philanthropist

James E. Silcott, a trailblazing Los Angeles architect who, thanks to many gifts to his alma mater, Howard University, became the most generous benefactor to architecture students at historically Black colleges in the U.S., died July 17 in Washington, D.C. He was 95.

Silcott’s memorial service took place on Saturday at Howard; he will be laid to rest in L.A.’s Inglewood Park Cemetery on Sept. 6.

Silcott, who started in Los Angeles working for Gruen Associates alongside colleagues like Frank Gehry, made history as the first Black project architect for both Los Angeles County and UCLA. His successful legal battles with the county — he alleged that he had been unfairly terminated because of his race, and was later a victim of retribution for his lawsuit — shined a light on the entrenched barriers Black professionals faced in public institutions at the time.

Born Dec. 21, 1929, in Boston, to parents from the Caribbean island of Montserrat, Silcott grew up in the city’s Roxbury neighborhood during a time of limited opportunities for young Black people. Living in tenements and walk-ups, and making friends of all races and ethnicities, he learned self-reliance, resilience and cultural fluency, as he recounted in a 2007 oral history for Northeastern University’s Lower Roxbury Black History Project. After graduating high school, he worked as a hotel cook alongside his father. “I didn’t know what I wanted,” he said. But an aptitude test at a local YMCA pointed him toward architecture. After being rejected from several architecture schools, he received a lifeline via Howard University in Washington, D.C.

Silcott entered Howard — its architecture program was the first at a historically Black college to receive accreditation — in 1949. He came under the mentorship of Howard H. Mackey Sr., one of the most prominent Black architects and educators of the 20th century, known for instilling a sense of architecture’s civic purpose. Silcott’s studies were interrupted by three years in the U.S. Army during the Korean War, where he rose to the rank of sergeant. Returning to Howard, he earned his 5-year bachelor of architecture degree in 1957.

Those years were marked by constant financial strain — often forcing him, as he put it, to decide “whether to buy books or buy food” — an experience that would later drive him, as a donor to Howard, to ensure that future students wouldn’t face that choice. He would never forget the role Howard played for him.

“He felt like when nobody else would take him, Howard took him,” said his niece Julie Roberts. “He really credits them for laying the groundwork and setting the path and changing the trajectory of his life.”

Silcott began his career working for architect Arthur Cohen in Boston before moving to Los Angeles — he always hated the cold, said his friends and family — in 1958. Joining Gruen Associates, one of the era’s most influential firms, he, among other efforts, collaborated with Frank Gehry on the design of the Winrock Shopping Center in Albuquerque. He would soon work at UCLA’s architectural and engineering office, becoming the school’s first Black project lead on buildings like the UCLA Boathouse (1965), with its light-filled, maritime-inspired form — including porthole windows and an upper story deck for viewing races. Also at UCLA he collaborated with Welton Becket and Associates on the Jules Stein Eye Institute (1966), with its clean-lined facade of pale stone columns and glass walls that opened to natural light while maintaining shade and privacy.

He later joined Los Angeles County’s Department of Facilities Management, where he would become a senior architect and help oversee projects like the Inglewood Courts Building (1973, another collaboration with Becket) and Los Angeles County Southeast General Hospital (1971), eventually renamed Martin Luther King Jr. General Hospital. As the only Black architect working in the county, Silcott’s good friend (and fellow Howard architecture graduate) Melvin Mitchell said he was not always welcome. “None of those men could ever imagine someone of Silcott’s race or color wielding that kind of power, despite the phony smiles and benign language used,” Mitchell said in his eulogy at Howard.

At the end of the decade Silcott was demoted and later laid off during budget cuts — a move he contended was racially motivated. The county’s Civil Service Commission eventually agreed, ruling in 1984 that he had been improperly terminated in order to preserve the jobs of white employees with less seniority, and ordering that he be reinstated with full back pay. “I had to fight for my job just to make sure the rules were applied fairly,” Silcott told the Los Angeles Times.

Chief County Engineer Stephen J. Koonce, left, gestured as he discussed with James Silcott the details of the architect’s return to work, on March 15, 1984.

(Steve Fontanini / Los Angeles Times)

But the reinstatement was short-lived: within months, Silcott alleged that the county had retaliated by stripping away meaningful duties, among other retributions. “They had him working in a closet at one time,” said Roberts. Later that year, the Board of Supervisors approved a roughly $1 million settlement offer to resolve his federal discrimination lawsuit. The Times noted that his case had “become a rallying point” for those seeking greater equity in public employment. As Silcott later reflected, “This was never just about me. It was about making sure the next Black architect who comes along doesn’t have to fight the same battles.”

Silcott would later work as an architectural consultant to public agencies and universities while serving on several public boards, including the South Los Angeles Area Planning Commission, the Los Angeles Cultural Heritage Commission, the Los Angeles Board of Zoning Appeals and the California State Board of Architectural Examiners.

He built a stylish home in Windsor Hills, where he would regularly host family, not to mention mayors, council members, and, later, former President Obama, said Mitchell.

In 1995 — retired as an architect — he took on minority ownership and a board seat at Kennard Design Group, one of the largest Black-owned architecture firms in the country, following the death of its founder (and Silcott’s good friend) Robert Kennard. “He didn’t hesitate,” said Gail Kennard, Robert’s daughter, who still leads the firm, and wanted to ensure the company’s stability at a difficult time. “He was always there to help. For advice, support, anything. Without hesitation he’d say, ‘I’ll do it.’ He just had that generous spirit.”

But Silcott’s greatest love, noted Kennard, was Howard — particularly its Department of Architecture — where he would go on to become a historically prolific philanthropist, and help mentor generations of aspiring architects.

“He would tell me stories about people who were coming up in the profession,” said Kennard. “He’d say, I found this new student and he or she’s my new project.”

Silcott’s ability to support the school financially grew out of skillful real estate investments, which began with a few buildings in Boston that he inherited from his mother. He managed and expanded numerous properties both in Boston and Los Angeles.

In 1991 he helped establish the James E. Silcott Fund, now valued at $250,000, offering emergency aid to Howard architecture students in financial distress. In 2002, he established the James E. Silcott Endowed Chair with an initial $1 million, bringing architects like Sir David Adjaye, Philip Freelon, Jack Travis and Roberta Washington to teach and mentor at Howard. And with a $1 million gift he funded the T. George Silcott Gallery, named for his late brother, providing a venue for exhibitions, critiques and public lectures. Silcott also made unrestricted contributions of hundreds of thousands more to Howard’s Department of Architecture, supporting scholarships, travel fellowships and capital improvements. By the end of his life, his contributions to Howard exceeded $3 million, making him, according to the school, the largest individual donor to architecture programs at historically Black colleges and universities in the country.

“Howard and its school of architecture was at the very center of his life,” said Mitchell, who noted Silcott’s gifts also helped keep the school afloat during difficult periods.

Silcott received the Howard University Alumni Achievement Award, the Centennial Professional Excellence Award and the Howard H. Mackey Dean’s Medal, named after his mentor. He also received the Kresge/Coca-Cola Award for philanthropy to HBCUs. In 2020, he was elevated to the AIA College of Fellows.

After a stroke in 2020, Silcott moved to Washington, D.C., to be under family care. He was placed in hospice in 2022, and put on a feeding tube, but lived three more years against the odds, noted Roberts, one of seven close nieces and nephews who called him “Uncle James.”

“He would not acknowledge that he wasn’t going to live forever,” said Roberts. Silcott remained engaged with Howard until his death.

Glorya Kaufman, the philanthropist who transformed dance in Los Angeles through the establishment of an eponymous dance school at USC as well as a prominent dance series at the Music Center, among many other initiatives, has died. She was 95.

Kaufman’s death was confirmed by a representative for the Music Center, which was the recipient in 2009 of a $20 million gift from Kaufman that established Glorya Kaufman Presents Dance at the Music Center. The money, which represented the largest donation in L.A.’s dance history, went toward the ongoing staging of appearances by some of the world’s most well-known dancers, troupes and companies, including the Joffrey Ballet, American Ballet Theatre, the Royal Ballet, Alvin Ailey American Dance Theater and Ballet Hispánico.

“Her gift to the Music Center has made it possible for us to bring the joy and beauty of dance into the hearts, minds and souls of countless Angelenos and visitors from around the world,” Music Center President and Chief Executive Rachel Moore said in a statement. “As a result of Glorya’s significant visionary leadership and generosity, Glorya Kaufman Presents Dance at the Music Center today stands as a vital part of Los Angeles’ cultural fabric.”

Kaufman also donated an undisclosed sum to create and endow the USC Kaufman School of Dance, and to build its home, the Glorya Kaufman International Dance Center. When it launched in 2012, the program was the first new school to be established at the university in 40 years. It opened in 2015 with 33 students and has nurtured the talents of dancers who went on to work with internationally recognized companies and artists including Alonzo King LINES Ballet, Staatsballett Berlin and Ballet Jazz Montreal.

In a tribute published by USC staff on the university’s website, USC Interim President Beong-Soo Kim said, “Glorya’s love for dance was contagious, and she spread that love by creating opportunities for people everywhere to experience the transformative impact and joy of the arts.”

“We have so much [dance] talent here in L.A.,” Kaufman told The Times in 2012 when the gift to USC was first announced, “and there’s no place for them to go. We want to get the best students, the best teachers, and the kids, when they graduate, will be able to make a living right away.”

Later that year, The Times described Kaufman’s importance to the dance world:

“The new biggest name in dance is Glorya Kaufman, who shook up the arts world last month when she gave the University of Southern California a gift that despite its undisclosed amount, has been called one of the largest donations in dance history.”

USC was not the first L.A.-area institution of higher learning to benefit from Kaufman’s largess. In 1999 she gave $18 million to fund the restoration of the UCLA Women’s Gym — now called Glorya Kaufman Hall. The Times wrote that her donation was, “the largest individual gift the university has received outside of the health sciences area, and the largest arts donation ever in the University of California system.”

Kaufman also gave money to schools in New York City, including four lifetime endowments for undergraduates at Alvin Ailey American Dance Theater. A 2,300-square-foot dance studio at the Juilliard School, which she funded, is also named after her.

Although dance was her primary focus, Kaufman’s influence was felt across L.A.’s cultural landscape. She was a founding member of the Los Angeles Museum of Contemporary Art and also gave to the Los Angeles County Museum of Art. In addition, she was a founding trustee of the Geffen Playhouse and donated money to build an outdoor reception area at the theater.

Kaufman believed that dance should be experienced by as many people as possible and was committed to helping less advantaged students gain access to programs in their communities. She created an endowment for a dedicated dance teacher at Inner-City Arts in East L.A. and provided funds for more than 17,000 kids to take free dance classes there each year.

The Glorya Kaufman Performing Arts Center — a 299-seat, multi-use performing arts space, including classrooms, rehearsal rooms and a theater — opened two years ago at Vista Del Mar Child and Family Services, a nonprofit that provides mental health services for neurodivergent children and those experiencing behavioral disorders. Kaufman’s gift came with the launch of three new community-focused programs: a USC Alumni Residency, an L.A. Independent Choreographer Residency and UniverSoul Hip Hop Outreach.

The Glorya Kaufman Performing Arts Center at Vista Del Mar was founded with the announcement of three new programs: a choreography residency, a USC alumni residency and a partnership with UniverSOUL Hip Hop.

(Nic Lehoux)

Glorya Kaufman was born in Detroit to Samuel and Eva Pinkis. Her father was the production manager of Automotive News and her mother was a homemaker who held leadership roles at various charities within the Jewish community. In interviews throughout her life, Kaufman recalled early memories of dancing while standing on her father’s toes. She also loved to go to Detroit’s many jazz clubs, which informed her lifelong love of music and dance.

Kaufman was diagnosed with strabismus as a child. The condition — which causes one eye to look in a different direction than the other — and her early experiences trying to correct the issue, along with her struggles with poor vision, contributed to her interest in helping those with disabilities.

In 1954 Kaufman married Donald Bruce Kaufman, a builder and entrepreneur who in 1957 partnered with businessman and prominent philanthropist Eli Broad to co-found a homebuilding company called Kaufman & Broad (now KB Home). In 1963 the Kaufman family moved to Huntington Harbour after the company expanded to California. Three years later, they again moved to Beverly Hills. In 1969 the Kaufmans relocated to a 48-acre Brentwood ranch they called Amber Hill.

In 1983, Donald died in a plane crash with the couple’s son-in-law Eyal Horwitz while piloting an experimental biplane. To deal with her loss, Glorya threw herself into philanthropy. She created the Glorya Kaufman Foundation and dedicated its first major project — the 10,000-square-foot Donald Bruce Kaufman Brentwood Branch Library — to her late husband, a prolific reader.

Kaufman is survived by her four children, Curtis, Gayl, Laura and Zuade; 10 grandchildren; and 13 great-grandchildren.

Her name is ubiquitous in public spaces around Los Angeles: the Wallis Annenberg Building at the California Science Center in Exposition Park, the Wallis Annenberg Center for the Performing Arts in Beverly Hills, the soon-to-debut Wallis Annenberg Wildlife Crossing in Agoura Hills.

Then there’s the Annenberg Community Beach House in Santa Monica and Wallis Annenberg GenSpace in Koreatown.

Wallis Annenberg, a deep-pocketed philanthropist who helped transform the city through massive donations to arts, education and animal welfare causes, died Monday morning at her home in Los Angeles from complications related to lung cancer, the family said. She was 85.

The heiress to Walter Annenberg’s publishing empire served, for the last 16 years, as chairwoman of the board, president and chief executive of the influential Annenberg Foundation, which her father started in 1989 after selling TV Guide and other publications to Rupert Murdoch’s News Corp. A representative said the nonprofit organization has assets of about $1.2 billion.

Annenberg, who worked for TV Guide when her father owned Triangle Publications, stepped in as the foundation’s vice president after he died in 2002. When her stepmother, Leonore, died seven years later, Annenberg took the helm, broadening its philanthropic scope beyond media, arts and education to include animal welfare, environmental conservation and healthcare. Since she joined the foundation, it has given about $1.5 billion to thousands of organizations and nonprofits in Los Angeles County.

Wallis Annenberg worked with her father, Walter Annenberg, when his company published TV Guide.

(Annenberg Foundation)

Annenberg was fiercely passionate about funding the arts, with an eye toward making culture accessible to all. She founded the free Annenberg Space for Photography, which opened its Century City doors in 2009. (It closed during the pandemic in 2020, but archival material is still online.) The space showed exhibitions spanning the world of hip-hop, the global refugee crisis and war photography, among other subjects. Annenberg was also a longtime board member of the Los Angeles County Museum of Art and L.A.’s Museum of Contemporary Art. She gave $10 million in 2002 to endow LACMA’s director’s position.

LACMA Chief Executive Michael Govan, who came to the museum in 2006 to fill that endowed position, praised Annenberg’s philanthropy.

“Wallis Annenberg blessed the Los Angeles community not only with her philanthropy, but also with her guidance about how to improve our community,” Govan said in a statement to The Times, ”from public access to our beautiful beaches to the livelihood of local animals, and the importance of the arts to our daily lives.”

Under her leadership, the foundation made $38.5 million in low-interest loans for the construction of the Wallis Annenberg Center for the Performing Arts. The Zoltan Pali-designed center opened in 2013 in a renovated, 1933 Beverly Hills Post Office and has since become a major cultural hub in the heart of Beverly Hills, infusing the tony neighborhood with vibrant music, theater and dance. Broadway star Patti LuPone, comedian Sarah Silverman and the Martha Graham Dance Company have all graced the stage at the Wallis; the center also offers robust educational programming.

When it opened, fellow philanthropist Eli Broad called the center “a great addition” to Los Angeles and “another jewel in the region’s cultural crown.”

Annenberg cared deeply about equity in education. Walter Annenberg had founded the USC Annenberg School for Communication and Journalism in 1971, and before that the Annenberg School for Communication at the University of Pennsylvania. But Wallis Annenberg, a USC board of directors life trustee, helped to steer the school’s vision and guide it into the future. She gave $50 million in 2011 to have the Wallis Annenberg Hall built, which nearly doubled the communication and journalism school’s footprint when it opened in 2014. More recently, in March, Annenberg gave $5 million to the university for a high-tech, multimedia production studio to be built on USC’s Capital Campus in Washington, D.C. It’s scheduled to open in August.

Exposition Park got a boost in 2004, when the Wallis Annenberg Building at the California Science Center opened, a project made possible with a $25-million challenge grant from Annenberg. The former armory, redesigned by Pritzker-winning architect Thom Mayne, now has classrooms and laboratories for Science Center educational programming. Annenberg has also funded exhibitions there, including the 2019 interactive exhibit “Dogs! A Science Tail,” which explores the deep bond between humans and canines. It went back on view in May.

In 2004, she also stepped in to help underwrite the Annenberg Community Beach House, located on the grounds of the former Marion Davies estate, after hearing the city of Santa Monica might engage private developers to restore the site, which had been operated as a private club for 30 years. The seaside public space is free and features a playground, gallery and volleyball courts, among other amenities.

Construction crews began the process of placing the first layers of soil over the Wallis Annenberg Wildlife Crossing on March 31.

(Al Seib / For The Times)

Annenberg was a ferocious animal lover. The Wallis Annenberg Wildlife Crossing — the world’s largest urban wildlife crossing, which stretches across 10 lanes of the 101 Freeway between the Simi Hills and the Santa Monica Mountains in Agoura Hills — was made possible with a $1-million challenge grant from Annenberg in 2016 followed by $25 million in 2021. When it’s completed, the crossing will help animals such as mountain lions, deer and bobcats pass safely over the freeway. The first layers of soil were laid on the overpass in March. Plans call for its completion in 2026.

“I imagine a future for all the wildlife in our area,” Annenberg said in a statement published by The Times in March, “where it’s possible to survive and thrive and the placement of this first soil on the bridge means another step closer to reality.”

Annenberg also created a Silicon Beach-based animal shelter, the Wallis Annenberg PetSpace, which opened in 2017 and helps to rehabilitate so-called “unadoptable” animals before finding them new homes. PetSpace has a medical facility and offers animal adoptions as well as classes to teach people to how to better care for their pets.

In recent years, Annenberg had been thinking about quality of life for older adults.

In 2022, Annenberg opened the Wallis Annenberg GenSpace, a senior center in Koreatown offering visitors a place to pursue new interests and find community through classes that include belly dancing, horticultural therapy and financial literacy. It also hosts concerts, dances and game nights.

After the Palisades and Eaton wildfires earlier this year, the Annenberg Foundation funded short-term and long-term recovery efforts, gifting nonprofits and organizations that included the Los Angeles Fire Department Foundation and the Team Rubicon Response Fund.

Wallis Huberta Annenberg was born in the affluent Main Line area of Philadelphia and grew up, from age 10, in Washington, D.C. Her mother was Bernice Veronica Dunkelman, who went by Ronny. Annenberg had a younger brother, Roger, who died in 1962 when he was 22. She graduated from Pine Manor Junior College in Wellesley, Mass., and attended one year of college at Columbia University before dropping out to get married to neurosurgeon Seth Weingarten. The couple divorced in 1975.

Prior to their divorce, Annenberg had moved to Los Angeles with Weingarten and her children in the early ‘70s. Annenberg was drawn to the city’s energy, creativity and diversity.

Despite her public profile, Annenberg was known to be press shy. The billionaire philanthropist was particularly family-oriented and enjoyed evenings at home with her children and grandchildren. She was also an avid sports fan and loved watching football on TV, martini in hand.

Wallis Annenberg, center seated, with three of her children: Gregory Annenberg Weingarten, Lauren Bon and Charles Annenberg Weingarten. Each is involved in the Annenberg Foundation.

(Hamish Robertson)

The breadth of Annenberg’s philanthropy was global; but it was most keenly focused on Los Angeles.

Annenberg received the 2022 National Humanities Medal from President Biden for her life in philanthropy.

As outlined in the family trust, control of the foundation passes onto the next generation: Three of Annenberg’s four children who are on the board of directors: Lauren Bon, Gregory Annenberg Weingarten and Charles Annenberg Weingarten. Roger Annenberg Weingarten lives in the L.A. area.

Bon is an artist and founding director of L.A.-based Metabolic Studio, a not-for-profit interdisciplinary art and research hub that explores environmental issues. Gregory Annenberg Weingarten is a former journalist with the Times of London and now is an artist, exhibiting in Europe and the U.S. Charles Annenberg Weingarten is a philanthropist and filmmaker who created Explore, which documents, through films and photographs, selfless acts globally (and has a network of live-cams trained on wildlife).

Besides her four children, Annenberg is survived by five grandchildren.

INDIANAPOLIS — Jim Irsay, the Indianapolis Colts’ owner who leveraged the popularity of Peyton Manning into a new stadium and a Super Bowl title, died Wednesday at age 65.

Pete Ward, Irsay’s longtime right-hand man and the team’s chief operating officer, made the announcement in a statement from the team. He said Irsay died peacefully in his sleep.

“Jim’s dedication and passion for the Indianapolis Colts in addition to his generosity, commitment to the community, and most importantly, his love for his family were unsurpassed,” Ward said. “Our deepest sympathies go to his daughters, Carlie Irsay-Gordon, Casey Foyt, Kalen Jackson, and his entire family as we grieve with them.”

Irsay had a profound impact on the franchise.

With Hall of Fame general manager Bill Polian, Hall of Fame coach Tony Dungy and Manning, Irsay helped turn the Colts from a laughingstock into a perennial title contender.

He also collected guitars, befriended musicians and often found inspiration in rock ’n’ roll lyrics.

A drum set played by Ringo Starr of the Beatles is part of the Jim Irsay Collection of rock ‘n’ roll artifacts that was on a national tour.

(Courtesy of Jim Irsay Collection)

Irsay had battled health problems in recent years and became less visible following a fall at his home. Police officers from Carmel, Ind., a northern suburb of Indianapolis, responded to a 911 call from Irsay’s home Dec. 8. According to the police report, the officers found Irsay breathing but unresponsive and with a bluish skin tone.

Ward, the report said, told officers that he was worried Irsay was suffering from congestive heart failure and that Irsay’s nurse had said Irsay’s oxygen level was low, his breathing was labored and he was “mostly” unconscious.

A month later, he was diagnosed with a respiratory illness.

During his annual training camp news conference last summer, Irsay told reporters he was continuing to rehab from two surgeries — though he remained seated in his golf cart. Irsay did not speak during the recent NFL draft as he typically did.

He had also battled addictions to alcohol and painkillers.

Irsay began his football life as a ball boy after his late father, Robert, acquired the team in a trade with the late Carroll Rosenbloom, who took over the Los Angeles Rams. The younger Irsay then worked his way up, becoming the youngest general manager in NFL history at age 24. He succeeded his father as owner in early 1997.