Fred Chomowicz AR'53—artist, architect, actor, and adjunct professor—passed away on March 19, 2026 at the age of 93.

A native New Yorker, Fred graduated from Brooklyn Technical High School before attending The Cooper Union School of Architecture. In his very first week of class, he helped a first-year art student, Lucille Young, figure out how to use a ruling pen. That chance encounter led to a 71-year marriage—Fred and Lucille were a true Cooper Couple. Though a city guy through and through, Fred had a love of sports and the outdoors, and some of his fondest memories of Cooper were at Green Camp. 

After graduating in 1953, Fred attended the University of Cincinnati School of Architecture on a full scholarship, followed by two years of service in the U.S. Army at Fort Belvoir, Virginia.

Fred and his family returned to New York, where he built much of his career at Davis, Brody, Bond Architects. Specializing in laboratory and medical buildings, he founded and led the firm's Philadelphia office for many years. In the late 1980s, he began teaching at Cooper Union, ultimately spending more than two decades here. His course on professional practice was one that, by his own admission, most students didn't pay much attention to while absorbed in their thesis work, but it was the one he heard about most often afterward. Alumni reached out to him for years, grateful for the practical foundation his course had given their careers. Upon retirement, Fred and Lucille moved to Portland, Oregon, where for more than ten years he supported Zimmer, Gunsul, Frasca Architects on projects throughout the U.S. and abroad. 

Fred also discovered a passion for stage acting at Cooper Union and never let it go. Throughout his career, he joined the casts of dozens of community productions across New Jersey, delighting in offbeat characters, especially those that called for a mastery of foreign accents. He was a lifelong traveler who explored Asia and South America, though it was to Europe that he returned most often. He never tired of Paris or Venice, his two most beloved cities.

Throughout his life, Fred was a draftsman. He drew everything: cities, buildings, the textures of daily life, and most especially people. His thousands of drawings of fellow commuters stand as a remarkable portfolio of a life spent in keen observation of humanity. This was Fred's singular gift as an artist: he held up a mirror to the world so that the rest of us might better understand it—and ourselves. In his characters, his drawings, his buildings, and his teaching, Fred offered a quiet conviction that each of us has something to contribute to a deeper understanding of what it means to be human.

Fred is survived by his wife Lucille A'54, his daughter Amy, his sons David and Peter AR'89, and four grandchildren.

The Irwin S. Chanin School of Architecture is pleased to announce that the Canadian Centre for Architecture (CCA) has acquired the work of Diana Agrest and Mario Gandelsonas. This important acquisition marks their pioneering contributions to the field of architecture for over five decades. Materials transferred to the CCA in July 2025 include 80 tubes of original drawings, nearly 70 folios of sketches and project materials, 14 architectural models, and over 35 boxes of manuscripts, projects texts, photographic materials, publications, correspondence, and pedagogical documents.
 
Agrest and Gandelsonas are internationally recognized for their innovative approaches to architecture and urbanism, and both have left an indelible mark on the discipline through their speculative and built work, theory, publications, and pedagogy. Throughout their careers, they have challenged conventional understandings of space, place, structure, and cultural contexts, pushing the boundaries of architectural thought and practice.
 
Diana Agrest’s work has had a profound influence on the professional, theoretical, and academic spheres of architecture. As the Irwin S. Chanin Distinguished Professor at The Cooper Union, Agrest's critical engagement with the history and theory of architecture, particularly her explorations of modernity, urbanism, feminism, nature, representation, and film—as well as her transdiscursive approach to architecture—has inspired generations of students. Her work and her contributions to architectural discourse continue to resonate today as a touchstone in architectural scholarship.
 
Mario Gandelsonas, whose intellectual contributions extend across architecture and urban theory, is renowned for his groundbreaking work on urban form and the social implications of architecture. As a long-time professor at Princeton University, Gandelsonas has not only enriched architectural education but also catalyzed fresh perspectives on the role of architecture in shaping societal frameworks. His theoretical publications and architectural projects have consistently examined the intersection of the built environment with cultural and political conditions.
 
Together, Agrest and Gandelsonas' collaboration over the years has produced some of the most innovative and influential ideas in architecture, blending rigorous theory with creative practice. Their joint projects—most notably in the realm of urban form and discourse—have explored how architectural form interacts with social, cultural, and historical forces. Their partnership embodies a critical and interdisciplinary approach to the profession, and their work continues to inspire a new cohort of architects and urban planners. 
 
The acquisition by the Canadian Centre for Architecture is a testament to the significance of Agrest and Gandelsonas' legacy in the ongoing evolution of architectural thought. Their archives, now housed at the CCA, will serve as a valuable resource for researchers, educators, and students alike, ensuring that their contributions to the field will continue to shape the future of architecture for many years to come.

The Cooper Union’s Irwin S. Chanin School of Architecture is delighted to announce the appointment of Irene Cheng as an Associate Professor with a focus in History, Theory and Criticism in Architecture starting in spring 2026.

"I am excited to welcome Irene to our faculty,” stated Acting Dean Hayley Eber. “Her expertise as a brilliant scholar and intellectual leader will bring a unique and vital perspective to our curriculum and studio culture."

An established and celebrated architectural historian, critic, and educator, Cheng has had a significant impact on the field by exploring the entanglements of architecture, culture, politics, and the environment in the nineteenth and early twentieth centuries.

Her most recent book is The Shape of Utopia: The Architecture of Radical Reform in Nineteenth-Century America (University of Minnesota Press, 2023). She is a co-editor, with Charles L. Davis III and Mabel O. Wilson, of Race and Modern Architecture: A Critical History from the Enlightenment to the Present (University of Pittsburgh Press, 2020) and co-editor, with Bernard Tschumi of The State of Architecture at the Beginning of the 21st Century (The Monacelli Press, 2004). Cheng is also engaged in contemporary design as an architecture critic and as a founding principal of the multidisciplinary design practice Cheng+Snyder. She is a recipient of many awards and recognitions, including the ACSA Diversity Achievement Award and the AIA San Francisco Community Alliance Education Award.

Cheng will join The Cooper Union from the California College of the Arts in San Francisco, where she is Associate Professor and Chair of the Graduate Program in Architecture. Cheng has also taught at University of California, Los Angeles and at Columbia University; she received a BA in Social Studies from Harvard University, and a Master of Architecture and PhD in Architecture (History and Theory) from Columbia University.  

The Irwin S. Chanin School of Architecture mourns the loss of Ricardo Scofidio, Cooper Union alumnus and beloved member of our community, who passed away on March 6, 2025, at the age of 89. His departure leaves an extraordinary legacy of architectural ingenuity, educational dedication, and profound generosity.
 
Ric, as he was known, was a visionary architect, an influential thinker, and a transformative educator. His tenure at The Cooper Union, from 1965 to 2007, spanned every facet of the curriculum, shaping generations of architects. He began his teaching career with "Graphics, Working Drawings and Specifications," and for two decades his impact was most deeply felt in Design II, where his insightful guidance fostered critical thinking and innovative design approaches. With studio prompts ranging from the analysis of architecture and domestic objects to the reimagination of the Levittown House and the design of instruments of measurement, he taught students how to see, draw, interrogate conventions, and push the boundaries of the discipline.
 
At The Cooper Union, he met Elizabeth Diller, initially as her professor, and together they forged a life and work partnership that redefined art and architecture. For many years, their work blurred the lines between disciplines. They lived as artists, fixtures in the East Village, working and residing in a loft in the Village Voice building on Cooper Square. During this time, they both taught at Cooper and undertook a few small building commissions.

For the first two decades of their collaboration, Diller + Scofidio operated on the avant-garde fringe, interrogating the field's fundamental parameters by producing art installations and designing sets for dance performances, pushing the boundaries of creative expression. Their intertwined practice and identities were evident in Flesh, the 1990 monograph detailing their inseparable creative practice.
 
Renamed Diller Scofidio + Renfro (DS+R) in 2004, the firm expanded its portfolio to include celebrated cultural, institutional, and urban spaces, reflecting a radical transformation in both their practice and the field. Their work activates the spatial and experiential potentials of buildings and cities, blending architecture, visual arts, and performing arts while embracing new technologies.
 
The studio became renowned for installations, exhibitions, and some of the most celebrated architectural projects in recent history. As New Yorkers, Ric and Liz have profoundly impacted the city through projects like Lincoln Center (2007–2012), the High Line (2009–2019), MoMA’s renovation and expansion (2019), The Shed at Hudson Yards (2019), and Columbia’s Business School (2022).
 
Acting Dean Hayley Eber worked at Diller Scofidio + Renfro for six years and recalls Scofidio as “a true original, combining a brilliant mind with a gentle spirit. Known for his distinctive soul patch, love of jazz, and racing vintage sports cars, he was a creative force in design and architecture. With his calm wisdom, he was the person everyone turned to for solving complex design challenges; he had a remarkable ability to home in on the critical issues and was always willing to share invaluable Photoshop tips. At Cooper, he redefined pedagogical boundaries, mentored generations of architects, and continued to generously support our programs long after his retirement.”

Ric's tall, quiet presence, coupled with his soft-spoken wisdom, resonated deeply. His thoughtful insights and gentle demeanor left an indelible impression on the architectural community. He will be remembered not only for his groundbreaking work, but also for his generosity and profound impact as a mentor and dear colleague.

SCHOOL OF ARCHITECTURE FACULTY REMEMBRANCES 
Nader Tehrani—A graduate, a professor, and a friend of the Cooper Union, Ric returned again and again long after his retirement from teaching, and his visual literacy continued to amaze students as they advanced their work. I only came to know Ric after I joined the Cooper community some ten years ago, and his willingness to share his experiences and wisdom helped pave a path for my deanship—for that, I am eternally grateful. Both he and Liz reached out to me annually, giving—with their time, intelligence, and significant support of our programs—something that persists today. Inconspicuous in his demeanor, Ric was nonetheless a presence when he stood in the room, and his silence spoke volumes. But his gentle manner served as an apt veil for the contained intelligence and wit he would unleash every so often, reminding us constantly that we do not need to overstep to allow our voices to speak with power. When he spoke, without exception it was with thoughtful words and an empathy that communicated as deeply to the students as it did to the discipline.

Sue Ferguson Gussow—Ricardo Scofidio AR’55, was one year ahead of me. To my freshman eyes, tall, handsome Ric was unbelievably cool. In those early to mid-fifties days Cooper was rigidly scheduled. Mid-morning and mid-afternoon a bell would ring to announce a fifteen-minute break, ringing again at its close. Out to the sixth-floor lobby we would troop, lighting up cigarettes. Somehow, Ric and two classmates, Tom Aidala and Nat Silver, were already there, standing on benches that lined the walls of the room. They stood in three corners of the room, their backs to us, making weird electronic sounds, signaling to one another, moving in odd, robotic ways. Their theater was surreal and wickedly funny, their “language” signaling sounds that our devices would be filling our ears with, decades later. These pop-up happenings were only minutes long, but memorable and predictive of the wit, daring, and genius that the practice of Diller, Scofidio + Renfro has embodied.

Guido Zuliani—In my early years at Cooper I had the opportunity to teach a design studio with Ricardo Scofidio and Liz Diller—a profound, formative experience that changed many things in my understanding of the field of architecture and of the function of an educational institution.
 
Ric was an exceptional and generous educator, a sophisticated intellect, an innovative designer, and a very kind human being. All these qualities were obvious to everyone who met him, whether as a student, a colleague, or a friend. 
 
There is, however, one thing, one trait in Ric’s personality, whether innate or carefully cultivated, that in my view connected these qualities and made them so evident: a form of sincere empathy that had a great influence on me and that has left, I believe, a lasting mark on our school’s philosophy.
 
It is this empathic attitude that has sustained, for Ric and his partner Liz, a desire for understanding the material world and the objects that populate it as potential territories for prolific visual and conceptual explorations, for the eye of the architect to discover not only elements of raw vocabularies, but also layers of social and political significance. It is on the basis of this empathy that the practice of architectural representation—for Ric, for Liz, and for their students—was understood, exceptionally refined as a powerful cognitive and projective tool, and practiced at the intersection of other disciplines.
 
This same empathy made Ric an exceptional educator, one able to practice his subtle version of the maieutic method by engaging in a true dialogue with his students and in this way empowering their voices.
 
And it has been this particular trait, and the unforgettable experience of his presence as a colleague, that made for me every encounter with Ric profoundly pleasurable, and his memory a lasting one.

Michael Young—I remember Ric’s last lecture before he retired. It was in the small lecture hall, just for the school. He began by saying that the most difficult talks are those you present to your family. It was deeply heartfelt and touching, capturing all that he meant to the school and what the school meant for him.

OTHER REMEMBRANCES
A long time ago back in 1973, as I entered my second year of studies at The Cooper Union, Ric Scofidio was one of our professors who led the design studio that year. As we began to hang our work after a seemingly eternal charrette to the end of year crits, the professors filed in. When it was my turn to present, I slowly turned towards the critics with complete and total terror. I was now facing the dean John Hejduk, Peter Eisenman, Raimund Abraham, Bob Slutzky, Richard Henderson, and Ric Scofidio. As I completed a tour of my drawings and models, the group pounced, as they did with all of us, verbally shredding our work in the name of making architects out of us. They all loudly argued back and forth about everything, important buildings, fantastic cinema, exceptional paintings, music, politics ... everything except my scheme on the wall. Ric hadn't said a word in all this time. Finally, Hejduk turned to Ric and asked what he thought. Ric looked at my drawings, thought for a moment, then offered one sentence, no more, with laser precision. Hejduk jumped out of his seat and exclaimed to the group, "That's it. Ric is exactly right. That's all that needs to be said about this scheme, Forman." I slumped into my seat as the crit ended.

Fast forward many years later: as a principal and the director of operations running the Studio at DS+R for some time now, it is like being back at Cooper with Ric and his clarity of thought. Together with Liz Diller, Charles Renfro, Ben Gilmartin, our talented directors, principals, and staff, we still have much more work to do."

Steven Forman, AIA, Principal, Director of Operations
Diller Scofidio + Renfro
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Elizabeth Diller + Ricardo Scofidio and John Hejduk, all of The Cooper Union, have convinced me to be an architect. I thank you very much.

Hiram Duyvestijn, Architect 
TU Delft graduate now working in France
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