
The American dream has always depended on the dialogue between the present and the past. Robert A. M. Stern
Architecture should speak of its time and place, but yearn for timelessness. Frank GehryThe
A couple of days ago, I got a text from Beth Stelluto, saying, “So sorry to read that one of your architectural heroes died. 96wow! Love his creativity.” I texted back, “And Robert A. M. Stern died two weeks ago.” The exchange started me thinking about Stern and Gehry and how much they, in particular, and architecture in general have enriched my life, which led me into the infinite rabbit hole of the World Wide Web and the realization of how much of their work I missed and how much they have formed our world.
To start at the end, the world of architecture, all of us really, lost two of our most influential architects recently: Robert A. M. Stern, who died on November 27, 2025, at 86, and Frank Gehry, who died on December 5, 2025, at 96. Each began their careers at the high-water mark of Mid-Century Modernism, and each reacted in entirely different ways to the great majority of their fellow architects. They ostensibly ended up occupying opposite ends of the design spectrum – one, Stern, almost a classical architect until you look closely, and the other, Gehry, pushing Mid-Century Modernism into sculpture – were both ultimately committed to the same thing: making buildings that absolutely demanded to be seen, discussed, and remembered, enriching our world. For almost diametrically different reasons, they are two of my favorite architects.
Robert A. M. Stern became the master of pre-Mid-Century Modern (for the lack of a better definition). He was born in Brooklyn in 1939 and built his architectural practice on the idea that buildings should be contextual and honor the site’s longer cultural lineage. Stern wasn’t a nostalgic purist, but, in his own way, a rebel who asserted that elegance and history were vital components of contemporary urban life. His aesthetic was rooted in echoes of the past and a desire to fit in, as seen in his limestone-clad, 550-foot-high residential tower at 15 Central Park West in Manhattan (on the far left, below).


Except that he never changed his name, Robert A. M. Stern reminds me a lot of Ralph Lauren (and, believe me, that’s a compliment). Both were outsiders who took the establishment’s worn-out accoutrements and revitalised them; in other words, both got rich catering to the bourgeoisie ( bourgeoisie in the Marxist context of the capitalist class who own most of society’s wealth and means of production as opposed to the proletariat). I went to a lecture at, I think, an AIA conference about thirty years ago when Stern was the featured speaker. One of the shocking things he said was that more than fifty percent of his commissions had no budget for either architecture or construction.
Frank Gehry, born Ephraim Owen Goldberg in Toronto in 1929, was a revolutionary who spent years designing modest shopping centers, designed and built on budget, before his creative explosion. It wasn’t until the transformative remodeling of his own Santa Monica home, using a chain-link fence and corrugated metal, that he began to show his talent. He went on to become one of the most influential architects of our time, forever reshaping skylines with his striking, sculptural works, such as the Guggenheim Museum in Bilbao, the Walt Disney Concert Hall in Los Angeles, and 8 Spruce Street in Manhattan.


Looking at these two buildings in New York, the classic facade of the Stern condo, and the rippling curves of the Gehry apartment, these two titans of architecture, for all their differences, represented the full, rich spectrum of American architecture. Robert A. M. Stern and Frank Gehry built different worlds, one of dignified grace echoing the past and the other pushing design freedom, both leaving behind a profound and lasting legacy. We’ll miss them.
Finally, here are a couple of their building that I don’t think need architectural identification.


























