The Arkansas modernist’s 1956 Brothers House pays homage to his famed mentor Frank Lloyd Wright. Who better to recover it from disrepair than Jones’s own apprentice?
Welcome to Icons Only, a series about loving restorations of historically significant homes.
In 2021, Fayetteville, Arkansas, architect David McKee and his clients were finishing up a renovation when they approached him with an unusual question. They’d bought a nearby Fay Jones–designed home to preserve it, but the 1956 relic, an early commission for the prolific Arkansas modernist, was almost a teardown, with a sagging roof, water damage, and enough holes in the ceiling to give a gang of raccoons easy access. Plunging into the restoration now felt too overwhelming. Did David know anyone who might want to buy the home and revive it?
The 1956 Richard D. and Alma Brothers House was an early commission for Arkansas architect Fay Jones (pictured right in the 1988 Mildred B. Cooper Memorial Chapel he designed with Maurice Jennings). Jones is the only one of Frank Lloyd Wright’s apprentices to receive the AIA Gold Medal. His 1980 Thorncrown Chapel (not pictured) was recognized by the AIA as the fourth most significant structure of the 20th century.
From left: Courtesy University of Arkansas Special Collections; photo by Ed Lallo/Getty Images
The local architect and principal of an eponymous firm had plenty of reasons to want to find the right buyer. David worked with Jones for 16 years until the architect’s 1997 retirement. He started as Jones’s apprentice in the ’80s after graduating from the University of Arkansas, where Jones had been one of the first five graduates from the architecture program. Jones himself was an apprentice of Frank Lloyd Wright. He joined Wright’s Taliesin Fellowship and became a professor at the University of Arkansas in 1953, and throughout the ’50s and early ’60s was the go-to architect for University of Arkansas faculty houses. His Richard D. and Alma Brothers House, designed for the school’s prestigious Schola Cantorum founder, and his wife, an opera singer and professor, blends Jones’s organic aesthetics with a rarity in his work: characteristics based on Wright’s Usonian principles. Historic but in disrepair, the home’s value lay mainly in its acre-plus site just blocks from the university’s Razorback Stadium.
As part of the recent restoration, the gable roof was replaced for the first time in the home’s 66-year history, and the chimney was rebuilt (left). Architect David McKee (right) designed a steel balustrade to replace the original balcony’s wood railings for a prior owner in the late 2000s.
From left: Courtesy University of Arkansas Special Collections; photo by Liz Sanders
David and his wife, Alice, pondered possibilities for potential buyers until their 33-year-old son Tyler stunned them by saying, “We should buy it!” He proposed he and his wife, Ashley, go in on a joint purchase with his parents to restore the Brothers House as a short-term rental. The idea made sense: David knew the original owners from his university days and had managed transitions between later buyers as part of his work with Jones. For years, David designed and renovated properties the “Fay Way,” as in, according to his mentor’s style and approach. Plus, he’s passionate about preserving Jones’ legacy and is the only of his associates still living. “I think the house wanted us to be there,” Alice says.
Jones designed the layout to incorporate the three primary areas of Usonian homes—a living space encompassing a library and music room, an open-plan kitchen and dining area, and small bedrooms and baths along a narrow corridor. A fieldstone chimney at the heart of the house is rotated 45 degrees to the horizontal roofline, aligning it with the cardinal directions. The original gold foil ceilings may have been a nod to eccentric modernist Bruce Goff, who hired Jones to teach at the University of Oklahoma in the early ’50s, introduced him to Wright, and became his other great inspiration.
The McKees had access to Jones’s original designs for the project, including his drawings for the 1968 remodel, which are reflected above with the updates made by the McKees, such as the kitchen wall that was closed to regain the third bedroom.
Courtesy Ashley McKee
See the full story on Dwell.com: Icons Only: Fay Jones’s Former Protégé Revives a Rare Relic Influenced by FLW’s Usonians
