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Earlier this summer, I traveled to Spain to visit the work and spend time with the architects Fuensanta Nieto and Enrique Sobejano, who won the commission to “reimagine” the Dallas Museum of Art. I was deeply impressed with both the architects and their work, a I write in a feature for the Dallas Morning News. (The image above is their weekend home on Spain’s Costa Brava.) Some other recent stories: A history of the Nasher Sculpture Center (part of my series on the essential buildings of Dallas). A column on why the bleacher stair trend has to end. A call for a new architecture school in Dallas. A look at the impact on downtown of a new convention center and a potential new basketball arena/casino development. And an explanation of why Dallas housing is “bananas.”

This year I celebrated my ten year anniversary as the architecture critic of the Dallas Morning News, and in April I looked back at that time and the phenomenon I call Dallas Logic. As for 2023, Dallas was its usual self, offering no shortage of compelling narratives. I tracked the selection of an architect for the expansion of the Dallas Museum of Art; followed a long forgotten creek under downtown; I looked at why the city has consistently failed to preserve Frank Lloyd Wright’s Kalita Humphreys Theater; examined the shifting plan for an extravagant Trinity Park; continued my series on the city’s defining buildings; looked at how AI performs architecture criticism; profiled the city’s most prolific architect; covered projects using Quonset huts and Flinstones curves; and wrote about the most beautiful (and meaningful) new building in Texas. Can’t wait until next year.

Dealey Plaza doesn’t work. The gateway to downtown Dallas where John F. Kennedy was assassinated is a dangerous mess that fails its critical functions as a site for civic memory and essential transportation corridor. A new plan, developed in collaboration with Stoss Landscape Urbanism, MPdL Studio, and Delineator Landscape, would rectify these flaws, and finally bring a dignified connection to adjacent Martyr’s Park, dedicated to victim’s of lynching in Dallas. Among its key elements would be the closure of Elm Street to traffic, the lighting of the Triple Underpass, placing memorial pools at the points of assassination, the creation of a memorial overlook and promenade linking Dealey Plaza to Martyr’s Park, and the creation of a multi-modal boulevard leading to the Trinity. The plan would maintain the historic integrity of Dealey Plaza, touching only the spaces at its fringes, such that it will appear virtually unchanged since 1963. You can hear me chatting about it here and here.

In other news, my series on the buildings that define Dallas continues with the Adolphus and NorthPark Center. Also: why everything looks the same (aka “The Flattening“), the 50th anniversary of the Kimbell, and my thoughts on Prop A.

Some happy news: I’m working on a new book, a cultural history of Dallas as told through its architecture. It will be published by the wonderful Dallas-based non-profit Deep Vellum, and is being serialized in the Dallas Morning News. The first installment, on the ante-bellum mansion Millermore, is already live. (Thanks to Allison V. Smith for the wonderful photos.) You can look forward to future pieces on the Adolphus, City Hall, and….well…you’ll just have to wait.

Some other recent work: A glowing new park for downtown Dallas; an affront at UTD, the plan to expand the DMA; Does Dallas really need a new convention center; a new library in Dorchester; Dallas landmarks in jeopardy; the future of I-345; Preservation efforts in the Park Cities; A Harry Bertoia exhibition at the Nasher; the problem with elevator buttons; “Dormzilla,” A tribute to Gyo Obata; the fight to save Ukraine’s patrimony; and a truly wacky building in Grapevine.

I should also note here that Kevin Lippert the founding publisher of Princeton Architectural Press, and a mentor and dear friend, passed away last month after a decades long battle with brain cancer. (The picture above is Kevin at Expo 2000 in Hanover, a trip we took following the Frankfurt Book Fair that year.) He was an immensely influential figure in the field of architecture, but also in my own life. I wrote a bit about what he meant to me and to the world, at the design site Common Edge. A terrible, terrible loss.

In this new era for architecture, with its emphasis on equity, sustainability, context, mobility, and resilience, among other social factors, aesthetics can seem like an afterthought, and understandably so. But Steven Holl’s new Kinder Building for Houston’s Museum of Fine Arts is flat out beautiful, and that’s not nothing. You can read about it, and Holl’s place in architecture, in my review of that building, plus the restored Rothko Chapel by ARO. Other recent work includes this column on how parking requirements hurt cities, a boost for the Dallas skyline, a new library for an immigrant community, a new recreation center (I may have gotten carried away with Sound of Music references here, but if you’re given the “Singing Hills Recreation Center,” what can you do?), a clinic for the underserved (by MASS Group), AT&T’s attempt to brand downtown, a diagnosis of problems in the Arts District, a wicked cool park (by Field Ops), the architectural tastes of Vladimir Putin, why Dallas needs to be more boring, why Dallas architecture is still so bad (but also good), the kitsch fountain design that will mar Klyde Warren Park, how the historic center of Black Dallas has been turned into a luxury hotel, and, for good measure, a review of Kengo Kuma’s Rolex Tower told in the form of superhero fan fiction. Enjoy!

In 1872, an emancipated slave named Henry Critz Hines founded the Fredman’s town of Joppa (pronounced Jop-ee) between the tracks of what is no the Union Pacific Railroad and the flood-prone wetlands of the Trinity River in what is now southern Dallas. In the near century and a half since that time, the city has abused, terrorized, neglected, and otherwise exploited that community. Today, it is perhaps the most polluted neighborhood in Dallas, with a life-expectance more than ten years shorter than more affluent portions of the city. A food desert, it is isolated from the city, accessible only by automobile since its only pedestrian connection to the outside world was severed two years ago, without replacement. The story of this historic and tight-knit community, and its fight for services and recognition, is told in this special report in the Dallas Morning News. It is a story I have been reporting for several years, and with extraordinary photographs by my colleague Lynda Gonzalez.

And now for something completely different. In the early 1970s, the avant-garde collective Ant Farm, best known for the Cadillac Ranch outside of Amarillo, build a lake house shaped like a giant penis for a Houston arts patron. Playboy shot it, and Woody Allen wanted to use it in Sleeper. Today, it’s a decaying relic, but when it was built it was a futuristic vision of what architecture could be. I think you’ll find its story surprisingly moving. Check it out.

If reading all 528 pages of The Man in the Glass House seemed a bit too daunting, or if you just prefer listening to the spoken word, I am please to announce that the book is now available in audio form, read by the redoubtable Mark Bramhall. If you commute by car through an American city, or are planning a summer trip, i think you will find it an entertaining diversion. Available wherever books are sold.

Morning national television is not my native habitat, but I made my debut this past weekend on CBS Saturday Morning, in a terrific feature on Johnson and The Man in the Glass House by host and correspondent Anthony Mason. Paul Goldberger was kind enough to participate from New Canaan. Did I just call a certain New York developer a vulgarian on national television? Well…you be the judge.

Nothing beats a positive review by a writer you admire in a publication you respect. I think the big fear when you write a book is that nobody will take it seriously, so when it is, it’s really gratifying. I’m thankful for two such reviews over the last week; the first a longform piece, “The Godfather,” in the New York Review of Books by Martin Filler, and the second a review by Carolina Miranda in the Los Angeles Times.

Here’s Filler:

As Mark Lamster notes in his searing yet judicious new biography, The Man in the Glass House, Johnson excelled at disarming his detractors through self-deprecating responses to even their harshest criticism.

And here’s Miranda:

In this epic biography — it checks in at 500-plus pages — Lamster not only weaves a compelling, clear-eyed portrait of a complicated and frequently unlikable man, he articulates a larger narrative about life in the United States over the course of the 20th century….Lamster’s “Man in the Glass House” makes Johnson the center of the American story — a story about boundless ambition, about idealism swallowed by greed, about the ways in which money is used as cudgel and shield. In this story, the goal isn’t always to be remembered for doing good, but to be remembered at all.

Was especially nice that Filler’s piece was accompanied by the wonderful David Levine caricature of PJ, originally drawn for the NYTBR’s review of the previous Johnson bio, which came out way back in 1994. As Filler writes that book was “a mismatch of author and subject from the outset. The credulous, earnest, and forthright Schulze was ill-equipped to deal with Johnson, who was wily as a fox and slippery as an eel, a veritable one-man Aesop’s fable.” My book, if nothing else, is a lot less earnest.