Saunas have been health staples in cultures around the world for thousands of years. The oldest saunas, found in Finland, are thought to date from around 2,000 BC and used stones to create high temperatures and dry heat in the winters. In Korea, domed structures often warmed by kilns appeared in literature as early as the 15th century. In the Orkney’s of Scotland, stone structures thought to incorporate the use of steam date back to the neolithic age.
In modern times, the most common saunas used in western culture originate from Northern Europe and have temperatures around 212 degrees Fahrenheit and relatively low humidity. They remain today a staple of health and wellness, and can be found at spas, resorts, poolsides, gyms, and even private homes and bathrooms.
Saunas are known for their numerous health benefits. When an individual spends time in a sauna, the heat causes their heartbeat to increase and their blood vessels to widen, improving circulation. Saunas are comforting, calm spaces that promote relaxation and, paired with the improvement of circulation, can reduce stress levels and improve overall cardiovascular wellbeing.
Dry saunas, especially, are known for their positive impact on heart health. They also reduce the symptoms of rheumatic diseases such as fibromyalgia and rheumatoid arthritis. Dry saunas are known for relieving skin conditions such as the itchiness from psoriasis. There is some evidence that dry saunas also may improve athletic performance.
Indoor Sauna at Optima Signature
When it comes to enjoying a sauna, for optimal benefits, most experts recommend around fifteen minutes per sitting and allowing your body time to rehydrate and cool down before resuming normal activities.
Saunas are a wonderful way to relax and boost both cardiovascular and overall health. The use of saunas is an ages-old practice that prioritizes bodily and mental health, spans around the globe, and persists today.
Denise Scott Brown knew from the age of five that she wanted to be an architect. Born in 1931 Northern Rhodesia (now Zambia), Scott Brown pursued her dream by spending her summers working for architects and studying at the University of Witwatersrand in South Africa.
In 1952, Scott Brown moved to London to work for modernist architect, Frederick Gibberd. While in London, Scott Brown won admission to the prestigious Architectural Association School of Architecture before moving to Philadelphia, Pennsylvania in 1958 to study at the University of Pennsylvania’s planning department and obtain a master’s degree in city planning and architecture.
In 1967, Scott Brown joined Robert Venturi’s architectural firm, Venturi and Raunch, where she became principal in charge of planning in 1969. Scott Brown’s approach to architecture with Venturi was to understand a city in terms of social, economic, and cultural perspectives and to use these perspectives a set of complex systems in which to build a structure.
With Venturi, Scott Brown designed the Bryn Mawr College Campus Center as well as a campus plan in 1997 which considered the campus’s physical character as originally shaped by famous planners and architects Calvert Vaux, Frederick Olmsted, Louis Kahn, and more. The student body of Bryn Mawr College, having grown, needed an expanded campus, and Scott Brown planned an expansion that celebrated the campus’s original orthogonal pattern while accommodating the students’ needs.
Another of Scott Brown’s designs is for the Japanese Nikko Hotel chain, in which Scott Brown merged the ideals of western comfort with Japanese Kimono patterns to celebrate the heritage of the hotel chain while catering to the western audience.
In 1989, Venturi and Raunch was renamed to Venturi, Scott Brown and Associates, celebrating Scott Brown’s contributions to the firm. The firm is known as one of the most influential architecture firms of its time and is celebrated for radical theories of design while approaching its practice clearly and comprehensively.
In 1991, Robert Venturi was awarded the Pritzker Architecture Prize, while Scott Brown was not recognized for her contributions to Venturi’s work. Scott Brown boycotted the award ceremony. In 2013, a student organization titled Women in Design started by Caroline Amory James and Arielle Assouline-Lichten at the Harvard School of Design started a petition for Scott Brown to receive joint recognition for the Pritzker Architecture Prize. Though Scott Brown has still not been awarded joint recognition for the Pritzker Prize, in 2017, she won the prestigious Jane Dew Prize.
Throughout her career, Scott Brown struggled to be recognized as an equal partner at a male-dominated firm. In 1975, Scott Brown wrote an essay titled “Room at the Top? Sexism and the Star System in Architecture,” though Scott Brown did not publish the essay until 1989 out of fear of damaging her career. The essay became an immediate hit, and Scott Brown has continued to advocate for women in architecture throughout her life.
Highly regarded as one of the most historically significant buildings in Chicago, it’s only natural that we would include the Rookery Building in our ongoing Chicago skyscraper spotlight series. So what does it take for a building to earn such an esteemed title – especially in a city with a skyline marked by its architectural diversity and richness? Let’s take a look.
Big Shoulders Indeed
The Rookery Building was completed in 1888 by architects Daniel Burnham and his partner John Wellborn Root, under their firm Burnham and Root. Overall, the structure is considered one of their masterpiece buildings and was even once the location of their offices. Standing at twelve stories high (188 feet total), it’s also considered the oldest standing high-rise in Chicago.
The Rookery Building rose from the ashes of the Great Chicago Fire. Burnham and Root were part of the Chicago School of Architects who worked to rebuild the city during that time, utilizing modern industrial techniques combined with traditional techniques and design, resulting in a truly unique product.
The unique name, too, comes with a story: only a water tank was left standing from the original structure after the fire. A temporary structure was built around this tank, and was nicknamed the “rookery” – in part because of the pigeons and crows that perched on its exterior, but also in part because of the crooked politicians it housed within.
Light Well and Mezzanine at The Rookery. Credit: Alan on Flickr Creative Commons CC BY-NC-ND 2.0 Deed
The Rookery Building in the Modern Era
Burnham and Root weren’t the only big names to call the Rookery Building home. At one point, Frank Lloyd Wright once held offices there as well. In fact, Wright even remodeled the building’s lobby in 1905. Just a few decades ago, from 1982 to 1992, a massive renovation project was completed to restore the lobby to this original Wright design once again.
These days, the building is home to tenants such as US Bank, Brooks Brothers, Perkins Eastman and Interactive Brokers Group. Both the Frank Lloyd Wright organization and the Chicago Architectural Society offer tours inside the building, so that lovers of great architecture today can continue to appreciate its history, story, and gorgeous features.
Our team is joined together by a love of exceptional design — so naturally, design is our shared language. From property managers to accountants to architects, we’ve all come to know and love the architect lingo that helps us communicate our passions, our creations and our vision. In celebration and as part of our ongoing series, today we’re sharing Part IV of our inside look at architect lingo.
Poché
Pronounced with an exaggerated accent on the e at the end, the word poché comes from the French word pocher, which means to sketch roughly. To the untrained eye, poché refers to the portions of an architecture plan that are blacked out, darkened or cross-hatched. To an architect’s eye however, these blacked-out portions of the drawing hold much information.
Poché in a drawing demonstrates to architects the wall thicknesses, floor thicknesses and all other solid areas that intersect the plane of the section cut. Because poché makes it more clear how much space these solid areas take up (i.e. a normal line wouldn’t demonstrate the thickness of a wall, but poché does), it means that architects then have a better understanding of what space is actually available to them around these elements.
Architectural drawing of Sterling Ridge.
Charette
While the word charette might be unfamiliar to many, likely the meaning behind it will sound all too familiar. Charette refers to the intense final effort made by architectural students to complete their solutions to a given architectural problem in an allotted time or the period in which such an effort is made. It’s the home stretch of a project, if you will.
The word charette is derived from the word “cart,” and its origins date back to the École des Beaux Arts in Paris during the 19th century. During that time, proctors circulated a cart, or “Charrette”, to collect final drawings while students frantically put finishing touches on their work. Nowadays, the meaning of charette has evolved to refer to a period of several consecutive days, during which time all stakeholders involved in a project are consulted during an open, collaborative process to gather feedback and make refinements to a given plan.
Miesian
If you’re familiar with Modernist architecture (or if you’ve been an avid reader of our blog), this homological word explains itself. Used as either an adjective or a noun, Miesian as an adjective describes that relating to or characteristic of Ludwig Mies van der Rohe or his work and Miesian as a noun describes an admirer or student Ludwig Mies van der Rohe or his work.
In the Modernist discipline, this basically sums up all of us and everything we create. Mies’ “skin and bones” design style and philosophy of “less is more” is largely influential to the formulation of the discipline as we know it today.
Stay tuned for future features on the world of architecture lingo at Optima.
When you picture the work of architecture titan Ludwig Mies van der Rohe, you probably don’t picture a fraternity house. But back in 1952, the German-American architect created a design for Indiana University’s Alpha Theta chapter of Pi Lambda Phi fraternity. However, the design was never constructed and forgotten about until 2013, when an alumni and former fraternity member dug up the news. Indiana University then located the documents through the Art Institute of Chicago and New York’s Museum of Modern Art so the project could become a reality.
Instead of a fraternity house, the building will be home to the Eskenazi School of Art, Architecture + Design. Extensive research helped update the building to modern features while keeping the integrity of the Modernist design. The plans for bedrooms were simply swapped out for offices. 70 years later, this incredible design will finally come to life and inspire students and creatives for generations to come.
For the full story, check out Architectural Record’s recent feature on the project.
This spring, the design world lost a woman of fortitude, ingenuity and groundbreaking creativity. Cornelia Oberlander, a Canadian landscape architect, passed away just before her 100th birthday due to complications from COVID-19. Although her passing is mourned, Oberlander left behind an incredible and inspiring life story and legacy.
Cornelia Oberlander was born into a Jewish family in Germany in June of 1921. As the Nazi party rose to power, her family faced increasing dangers and chose to leave the country two weeks after Kristallnacht. Oberlander was eighteen by the time they emigrated to the United States in 1939, and there she was able to nurture her interests in the power of plants to heal. Her mother was a horticulturist who wrote gardening books for children and nurtured Oberlander’s appreciation for nature. Inspired by the landscaping and public spaces in Germany, she was determined to design parks from a young age.
Oberlander received a BA from Smith College and was among the first class of women to study at Harvard’s Graduate School of Design, founded by Walter Gropius, a leader of the Bauhaus movement. Armed with a degree in landscape architecture, Oberlander was on a mission to improve lives with public spaces nourished by nature. And indeed she did; she started out working in Philadelphia, where her initiatives in public housing included places for children and green space. After moving to Canada, she advocated for communities and designed over 70 urban playgrounds. Her notable projects included the Children’s Creative Center at Montreal’s Expo ’67, Vancouver General Hospital Burn Unit Garden and the landscape design at the Museum of Anthropology at UBC, Vancouver (photo below). Over her lifetime, Oberlander was honored with Order of British Columbia, the Order of Canada and Vancouver Freedom of the City Award, amongst many other accolades.
Cornelia Oberlander’s work will impact landscape architects, urban designers and creative minds all over the world for years to come. Her beliefs in the ability of design to bring about social change and healing are ones we as creatives should all hold in high regard, as we build systems and buildings that elevate the human experience.
If you ask anyone – Chicago native or tourist – to name one building in the city, odds are they’ll say Willis Tower (or perhaps Sears Tower, since the name only recently changed). This goliath skyscraper towers over the skyline, standing as a landmark beacon from vantage points even miles away. But how much do you really know about the famed Willis Tower? Today, we take a closer look at the building’s rich history.
The History of Willis Tower
One of the most contentious debates among Chicagoans this millennium has been whether they’ll call Willis Tower by its new name – or stick to tradition and refer to it as the Sears Tower. The tower was first envisioned in 1969 by the department store and its original namesake, Sears and Roebuck Company. Needing a place to house their 350,000 employees, the leading retailer commissioned architectural firm Skidmore, Owings and Merrill to complete the task.
And complete the task they did. Groundbreaking on the superstructure occurred a year later in 1970, and when the tower was completed three years later, it stood proud and tall at 108-stories as the world’s tallest building (surpassing even the World Trade Center in New York City). This soaring frame was made possible by a steel-framed bundled-tube construction, and boasts being the first building to use this structurally efficient and economic method.
Though Sears and Roebuck Company sold the tower and moved out eighteen years later, the newly-named Willis Tower continues to host companies such as United Airlines (its largest tenant) and its new namesake, Willis Towers Watson.
Looking down from The Ledge at Willis Tower
Not Your Average Office Building
Having held the title of the world’s tallest building until being unseated from the throne in 1998, Willis Tower naturally had to welcome visitors to come witness the outstanding views. The building’s world-renowned observation deck, the Skydeck, has been open since 1974. Located on the 103rd floor and standing at an elevation of 1,353 feet, visitors (on a clear day) can see as far as Indiana, Michigan and Wisconsin as they feel the building sway in the wind.
In 2009, the same year as the building’s name change, the Skydeck underwent renovation to now include glass boxes that jut four feet out over the skyline, informally dubbed “The Ledge.” Thrill-seeking visitors experience the sensation of floating above the city skyline while enjoying the famous view – a view which draws in 1.9 million visitors annually.
Naturally, such a structure attracts thrillseekers of a different kind as well. In 1981, a man named Dan Goodwin donned a Spiderman suit, some suction cups, camming devices and skyhooks scaled the entire tower. The attempt took him seven hours, despite the Chicago Fire Department’s best attempts to stop him, and he was arrested when he reached the top. In 1999, another Spiderman impersonator, Alain “Spiderman” Robert attempted the same journey as his predecessor, this time with only his bare hands and feet… he was mostly successful.
If that last paragraph tempts you to try your own risky ascent, know that an annual charity event, named SkyRise Chicago, legally allows visitors to climb the tower’s 103-story staircase, making it the world’s tallest indoor stair climb.
Whether it’s from a passing car on Lakeshore Drive, peering up into the sky as you traverse downtown, or running up a 103-story staircase, there’s many ways to appreciate the rich history and beautiful views the Willis Tower brings to Chicago’s city skyline.
As part of our Chicago Skyscraper Historyseries, we’re exploring some of the architectural feats that have defined Chicago, and buildings across the world. The Wrigley Building, established in 1924, was one of the first major office buildings north of the Chicago River — paving the way for many workplaces that followed. And that wasn’t all that set this show stopping skyscraper apart…
The Wrigley Building is located at 400-410 North Michigan Avenue on the southernmost end of the Magnificent Mile, directly across from the Tribune Tower. As mentioned above, at the time of the building’s groundbreaking in 1920, there were no other major office buildings north of the river. Chewing gum magnate William Wrigley Jr. hand selected the oddly shaped lot for the headquarters of the Wrigley Company. Unbeknownst to Wrigley, this would set off a building boom in the area, and eventually lead to the establishment of a strip of Chicago’s finest skyscrapers.
The Wrigley Building certainly set the tone for those who followed. Designed in the Spanish Colonial Revival style by architect Graham, Anderson, Probst and White, the building is a luminous beacon recognizable to locals and tourists alike. The building facade is made of six shades of gleaming white terra cotta, getting lighter and more luminescent as the structure climbs into the sky. This coloration was a choice made by Wrigley himself, having seen the famed White City display at the World’s Columbian Exposition years ago in 1893, and having never forgotten the shining hues. The Wrigley Building is cleaned regularly to maintain its sparkling white stature.
The building’s southern tower went up in 1920, and the northern tower followed in 1924. These two towers are connected by two separate bridges (one on the 3rd floor and one on the 14th floor), another defining feature of the renowned architectural gem. The 14th floor bridge, which was constructed in 1931, was added to connect the two disparate offices of a bank in accordance with a City of Chicago statute.
The Wrigley Building has since earned landmark status in 2012, and although the Wrigley Company is long gone, they’ve no doubt left their mark on Chicago’s skyline.
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.
The Work of Anna Keichline 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.
