It was designed to house an 800-work art collection which has since been pledged to the Dallas Museum of Art.

A 1996 residence by Pritzker Prize–winning architect Richard Meier has come to market in Dallas for $23,000,000 listed with Faisal Halum of Compass. Known as the Rachofsky House, the 9,062-square-foot property was conceived not simply as a home, but as a spatial framework for living with contemporary art.

The house sits along Preston Road in the Park Cities area, within the 75225 enclave associated with Highland Park and University Park—one of Dallas’s most established residential corridors. Minutes from Highland Park Village and a short drive to Uptown and Downtown, the neighborhood is defined by long-held estates, mature trees, and proximity to the city’s cultural institutions.

Known as the Rachofsky House, the 9,062 ft² (≈842 m²) residence reflects Richard Meier’s signature modernism—white metal planes, precise geometry, and spaces that open gradually to light and landscape.

Commissioned by collectors Howard and Cindy Rachofsky and completed after a three-year construction, the house was designed to accommodate a substantial art collection. The couple assembled approximately 800 works spanning post-war Japanese art, American Minimalism, and post-war European pieces, particularly Italian. That collection has since been pledged to the Dallas Museum of Art—a significant cultural contribution that underscores the house’s longstanding relationship to the city’s art ecosystem.

For years, the residence functioned as both private home and cultural venue, hosting annual art auctions and gatherings central to Dallas’s contemporary art calendar.

Architecturally, the composition is unmistakably Meier. White metal panels rise above a black granite podium, creating the impression of a volume suspended above the landscape. The approach unfolds as a deliberate procession: from the entry gallery past a glass-enclosed stairwell toward the dining area, where floor-to-ceiling glazing reveals lawn and pond. Volumes open gradually—a soaring double-height living room, a suspended study overlooking the grounds, and a removed primary suite positioned apart from the more public zones.

The Rachofsky House has 2 bedrooms and 6 bathrooms.

Despite its scale—two bedrooms and six baths—the program reads less as a conventional domestic layout and more as a study in light, proportion, and movement. Meier described the house as moving “from the outdoors to indoors, and then back outdoors again,” with grass, trees, pond, and sky visible from nearly every vantage point.

The grounds reinforce that dialogue. Ancient oaks frame a gently sloping lawn, while a lagoon-like pond, reflecting pool, and black granite patio extend the architecture into nature. Throughout the day, light becomes an active element, shifting across white surfaces and recalibrating the interiors.

This sale marks the first time the property has ever been publicly available. In a neighborhood more often associated with traditional estates and new construction, the Rachofsky House stands apart—a late-20th-century modernist work embedded within one of Dallas’s most established residential settings.

For collectors and design-minded buyers, it is less a backdrop and more a considered environment—one shaped by architecture, art, and the discipline of light.