Rafael Viñoly’s central quest is architecture of joy. His role, as he articulated during last week’s Architecture: The Legends program, is not to create building-sized sculptures intended merely to be seen, but rather places that people enjoy using. He was thrilled when I read him the glowing words (cited above) that interior designer Kelly Behun had for his 432 Park Avenue tower, where she lives on the top floor. Adding to the praise, I told him that New York never looked better than the clear autumn night I visited Behun and took in the view through those perfectly square windows. Warmly smiling, he revealed his nature to be humble, patient, and gentle—quite unexpected from such a prominent architect whose impact on the built environment spans six continents. Our conversation over the next hour was open and authentic, allowing the audience and me to glimpse the genial man behind the immense architectural achievements. Born in Uruguay and raised in Argentina, Viñoly seemed destined to become a professional pianist before changing course in his late teens to study architecture at the University of Buenos Aires. There he earned a Diploma in Architecture in 1968 and a Master of Architecture degree in 1969. Music, however, never left him. Decades later, his architecture would shape countless music lovers’ experiences through The Kimmel Center for the Performing Arts in Philadelphia, the Jazz at Lincoln Center Hall in New York, and the Curve Theatre in Leicester. This year saw the release of the Maene-Viñoly Concert Grand, an innovative, ergonomic piano developed over six years by Viñoly and master piano maker Chris Maene with the aid of biomechanical and acoustical computer modeling. Seeing humans standing at the center of both architecture and music, Viñoly designed the keyboard’s curve to match the natural sweep of the pianist’s arms.