This home is sited on a trapezoidal lot, seemingly on its own ‘modernist island,’ in a traditional urban neighborhood of Dallas. The home’s design is based on the restraint and economy of modernist, Charles Rennie Mackintosh, an early 20th century Scottish architect, designer, water colorist, and artist. His work, alongside that of his wife, Margaret Macdonald, had an influence on European design movements, particularly Art Nouveau. He was born in Glasgow and attended the Glasgow School of Art, where he met his wife and design partner.

Mackintosh was fascinated with 20th century Japanese art (Japonisme) because of: its restraint and economy of means rather than ostentatious accumulation; its simple forms and natural materials; and its use of texture, light, and shadow rather than pattern and ornament. In European and Western style design, furniture was seen as ornament to display the wealth of its owner: the value of the piece was established by the length of time spent creating it. In the Japanese arts, furniture and design focused on the quality of the space and its ability to evoke calm on the interior.

At the same time a new philosophy concerned with creating functional and practical design was also emerging throughout Europe: “the modernist idea.” The main concept of this movement was to develop innovation and new technologies. Design was concerned with the present and the future, rather than with history and tradition. Heavy ornamentation and inherited styles were discarded.

Even though Mackintosh became known as the ‘pioneer’ of Modernism, his designs were far removed from the stark utilitarianism of the movement. His concern was to build around the needs of people as individuals, rather than part of the masses. He recognized that some people wanted to live in a work of art, rather than inside a machine. Mackintosh took his inspiration from his Scottish upbringing and blended it with the flourish of Art Nouveau and the simplicity of Japanese forms.