Bill Bain Jr., an NBBJ partner and son of Bill Bain (who founded NBBJ in 1943 during WWII in Seattle) died on June 8. NBBJ has issued a statement saying that Bain was the “heart and soul” of the firm, and after 64 years was its longest-serving employee. He studied architecture at Cornell University, where he joined the U.S. Army Reserve Officers’ Training Corps. He trained as a combat engineer and found himself leading an 85-man construction battalion in Alaska at age 23. “The military gives you so much more responsibility than you ought to have,” Bain said. Bain joined NBBJ on 1955, then-named Naramore, Bain, Brady and Johanson. “It was a pretty stiff place back then,” he said. “They had a little bell at 8 a.m. and you’d better be at your drafting table.” Baine eschewed the idea of the firm being known for “star” designers and instead “recruited a number of talented designers with a variety of approaches and gave them personal credit for their work.” His work in Seattle includes the 1981 restoration of the city’s historic Olympic Hotel, the U.S. District Courthouse and Pacific Place, the centerpiece of Seattle’s retail revitalization in 2000.
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The Chicago architect, educator, and establishment antagonist Stanley Tigerman died yesterday at the age of 88. Tigerman was a member of what came to be known as the Chicago Seven, a group of architects who rebelled against the high modernism of Mies van der Rohe. (Tigerman greatly admired the master architect's work, though, and he lived full-time in a Mies building.) He gained a reputation as an iconoclast with works like the Daisy House, a 1972 Indiana family residence that resembles complementary male and female anatomy in plan. Works like Daisy House, the Lakeside Residence, and the Formica Showroom launched him into the director's role at the School of Architecture at the University of Illinois at Chicago. Over the course of his almost six-decade career, Tigerman wrote seven books and designed around 450 buildings in Chicago, Japan, and beyond. He and architect Margaret McCurry, his second wife, co-founded Tigerman McCurry in 1986. They only designed as a team when clients asked for joint services, however. "'It's just that it's easier to not have anyone question what he draws except for the client,' McCurry told the Chicago Reader in 2003. '[and] this is like having two clients.'" In a 2015 exhibition at the Chicago Architecture Club, Tigerman unveiled a follow-up to The Titanic, seen in the top image here. The Epiphany drops a hydrogen bomb on Mies's Crown Hall as well as Frank Gehry's Guggenheim Bilbao to protest what Tigerman characterized as a fixation on architectural icons. At the opening, the elder statesman praised today's up-and-coming young architects: “I am very pleased with the current generation. I feel good. I can go now.”
I.M. Pei passes away at 102
Legendary architect, founder of Pei Cobb Freed & Partners (originally I.M. Pei & Associates), and 1983 Pritzker Prize winner I.M. Pei reportedly passed away last night at age 102. Pei’s influence could be felt all over the world, from the National Gallery of Art, East Building, in Washington, D.C., to the iconic pyramidal glass entrance to the Louvre in Paris, to the Bank of China Tower in Hong Kong. Pei’s lesser recognized, but still no less impressive, Brutalist museums like the 1968 Everson Museum of Art in Syracuse, New York, or the 1973 Herbert F. Johnson Museum of Art in Ithaca, New York, reflected Pei’s relationships with modernists like Walter Gropius and Marcel Breuer and their work, and introduced groundbreaking modern architecture to smaller cities. Not all of Pei’s most notable work still stands, and some of his grandest designs stayed on the page. Sunning Plaza in Hong Kong was demolished in 2013, Terminal 6, the Sundrome of New York’s JFK International Airport was pulled down in 2011, and the 102-story, nuclear bomb-resistant Grand Central replacement, the Hyperboloid, never got off the ground (but was later immortalized in Never Built New York). Pei, originally born in Guangzhou, China, in 1917, moved to the United States in 1935 to attend architecture school at the University of Pennsylvania. Pei was unsatisfied and eventually left for MIT, before graduating and later attending the Harvard Graduate School of Design. AN will follow this announcement with a longer obituary.
John Edwin Temple van Duyl died at home on Friday, May 10, 2019, two months after being diagnosed with pancreatic cancer. He was 67 years old. John was born in Sharon, Connecticut, on October 2, 1951. John’s mother, Winifred “Wini” van Duyl, was an accomplished violinist and painter. She was born in Indonesia to Dutch parents and grew up in Java, in California (for a year as a young girl), in Holland, and in Germany where she studied music and taught violin in Berlin. She spent World War II with her partner, Ellen von Stackelberg, in southeastern Germany after which she emigrated with Ellen to northwestern Connecticut, where they lived on a farm outside Salisbury. After parting ways with Ellen, Wini and John settled in Salisbury, living in the apartment above Thornhill, the unique flower shop that Wini owned and operated for many years. John went to Rumsey Hall School and Salisbury School, studied at Pratt and Vassar, and received his degree in architecture from the University of California, Berkeley. He created and developed a highly successful career with his own public relations firm, Media Sky, promoting architects and interior designers to get their work published. He established productive working relationships with much of the print media for architecture and interior design, and he produced a book, Natural Houses, with Princeton Architectural Press for one of his clients. John was passionate about writing and attended a number of workshops where he began work on a memoir about his mother and his impressions of the remarkable life she and he lived, a life that had a profound effect on him. In his late teens, John learned that his father was Werner von Kuegelgen, an Estonian aristocrat descended from Russian royalty who had been best friends with Ellen Biddle von Stackelberg’s husband. John had an amazing eye for design and art and collected many exquisite paintings and drawings, a number of which were by his mother. John loved classic cars of the 1950s and ‘60s, in particular, American station wagons. He had a collection of original brochures and would incorporate the grand-sounding names of these cars into passwords for his online accounts. He loved jazz, R&B, and folk, and was a serious connoisseur of high-quality audio equipment. John lived in Berkeley, California, for over 40 years before moving to Los Angeles in 2015. He loved his life in California, and he also had a deep fondness for the Northeast, in particular for his home town of Salisbury. Every year he would spend time visiting friends in New York City, the Hamptons, and Connecticut; he often thought about moving back to Salisbury. John shared warm memories about growing up there and of the influential families in his youth. He inherited his intellect, curiosity, and creativity from his mother; his education was in large part made possible by the generosity of families in Salisbury who had great regard for his mother and who recognized John’s potential. John traveled frequently both for business and for his own pleasure; Australia was a favorite destination. A lightning storm early in his childhood launched his life-long fascination with weather and storms. Over a 10-year period, he went on at least a dozen professionally organized storm-chasing tours in the Midwest and witnessed, from a reasonably safe distance, the power of Mother Nature. A legion of friends and business associates will miss John’s spirited engagement in life, his curiosity about the world, his easy generosity, his impeccable courtesy, his great sense of humor, and his deep loyalty to those around him. Through the years John had several serious and important personal relationships. Ken Alan who survives him was a kind, dedicated, and loving partner for John’s time in Los Angeles, and was a tireless caregiver in the last months of John’s life. Friends will organize events celebrating John in the next several months. If you wish to honor him you are encouraged to do so by donating to a cause or charity important to you.
Wayne Troyer, FAIA, one of New Orleans’ most distinguished and engaged architects, died on May 3. Troyer battled against pancreatic cancer for nearly three years but continued to produce projects with his firm studioWTA that were his hallmark: modernism merged with New Orleans distinctive urbanism and historic structures. A native of the city, he not only designed dozens of the city’s best new buildings but was also active in civic and cultural commissions and boards, including the Historic District Landmarks Commission, the Architectural Review Committee, the Preservation Resource Center, the New Orleans Film Society, the Contemporary Arts Center, and founded the local chapter of Docomomo. In the wake of Hurricane Katrina in 2005 The Times-Picayune newspaper credited Mr. Troyer with “helping the city rebuild, working with initiatives such as the Bring New Orleans Back Commission, the Unified New Orleans Plan and Operation Comeback.” His own house was a hallmark of his design thinking and won multiple national and local design awards. Tracey Hummer of Frederic Schwartz Architects worked with studioWTA architects on the 2006 New Orleans Recovery and Master plan and writes of her colleague and friend who she admired: “Wayne was an architect's architect and great fun to be with anywhere, but especially New Orleans. Art, music, and film were all part of his daily life and practice…his compassionate open-minded personality translated to the studio's work.” A memorial for Troyer will be announced in the coming weeks.
German photographer and artist Michael Wolf has passed away at the age of 64. Wolf is best known for his work in Hong Kong, where he isolated chaotic samples of the built environment out of context to reframe the urban environment. Wolf first moved to Hong Kong in 1994 as a photographer for Stern magazine and left to pursue his personal work in 2003. The density of the megacity became the focus of Wolf’s two long-running photo series, Architecture of Density (2003–2014) and Informal Solutions (2003–2019), which not only took a larger view of the city but explored its alleyways and hidden crevices. The Berlin-born Wolf eventually expanded out from his Hong Kong home while he documented both Asia and Europe. In Tokyo Compression, Wolf explored the crowded Japanese subway system, while in Paris, he made extensive use of Google Street View as a photographic tool. Wolf was a prolific artist and contributed to a number of photo books, including 17 in the last decade alone. Wolf was recognized for his work in his lifetime, having won the World Press Photo competition in 2005 and 2010, as well as an honorable mention in 2011. In 2010 and 2016, he was also nominated for the Prix Pictet award.
George Homsey, one of the founding members of San Francisco–based firm Esherick Homsey Dodge and Davis (EHDD), has passed away. Widely considered a giant of California architecture, especially in the San Francisco Bay Area, Homsey practiced architecture with EHDD for nearly 50 years before parting ways with the firm in 2000 to run his own practice. During Homsey’s storied career, he worked with some of the greats of late-20th-century Northern California architecture, including business partner Joseph Esherick, and collaborators Charles Moore and William Turnbull. Together with these architects, Homsey helped bring to life Sea Ranch, the iconic shingled housing development situated on the rugged California coast north of San Francisco, as well as many delightful and contemplative private residences, schools, and public buildings. Homsey was regarded as the diligent and strong-willed counterpart to Esherick at EHDD, and helped to animate Esherick’s conceptually-driven works with a sensitivity to light, composition, and pragmatic materiality that made Homsey one of the fathers of what some called the “Third Bay Tradition,” a vernacular style of architecture that channeled and updated the Bay Area’s woodsy architectural and environmental influences for a new generation. Homsey, for example, was one of the chief designers of the hedgerow homes at Sea Ranch, a series of shed-roofed and wood-clad abodes that simultaneously struck out from and blended into the site’s scrubby terrain. Born in 1926 in San Francisco’s Western Addition, Homsey grew up in a typical San Francisco duplex where the modest units were separated by a pragmatic light well. The son of an auto mechanic, Homsey trained to become a naval aviator to serve in the military, but the war ended before he could take flight. With this training in hand, Homsey set out to study architecture at the City College of San Francisco and at the University of California, Berkeley. He joined Esherick’s fledgling firm in 1952 and made partner 20 years later. Homsey would go on to create the design guidelines for Yosemite National Park as well as comprehensive designs for San Francisco’s Bay Area Rapid Transit stations. He was awarded the Maybeck Award for lifetime achievement in architectural design by the American Institute of Architects, California Council in 2006 for his work.
The death of architect Kevin Roche on March 1 at 96 marked the end of an era—the midcentury modern era that the work of his mentor, Eero Saarinen, came to symbolize. Roche and his late partner, John Dinkeloo, founded the successor firm that finished a number of the projects that remained incomplete when Saarinen died in 1961 at 51. Roche, Dinkeloo, and their partners then went on to build impressive high modern buildings of their own. Roche, who was born in Dublin, Ireland, studied architecture at the National University there, and received his first commission even before he graduated. It was from his father, Eamonn Roche, for a piggery in County Cork that housed 1,000 animals. After completing his degree in 1945, he became an apprentice to Ireland’s most important modern architect, Michael Scott, and worked on the Busáras bus station, Dublin’s first significant modern building. Then he moved to London to work for Maxwell Fry, where he read an article in The Architectural Review about Mies van der Rohe, who “was not as well known as Le Corbusier at the time,” and decided to come to America to study with him at the Illinois Institute of Technology. That venture, in 1948, was short-lived, as Roche was short on funds and found the experience disappointing. So he moved to New York to join the officially international team designing the United Nations headquarters under Wallace Harrison, before moving to Bloomfield Hills, Michigan, to join an unintentionally international team in the office of Eero Saarinen. It was the place to be at that moment in time, with people from all over the world in the office, including Chuck Bassett, Gunnar Birkerts, Edmund Bacon, Kent Cooper, Niels Diffrient, Ulrich Franzen, Olav Hammarström, Hugh Hardy, Nobuo Hozumi, Mark Jaroszewicz, Louis Kahn, Paul Kennon, Joe Lacy, Anthony Lumsden, Leonard Parker, Glen Paulsen, Cesar Pelli, David Powrie, Harold Roth, Robert Venturi, and Lebbeus Woods. “And everyone was designing,” as Venturi once told me. “It was not like today when half the people would be doing public relations or something.” Roche, who arrived in the office as it was beginning to grow from 10 to over 100, soon became Saarinen’s right-hand man. “He liked the way I organized a job,” Roche told me. The way things were done there was that every day a number of the young architects would be asked to work on a building or a part of a building, to sketch and develop ideas. Then Roche would collect the sketches and hang them up for Saarinen to examine. Eero would come in later and pick the most interesting ones and ask the person who had created it to develop it further. It was a devastating experience for some, like Venturi, whose sketches were never chosen, and a high for those, like Pelli, who were asked to develop designs further and put in charge of important projects. After Saarinen died, the firm moved to New Haven as previously planned. Some then drifted off. Pelli, for example, left after completing the TWA Terminal (formally the TWA Flight Center) and the Morse and Stiles Colleges at Yale. Roche remained in Connecticut and, along with technologically gifted John Dinkeloo and some other talented young architects, founded Kevin Roche John Dinkeloo and Partners. They completed Saarinen’s Corten-steel-faced John Deere & Company headquarters in Moline, Illinois (1964), the mirrored glass Bell Telephone Corporation Laboratories in Holmdel, New Jersey (1962), the iconic North Christian Church in Columbus, Indiana (1964), and the dignified Columbia Broadcasting System Headquarters in New York City (1965). Roche Dinkeloo then went on to design numerous distinctive buildings, such as the dark metal and glass Ford Foundation headquarters in Manhattan with its central, enclosed garden (1967); the Oakland Museum of California (1969), with a 5-acre terraced roof (designed by Dan Kiley) that functions as a public park; and the rather funereal but original Center for the Arts at Wesleyan University in Connecticut (1973). There were corporate headquarters—a sprawling white-walled palazzo for General Foods in Rye Brook, New York (1982); a futuristic, low-lying structure for Union Carbide in Danbury, Connecticut, that houses cars as comfortably as workers (also 1982); and a columnar skyscraper on Wall Street for J. P. Morgan (1990)—among the practice’s 50 or more projects. Over the years, Roche Dinkeloo designed and renovated galleries at New York’s Metropolitan Museum of Art, including the dramatic pavilion for the Temple of Dendur; the Jewish Museum on Fifth Avenue; and the Museum of Jewish Heritage in Battery Park City. Although his firm did buildings all over the world, Roche’s last major one was a conference center in Dublin, where he had been born in 1922. Roche’s close relationship with Saarinen defined much of his career, though. He met his wife, Jane Clair Tuohy, at Saarinen’s office. They were planning to marry a few weeks after Eero died but waited until 1963. His wife, five children, and 15 grandchildren survive him. Roche was a recipient of the Pritzker Prize in 1982 and the Gold Medal of the American Institute of Architects in 1993. He will be remembered as a major figure of his time.
Los Angeles–based architect Francois Perrin has passed away. Perrin was diagnosed with a rare and aggressive form of brain cancer in January, 2019, and passed away on April 1, 2019, in Ventura County, California. Born in Paris, France, Perrin would eventually settle in Los Angeles, where his design practice, Air Architecture, was well known for creating materially inventive spaces filled with ethereal physical qualities that transcended everyday experiences. Perrin’s architectural projects were widely published; his Venice Air House from 2006, an addition to a single-family home that used trapped air visible through clear polycarbonate siding as a form of insulation, was well known. Perrin’s Hollywood Hills House from 2012 was designed as a series of terraces that simultaneously disappeared into and were hung off of a steeply-sloped site. In the past, Perrin has organized several exhibitions including "Dialogues" and "Yves Klein-Air Architecture" at the MAK Center for Art and Architecture and "Architectones" in several locations around the world. In 2004, Perrin’s The Weather Garden transformed the courtyard of Materials & Applications in Los Angeles using netting, a wooden platform, and palm tree saplings. In 2016, Perrin and French Canadian architect Francois Dallegret organized a retrospective of Dallegret’s early works at WUHO Gallery in Hollywood. In 2017, Perrin’s Air Houses brought a series of tent-like shelters to the Palm House at the Garfield Park Conservatory for the Chicago Architecture Biennale. A joint project between Perrin and Dallegret was scheduled to go on view earlier this year at the MAK Center for Art and Architecture in Los Angeles as part of the Shelter or Playground exhibition, but Perrin’s work on the exhibition was cut short by his illness. Perrin was decorated with the Chevalier de l'Art et des Lettres in June, 2018, at the Residence de France in Los Angeles. On top of everything, Perrin was an avid big-wave surfer and an artist, pursuits that earned him the love of a wide community of artists and architects around the world. As the shocking news of Perrin’s illness spread among his friends last week, several organizations and institutions rallied to his family’s support. Perrin is survived by his partner Eviana Hartman and their 16-month-old daughter. A fund has been set up to help the family navigate this difficult time.
Aleksandra Kasuba, a Lithuanian-born environmental artist and designer responsible for numerous public art commissions in the 1970s and 1980s as well as pioneering environments made of tensile fabrics, died on March 5 in New Mexico. Kasuba originally intended to be an architect, but with the University of Kaunas closed by the occupying Nazi regime, she enrolled in art school until that too was shuttered. Fleeing with her art teacher and future husband, sculptor Vytautas Kašuba, she wound up in a Displaced Persons’ Camp in Germany until they were allowed to emigrate to the United States in 1947. Possessed with a restless curiosity, Kasuba sought out every opportunity to learn more about visual art, attending the famous Four O’clock Forums held by Louise Nevelson while developing a practice in mosaic and tile to supplement her husband’s income. At a show of hers in the Waddell Gallery in 1965, Edward Larrabee Barnes approached her and asked if she would work in brick. Seizing the opportunity, she deduced how to represent the invisible forces of structure in brick wall relief and launched a successful line of large-scale works, such as the wall at Barnes’s 1971 Dining Hall at Rochester Institute of Technology, a brick relief at 560 Lexington Avenue for the Eggers Group, and a wall at 7 World Trade Center which was destroyed in the 9/11 attacks. At the same time, Kasuba continued her experimentation with materials, shaping light and shadow with lucite for the seminal Experiments in Art and Technology exhibit at the Brooklyn Museum of Art in 1968 and the Art and Technology program at the Los Angeles County Museum of Art. A breakthrough came when she found she could make tensile structures out of synthetic fabrics. Just as she sought to represent the structural forces in her brick walls, she made visible the forces flowing through the fabric. Among her noted achievements with fabric were her 1971 Live-In Environment, in which she erased any traces of 90-degree angles in a floor of her West 90th Street townhouse, creating a space for contemplation and creativity. In 1973, she was commissioned by the Carborundum Museum of Ceramics in Niagara Falls to build an environment for the display of ceramics. In 1975, she realized The Spectral Passage at the De Young Museum in San Francisco, composed of seven structures, relating form to color. Inspired by this show, she devised Spectrum, An Afterthought, which would be revisited at the National Gallery of Art in Vilnius in 2014 (a retrospective of her will open there in 2020). Throughout the 1980s and 1990s, Kasuba continued research with curvilinear walls, experimenting with how tensile membranes might be made rigid and self-supporting. After the death of her husband, she moved to New Mexico where she built a traditionally framed house in the desert together with two prototype shell structures. In these, she stretched wire between wooden frames as a base that she covered with building materials and aluminum surfacing. Kasuba was also a prolific author, producing a series of books on her life, utopian communities, and reflections on creativity. She is survived by her daughter, two grandsons, sixteen great-grandchildren, and one great-great-grandson. Her archive is at the Archives of American Art in Washington, D.C.
Kevin Roche, the Irish-born American architect responsible for the design of over 200 modernist buildings around the world, died at age 96 last Friday at his home in Guilford, Connecticut. His namesake firm, Roche-Dinkeloo, released a statement immediately following his passing. Roche had a major impact on American architecture. After moving to the United States from Dublin in 1948, Roche studied under Ludwig Mies van Der Rohe, another noteworthy European emigrant and pioneer of modernist architecture. Two years later, Roche joined the firm of Eero Saarinen, a revolutionary architect known for his sculptural and futuristic buildings. As Saarinen’s principal design associate, Roche adopted his employer's expressionistic style and his belief that architecture serves a higher purpose by uniting people and promoting social and cultural growth among various communities. After Saarinen’s death in 1961, Roche and his colleague formed their own architectural firm, Roche-Dinkeloo, in Hamden, Connecticut. Their joint mission was to revolutionize and beautify large spaces and museums in order to attract the masses and bring people together who share common goals and interests. The New York Times reported that Roche was often described as a trusted, modest, and soft-spoken individual, yet, his buildings were far from subtle. His conspicuous and often dramatic projects symbolized his love for glass technology, strong and memorable forms, as well as expressionist and modernist sculpting. Roche’s forward-thinking philosophies enabled him to adapt his designs to any situation where they proved to be flexible, versatile, and efficient. His works include the iconic TWA Terminal at John F. Kennedy International Airport, designed under Saarinen's direction, as well as the historic Ford Foundation headquarters in Midtown Manhattan, and the Oakland Museum of California. Roche was considered "the favored architect" of the Metropolitan Museum of Art, according to the NYT, where he designed each wing of the museum’s expansion, including the sun-lit Lehman Pavilion in 1975 and the massive glass pavilion enclosing the Temple of Dendur. He also completed the 1970s masterplan of United Nations Plaza, which included the build-out of three buildings, one of which is now a city landmark. As Roche’s projects flourished—he received the Pritzker Prize in 1982 and an American Institute of Architects Gold Medal in 1993—he became the go-to designer of major arts centers, corporate campuses, and federal sites. He designed the stark-white, geometric headquarters of General Foods in Rye Brook, New York, and the statuesque offices of J.P. Morgan Bank on Wall Street. Roche continued practicing architecture in his final years and didn’t slow down his work until his 95th birthday. Today he is survived by his wife of over 50 years, Jane Tuohy Roche, his five children, and 15 grandchildren.
John Andrews, an English architect and educator, died at his home in London on February 15. Andrews was enormously influential as a teacher and his work—drawings, exhibitions, installations, and design—should be better known. He created a website last year that highlights his work of 40-plus years. Andrews graduated from Chelsea Art School and the Architectural Association and was very keen to bring together the two disciplines, and this website was meant to be, in Andrews's words, a “testimony to this commitment and a desire in a subtle way, to move forwards and backwards between action and reflection, between practice and academia. I believe that the idea of architecture is not limited to the domain of building; it is essentially about the structure of space. A recurrent question which surfaces throughout the quintet of titles in this site is the role of space-space as thought, perception, memory, interiority, and drama.” We asked colleagues of Andrews for comments, and Nigel Coates sent this touching reminiscence and we publish it here in its entirety as a fitting tribute to the architect:
John joined Bernard Tschumi’s unit at the AA the year it began; he graduated a year after me, in 1975. We were all obsessed with Italo Calvino’s Invisible Cities, and John’s diploma project was called Fendora, an exploration of one of Marco Polo’s fables as told to Kubla Khan. John’s Situationist style, of fleeting moments, hidden stairs, doors ajar was already fully formed. He lived, like his family, in what was then a working class part of Islington at the beginning of the Essex Road. He was born there and carried on living there after his parents had gone, proud of his earthy connection with the eccentricities of Islington. He cut a snappy figure, the Tommy Steele of Architecture, a sharp suited lad with a heart of gold. Younger students thought he was the epitome of cool. He was. There was always something of the arty maverick too. The dreamy drawings would capture "atmosphere," which is, I guess, what lead him to embrace the interior as a medium in its own right. That specialty took him to Melbourne and to Brighton University, where his indefatigable enthusiasm would push generations of students to look for more than decor in a room.