Furniture Plans: Page 5-DHomes and Gardens (Web site by Raquel McMinn)

level it to relieve what he and many others perceive as a neighborhood eyesore. The Workmans are not selling and Tom has no recollection of any such offer. No doubt about it, the house is unique. It also embodies the lifelong dreams of its owners. Yes, they know it is different, out of the "box of conformity" that frames most Dallas homes. They wanted it that way, not to stop cars and encourage gawking, but to create a sculputural creation with flowing lines and curving forms that also happened to be a home. Not a Park Cities' "for-four and a door," as the builders call every two-story square. Not Bluffview Austin stone, not pink Preston Hollow. The Workmans wanted to make a statement. The roof is green, but not slate; because of the many curves in the roofline, Tom needed flexibility and designed copper shingles just for his house. They will develope a patina of soft blue-green over time.
The yard is not manicured, but filed with Love Grass, which grows full and bushy and sways in the breeze. They did not begin with the mission of turning heads. The impetus for building. says Tom came from Jane Ann, when both lived in a beatiful, rambling 1920s home secluded on Turtle Creek. (The home was sold to Trammel Crow Jr.) But the couple tired of seclusion.

Above: Slightly retro, super efficient, the kitchen island extends to a breakfast table with attached swing~out bucket chairs imported from Italy. Puple counter tabletop in Corian. Etched, oil~painted glass double doors (from Jane Ann's drawing) open to the dinning room. Counter doubles as a serving bar when interior window-wall opens to the hall Butler's pantry.

Left: A blue and white imported chandelier from E.C Dicken in the Decorative Center; hand-woven custom rug by Eleanor Lux. Where walls curved too much for sheetrock, they used plaster. The drawing board is part of the art studio and was designed by Tom to display Jane Ann's work.