DS+R issued the following statement just after midnight in Europe:
"It is with great sadness that we announce DS+R founder Ricardo Scofidio has passed away peacefully on March 6, 2025 at the age of 89. He was surrounded by his family, including his partner in life and work, Elizabeth Diller. Ric had a profound impact on our architectural practice, establishing the studio with a mission to make space on his own terms.
The firm's partners and principals, many of whom have collaborated with him for decades, will extend his architectural legacy in the work we will continue to perform every day. A memorial service to celebrate Ric's life is being planned and will be announced in the coming weeks."
Ricardo Scofidio was born in New York in 1935 and in 1981, with his partner Elizabeth Diller, who had arrived like so many others from the other side of the Atlantic, Poland, he formed one of the most interesting architectural couples of the last half century, carrying out projects that always overflowed with intelligence and a brilliant conception of architecture, in which they always sought utopia and rethinking the foundations of architecture.
With a more reserved and less media-friendly personality than most of his colleagues of his generation, his work from the beginning in the 1980s and 1990s would be an example of the most avant-garde proposals for his ability to rethink the present and the immediate future from conceptual and tremendously innovative parameters. He was always interested in contemporary technologies as important tools in his work, highlighting the culture of vision as an important factor in the definition of space due to its ability to make us live in "delayed times" and expressing his influence by the work of Foucault.

The Brasserie, Manhattan by Diller+Scofidio.
In Spain, the avant-garde night-time television programme «Metrópolis» (broadcast by RTVE's «La 2» on 12 October 2000) opened its season by showing a brief summary of its most experimental work, in fields as diverse as installations, interventions in choreographic space, web pages, design objects and architecture, which showed themes such as childhood fears, video surveillance, sexuality or voyeurism, among many others. A tour of proposals such as «pageant», a metaphor for globalisation; the choreography «moving target», inspired by the diaries of the schizophrenic dancer Vaslav Nijinsky, to investigate new ways of using space, its juxtapositions and the hybridisation between the real and the virtual.
The programme included works such as the “brasserie” on the ground floor of the Seagram in New York or his “Blur Building”, a temporary structure in the form of an artificial cloud, a multimedia building formed by fog, without form, a statement of anti-architecture in which the building avoided having a façade or belonging to a specific architectural style, which could be penetrated and seemed to float on the waters of Lake Neuchâtel, for the Swiss Expo in Lausanne in 2002.
Ric would comment on how his work worked on many levels, incorporating deep reflections and ideas in layers as if it were an onion that allows reaching different levels of meaning.
With his intelligence and brilliant conception of architecture, he worked in a world that in just a few years became completely unrecognizable. With his best results and projects in the country that seem to have disappeared or that are now unrecognizable, and works all over the world, even in Moscow.
Some of his most notable works include the restoration of the High Line, a railway infrastructure on the west side of Manhattan, transformed into a 2.4-kilometre-long public park, which includes one of the most innovative and interesting structures built in New York in recent decades, The Shed, and more recent ones such as the Roy and Diana Vagelos Medical and Teaching Centre, the Columbia University Business School, the Park Union Bridge connecting with the Olympic and Paralympic Museum in Colorado Springs, the Tianjin Juilliard School in China, and the New Zaryadye Park in the centre of Moscow.