continued teaching. Finally, in 1985, he became the O'Neil Ford Centennial Professor of Architecture at the University of Texas at Austin. He died at home of a heart attack on December 16, 1993. One of his last books, Body, Memory and Architecture, not only introduced new psychological and anthropological ideas into design theory, it also anticipated today's revolution in neuroscience, and the theory of "embodied cognition." Buildings and legacy Moore preferred bold, colorful design elements, including striking color combinations, supergraphics, stylistic eclecticism, and the use of non-traditional materials such as plastic, (aluminized) PET film, platinum tiles, and neon signs. His work often provokes arousal, challenges norms, and can lean toward kitsch. His mid-1960s New Haven residence, published in Playboy, featured an open, freestanding shower in the middle of the room, its water nozzled through a giant sunflower. His house in Orinda, California was also sybaritic, featuring an aedicula over the bed, a tree growing inside through the roof, and much natural light. He made no bones about his love for roadside vernacular buildings in places like San Miguel Allende, the Sunset Strip, and Main Street in Disneyland. His early work with MLTW was noted for the invention of a west coast regional vernacular in residential architecture that featured steeply pitched roofs, shingled exteriors, and bold areas of glass, including skylights. Moore and his partners always cited the influence of their predecessors in California, particularly Bay Area pioneers such as Bernard Maybeck, William Wurster, and Joseph Esherick. A whole school of west coast designers followed their lead in designing shed-like, wooden residences for their newly affluent clients. Moore was also sensitive to the needs of clients, building an innovative house for a blind man and his wife, and designing several churches. His urban design schemes were tailored to context and history, and his books are full of sophisticated scholarship on such things as Renaissance gardens, English Georgian houses, and Italian piazzas. His travels were always documented by color slides, sketches, and souvenirs, which he displayed prominently in his residences. Moore's Piazza d'Italia (1978), an urban public plaza in New Orleans, made prolific use of his exuberant design vocabulary and is frequently cited as the archetypal postmodern project. His university work includes the Hood Museum of Art at Dartmouth, the Williams College Museum of Art in Williamstown, Massachusetts, the Haas School of Business at the University of California, Berkeley, and the Faculty