Max Jacobson, a prominent Bay Area architect, educator, and author who co-authored one of the most influential architecture books of the late 20th century, died on August 17 at his Berkeley home. Born on May 29, 1941, to Jack and Minna Mae (Ettenson) Jacobson in Houston, Texas, Jacobson became a transformative figure in architectural design and education over his decades-long career.
Jacobson's early life took him from Texas to Denver, Colorado, where he spent his childhood and teenage years before pursuing higher education at the University of Colorado, Boulder. He received his degree in science and engineering in 1963, then moved to Berkeley, which would become his lifelong home. In 1964, he earned his master's degree in chemical engineering from UC Berkeley.
Despite his technical training, Jacobson found himself restless working as a chemical engineer and began searching for more creative outlets. He returned to UC Berkeley to study architecture, making history in 1973 when he became the first student to receive a Ph.D. from the new College of Environmental Design. His groundbreaking doctoral thesis, completed under the guidance of professor Christopher Alexander, explored innovative methods for including a building's ultimate users in the design process.
Impressed by Jacobson's research, Alexander invited him to join his Berkeley office, the Center for Environmental Structure. This collaboration led to one of Jacobson's most significant contributions to the field: co-authoring "A Pattern Language, Towns, Buildings, Construction" (Oxford University Press, 1977) with Alexander and others. The landmark text became one of the most influential and widely read architecture books of the late 20th century, fundamentally changing how architects and designers approach their craft.
As the book neared completion, Jacobson moved with his then-partner Meg Courtney to several acres of land in Lafayette, where they embraced a more pastoral lifestyle, raising chickens, goats, and vegetables. During this period, his daughter Taylor was born, marking the beginning of his journey as a father alongside his professional achievements.
At the Center for Environmental Structure, Jacobson met Murray Silverstein, and in 1975 the two established the Berkeley firm Jacobson/Silverstein Architects. With the later addition of partners Barbara Winslow and Helen Degenhardt, Jacobson remained active with the firm for over 40 years. His architectural philosophy centered on designing with intensity and great care, constantly searching for ways to create genuine relationships and find fundamental order between a building, its site, and its eventual users.
Under Jacobson's guidance, the firm completed hundreds of projects, including several award-winning structures that exemplified his design principles. Notable works included the acclaimed Mudds Restaurant in San Ramon, the Spirit Rock Meditation Hall in Woodacre, and the Scheuttge Residence in Berkeley. Each project reflected his commitment to creating meaningful connections between architecture and human experience.
Beyond his professional work, Jacobson cherished his personal retreats to a cabin on Stuart Island in the San Juan Islands, where he spent many summers with family and friends. These gatherings involved cutting wood, cooking over open fires, reading books, and listening for the sounds of whales in the surrounding waters. Even in this rustic setting, his architectural mind remained active, as he and Helen designed the Burget/Skartvedt Residence during these peaceful interludes.
Throughout his career, Jacobson maintained a strong commitment to education and writing. He taught architecture at both UC Berkeley and Diablo Valley College, where he served as an encouraging and inspiring mentor to countless students. His teaching philosophy emphasized accessibility and creativity, making complex architectural concepts understandable to newcomers to the field.
Jacobson's literary contributions extended well beyond "A Pattern Language." With his partners at JSW/D Architects, he co-authored "The Good House" and "Patterns of Home," both beautifully conceived, written, and illustrated works that appealed to both professionals and general readers. His seminal book "Invitation to Architecture," co-written with Shelley Brock, grew directly from his experience teaching introductory architecture classes to generations of students.
Demonstrating his characteristic energy and creativity, when his publisher couldn't provide a budget for photography for "Invitation to Architecture," Jacobson, an accomplished sketch artist, illustrated the entire book with his own drawings. This personal touch reflected his hands-on approach to all aspects of his work and his belief in the power of visual communication in architecture.
Music played a significant role in Jacobson's life and work philosophy. A talented pianist, he placed an upright piano at the center of JSW/D's studio, where he would periodically play throughout the day, performing everything from Gershwin and Mozart to the Beatles. Citing one of his heroes, Renaissance architect Andrea Palladio, Jacobson would remind his colleagues that "architecture is frozen music," embodying his belief in the artistic and emotional dimensions of architectural design.
Jacobson's curiosity and imagination remained vibrant throughout his life. As he approached retirement, he rediscovered his childhood passion for building and flying model airplanes, eventually becoming an avid pilot. Colleagues fondly remember him leaving work early on occasion, excitedly announcing, "The winds died down, let's go fly!" This enthusiasm for exploration and discovery characterized his approach to both his professional and personal pursuits.
Max Jacobson is survived by his wife and architect-partner Helen Degenhardt, his daughter Taylor and her husband John in Los Angeles, his brother Mark and his wife Maryann in Richmond, and his grandson Mateo Jacobson Knuth. His legacy lives on through the hundreds of buildings he designed, the students he mentored, the books he authored, and the fundamental changes he brought to architectural thinking and practice through his pioneering work on user-centered design and pattern language theory.
