Sophisticated 5th-floor corner unit in the stunning Windrose Tower at Legacy West. This modern retreat offers luminous living spaces, sleek finishes, and floor-to-ceiling windows with breathtaking city views. Enjoy resort-style amenities and more! This unit is a symphony of design and comfort offering the pinnacle of urban living in Plano, Texas.
$
,5
,000 2 BEDS | 2.5 BATHS | 1,769 SQ. FT.
Yolanda Durant | 240.346.7730
yolanda.durant@kw.com | janrichey.com
Stunning 9th-floor corner condo with breathtaking southern views and abundant natural light. Features a gourmet kitchen, spacious living area with balcony, and a luxurious primary suite with spa-like bath. A versatile second bedroom and two assigned parking spaces complete this exceptional condo offering the best in luxury high-rise living!
by J. Claiborne Bowdon
When you see the work of Scott Marek you’re really seeing the work. His projects show their shape inside and out and, especially, the materials they’re constituted of. The wood, stone, and metal are not just there to create an attractive surface. They, and the angular outlines of the buildings themselves, reflect the bones of the structure. It’s an approach that he was drawn to
since the beginning.
“I always preferred to do art- draw, sketch, did a little bit of building. My dad built a bunch of furniture, and I always kind of tinkered around with him. All of the furniture in our house was stuff that he’s made, he wasn’t really a designer, but he would
find things or my mother would find things and he would figure out how to build them. He had a woodshop in the basement. Things he’d find in books- more traditional approaches to things, so I think I always enjoyed the making side of things from him and being outdoors and we put things together out there.”
Scott was born and raised just outside of St. Louis, but both of his parents were originally from Texas. When the time came to go to college his innate drive for honoring the components and composition of a structure could only lead him to one place. “I eventually went down to A&M, cause my grandfather had gone
Get Inspired
there, and I just wanted to get back to my roots so I’ve stuck with Texas ever since.” However, a career in architecture was not a forgone conclusion at this point.
“Engineering and computer engineering sounded kind of fascinating to me, and I thought I would always have a job there.
A&M offered both so I went into engineering for a semestereven though my mom said she knew just from going to summer orientation that it wasn’t for me because I was falling asleep and everyone else was excited about all of these programming languages and things. My first semester I wasn’t doing so hot, and there was this guy that would go to his classes with
T-squares and papers hanging out of his bags and I thought that was pretty cool, so I shifted over my second semester to architecture and loved it.”
Throughout college he was drawn to professors that advocated for regionally appropriate and build appropriate design rather
than theoretical approaches. When the time came to pursue his career he found himself working in the commercial field at Corgan through a friend who was working there, and the Dallas architecture community would prove to be exactly what he was looking for. “I got in touch with Dan Shipley, Corky Cunningham, and knew guys like Max Levy and Frank Welch, so I knew there
was some good stuff going on here. I started in the commercial world, and luckily I lived next to a guy named Stephen Hardy of Hardy Construction. They were doing work for Frank Welch and after five years or so he let me know that there was an opening (at Frank Welch Associates), so I jumped the commercial track to go do what I really wanted to do, which was custom modern
homes. I worked with him for about six years and then headed out on my own.”
While Scott found great opportunities to fulfill his passions with Marek Architecture he also found that the difficulties of juggling taking his work from paper to site were a little overwhelming for
Conduit Gallery
Craighead Green Gallery
Cris Worley Fine Arts
Erin Cluley Gallery
Galleri Urbane
Holly Johnson Gallery
James Harris Gallery
Keijsers Koning
Laura Rathe Fine Art
Meliksetian | Briggs
PDNB Gallery
Pencil on Paper Gallery
RO2 Art
Valley House Gallery & Sculpture Garden
him to handle on his own. He has recently partnered with Daniel Lee, one of the principal architects at Marek, to form Studio Lema so that they can pursue the kind of architecture that respects “people and places.” With that in mind Scott has found his way back to his roots once again by working to renovate a Frank Welch home from the 1980’s. Naturally, trying to unearth and repair decades of additions to the original structure is not
without its challenges. “The house had been really messed up and added onto over the years so we’re trying to simplify that, modernize it, and bring back some of the cleaner detailing that we had done with Frank….There is a lot of reactionary things that we’ve encountered in the construction process- like ‘oh, we didn’t think that was going to be underneath that sheetrock wall.”
Even with the original blueprints in hand, and his own experience working with Frank, it’s not always possible to revive every element of the home. As Scott points out “There’s a good chunk of it that the bones were there and then it’s had overlays of things through the years. We have had, in some cases, had to do overlays as well. For example, at one point someone had
stucco’d over the original St. Joe brick.” Even so, with patience and diligent effort, he can help recapture the spirit and feel of the original.
“We have design aspirations for things, but then we get into it and we realize ‘Oh, well, that wall is way out of straight,’ and
we’re trying to bring another level of detail and precision to it, so we have to figure out if we modify for that and then what ways do we modify for that while still having pretty tight tolerances.
Thankfully we have contractors that are very understanding and a client that is very understanding to get these things put together in a more specific fashion that takes a lot of care, time, and effort to get it to turn out great in the end.” When you bring
that to each project it’s easy to see why Scott’s homes are as visually rich as they are. You can feel the enthusiasm for each component and how it interacts with the one next to it. After all, he’s always enjoyed making things.
// studio lema
Trey Egan With You From The Start
mein bloom, 2024 oil on canvas 59h x 59w in
My mission was simple: attend the two art fairs in Dallas and get a few gallery visits. I didn’t expect to run into Trey Egan unloading his new body of work at Cris Worley Fine Arts. There he was in a U-Haul doing his last-minute fixative spray on the paintings to seal and protect them. He had them all tied to the walls of the U-Haul, so I got to see a preview of the show outside the
gallery. I saw dobs of paint distributed across canvases using large brushes to create an all-over abstraction. These are paintings about paint. His compositions will draw your eye around each canvas while giving you a moment’s rest now and then. A balance of push and pull is evident in each work. Earthy, rich colors, unblended application of thick paint, and a full body
// nights feel longer, 2025 oil on canvas 62h x 81w in
texture are some of the treats you get from this exhibition.
I have been writing about Trey Egan’s paintings for years. Ever since I visited his studio at the University of North Texas, I have followed his career and progress as a painter. I first encountered his work in 2013, and I was skeptical, dismissive, maybe even a little harsh. An epiphany occurred after beholding his first solo show. I guess context helped me come around, but also time
to reflect. I am reminded how I came round to Cy Twombly’s work. I had a visceral gut-punch reaction to my first visit to the Menil Collection and walking into the museum dedicated to him. I just hated most of the work. The second visit, I forced myself to go back. This time, I came armed with reading and thinking about Cy Twombly and his contemporaries. My eyes were open, and I took more time. The work was meaningful, and the mark-making was understood as more purposeful. Trey Egan’s
// canto vermelho 48 x 42 in
// canto vermelho 48 x 42 in
// delicate resonance/silent for the sight, 2024, oil on canvas
// we said forever, 2024 oil on canvas, 45h x 60w in
paintings took less time than Cy Twombly’s to convert me, but it was still a process. A process that had an aesthetic reward.
How has Trey Egan progressed over these twelve years? His paintings keep the core style intact while creating subtle shifts in shapes, forms, and colors. Unlike a Modernist painter, his works show no wild swings in style experiments. A Trey Egan painting
is unmistakably a Trey Egan painting. His style is consistent throughout his body of work. The rhythm unites the paintings.
I understand he listens to electronic music while making the work. Knowing this fact helps you begin to feel those rhythms.
It explains how his work relates so well to his previous works.
No wonder Trey Egan titled his show “With You From The Start,” because anyone can see a through line from his early work to // with you from the start installation
know, 2025, oil on canvas 48h x 36w in
the paintings in the show now. Don’t mistake this for a criticism. He is not making copies, and he is not reinventing the wheel in each work. He is solving micro issues that can only be understood if you take the time to see the differences.
Look at the work titled “Drift Away/Keep Thinking.” Notice the bold white areas on the left and right of the canvas. This white area acts as a background for the entire work. The rest of the paint seems to float on this surface. The colors blue and yellow do similar work in the piece titled “Soul Path/Cover Me in Bloom.” A feeling of flow and movement permeates the paintings. I need to go back to see these works on the gallery walls, rather than the U-haul. I am positive that I would greatly appreciate them more in the gallery context. I have until May 31st to see the show again, so I hope to be there soon.
// crisworley.com
Engage Educate Experience Enjoy
The Dallas Architecture Forum is for everyone who wants to experience inspired design. The Forum presents an award-winning Lecture Series that brings outstanding architects,interior designers, landscape architects and urban planners from around the world, as well as Symposia, Receptions at architecturally significant residences, and Panel Discussions on issues impacting North Texas.
signal fires: Dallas’ Fire Stations
by J. Claiborne Bowdon
photo:
“As the landscape of the city evolves, our department must also evolve to reflect those changes.”
It’s a simple statement of approach, delivered at the opening of the new Firehouse 37, and the circumstances that make the approach necessary, but to me it captures the moment we live in in a way nothing else quite has. Dallas’ Fire and Rescue Department is evolving, and just like the city itself it’s doing it at a remarkable pace, and-just like Dallas itself- not just aesthetically,
but functionally. Dallas as a city isn’t just a few destinations anymore; suddenly we have neighborhoods that are more than just areas with names. From West Dallas to East you can find thriving blocks of restaurants, bars, coffee houses, venues, and shops in lovingly renovated developments that sit comfortably alongside contemporary construction projects. This is the key to the distinct personalities that have emerged to burnish the names of areas that used to just be mentioned for the sake of location. As a city we’ve taken on the model of rejuvenating heritage structures
// fire station 33 - photo: michael lyon
and filling in the gaps with distinctive buildings of our own time, and this is just as true for the new fire stations as it is for any of the mixed-use developments that are popping up across the metroplex.
Fire Station 37 designed by Dewberry, replaced the original, 60-year-old structure. Like the other fire stations featured in this article, Fire Station 37 is a LEED-Gold certified, carbon neutral building with the added benefits of solar water-heating and geothermal heating and cooling systems, but the most impressive
feature of this facility is the door system. Most fire stations have bay doors that open by either flipping or rolling upwards. Fire Station 37 was designed with a Four-Fold Door System. Brian Meade, one of the designers for Dewberry on the project, explained “we always start with these in our design budgets since they help reduce response time for the fire trucks to get out. They open in half the time as traditional sectional doors.”
It’s something that might not occur (hadn’t, clearly) to most people, but prescient strategy in service of the firefighters to help
// fire station 37 - photo: charles davis smith | faia
them do their jobs is just as important to these architects as the visual impact of the structure- though clearly visual impact is a concern as well. The building is unmistakably a structure built for today. It has a robust industrial presence highlighted with a life-instilling and eye-catching border of red that Meade describes as “a symbolic, natural choice” to accentuate the shape and levels of the building. The design certainly isn’t shy, and it’s easy to see how it could “herald” the revival of northeast Dallas. This is a building that stands in sharp contrast to its surroundings, but as a symbol of reinvestment in the community it also proposes itself as a model of what will likely come in its wake.
Fire Station 33 is located on West Illinois Avenue, in between South Hampton and I-35, in the heart of Oak Cliff. Anyone that has been to one of Dallas’ best examples of a neighborhood revival knows that Oak Cliff is largely made up of heritage structures that have been standing for generations. Most of its residents have put considerable effort into restoring and giving new life to the modestly-sized Tudors that are the hallmark of the area. Bearing this in mind, it’s both sensitive and clever of BRW Architects, the firm behind Fire Station 33, to simply refresh the brick, bunker-like design that most of the older fire stations in Dallas have
// fire station 37 - photo: charles davis smith | faia
in order to more comfortably nestle the new station into its surroundings. It’s not a contrarian structure, defiantly exulting a style all its own, but anyone that would call it a “compromise” and consider that a slight is missing out on the subtlety and surprises that meet your gaze as you approach it. The awning that shields you as you approach the entrance reveals itself as a colorful collage of images- lit from above by the very sun it’s protecting you from. As with Fire Station 37, Fire Station 33 improves on its green bonafides by adding an ample clerestory of windows to act as a nat-
ural-light welcoming crown for the building. Less need for artificial light equals less energy expended, but, as BRW Architects’ website romantically intones, when artificial light becomes necessary in the evenings the windows “glow… as a symbol of protection for the community.” The idea of the station itself being an entity of safety isn’t so far-fetched. A fire station is much more active, with more moving parts, than your average building, and the designs of these new stations reflect that. Fire Station 33 might look inert and straight-laced were it not for the columns-done in a much
// fire station 37 - photo: charles davis smith | faia
needed splash of joyful yellow-that, rather than standing vertically, are angled to project outwards to give a sense of spreading over the area that nicely compliments the protective glow the building casts at night.
Fire Station 27 is the first multi-story fire station to be built in Dallas in 100 years (Fire Station 11 on Cedar Springs was built in 1909, and the fire station that is now the Dallas Firefighters Museum
was built in 1907), and not because of ego, but necessity. It’s officially a two-story structure, but as Ron Stelmarski of Perkins+Will, the design firm behind Fire Station 27, pointed out “Really it’s a three story building with the underground parking.” Located on Northwest Highway it boasts a potential LEED Platinum certification and a sophisticated layout that has more than tripled the square footage of the original station. Perkins+Will had a very tight footprint to work with, and have more than made the most of it.
// fire station 33 - photo: michael lyon
A “stacked” apparatus bay design helps by compartmentalizing the focus of each area and floor- this allows the western half of the street-level floor to be devoted to the fire engines, which can pass through either the front or the back of the structure which improves both response time and reduces the impact on traffic flow. Obviously, as Stelmarski remarked, “You don’t want to clog up Northwest Highway,” and he and the other designers at Perkins+Will found a way to make the entrance and exit transition more gentle, and the pass-through design possible, by rotating the structure 90 degrees. It’s a brilliant example of economy that
also gives the area a thrilling, significant new addition to its architectural landscape.
Fire is an uneasy force to live with. It can ravage acres of trees and pastureland, but afterwards the scorched remains of the plants create remarkably fertile soil for the regeneration of everything it took away. It has allowed us to keep warm, find our way in the dark, forge tools, fly, and in one form or another it provides the energy we need to generate electricity. The same qualities of loss and rebirth and innovation are just as much a part of gentrification and devel-
// fire station 32 - photo: parrish ruiz de velasco
opment. These fire stations are perhaps the best examples of how Dallas is coping with its new identity. Their overall look is a reflection of the areas they occupy, but the structures themselves are all made for a more efficiently managed future- especially in terms of making sure that the fire department can attend to the growing needs of the community. “Dallas is on fire right now” is a pretty common phrase going around town. We’re reshaping
ourselves, and others are reshaping us as well, in that fire, and despite losses sustained and those that have yet to come to pass it’s all working towards a better Dallas: more navigable, more alive, and more safe thanks to the careful planning of multiple design firms and the initiative of the Dallas Fire Department and Dallas itself.
// fire station 37 - photo: charles davis smith | faia
REALESTATE
Faisal Halum Compass
ARCHITECTURE: Thad Reeves A Guppo Architects listen to
cravings modern
// designer syrette lew of moving mountains considers comfort down the nth degree available: colony
// strata accent cabinet is an elevated synthesis of materials at its most elemental. available. fortstandard
// black note keys by ramon esteve is an architectural lamp whose perpendicular shades rise and fall in harmony. available: lzf
your modern calendar
Modern events and activities make for fun around the Metroplex.
WALKING TOURS
Discover the Arts District + Fair Park Tram Tour
Ad Ex
PRESERVATION AWARDS MAY13 // 6-9PM
Preservation Dallas
EJ HILL + MARTIN GONZALES
Dallas Contemporary
OTOBONG NKANGA: EACH SEED A BODY
Nasher Sculpture Center
BACKS IN FASHION: MANGBETU WOMEN’S EGBE
MARISOL: A RETROSPECTIVE
TIFFANY CHUNG: RISE INTO THE ATMOSPHERE
Dallas Museum Of Art
ANILA QUAYYUM AHGHA: LET ONE BIRD SING
Crow Museum Of Asian Art
JEAN SHIN + RE/FRAMED
The Amon Carter Museum of American Art
A ROOM HUNG WITH THOUGHTS: BRITISH PAINTING NOW
Green Family Art Foundation
THE WILSON HOUSE
Preservation Dallas
Modern art, exhibits, around the Metroplex.
modern art galleries
TREY EAGAN + TERRY SUPREAN
Cris Worley Fine Arts
DAVID CANRIGHT + J.C. FONTANIVE + FRANCISCO J. MARQUEZ
Conduit Gallery
TOM ORR + LUKE HARNDEN
Barry Whistler Gallery
GAIL PETER BORDEN + MEL PREST
Galleri Urbane
DOROTHY GARLAND
Valley House Gallery
19TH ANNIVERSARY EXHIBITION
Cerulean Gallery
SEDRICK HUCKABY
Talley Dunn Gallery
CHRISTOPHER CASCIO + DOUGLAS DARRACOTT + TERRY HAYES
