Mid-Century Musings: Architect Craig McMahon on Saving a William Dukes Design
September 04, 2026 at 6:00am
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Architect Craig McMahon, AIA, has spent nearly four decades shaping a practice rooted in the craft of making buildings. After working with two architectural powerhouses, Gensler in Los Angeles and Lake|Flato in San Antonio, McMahon found himself drawn toward a more intimate approach to practice, one that placed creativity and hands-on involvement at the center of the design and construction process. In 2004, that impulse led him to establish his own practice.
More recently, McMahon turned that design sensibility toward a particularly personal commission: his own home, a mid-20th-century residence designed by architect William Dukes. Its renovation presented a familiar but nuanced architectural question. How do you adapt a house for contemporary life without erasing the intentions that gave it character in the first place? We spoke with McMahon about working in dialogue with another architect’s design, preserving what deserved to remain, and thoughtfully carrying the house into the 21st century.
MiSA: You have noted that the home’s upper roof structure and vast glass connections instantly reminded you of the Case Study houses of Neutra, Saarinen, and Eames in Los Angeles. To you, what makes these particular architects worth referencing when it comes to a mid-century design vernacular?
McMahon: I appreciate this question as I have wrestled with the design and its attributes to a “style”. I have found that everything built in the last 50’s through the 60’s is being described as “mid-century modern” primarily due to the era of time, not the style. Many of such listed homes are really Ranch style homes from the Cliff May era. I have to admit that I really did not understand what true “mid century design” encompassed and I initially viewed it as Modern.
The case study home program by Arts and Architecture magazine created a unique design program for new ways of living focused on the “International Style” from Architects leaving Europe during the War. Obviously, Mid-Century did not exist then. The Dukes home — in my opinion— is an International Style home with its striking and unique space frame design, thin profiles to the roof lines and its significant use of glass and utilizing the outdoors as extended living spaces. The California homes embraced a uniquely modern design, with the structural system exposed rather than concealed and always engaging natural light through expansive glazing.
As the unique space frame roof design was so unusual, I figured Mr. Dukes had traveled and seen the unique structural design at international fairs/exhibitions where it was displayed, but I have not been able to connect with anyone on how this unique structural frame design was conceived. It took me a while to understand the uniqueness of the structure and how it served the design, allowing for a larger span for the upper roof than conventional wood framing.
MiSA: The house went through a turbulent ownership history, passing from the original estate to house flippers, and then to an architecturally interested investor. What specific design features did you feel were imperative to bring back to life?
McMahon: When we started, I had no idea of the original layout, design intent or detail as so much had been demolished, but it was obvious the different spaces had different uses. I knew on day one, the main upper floating roof with glass connections on all sides was imperative to salvage and restore. Same with the roof structure of the bedroom wing with its roof structure that had sagged under the weight of roofing tar applied over the years. When we received the original construction documents, it allowed us to properly rebuild these spaces. As all of the glazing and exterior siding had to be replaced, the original construction documents included impeccable details for wood profiles for each area of the home. We set up a millshop in the backyard, remaking the frames for the home.
MiSA: O'Neil Ford generally receives the majority of the credit for defining South Texas modernism. Having intimately studied his 1961 construction documents, how do you think William Dukes’ design challenges or expands our understanding of regional modernism in San Antonio? How did his design approach differ from Ford's?
McMahon: Everyone—including myself— thought this home was an O’Neil Ford design due to the brick used and the modern design. I did find that Mr. Dukes hired Jack Peterson (worked with Ford on the Tower of the Americas here in San Antonio) away from Ford Powell and Carson Architects to assist him in the unique structural design -thus some of the similar features found in other Ford houses— hand-carved front door panels, Beaumont mood light fixtures and indoor/outdoor design.
MiSA: The original "cemestos" (cement-asbestos) exterior panels had to be entirely recreated to honor the home's concrete aesthetic. Can you describe the benefits of strategically replacing some of the original panels with glazing?
McMahon: On the bedroom wing, all of the original windows and cemestos panels had been demolished and in the Main Living spaces, including the lofts, the cemestos panels were replaced with inexpensive plywood and painted. As we slowly removed the previous owner's installation of plywood panels, the home's window and wall frame design became apparent. This home had the same detailing for glass or cemestos and allowed us to consider how to best replace either with the new layout. We followed the original drawings/design on the bedroom wing with one exception— the new primary wing that was relocated from the original to the backyard. The same with the upper loft— which was unusually dark as compared to the living room— where we decided to mirror the north wall’s clerestory glass system. Its framing was identical and mirrored on both sides of the home.
MiSA: To install new utilities, you were forced to cut through the foundation, which destroyed the 1960s Saltillo tile. Why did you feel that pouring a thin, polished concrete topping slab laid out in a grid was the most appropriate homage to the home's original exterior materiality?
McMahon: Finding out that all below-grade sewer and water lines had collapsed was another surprise during early interventions. As much of the tile had been damaged by previous owners and was of a size that could not be found (older Saltillo tile was much thicker than current materials). Having to cut through the entire foundation from the original kitchen to the bedrooms was hard-but necessary. We looked at different tile options— including Saltillo— but landed on the idea of embracing the lost concrete look of the home. We followed the original grid of the home and poured 1 ½” thick concrete topping on the flooring and brought the exterior concrete look into the inside as well. The grid design was followed in the front and backyard courtyards.
MiSA: The hand-carved front doors are a beautiful detail. What was it like learning that these Lynn Ford-style doors were actually crafted by Dukes’ own draftsman, Jack Peterson, and what did it take to painstakingly re-carve and restore them after severe water damage?
McMahon: I learned about Mr. Peterson about halfway through the process of construction. Apparently, he would show up when I wasn’t there and commented on our process. His daughter reached out to me to let me know her father was an integral part of the design of the home. She shared that her father had himself made the front door panels as well as the stair riser panels.
The wood-carved mahogany panels had warped and cracked due to years of neglect. We took them down and stored them for protection. My daughter had recently returned to Austin and was working in a custom millwork company and she worked diligently nights and weekends slowly bending the panel back to flat and then carefully carving each triangle and polishing the original brass ornaments. We still have the entry door side panel to restore.
MiSA: You managed to save and refit the original Beaumont Mood ceramic light fixtures. How important was it to preserve these highly specific, localized artisan details against the backdrop of entirely new electrical systems?
McMahon: I did not know of Martha and Beaumont Mood's unique ceramic lights that seemed to be favorites of all Architects in South Texas, finding their way into commercial, church, and residential projects. We had 47 ceiling pendants that each required rewiring to meet current codes. With the assistance of both my daughters, we carefully cleaned and restored with low voltage lamps for years of use.
As the original home had included several large 15” diameter frosted glass lights that were removed due to damage, I set out to find large round globe lights to pay homage to the original intent. Oddly, a local auction had three of these unique lamps (located at the dining table) and for the first time in my life, entered a live bidding Auction— which was terrifying. Apparently someone else came to the auction looking to purchase these unique features and I kept raising my bid number, sweating on how much we were willing to spend to bring them back into the home. We ended up with two of the three. Understanding the history of the Beaumont mood fixtures, we have continually searched out matching units (hard to find). We have added more similar exterior sconces on the home's exterior, matching the home's original locations by going to auctions or local sellers.
MiSA: You mentioned that you had to train your local tradesmen on the job. What was the steepest learning curve for your crew when executing the dangerous high-line glass removal and mastering the specific finish quality required for a mid-century restoration?
McMahon: We build differently today, where trades expect everything to be covered up with gypsum board or wood soffits and this was a constant struggle to work with so much exposed details—from window/door trim, douglas fir baseboards and bedroom ceilings. Everything about this home was about exposing the unique materials for their different uses. The original glass was extremely hard to remove due to the years of caulk added for rain protection. It took 16’ long boards as a battering ram to knock out much of the upper clerestory windows. I myself would knock out the windows, then the team would carefully tape them up and slide them down to the ground.
Everything had to be re-invented to match the original details — including remilling any and all of the exposed woodwork, pre-staining them and then installing. We had to stop and start (and remove) so many areas that I would at times tell the team to wait until I had time to figure out what would work. The tradesman now knows the term “vertical grain douglas fir” and how to book match materials.
MiSA: This project reads like an incredible, albeit exhausting, family endeavor. How did having your daughter mill the woodwork for six months and your son paint the 14-foot ceilings impact your family's connection to the home?
McMahon: My daughter had recently relocated from Northampton to Austin and had spent time at Arcosanti and the Vermont Design/Build School. Before taking on a new job in Austin at a custom millwork company, she would come down weekly in the beginning to assist in the wood finish. While she was working on the woodwork finishes, my son would be standing on 10’ rolling scaffolding, applying the complimentary stain work on the space frame structure and then painting the entire interior. We did hire a professional painting company to do the exterior paint/stain as that part was really dangerous with tall scaffolding to reach the different levels of the home.
MiSA: While you were heavily focused on restoration, you took some architectural license with the layout. What drove the decision to move the primary bedroom from the front of the house to the back, and how did you ensure it respected Dukes’ original vision? Or do you feel it was a decision that had to be made for contemporary functionality?
McMahon: In all of our residential projects, we engage the Primary bedroom to the more private side of the property. The original design placed the home on the street with a private patio on the sideyard. We followed Mr. Dukes’ intent of making the Primary Bedroom directly accessing the outdoors but located on the backyard side directly connected to the patio. The original home had 4 bedrooms, one primary, two small bunkrooms and a back bedroom. We landed on three bedrooms so ample closets and baths could be created.
The other modification from the original was utilizing glass vs. cemestos panels in the loft. When we removed the plywood and remaining cemestos panels, we found that the wood framing design was identical to the North side of the house, just above the bedrooms wing. As the home embraced natural lighting, it was obvious to mirror the same design as the opposite side of the home, allowing for a wall of glass— still screened from the adjacent neighbor for direct viewing.
MiSA: The home has now hosted several AIA functions, including two Custom Residential Architects Network (CRAN) Design Award Programs. How has the local architectural community responded to the resurrection of a forgotten masterpiece that many investors had given up on?
McMahon: Many want to tour the home, and we host many AIA after-parties and groups to meet and tour it. We have had several AIA home tours, including the State Convention 4 years ago, and it will be displayed again in October during this year's state convention.
MiSA: In your reflection, you noted your hope that long after you are gone, someone might see the unique nature of your own work and decide it is special enough to fight for. How has saving William Dukes’ family home fundamentally changed your perspective on your own firm's design legacy?
McMahon: I can’t tell you why this home motivated me so much to save. It was so unique that it really connected with us to see if we could pull it together. The process of restoration was incredibly difficult. Everything required experimentation prior to completing any space. I now have a special interest in homes like the Dukes and have been engaged with other clients wanting to do the same— return something special back to its original intent, with obvious tweaks for current living experiences. I have to start by telling my clients that “this type of home tells you how you are to live in it, and you will struggle if you try to make it something it wasn’t intended to be.
It’s hard to think about 60 years from now, if one of our homes was found in a similar condition, that someone would see the specialness of the home and decide to spend three years of their life to study, experiment, learn and want to live in it. So far, my wife and I have had the luxury to personally design and renovate five homes — two in Santa Monica and three here in San Antonio— each with their own unique design. I have to say the Dukes home is something timeless and enduring for the era it was created.
This project won several accolades in 2025, including the AIA San Antonio People and Place Awards- Design Award Winner, San Antonio AIA Residential Design Awards- Finalist, Golden Nugget Design Awards-Silver Award, Preservation San Antonio Design Awards-Honor Award, Texas Tech University College of Architecture Design Awards- Merit Award, and Qualified Remodeler Master Design Awards- Gold Award.
For more information on Craig McMahon Architects, visit their website.
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