Every day my wife would take our daughter to School and on her way to pick her up would drive the neighborhoods looking at the existing homes. As we were in the middle of renovating our own home and as I was building it, I kept dodging the request. Then one day, we both went to pick up our daughter, and as she had me captured in the car, drove me up to the home.
The Dukes home fully restored by Craig MaMahon and his family.
The Dukes home fully restored by Craig MaMahon and his family.
The only thing I could say when we pulled up was “what is this doing here?”
The home was remarkably modern—reminiscent of the Los Angeles Case Study Houses. After years of living in Los Angeles and studying the work of Eames, Neutra and Saarinen, I was surprised to discover a home with such a similar architectural language in South Texas. Its exposed space-frame roof structure, expansive glass connections and open layout made it clear that this was a home worth saving.
Because the property appeared abandoned, we returned often to better understand its design and history. We discovered that architect William Dukes had designed and built the home for his family in 1961. Further research revealed a prolific practice that included mid-century modern residences, churches and schools, but his own home stood out as an exceptionally modern design for San Antonio at the time.
The McMahon’s discovered that the living room’s brick walls were not load-bearing, the floating roof structure was independent, another detail that revealed the ingenuity of the original design.
Removing the upper loft panels introduced abundant natural light, while new glass elements preserve the home’s original structural grid, sightlines and balance of openness and privacy.
Nearly a decade after we first discovered the home, it remained vacant and in serious disrepair. After the estate sold it to investors in 2016, much of the original architectural detail was removed before the renovation was abandoned. A subsequent owner recognized the home’s significance but also halted restoration as costs escalated. In 2019, while helping my sister-in-law find a home in the neighborhood, the Dukes Home appeared on the market, and our family purchased it with the goal of restoring it. When my sister-in-law’s husband was transferred to Houston, my wife and I decided to take on the project as our own home. Despite COVID-era material shortages and extensive reconstruction—including utilities, exterior finishes and sewer lines—we moved forward with an “only an architect would do this” determination. It became a family effort, with our daughter recreating and refinishing the interior woodwork and our son helping with painting and staining, all focused on restoring the home to its original architectural intent.
With only the main living room salvageable, some architectural license was taken with the new layout while carefully respecting the original design intent, including relocating the primary bedroom, adding loft windows and recreating the concrete veneer panels. After three years of research and restoration, the home was returned to its former glory. Mr. Dukes’ design is a special example of South Texas modernism, and we are incredibly proud to call it home. Its indoor/outdoor layout has since welcomed several AIA functions, including two Custom Residential Architects Network (CRAN) Design Award programs. Although the restoration required tremendous effort, it was worth it. Every architect should hope that, long after they are gone, someone will recognize what makes their work special and fight to preserve it.
The original concealed 1960s kitchen had been demolished.
The new kitchen is open while recreating the full wall of wood clad cabinetry shown in the original drawings.
Salvaged Douglas fir from another 1960s-era home was carefully milled to recreate the original exterior door and window frames, along with much of the home’s interior trim.
State of the Home
When the home returned to the market in late 2019, my sister-in-law contacted us and we immediately went to see it. During the six years since we first discovered the property, several owners had attempted renovations, removing or altering many important architectural details. The newest owners, however, hoped to find someone willing to restore the home rather than demolish it for the large lot.
Remarkably, William Dukes’ original project drawings were still in the house, and the local AIA collected them for archival protection while helping us connect with the owners. By then, the bedroom wing, kitchen and loft had been gutted, portions of the exterior demolished, and original concrete panels replaced or painted over. Years of roof leaks, termites and water damage had also taken their toll, requiring steel beams to support the sagging timber roof structure. Nearly all the glass and many window frames required replacement, with new frames custom-milled on site using salvaged material. Guided by the original construction documents, we created a backyard millshop to reproduce many of the home’s unique details. Those remarkably detailed drawings became essential to understanding Dukes’ original vision. Jack Peterson, the home’s original draftsman, then in his 80s, even stopped by occasionally to see how we were progressing with what he still considered “his home.”
Renovation changes that differed from the original design
When restoration began, we had little documentation to guide us, particularly on the bedroom side. The original William Dukes construction drawings and design award boards were provided by the previous owners midway through the project. We relocated the primary bedroom to the backyard, consistent with Dukes’ vision of creating a private space with direct patio access. On the opposite side, the original concealed 1960s kitchen had been demolished, so we chose to keep it open while recreating the full wall of wood clad cabinetry shown in the original drawings.
The home’s design is centered on both light and privacy. Removing the 4′ x 10′ panels from the dark upper loft dramatically increased natural light, inspiring us to incorporate glass while respecting the home’s original grid and sightlines. Restored frames on the south end of the loft were infilled with glass, maintaining privacy from neighboring homes. We also introduced a corner glass window facing the street, echoing the glazing on the opposite side of the living room while remaining compatible with Dukes’ original architectural language.
Unexpected Moments and Unusual Challenges
The start: Purchased just before COVID, the home presented challenges that required us to rethink nearly every aspect of the restoration. Material costs soared, many products became difficult or impossible to find, and the home’s exposed wood framing and unique design demanded creative solutions to keep the project moving and within budget. We worked closely with skilled tradespeople, often learning together how best to reconstruct and preserve the home’s distinctive details. Throughout the process, William Dukes’ original drawings proved invaluable in understanding his design intent and guiding the restoration.
Learning about the home: The home’s unique design continued to reveal itself throughout the restoration. While rebuilding the window frames, I noticed that the windows and sliding doors differed between the front and backyard elevations, and that the brick columns were intentionally offset. The original drawings revealed why: staggering the columns and supporting arms allowed Dukes to achieve the longer spans needed for the upper roof framing, beyond what conventional lumber could accommodate at the time.
Process of Restoring
Utilities: All of the home’s utilities had to be replaced, presenting a major challenge because the glass-enclosed living area provided no way to connect systems between the two wings. Plumbing and electrical work required cutting through the foundation, which meant removing the original Saltillo tile. Rather than replace it, we poured a polished concrete topping slab in a grid aligned with the columns, complementing the home’s concrete exterior. Heating and cooling posed another challenge, as the original home had only one small unit. Separate systems were installed for each wing, with lowered soffits based on details visible in original photographs.
Windows and Doors: The damaged windows and doors were replaced with insulated glazing and new systems set within wood frames milled on site. Direct glazing proved surprisingly affordable, with all fixed glass costing about $16,500, while lower awning windows provided ventilation without interrupting the clean appearance of the upper glass. Finding affordable, readily available doors and hardware required extensive research, with Build.com and ETO Doors becoming valuable sources. The original hand-carved front door panels, badly damaged by water, were carefully stored during construction and later restored. Often referred to as “Lynn Ford” doors, these distinctive panels, along with other custom wood details, were reportedly handcrafted by Jack Peterson, William Dukes’ draftsman.
Exterior Concrete Panels: The original “Cemesto” exterior panels—cement panels with an asbestos core—had either been removed or painted over and needed to be replaced. To recreate their original concrete appearance, we set up a casting area inside the house and experimented with applying a thin concrete finish over fiber-cement panels. Nearly 50 custom-sized panels were individually fabricated and finished to achieve the smooth, glossy appearance of the originals. Even the process had its challenges, including birds dropping berry stains on the curing panels, forcing us to build protective tents until the sealer could be applied.
Framing Materials: The home was originally finished in sealed Douglas fir, a costly material to replace today. Fortunately, my firm was working on another 1960s-era home with Douglas fir ceiling joists more than 20 feet long. We salvaged the material and set up a backyard mill shop to recreate the home’s exterior door and window frames, as well as much of the interior trim.
Flooring/Interior Finish: Because new utilities required cutting through the floors, the original Saltillo tile was removed and replaced with polished concrete, reinforcing the home’s original concrete aesthetic. For the bathrooms, large-format 24″ x 36″ concrete-look tile was selected to echo the scale and appearance of the exterior wall panels.
Insulation: With little insulation in the original home, rigid insulation was added to the walls and flat roofs while preserving the design’s thin profiles. The double-width brick walls were also insulated by filling their interior cavities. During this work, we discovered that the living room’s brick walls were not loadbearing—the floating roof structure was independent, another detail that revealed the ingenuity of the original design.
Cabinetry/Woodwork: The original construction documents called for wood-clad living areas, but COVID-era material costs and long millwork lead times required a different approach. We set up a backyard mill shop and sourced Douglas fir plywood to recreate the living areas and bedroom ceilings. IKEA cabinetry provided an affordable foundation, while our daughter spent six months milling and finishing the wood cladding and ceiling panels, with our son handling much of the custom staining. To avoid delays and costs associated with fabricated countertops, we chose butcher block, allowing work to continue while reinforcing the home’s original warm wood aesthetic.
Cost-effective measures
Every day required a new approach to rebuilding the home within the constraints of COVID and our budget. The restoration became a true family effort: my daughter handled much of the woodwork and finishing, my son painted the 14-foot ceilings, and my youngest daughter helped with cleanup after school and on weekends. Local tradespeople assisted with framing, glass removal and the more challenging exterior restoration, often working with me to develop solutions along the way.
Serving as both architect and general contractor helped control costs, but every decision required research, experimentation and a willingness to work with available materials rather than costly special orders. Resources such as IKEA and local suppliers became invaluable. Ultimately, the restoration was possible because of our family’s hands-on involvement and the talented tradespeople who embraced the challenge of learning how to rebuild this unique home with us.
Design Recognition:
- 2026 Best in American Living Awards- Gold Award
- 2025 AIA San Antonio People and Place Awards- Design Award Winner
- 2025 San Antonio AIA Residential Design Awards-Finalist
- 2025 Golden Nugget Design Awards-Silver Award
- 2025 Preservation San Antonio Design Awards-Honor Award
- 2025 Texas Tech University College of Architecture Design Awards- Merit Award
- 2025 Qualified Remodeler Master Design Awards-Gold Award
Project Facts:
- Original Construction 1961 by William Dukes Architect
- 2,450 Square Feet
- Castle Hills, Texas
- Originally constructed in 1961 as architect William Dukes’ family home, the residence was designed with assistance from lead draftsman Jack Peterson of O’Neil Ford’s office, whom Dukes enlisted to help develop the home’s unique space-frame design.
- Current Owners: Craig and Molly McMahon
- Renovation/Restoration: 2023/2024 by Craig McMahon AIA and Molly McMahon (Interior Design)
- Contractor: Craig McMahon AIA
- Primary Subcontractors:
- Ray McMahon (daughter): all woodwork finishing
- Overall framer/trim Henry Hernandez: H and R remodeling
- Concrete: Israel Espinosa
- Specialized Trim: Randall and Howie Nicholson-Supercarps
About the Author: A graduate of Texas Tech University, Craig McMahon spent 15 years with major design firms in Chicago and Los Angeles before returning to Texas in 1999 to join Lake|Flato Architects. In 2005, he established Craig McMahon Architects, focusing on institutional, educational and residential projects that emphasize artistry, craftsmanship and a hands-on approach to design and construction.
The firm collaborates closely with clients, artisans, craftspeople and contractors, bringing the entire team into the design process early. Inspired by the Texas Hill Country, projects emphasize connections between architecture and landscape through courtyards, outdoor living spaces, natural materials and abundant daylight. Traditional building methods are combined with innovative techniques and technology to create distinctive environments.
Craig McMahon Architects approaches each project holistically, from initial concept through final detail, with a mission to create artfully crafted spaces that enhance how clients live, work and learn.
