Raymond Kappe was founding director of the Southern California Institute of Architecture, and his designs advanced the benefits of green building.
Raymond Kappe’s first attempt to shape the future of California architecture ended in failure. After starting the architecture program at Cal Poly Pomona in 1968, he was fired as the department’s chairman. Kappe said it was because his program was too “free-swinging.”
Kappe was also a prolific architect in his own right. He worked on more than 200 architectural projects, many of them embodying the California ideal of seamless indoor/outdoor living. Decades ahead of his time, his graceful modern houses were to advance the benefits of green building and, in some cases, revitalize communities.“I design from the inside out,” Kappe told The Times in 1987. “My main concern is how a building works for the user and how it relates to and incorporates its surroundings.
“I’m very into the idea of regionalism, trying to make places more appropriate to their location,” he once said. “People [in Southern California] are rather informal. We were attempting to be much more democratic and open after World War II, and L.A. exemplifies that.”Ray KappeFor most of his half-century career, his approach to modern was less about cold steel and more about arranging horizontal bands of Douglas fir and other wood to bridge gullies and creeks.
While he was with Kahn Kappe Lotery Boccato Architects/Planners in Santa Monica from 1968 to 1981, the firm created revitalization programs for Inglewood, a 255-unit affordable housing project in Pasadena, a conservation and land use plan for the city of San Clemente, a master plan for the Watts Community Arts Center and the Ramona Gardens Park with Barrio Planners, which was started by a group of Kappe’s former Cal Poly Pomona students.
Kappe was born Aug. 4, 1927, in Minneapolis. As a child, he liked to draw and did well in math and science. He grew up living in an apartment and told reporters that he would often stand at the windows looking out. “It’s been kind of a theme in my work, to extend out to the views,” he said. “I’ve always sought out the edges ... and a feeling of expansiveness. That’s the common denominator in my architecture.
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