In each city he set up a small practice, often staffed by students, and most of these offices continued long after he had moved on.
He was the founding guru, and he left behind a whole network of small ones.
Moore, who died last month at 68, was our age's greatest architectural enthusiast.
He believed utterly in the power of architecture to reflect and enhance joy, and he communicated his feelings with such power that he became something of a pied piper of post-modernism.
Moore had begun to settle down more toward the end of his life, pressured by ill health, and at the moment he died he was preparing to drive across the country from Texas to spend the winter in the one place he could conceive of staying still in: his apartment at Sea Ranch, the 1965 condominium complex 100 miles north of San Francisco that first brought him national attention.
Sea Ranch -- the ancestor of virtually every California beach house and Vermont ski house with unpainted wood siding, a boxy form and a slanted shed roof -- is one of the few buildings of our time that has become part of the vernacular.It is a striking paradox that an architect who has written so eloquently about the symbolic importance of houses had so much trouble staying at home.It's not that he didn't have a good house to go to: over the years he had several, having built one in every city in which he settled, and each of these places, filled with toylike objects brought back from his travels, was a sort of summary of his architectural priorities, a "choreography of the familiar and the surprising," as he liked to define architecture.Two years after joining The Spectator as a political columnist, he became the magazine's editor in 1984, remaining there until 1990. Following The Spectator, he edited The Sunday Telegraph from 1992 to 1995.Moore co-edited A Tory Seer: The Selected Journalism of T. Near the start of this period, around the time of the publication of the Andrew Morton book, Diana: Her True Story, he appeared on Newsnight to discuss the marital difficulties of the Prince and Princess of Wales.In later years Moore took much more flamboyant steps, mainly toward the eclectic historicism of post-modernism, which in his hands became whimsical, colorful, fantasylike.Who but Charles Moore could have designed the Piazza d' Italia in New Orleans, a public square that turns classicism into a loud essay in neon lights and splashing water? If the society's paying someone millions of dollars for seemingly undeserving fame or notoriety, they better do a job worth millions of dollars with the only talent they have - to be an interesting person, both privately and publicly.See in many cases, and in many occupations, the separation of public and private affairs are done so physically (ie taking off the uniform, leaving the company building..) and since the most noticeable aspects of their occupation happens to be their faces, unless they decide to wear a bag over their head they should bear the consequence of being famous.A teacher of unusual warmth and grace, he had headed two architectural schools, at the University of California at Berkeley and Yale, and had taught for years at the University of California at Los Angeles and the University of Texas.In 1991 he won the Gold Medal of the American Institute of Architects, its highest honor.