There are many highlights from Chicago’s vast history, and one of the truly iconic moments is the World’s Columbian Exposition, also known as the Chicago World’s Fair. Held in Chicago in 1893, the World’s Fair proved Chicago’s creative ingenuity and persistent work ethic. The Exposition was socially and culturally influential — so how did the Chicago’s World Fair come to be such a spectacular success?
In the 1890s, the world was changing, and world’s fairs had been successful in Europe as a way to bring people together with progress (London’s 1851 Crystal Palace Exhibition — one of the first Modernist structures — was a prime example). Leaders across the country on a local and national scale agreed to finance a fair; they just needed the right location. Through a battle of finances, persuasion and voting, Chicago won with a large lead over New York. That left the city with an incredible amount of pressure to pull the whole thing off.
Thankfully, Chicago had an incredible team of talented planners, architects and visionaries to get it done. Designed by famous figures such as John Wellborn Root, Daniel Burnham, Frederick Law Olmsted and Charles B. Atwood, the Exposition was a paradise of neoclassical architecture, and the white color of the buildings inspired its nickname, the White City. Art, music, inventions, technology and culture from around the world were featured. The fairgrounds were joined together by lagoons and canals. In the end, more than 27 million people attended the World’s Columbian Exposition during its six-month lifespan, and it became a marker of American — and Chicagoan — history.
The fair’s legacy is still evident all over the city. Daniel Burnham took lessons learned at the fair for his 1909 Plan of Chicago, which in turn, influenced city planning around the world. The neoclassical architecture informed many designs that still stand today, such as Chicago’s Museum of Science and Industry and the Art Institute of Chicago. The Ferris wheel was even famously invented to debut at the Exposition.
Perhaps most important, the Exposition deeply touched the millions of visitors who left with new ideas and inspiration. The Chicago World’s Fair paved the way for Chicago’s vision of the future, and countless others.
Women have been making strides in the field of architecture and design for centuries. Our Women in Architecture series recognizes the pioneering ladies that came before us, and paved the way for a more inclusive and innovative industry today. One such figure is Anna Keichline, whose impressive resume includes titles such as: American architect, inventor, suffragist and World War I Special Agent.
The Life of Anna Keichline
Anna Keichline was born on May 24, 1889 in Bellefonte, Pennsylvania. The youngest of four children, Keichline showed creative genius at a young age. Gifted a workshop and carpentry tools by her parents, she spent her free time creating furniture and — at just 14 years old — won a prize at a county fair for a table and chest she’d made. The judges praised her work as comparing “favorably with the work of a skilled mechanic” and she told local reporters she intended to devote her life to industrial design.
It was no surprise then, when she pursued a degree in mechanical engineering, first at Pennsylvania State College and then at Cornell University. It wasn’t unusual during this time for schools to award women “certificates” rather than “degrees,” but when a rumor of this potential began to spread, Keichline’s classmates rallied and threatened to disrupt the commencement ceremony unless she received the degree she had earned. Kiechline graduated in 1911 and became the fifth woman ever to receive an architectural degree from Cornell. Though entering the male-dominated field was a daunting prospect at the time, Keichline felt sure of her place and purpose.
Keichline was an agent of change in all areas of her life: In 1913, she led a Suffragist protest march in her hometown of Bellefonte. She also served as a Special Agent in the Military Intelligence Division in Washington D.C during World War I, describing herself as: “twenty-eight and physically somewhat stronger than the average. Might add that I can operate and take care of a car [she owned her own automobile]. The above might suggest a drafting or office job, but if you should deem it advisable to give me something more difficult or as I wish to say more dangerous, I should much prefer it. You have asked for my salary in order to rate me… last year my fees amounted to something over six thousand. [the equivalent of $92,000 today].”
As Keichline tackled these feats and more, she was simultaneously setting the foundation for her successful career and the impact she would leave on the architectural world.
Anna Keichline, The Juanita Colony Country Clubhouse, Mt. Union, Penn., 1927. Archives of Nancy J. Perkins
The Work of Anna Kiechline
Keichline believed that there was a place for women in the field of architecture, thanks in part to their unique and innate understanding of space in a home.
During her post-graduate career, Keichline shared an office with her father (an attorney) and amassed an impressive portfolio of both residential and commercial buildings. She is renowned for becoming the first registered woman architect in Pennsylvania in 1920, where much of her work occurred.
Her work included the Plaza Theater in her hometown Bellefonte (1925) and the Juanita Colony County Clubhouse in nearby Pennsylvania town Mount Union (1927), among many others. She explored many architectural styles throughout her impressive career as well, including Colonial Revival, Gothic Revival and picturesque cottage houses.
Anna Keichline, Building Block, #1,653,771 A, filed March 16, 1926, issued December 27, 1927. Anna Keichline Papers, Ms1989-016, Special Collections, Virginia Polytechnic Institute and State University
In addition to designing buildings, Keichline was also an inventor and created many “time- and motion-saving” designs for kitchens and interiors. Overall, she owned seven patents — six for utilities and one for design. While her inventions span from a combination sink and washtub, to a foldaway sleeping bed compartment, to a portable partition replete with doors, windows, and eaves, her most famous invention by far is the “K Brick,” patented in 1927 and honored by the American Ceramic Society in 1931.
A forerunner of concrete block design today, the K Brick was an inexpensive, light, fireproof clay brick that could be filled with insulating or sound-proofing material, used for hollow wall construction. Keichline said of her K Brick that it “requires less to make than brick and because of its design takes less time to fire – the tile would reduce the weight of the wall by one-half.”
While Keichline passed away in 1943, her innovations and impact on the architectural field live on today — making her a remarkable figure and woman in history.
If John Lloyd Wright’s name sounds familiar, it’s because his father, Frank Lloyd Wright, is an icon in the architecture world. But his son left his legacy with something more playful; John was the original inventor behind Lincoln Logs, a childhood toy many cherish fondly. So how did the son of an architect come to invent one of the most well-known toys in America? Today, we dive into John Lloyd Wright and the story of Lincoln Logs, and an interesting piece of architecture trivia.
John grew up in Oak Park, Illinois in a home designed by his father, now known as the Frank Lloyd Wright Home and Studio. He was immersed in the world of architecture from a young age, but his childhood was far from perfect. After Frank Lloyd Wright abandoned his wife and children, the two became estranged and their relationship never fully recovered. However, John decided to pave his own way, determined to get out of his father’s shadow.
In his early years of practice, John worked on the West Coast and the Midwest before agreeing to work with Frank on Tokyo’s Imperial Hotel in Japan. The two were faced with the challenge of building a structure that could withstand the frequent earthquakes of Japan, and their original design used a system of interlocking timber beams to let the hotel to sway but not collapse. Before the hotel was even constructed, father and son once again parted ways, this time over a dispute concerning John’s salary.
Now out of work, John turned his attention to his passions and hobbies, including toy design and invention. Taking inspiration from the plans of the Imperial Hotel, he perfected the idea for Lincoln Logs in 1916. Using notched pieces of wood for the miniature logs allowed the toys to withstand playtime instead of earthquakes. Wright received a patent in 1920, eventually selling it as Lincoln Logs grew in popularity.
After his years dedicated to Lincoln Logs, John returned back to the world of architecture, designing a handful of buildings and homes in the Midwest. John’s legacy in the world of toy design is one that has spanned decades, with Lincoln Logs inducted into the National Toy Hall of Fame in 1999. More than 100 years after their inception, Lincoln Logs are still a toy well-loved by generations — and potential young architects.
With the snow and cold finally behind us in Chicago, citydwellers are finally — once again — able to enjoy the warmer weather. But as we all know, winter will come back eventually, and for many it’s a deterrent for embracing Chicago year round. The default routine is for most people to hunker down and avoid the cold, but we had a different vision in mind for our latest project. As we were designing Optima Lakeview, we wanted the amenity spaces to actually embrace the cold. The Skydeck at Optima Lakeview will be one-of-a-kind, built for year-round use with plenty of ways to stay physically and mentally healthy, even in the dead of winter.
The Optima Lakeview Skydeck will include heated, spa-grade plunge and swimming pools, and heaters and fire pits for staying cozy, even on chilly nights. Our design process was highly inspired by ski resorts, and how one can go from hopping off the slopes to jumping into a hot tub. But instead of a remote resort, Optima Lakeview residents can experience the same sensation in Lakeview’s thriving urban neighborhood. Rest and relaxation are all possible amidst colder weather, and as we’ve covered in past blog posts, combining a gym session or workout with hydrotherapy sessions or a quick swim is a great way to stay active.
The Skydeck at Optima Lakeview isn’t just a hub for wellness; it’s a place to connect with community, friends and loved ones as well. The space will also feature a glass-enclosed party room and grills, perfect for entertaining. The Skydeck is just one piece of Optima Lakeview’s 40,000 square feet of amenity spaces — including an indoor basketball court, golf simulator, fitness center and more — that are best experienced often and with others.
We hope the Skydeck at Optima Lakeview will help you Find your inspiration™ to take care of yourself, whether in July or January! Stay tuned for more updates on Optima Lakeview, or learn more here.
We enjoy creating communities with amenities to support a well-rounded, vibrant lifestyle. Many of our properties, including Optima Kierland, Optima Signature, and under-construction Optima Lakeview include yoga studios as part of our impressive amenity stack. Yoga is a low-impact exercise method, as well as a mindfulness practice, that brings with it a wide-ranging array of health benefits. Here are just a few:
Improves Bodily Strength
Yoga has been demonstrated to improve strength, balance and flexibility. Going through the slow, gentle movements and deep breathing exercises increases blood flow and warms up your muscles. Holding poses helps you develop better core strength and in turn, improves your posture. And as you stretch your muscles with each pose, you also increase your range of motion and flexibility. Overall, the impact of this exercise leads to increased bodily awareness as well.
Aids in Pain Relief
Yoga has been recommended for those going through an illness, recovering from surgery of living with a chronic condition. That’s because the practice has the potential to aid in pain relief — specifically, back pain. Stretching your lower back through the various poses is believed to help relieve pain and improve flexibility overall during the healing process. And for those with arthritis: gentle yoga has shown to ease some discomfort when it comes to those tender, swollen joints.
Boosts Energy and Mood
As a practice grounded in body-mind-spirit connection, yoga naturally has an impact on your mental health as well as your physical health. Yoga has been demonstrated to aid in stress relief, and even lead to a better night’s sleep. It also provides a boost to your overall energy and mood levels, producing better alertness and enthusiasm in its wake.
Whether you’re looking for a low-impact fitness regimen or seeking a sense of groundedness, yoga is a great and healthy option for everyone.
As part of our Chicago Skyscraper History series, we’re exploring some of the architectural feats that have defined Chicago, and buildings across the world. Located in Chicago’s South Loop, the Monadnock Building is a 16-story skyscraper, perhaps unassuming considering the height Chicago’s skyscrapers see today. But the Monadnock Building has an important, impactful story to tell.
Phase 1
Following the Depression of 1873-79, Chicago saw a notable building boom across residential and commercial spaces. The Monadnock was commissioned and envisioned as an expansive office space in the heart of the city, and was so large that it was built in two phases. The northern half was completed in 1891 and designed by Daniel Burnham and John Wellborn Root (of Burnham and Root). Consistent with other buildings of the time, the exterior walls consisted of layered bricks in the load-bearing tradition; however, it was unique in using cantilevered steel to support the undulating bay windows. Also unusual for the time was the lack of ornamentation and stripped-down facade. During the construction, Root tragically passed away, and Burnham’s time consumed by the World’s Columbian Exhibition, the rest of construction would rely on different leadership.
Phase 2
Holabird & Roche took over the design of the second phase just two years later, but the variations in approach are still apparent. With progress in structural engineering and design, the brick facade of the southern portion didn’t need to bear the load of the building. Instead, metal frames were installed to stabilize the building. There were also differences in style; while the northern half was absent of exterior ornamentation, the southern half is considered an early application of classical architectural principles.
When it was completed, the Monadnock Building was the largest office building in the world, and catapulted business potential in Chicago’s South Loop. It captures the moment of change between load-bearing construction and skeleton frame construction. It also employed the first portal system of wind bracing in the country. Unlike many iconic structures of its time, the Monadnock is still standing today. It’s home to businesses and offices, it’s a popular destination for architectural tours and it’s a wonderful example of Chicago’s architectural legacy.
As part of our “Subsects of Modernist Architecture” series, we’re continuing to explore the many trickle-down pockets of Modernist design throughout the years. Picking back up where we last left off in Part II, European Modernism continued to spread globally and set the precedent for the next wave of architectural movements that emerged. Here’s what followed:
International Style
The International Style (sometimes also referred to as internationalism) emerged in the 1920s and 30s. Originated in post-World War I Holland, France and Germany, the style quickly caught on worldwide, eventually becoming the dominant architectural style in the 1970s. According to the Getty Research Institute, “the style is characterized by an emphasis on volume over mass, the use of lightweight, mass-produced, industrial materials, rejection of all ornament and colour, repetitive modular forms, and the use of flat surfaces, typically alternating with areas of glass.”
Major figures in the International Style movement include Bauhaus Founder Walter Gropius, as well as Bauhaus Director Ludwig Mies van der Rohe and Le Corbusier. Both Gropius and Mies van der Rohe were instrumental in introducing the International Style to Chicago’s architecture — leaving a lasting impact on the city’s skyline that can still be seen and appreciated today.
Metabolism
Like many subsects of Modernist architecture, Metabolism emerged in response to the post-war period in Japan. First introduced during a Congrès Internationaux d’Architecture Moderne (International Congresses of Modern Architecture, or CIAM) meeting in 1959, the movement became fully-fledged just a year later when young architects Kiyonori Kikutake, Kisho Kurokawa and Fumihiko Maki released the Metabolism manifesto during the 1960 Tokyo World Design Conference.
The style was marked by its dynamic fusion of megastructures and organic biology. Metabolism was also heavily influenced by the Marxist philosophies of the time. The architects behind the movement envisioned a more flexible form of urban planning, one where modular towers could be easily installed. They even went so far as to propose vast cities that could float on the ocean, with these modular structures as their foundation. The most successful examples of Metabolism include the site of the 1970 World Exposition, designed by Kenzō Tange, and the Nagakin Capsule Tower, designed by Kisho Kurokawa.
Brutalism
Brutalism, also called Brutalist architecture or New Brutalism, emerged in the 1950s in the UK during post-war construction. The word Brutalism is derived from the Swedish phrase nybrutalism, as well as being associated with the French phrases béton brut (“raw concrete”) and art brut (“raw art”). It’s easy to see the connection: the style is characterized by monolithic forms, rigid geometric styles, and unusual shape, and commonly makes use of bare or raw materials being exposed in monolithic color palettes.
Influenced by socialism, Brutalist architecture was often employed in the UK to create utilitarian, low-cost housing solutions or government buildings. Perhaps for this reason, the style received widespread criticism and was often regarded as “cold” or “soulless.” Nevertheless, many Brutalist structures have left a strong impression on architecture today and remain the cornerstone of universities and public institutions worldwide.
Stay tuned for more features on the subsects of Modernist architecture.
We love being part of a long legacy of people designing in the Modernist discipline. From architects, to sculptors and artists, to furniture designers, many creators continually innovate and find new ways of exploring form and function. One such innovator is Ara Thorose, a queer Armenian American artist and designer currently based out of Brooklyn, whose cylindrical-form furniture pieces are taking the design world by storm.
Who Is Ara Thorose?
Ara Thorose is a fresh face on the scene. He earned an undergraduate degree from the University of California, Irvine, in Sociology, with a focus on gender and sexuality. Most recently, he went on to earn his MFA in 3D Design from Cranbrook Academy of Art. Cranbrook was founded as an experimental artists academy, and has since held national acclaim as the “incubator” of mid-century modernism in recent decades. Makers who emerge from the school are often agents of change who quickly make a name for themselves, and Thorose is no exception.
Just two years after earning his MFA, Thorose debuted his inaugural work, Tubular Group 01, under his brand Soft Limits, at the Architectural Digest Design Show in 2017. His work in the show garnered critical acclaim for its innovative form and experimentation in cylindrical forms. The design world continued to take notice of Thorose: he was named Up and Coming by Surface Magazine, and Soft Limits received Interior Design magazine’s 2019 Best of Year Award for Accent Seating.
Ulu Group by Ara Thorose. Photography courtesy of Se Yoon Park, shot at Carvalho Park.
Innovative Design in Action
Under his brand, Soft Limits, Ara Thorose designed Ulu Group, a series of cylindrical-form furniture pieces “inspired by the idea of a circle trapped inside of a square.” Most notably, the cylinders in the collection got their circumference from Thorose’s own thigh circumference. Thorose describes this as a humanizing element, which serves to ground the abstract nature of his work.
On his website, Thorose describes the theory behind Ulu Group, stating: “It represents conflict with no apparent solution. A circle is limitless, while a square is limited, so it’s inherently problematic. By adding a third dimension to it’s premise, there is potential for functional solutions. That’s the inspiration for this series. Each form is a circle traversing cube-like spaces held by furniture. Alternating between U-turns and L-turns, the cylinders push against the boundaries of familiar typologies.”
The collection includes four total pieces — Ulu Chair (orange), Ulu Duo, (mauve), Ulu Table (brown), and Un (green) — made of steel and foam and upholstered in wool and silk. Thorose begins his design process with hand building small-scale maquettes and then sketching his revisions in profile.
Thorose is a deeply individual figure in the realm of furniture design today. He describes his perspective, stating: “I’m inspired by the notion of autonomy. I view the self as fluid and dynamic. My work explores the creative potential of self awareness without conforming to surroundings. Singular and succinct unto itself. An individual sense of being and order.”
We look forward to seeing how this point of view develops and grows as Thorose continues to inspire the industry.
Of all the things Chicago has to offer, its proximity to Lake Michigan is one of the perks that sets the city apart. At Optima Signature, our community enjoys sweeping views of the river that winds through Chicago, and access to the bustling riverwalk just steps away. Enjoyed by locals and visitors alike, the Chicago Riverwalk is a unique part of the downtown community, and one that offers the perfect taste of the city.
The idea of a Riverwalk was actually first introduced in Daniel Burnham’s 1909 Plan of Chicago; however, it took until 2001 for the project to truly take shape. During Wacker Drive’s reconstruction, the work included a way for Chicago’s Lakefront Trail to connect to sidewalks along the river. The project was completed in sections over the years, expanding to include terraced lawns, wider walkways, seating and a pedestrian-friendly space for people to enjoy the riverfront.
Credit: Kate Joyce on Wikimedia Commons, Creative Commons Attribution-Share Alike 4.0 International license.
In 2012, Mayor Rahm Emanuel unveiled plans for an addition to the Riverwalk, extending it another six blocks. The new section included six distinct spaces or ‘rooms’, with restaurants and outdoor seating, fountains, piers and access for boats. If you’re looking to set sail on one of Chicago’s many architecture tours by boat, the Riverwalk will be your starting point. For those who are feeling adventurous, urban kayaks are available for rental. The Riverwalk is also home to Art on the Mart, a spectacular light show on the Merchandise Mart which is best viewed from the Riverwalk’s streets.
The Chicago Riverwalk covers 1.25 miles through the heart of Chicago, and is a wonderful, immersive way to experience the city’s waterfront, architecture, culture and energy. With the weather warming up for spring, it’s worth a visit for a daytime walk or nighttime stroll.
Even if you haven’t heard the name of Frederick Law Olmsted before, there’s no doubt you’ve come across his work. If you’ve ever visited Central Park or read about Chicago’s World’s Columbian Exposition of 1893, you’ve seen Olmsted’s fingerprints across urban design. Olmsted was an American landscape architect, journalist, social critic, and public administrator. Widely considered to be the father of American landscape architecture, Frederick Law Olmsted’s life and work were vastly impactful to cities across the world.
From a young age, Olmsted was immersed in greenery. He was born in Hartford, Connecticut in1822, and his father had his own interests in nature, people, and places. Olmsted lived on a farm for years before deciding on a career in journalism, which took him over to England. There, his visits to public gardens sparked inspiration that would form his later works. His profession in journalism would take a sudden turn in the 1850s, with the help of his mentor, Andrew Jackson Downing.
Downing was a landscape architect himself, and was one of the first to propose developing New York’s Central Park. He introduced Olmsted to English-born architect Calvert Vaux and their plans for the vast green space. Tragically Downing passed away, and Olmsted was left to fill his shoes in presenting their design. Prior to this, Olmsted had never created or executed a landscape design, but his theories and political contacts were invaluable. With the Central Park project won, Olmsted’s name began to explode across the industry.
Early designs for Central Park. Image courtesy of the National Park Service, Frederick Law Olmsted National Historic Site
Over the years, Olmsted worked on the designs for Prospect Park in New York City, Walnut Hill Park in New Britain, Connecticut, Cadwalader Park in Trenton, New Jersey and more. His reach extended into larger urban planning initiatives, such as the country’s first coordinated system of public parks and parkways in Buffalo, New York and the country’s oldest state park, the Niagara Reservation in Niagara Falls, New York. Olmsted also had a large impact on the city of Chicago; his design for Jackson Park, Washington Park and the Midway Plaisance are still in existence today.
Frederick Law Olmsted’s legacy on American landscape and urban design is a lasting one, and his work a medium of art all its own. As his fellow Chicago planner colleague and friend, Daniel Burnham, once said, “an artist, he paints with lakes and wooded slopes; with lawns and banks and forest covered hills; with mountain sides and ocean views.”
