Building Foundations: Terri Dreyer of NANO on New Orleans Roots, Architectural Heritage, and Enduring Legacy
Portrait of Terri by Tracie Morris Shaefer.
By Patrick Dimond
Terri Dreyer is an architect with over twenty-five years of experience, celebrated for her design excellence and community impact. Terri’s expertise encompasses a wide range of architectural disciplines. She has successfully overseen projects totaling more than $250 million, from new constructions to historic renovations, demonstrating her precision, innovation, and commitment to excellence.
In 2001, Terri co-founded NANO with her husband, Ian Dreyer. Under her leadership, NANO has gained international acclaim, notably becoming the first Louisiana architecture firm to exhibit at the Venice Biennale, where their “Submerged Experience” earned the 2021 Venice Biennale Architecture Award from the European Cultural Centre.
Raised in culturally rich New Orleans and influenced by her architect and engineer grandfathers, Terri’s educational journey included studies at LSU, Parsons School of Design, and Tulane University. Her international experience, including a stint at HOK in London and recognition with the RIBA Award, further enriched her perspective. Terri’s leadership extends beyond her practice; she is a prominent advocate for architectural advancement and community service. Her role as the 2020 President of AIA New Orleans was marked by a significant 330% increase in local firm participation in the AIA 2030 Challenge.
PD: Tell me about your foundational years. Where did you grow up, and what did you do as a kid?
TD: My formative years were deeply rooted in New Orleans. I was born and raised in New Orleans, as were my mother and father. With both sides of my family entrenched in the business of art, architecture, engineering, and construction, it's no surprise I entered the field myself. Growing up, I attended a French immersion school, where much to my detriment, I was required to speak French and English. Though challenging, this bilingual upbringing enriched my perspective and understanding of New Orleans.
From a young age, I found solace by doodling cartoons, shapes, and our family pets on any surface within reach—papers, books, and even the walls of my bedroom. Though this often resulted in a reprimand, it ultimately paved the way for my enrollment in summer art camp, thanks to my mother's recognition of my talent.
Your family is deeply embedded in the architecture and design scene in New Orleans, tell me about this.
My paternal grandfather was a distinguished structural and civil engineer who served as a Lieutenant Colonel in the Pacific Theatre during WWII. Meanwhile, my maternal grandfather, August Perez Jr., left an indelible mark on the city as a renowned architect. His notable projects included the Union Passenger Terminal, Lake Vista Methodist Church, US Post Office Building, 1100 Tulane Ave., and a myriad of notable projects that created the skyline of New Orleans. Following his footsteps, my uncle, August Perez III, designed buildings such as the 1984 World's Fair, Piazza d'Italia, and the Ernest N. Morial Convention Center, which serve as landmarks within our community.
My mother, a rebel in her own right, passionate about equality and culture, introduced me to the culture of the Mardi Gras Indians, which instilled within me a deep sense and awareness of social consciousness. Alongside her influence, my maternal grandmother and great-aunt were artists, and my paternal grandmother was a secretary and administrator in the Army Corps of Engineers. In a time when opportunities for women were far different, these women served as strong mentors for me.
Did you face any challenges or doubts from your family when pursuing your career?
Despite being surrounded by creatives from an early age, I did not always have many cheerleaders in my corner. I vividly recall a moment when my grandfather expressed doubt about my aspirations, citing my gender as a barrier to becoming an architect. When I returned home from school one break, I showed him everything I had accomplished. He was surprised and humbled at his lack of faith in my ability and genuinely proud of my accomplishments.
Ultimately, my entire family played a significant role in shaping who I am today. However, it was both my mother and grandmother who propelled me forward, urging me to push my limits and never doubt myself, especially my mother. With her sharp but honest tongue, she would always tell me, "You have no time to waste. Stop pouting and get back to work. Today is the first day of the rest of your life; let grace glory in it." Her words were important because they ensured I had the persistence and rigor to achieve my dreams despite her not having all the opportunities to achieve her own.
Guide to Thrive. Rendering courtesy of NANO LLC.
New Orleans Ernest N. Morial Convention Center. Rendering by Pictury.
What did you learn about yourself when you were studying architecture?
I attended LSU and Parsons School of Design as an undergraduate, and before pursuing my master's degree at Tulane University, I gained experience working at HOK internationally. So, I entered the master's program with a sense of confidence, thinking I had it all figured out.
During my time at HOK, I noticed that I was always the only woman in the room. Candidly, I could tell you some unfortunate stories, but there were also moments of inspiration from many men in my early career that today I still communicate with today. From Bill Lacey, Wayne Cage, and Roger Soto to Julien Howlett, these men supported and trained me throughout my career.
When I arrived at Tulane, I was tremendously lucky to have received mentorship from an incredible architect and educator, Ila Berman. She was the Dean of the School of Architecture at the University of Virginia and the Associate Dean at Tulane. Ila became one of my biggest supporters during my formative years and one of the first women I saw in a leadership position with whom I could identify.
How has learning from other women in architecture influenced your approach to design?
Learning from a woman was profoundly important to me. Ila's architectural theories of intense process-driven diagramming for designing sparked a fundamental shift in my perspective on architecture and design. Instead of viewing architecture as prescribed or form-giving, I came to understand it as a discipline that lends itself to the program and context, demanding investigation and rigorous intention. In many ways, this philosophy is what our company is based on, emphasizing studying all aspects of the program, environment, and materiality to build a system that comprises a building. By integrating mapping and patterning practices, combined with theories of phenomenology for materiality, we enhance our understanding of complex spatial relationships.
One of the most valuable lessons I've learned is the importance of drawing wisdom from diverse people and perspectives to carve your path and find your way. Cross-pollination with different professions, artisans, and people is essential for architects. You must take each of the moments you find meaningful, relevant, and purposeful as opportunities to learn. The trailblazing women who came before us in this field have paved the runway for others to follow in their footsteps. Their experiences set a precedent, proving that success is within reach for all of us.
“We are past the idea of saving; we need to discuss typologies that can be adaptable, programmatic elements for buildings that are founded in resilience, analysis, and humanity for an unfamiliar, tenuous future.”
How did you get your start at HOK?
My time at HOK began in Dallas, thanks to Bill and Linda Lacey; being interviewed at a dinner party with design directors from various firms started my design career before taking me to New York—which was one of the most illuminating experiences. It was one of the most challenging places to work, but it was where I honed my design skills and learned invaluable lessons. Working on the Penn Station project and James A Farley Building with Roger Soto was terrific. It was incredibly hard work, as I had a cot under my desk and a toothbrush in the bathroom, but it was thrilling nonetheless.
From there, I was transferred to London, where I stayed for three and a half years. I worked on Glaxo Smith Klein Headquarters, various office buildings, and Berlin Hotel Competitions, among other things. During that time, I learned to listen and blend in. I learned through observation, which was a profound tool for picking things. As HOK's footprint expanded, I was able to work across Europe, from Germany to France to Italy and beyond.
While working at some of the biggest firms, I learned that preparation, knowledge of your craft, confidence in your design decisions, and knowing when and what to communicate are critical. Leadership is not about having all the answers but rather about communicating authentically and confidently with a sense of openness and innate curiosity. That's going to move mountains.
Frederick A. Douglass High School Auditorium. Photography by Michael Mantese.
2513 Metairie Road. Photography by Sarah Essex Bradley.
What is most on your mind at the moment?
I'm thinking about how architects and designers can respond in a humane yet measured and analytical process to solutions for our cities, humanity, and culture. We are past the idea of saving; we need to discuss typologies that can be adaptable, programmatic elements for buildings that are founded in resilience, analysis, and humanity for an unfamiliar, tenuous future.
How is this response influencing you firm, NANO?
We are in the Anthropocene. We started NANO based upon a design process by Ray and Charles Eames, which is explained in a video that they directed from the 1960s called "The Power of Ten." The film focuses on a series of scales where the mass, particles, and elements of what comprises our bodies are relatively scaled and shown as the same elements that comprise the space. It shows the ultimate interconnectivity that we as humans have to our environment and space. Our original approach to design, inspired by Ray and Charles Eames's film, is now more relevant than when we started.
Analysis, scale, site, program, and environmental shifts are the basis for a way of thinking about a building that is more than its legal justification. Buildings are fundamentally a place of shelter but are also so much more to the human psyche. Whether a building is a shelter or a gathering space, it has often been considered the background of our lives. Yet, because our future is so precarious, they need to be the background, the middle ground, and the foreground due to the demand for performance and efficiency.
Scope of practice is also at the forefront of our minds at NANO. In recent years, contractors and owners' reps have begun carving away management, communication with the owner, and holistic decisions about projects. This is an issue from programming to construction administration. Our training and profession are unique. We have the expertise to solve problems and create environments that are adaptable and answer the needs of the client. We do this all while ensuring the solutions are safe and context-driven. I have noticed that contractors and owner's reps have injected themselves into the process, damaging our ability to communicate and design effectively. We are problem solvers—we studied architecture to formulate design solutions.
What role do you think architects should play in addressing societal challenges, and what obstacles do smaller architectural firms face in the current industry landscape?
Architects should be held accountable for creating solutions to many of the issues we face—from environmental to housing and access to healthcare. For architects to make an impact and be held responsible, we must demand a seat at the table alongside policymakers, lawyers, and government officials. Due to massive increases in construction costs, owners and contractors want to work with less, but often at the expense of what is right for our communities. It's up to us to forge a path to have architects involved in those discussions when major projects and policies come into play and budgets are being put in place.
On the status of small business, my team and I are considering how teaming for projects that require local small business firms with larger "design firms" has dominated due to the project's financing, which has become disconcerting. Small firms, which often boils down to women or BIPOC-owned firms, have the aptitude to work on diverse building typologies. However, clients – usually federal or state entities now require that firms be subject matter experts, which has become a barrier to entry for those that don't have the resources of the few, massive firms that dominate the market. Ultimately, this makes competing harder and broadens the gap between small and large firms, establishing a precedent that teaming must be in place. Unless it is a good fit and respect comes from both firms, smaller firms are left with doing grunt and menial work, which can be fundamentally damaging to the smaller firms' psyche and younger architects for employee retention.
“I believe that women business owners must be relentlessly fearless... never be satisfied, never give up, and keep moving forward – being stationary is not an option.”
Who are you admiring now?
The first that comes to mind is Melinda Gates and her impact on women's issues, business opportunities, and women's healthcare, especially in Louisiana. Melinda has committed an incredible number of resources to women's health and safety, and seeing this kind of philanthropy at this scale is really incredible.
I also admire my life and business partner, Ian Dreyer. We are a team, and we could never have known what was going to happen when we started this adventure. Ian is a constant source of knowledge, and he is one of the best at offering alternative design viewpoints that drive excellence for all.
What is the impact you would like to have on the world?
We want to leave an imprint of value and integrity within our work and, with that, indelible experiences in the lives of those who occupy the spaces we create. At our core and with our genesis, we embrace the responsibility of shaping a resilient built environment that honors individuals, communities, and the places we call home, leaving an enduring legacy for generations to come.
Farnham Residence. Photography by Michael Mantese & Sarah Essex Bradley.
Submerged Experience Exhibition 2021. Photography by Federico Vespignani.
Finally, what is your advice for those starting their career? Would your advice be any different for women?
Advice for women is always different than general advice. The statistics after Covid and the pandemic are alarming for our presence in our profession. 23.5% of architects are women, and only 17% of licensed architects are women. The numbers are even more alarming for women of color.
I do not know how many women-owned firms there are by percentage, but there are certainly fewer than we need. I believe that women business owners must be relentlessly fearless – the struggle for equality in this profession is real, and it is an upward battle. That said, never be satisfied, never give up, and keep moving forward – being stationary is not an option.