomes a floating cube sheathed in redwood and brick, blending into the forest in the background. David Braden recounts that "In the early 1950s all the architects wanted to be in California or at least designing like the California architects."

Mark Lemmon made a tremendous contribution to the architectural landscape of Texas, designing many of the most beautiful sacred buildings, education and public buildings, and yet also one of Dallas' favorite buildings, the small architecturally significant home he designed for himself.

The Dallas Bar Association, led by Robert Hyer Thomas, reclaimed the Belo Mansion, built in 1900. The owner sold it for less than half its value. The attorneys' dues tripled, but it provided them a landmark building, a downtown presence, and preserved one of the early Ross Avenue mansions for Dallas. Ross Avenue lined with the city's finest mansions preceded the planned development of Munger Place and the Swiss Avenue residences.

This Dallas modern home was designed by architect, Antoine Predock who incorporated the client's passion for bird-watching into the concept of the home. While the Austin Stone front facade is perceived heavy, the interior opens up to reveal large open spaces created by 20 foot ceilings and windows, steel bridges shaded by a canopy of trees that connect the buildings and various points in the home and, surrounding the vaulted walkways, the ground transformed into a habitat filled in with lush vegetation to attract the birds.

Charles Dilbeck design these four architecturally significant homes on the four corners of Shenandoah and Douglas in University Park and are known locally as the Four Sisters.

The Meadows Foundation, in concert with the Historic Preservation League and with the cooperation of Fox and Jacobs, restored existing Victorian homes and moved nearby Victorian homes to make up two blocks of turn-of-the-century homes now used for non-profit organizations. Keith Downing was the restoration architect for this project.

Built in 1913 for Dr. and Mrs. R.W. Baird, Highland Park Methodist Church was founded here as it received a Park Cities historical marker in 1990. This Dutch Colonial home with a gambrel roof and an eclectic mix of styles work well together. They have been preserved to provide a glimpse of early Dallas. At one time Dallas mayor Wallace Savage lived here, although Savage is more closely associated with his residence on historic Swiss Avenue and his work to revitalize that area.

O'Neil Ford, in 1936, designed his first major modern home - the international architectural link between the Texas modern homes of his mentor David Williams and award-winning architects Lake Flato and Frank Welch today. You will find this home at 3514 Rock Creek on the finest lot in Turtle Creek Park.

Capturing the look and the spirit of a farm house is an important component for Max Levy. This is the first house he designed in Dallas. Like the home on Seneca by Frank Welch, this home blends into its Preston Hollow neighborhood and captures the architectural rhythm of the street. The ornamentation on the house comes from the sunlight that shines through a trellis, which creates the linear patterns on the stucco walls.

Architect Frank Welch, who is also the author of the best book written on Philip Johnson, mentioned in conversation, "Philip Johnson was a modernist stylistically, not ethically." Philip Johnson has easily moved from architectural movement to architectural movement. He has collaborated with Mies van der Rohe on the Seagram's Building in New York, and he designed the famous and delightful Glass House. He experimented with styles and forms, some formal, some whimsical, and some reflective of current culture. He liked the appearance of modernism more than the intent of modernism. While Walter Gropius offered an expression of culture, Johnson was a decorative and stylistic modernist. He often did neutral uneventful facades like the windowless museum at the Amon Carter. And even his decorative facades of the Strait Lane house became neutral from the obsessive repetition of arches that wrap the home.

Ten Nonesuch was originally One Nonesuch designed by Rosco DeWitt on seven acres for Stanley and Billie Marcus. Stanley Marcus was always a tastemaker. His home was the first International modern style home in Dallas, and impacted Dallas which came to have one of the country's best collections of modern homes in the 20th century. The Marcus family received the world's leaders in fashion, entertainment, and politics in this home. It sits on three acres.