When architect and painter Leo Marmol was a student, he was an awkward and shy boy. His sixth-grade teacher, Mr. Laurie, had him give presentations to the class until he was more comfortable. His instructor not only helped young Leo gain self-confidence, he also sparked his love for learning beyond the standard curriculum.
The Salk Institute, by Louis Kahn, made a lasting impression on Marmol. As he learned about the architect in college, he was drawn to more than his structures. “Kahn in particular resonated deeply with me – not just for his buildings but for his philosophical musings on architecture,” Marmol says. “Kahn’s idea of moving from ‘silence to light’ spoke to me in a profound way.”
Leo Marmol \\\ Photo: Jesse Green
In 1989, Marmol and Ron Radziner founded their eponymous practice, Marmol Radziner. The firm is noted for its holistic approach to every element of design-build, from construction to furniture. But even with a full roster of projects on tap, Marmol still finds time to indulge in other pursuits. He enjoys saltwater fly fishing, which allows him to connect with nature. He visits museums when he travels, where he’ll often find a spark of unexpected inspiration.
Marmol not only admires fine artists, he is one himself. He started painting as a way to help manage the pressures he faced while in architecture school. Painting allowed Marmol to unwind and express himself, free of restrictions. Yet he never imagined that a creative outlet would someday become a key facet of his life.
Marmol often experiments with oil paint and cold wax, and he has exhibited his work in galleries throughout California and other locales. “Painting began as something playful and personal,” he notes. “It was only after I had my first solo show that I began to see painting as more than a hobby. That experience was transformative, and the opportunity to showcase my work to a broader audience made me realize that this was no longer just a private endeavor.”
Today, Leo Marmol joins us for Friday Five!
One of my favorite works is Albert Camus’ “The Myth of Sisyphus.” In this essay, Camus reimagines the Greek myth of Sisyphus, who is condemned to eternally push a boulder up a hill, only for it to roll back down each time. Camus suggests that despite the endless repetition and futility of Sisyphus’ task, we must “imagine Sisyphus happy” – finding meaning and joy in the struggle itself. I first encountered this text in an existential philosophy course at Cal Poly. The idea of embracing the process, knowing the outcome will never fully satisfy, resonates with the creative journey as an artist and architect. Each time I approach a new painting, I feel like Sisyphus – pushing that boulder up the hill, knowing it will fall, yet finding fulfillment in the act of creation itself. For me, the boulder acts as a metaphor for the love of a new creative endeavor, the belief we have while creating that this will somehow be worthwhile, only for the work to never reach the top. We have no choice but to delight in the process not the outcome.
Photo: Courtesy of Leo Marmol
Seeing Robert Motherwell’s work in person during a recent visit to the Modern Art Museum of Fort Worth was a deeply moving experience. Motherwell has long been a hero to me. Standing before pieces like “Elegy to the Spanish Republic,” I was struck by the power of his bold composition, where thick black ovals and vertical bands are both confrontational and gentle. There’s a visceral quality to Motherwell’s work, a rawness that transcends the canvas and speaks to the struggles and themes of his time.
There was a major retrospective on view, Robert Motherwell: Pure Painting, which beautifully captured the evolution of his art. From the earlier abstracted figurative works to his later, more explosive explorations, each piece offered insights into his journey. I found myself reflecting on the balance of control and spontaneity and, moreover, the physical power of painting – brilliantly illustrated by Motherwell’s practice, which articulates the philosophical weight of a simple stroke or form.
Photo: Courtesy of Leo Marmol
3. Salt Water Fly Fishing in Catalina
Saltwater fly fishing is another one of my favorite escapes. I love the rhythm of casting into the clear waters, feeling the pull of the current, and the anticipation of that first strike. There’s something meditative about it—being surrounded by the beauty of the ocean, all while focusing on the cast. The challenge of fly fishing in saltwater, with its unpredictable conditions, keeps it exciting. My teenage son and I spent a couple of weeks last summer fly-fishing in Montana. It was a perfect way to end the summer season before he returned to school and me to work. It’s a chance to disconnect, get lost in nature, and experience the power of the water.
Photo: Jaime Kowal, courtesy of Sparrows Lodge
The Sparrows Lodge is a mid-century gem I hold especially dear to my heart. Located in Palm Springs, the Sparrows Lodge has enjoyed many incarnations, epitomizing the adaptive reuse of the most lasting Modernist structures. Originally built as Castle’s Red Barn in 1952 by MGM actor Don Castle, it was one of the original glamorous getaways for the Hollywood Elite. Restored in 2013, the lodge retains its original charm while embracing a rustic simplicity – exposed beams, pebble-inlaid floors, and reclaimed horse troughs as bathtubs – creating a serene yet tactile experience.
What draws me to the desert, and to Sparrows Lodge in particular, is the tension between the harshness of the desert environment and the myth of Modern luxury that has been cultivated in Palm Springs. In the desert, the extremes of heat and light choreograph moments of intense vitality that feel both chaotic and calming. The desert is beautiful and strange, deadly yet teeming with life. Sparrows Lodge makes space to ponder this duality – a place where simplicity invites reflection, offering the rare luxury of slowing down and reconnecting with the rhythms of nature within an oasis of classic 1950s modern design.
Photo: Courtesy of Kimbell Art Museum
Standing inside the Kimbell Art Museum during a recent visit was a profound experience. Designed by Louis Kahn, the architect’s use of natural light, filtered through skylights and reflectors, transformed the space into something sacred. The interplay of concrete, travertine, and oak created a Modern yet timeless atmosphere, with the Roman-inspired vaults evoking a sense of quiet grandeur. It was incredible to see how the architecture itself became part of the art, shaping my experience with its simplicity and elegance. The way light constantly shifts throughout the day felt like stepping into one of Kahn’s reflections on space and silence.
Works by Leo Marmol and Marmol Radziner:
The Desert House by Marmol Radziner \\\ Photo: Benny Chan, courtesy of Marmol Radziner
Scottsdale House by Marmol Radziner \\\ Photo: Bill Timmerman, courtesy of Marmol Radziner
Scottsdale House by Marmol Radziner \\\ Photo: Bill Timmerman, courtesy of Marmol Radziner
Point Dume House by Marmol Radziner \\\ Photo: Manolo Langis, courtesy of Marmol Radziner
Point Dume House by Marmol Radziner \\\ Photo: Manolo Langis, courtesy of Marmol Radziner
Garcia House by Marmol Radziner \\\ Photo: Richard Powers, courtesy of Marmol Radziner
Garcia House by Marmol Radziner \\\ Photo: Benny Chan, courtesy of Marmol Radziner
Leonardo E. Marmol, Wind’s Caress, 2022, Oil and cold wax on board, 30″ x 40″
Leonardo E. Marmol, Eulogy for Yesterday’s Dawn, 2022, Oil and cold wax on board, 30″ x 40″
Leonardo E. Marmol, Pastoral Views in the Borrego I, 2022, Oil and cold wax on board, 40″ x 30″
Leonardo E. Marmol, Pastoral Views in the Borrego II, 2022, Oil and cold wax on board, 40″ x 30″
Leonardo E. Marmol, Poets Call It Sleep I, 2022. Oil and cold wax on board, 40″ x 30″
Leonardo E. Marmol, Poets Call It Sleep II, 2022. Oil and cold wax on board, 40″ x 30″
