Toni Rembe Rock grew up in Seattle, and did her undergraduate work at the University of Washington and the University of Geneva in Switzerland. After receiving a law degree from the University of Washington and a master’s degree in taxation at New York University School of Law, she joined the law firm of Chadbourne & Parke in New York. In 1964 she returned to the West Coast and joined the law firm of Pillsbury Winthrop Shaw Pittman (formerly Pillsbury, Madison & Sutro), specializing in international and tax law, and served for many years as the managing partner of the firm’s tax practice. She also served as a member of Pillsbury’s governing executive committee.
Now, a retired partner at the Pillsbury firm, she is President of the van Loben Sels/Rembe Rock Foundation, a private foundation focusing in the area of public interest law, and a board member of the Immigrant Legal Resource Center. She is a co-founder and member of the board of the Rock Center for Corporate Governance at Stanford University.
Toni formerly served on the boards of AT&T, Potlatch, Transamerica, Pacific Telesis, Safeco, APL Ltd., and AEGON N.V. (a Dutch company). She is a member of the advisory board and a past chair of the American Conservatory Theatre, and past president of the Commonwealth Club of California. She is also a member of Theatre Communications Group’s National Council for the American Theatre.
John Marx, AIA, is the founding design principal of Form4 Architecture in San Francisco, CA. He advocates for Philosophy, Art, and Poetry in the thoughtful making of place, using the compelling power of form, always aware that architecture is a balancing act between self expression and collaboration.
In addition, John is a part time student of Absurdity, Paradox, and Kindness.
He has widely lectured on the topics of Design, Placemaking, Emotional Meaning and Cultural Vibrancy in Silicon Valley and places as diverse as Korea, Italy, Austria, Australia, Canada and the Technion in Israel. Most recently John exhibited his work at the 2016 Venice Architecture Biennale, and will be exhibiting in the upcoming 2018 Venice Architecture Biennale.
John’s design work, and writing has been published in over 100 national and international publications, including the Architectural Review, Architect’s Newspaper, Architect Magazine, Abitare, ARCADE, FORM Magazine, Domus, Architectural Record, Arts and Architecture, and ArchDaily.
He is the recipient of over 140 design awards, including: Six German Design Council / Iconic Design Awards, Four WAN Civic Buildings Awards, Four American Architecture Awards (Chicago Athenaeum), Five Good Green Design Award (European Centre for Architecture), AZURE Design Award, AIA Justice National Design, Two AIA Honor Awards, Ten PCPC Gold Nuggets, and The Korean Institute of Architects 100 Architects of 2013, 2014, 2015, 2016 and 2017.
In 2017, John became a Laureate of the American Prize for Architecture.
Curated by The Chicago Athenaeum and The European Centre for Architecture the award is recognized nationally and internationally as America’s highest public tribute for architecture in the United States.
The American Prize for Architecture, also known as the Louis H. Sullivan Award, is bestowed to an “outstanding practitioner in the United States that has emblazoned a new direction in the history of American Architecture with talent, vision, and commitment and has demonstrated consistent contributions to humanity through the built environment and through the art of architecture.”
“Form4 Architecture’s work pairs emotional and artistic substance to public and environmental place-making and space-creating. Their practice focuses on the dynamics of form as the carrier of more lofty intent than just simply ‘building’.””.......“This ideal and its philosophy conveys a ‘vision of the future’ and all the artistic possibilities of imagination, emotional meaning, and lyrical expressionism for a consequential better and more enlightened world around us.”....... “ the firm has passionately dedicated itself to the renewal of beauty in architecture and all its tangible and intangible forms. The firm rightly understands that Great Architecture must be as lyrical as it is functional.”