Erik G. L'Heureux, AIA, LEED AP BD+C, is an American architect and educator. He is an associate professor and program director at the National University of Singapore, where he researches the impact of hot and wet envelopes and the urbanization of the Singapore Metropolitan Region. A former boat builder, he practiced architecture in New York City while teaching at the Irwin S. Chanin School of Architecture at the Cooper Union. He studied as a James W. Fitzgibbon Scholar at Washington University in St. Louis, where he received his Bachelor of Arts in Architecture and was later honored with a Distinguished Alumni Award in 2006. Erik received a Master of Architecture from Princeton University as a recipient of the Suzanne K. Underwood Design Award. In 2015, Erik was awarded the Wheelwright Prize from Harvard University. He has co-organized an international overseas program between Washington University in St. Louis, the National University of Singapore, and Tongji University researching the cities of Hong Kong, Shanghai, and Singapore.
Erik is a registered architect in the United States, American Institute of Architects member, NCARB certified, and a LEED accredited professional. He has won several design awards, including a 2013 WAF Design Award, a Futurarc Green Leadership Award, a 2012 AIA New York City Design Award, a 2011 President Design Award from Singapore, and two AIA New York State Design Awards.
In 2015, he co-curated the exhibition 1000 Singapores: Eight Points of the Compact City at the Cité de l'Architecture et du Patrimoine in Paris, France—an expansion of the exhibition he curated, titled 1000 Singapores: A Model of the Compact City, held at the Architecture Venice Biennale in 2010. He is a contributing editor to Architectural Review Asia Pacific and has recently published Deep Veils with ORO Editions.
Tumbleweeds drift past clapboard buildings. A lone rider crosses dusty mountains. A woman waits by a cabin door. In American Night (2009), which opens March 4 at the Kemper Art Museum, German artist Julian Rosefeldt turns an amused yet critical eye to the motifs and conventions of the Western film.