Chicago has long been a hotbed for Modernist architecture, with the likes of Ludwig Mies van der Rohe, Frank Lloyd Wright, and Walter Gropius all calling the city home at various points in their careers. At Optima®, we are always delighted to showcase the groundbreaking work of Modernist architects who have left an indelible mark on our urban landscape. Today, we are opening the aperture to focus on George Fred Keck, an architect whose innovative designs and pioneering spirit greatly influenced the development of modern architecture in Chicago and beyond.
Born in 1895 in Watertown, Wisconsin, George Fred Keck was destined to become a trailblazer in the world of Modernist architecture. After studying at the University of Illinois at Urbana-Champaign, Keck established his own firm with his brother William in 1926 — Keck & Keck. The siblings’ shared passion for Modernism and sustainability led them to create designs that were both environmentally-conscious and ahead of their time.
Keck’s most famous work is undoubtedly the House of Tomorrow, a groundbreaking design he created for the 1933 Chicago World’s Fair, also known as the Century of Progress Exposition. The house showcased innovative ideas such as floor-to-ceiling glass walls, central air conditioning, and even an attached garage with an electric door opener. These cutting-edge features not only made the House of Tomorrow a sensation at the fair, but also laid the groundwork for the modern home as we know it today.
With Keck’s commitment to sustainable design came a fascination with solar energy. In the early 1940s, he and his brother William designed the first solar-powered house in the United States. Known as the Keck-Gottschalk-Keck Apartments and located at 5551 South University Avenue in Hyde Park, this remarkable dwelling relied on south-facing windows and a solar heating system to maximize the capture and use of solar energy. This early foray into sustainable design would pave the way for future architects to embrace environmentally conscious practices.
House of Tomorrow. Photo: Chicago History Museum, Hedrich Blessing Collection
As we celebrate the life and work of George Fred Keck, we at Optima® are once again reminded of the transformative power of Modernist architecture. Keck’s innovative designs, environmental consciousness, and commitment to pushing the boundaries of architectural form have left an unforgettable mark on the city of Chicago and on the world of architecture.
Today, Optima® is delighted to highlight both the exceptional career of Alison Smithson (1928-1993) and the influential partnership with Peter Smithson (1923-2003), her husband and lifelong collaborator. As visionary British architects, they jointly shaped the modernist architectural movement with their pioneering New Brutalist approach, drawing inspiration from the works of Mies Van der Rohe andLe Corbrusier. Their collaborative efforts have left a lasting legacy in the field, inspiring future generations of architects, both men and women.
Alison Smithson was born in Sheffield, England, and pursued architecture at theKing’s College, Durham in Newcastle (later the Newcastle University School of Architecture, Planning and Landscape), then University of Durham, between 1944 and 1949. It was during her studies that she met Peter Smithson. United by their passion for architecture, Alison and Peter shared a desire to challenge the conventional norms of their time.
Hunstanton School in Norfolk, 1949-1959. Photo: Wikiarquitectura
The Smithsons’ professional partnership was defined by groundbreaking projects that had significant impact on the modernist architectural movement. One of their early works, the Hunstanton School in Norfolk, exemplified the New Brutalist movement with its minimalist design and exposed structural elements. Other iconic projects include the Economist Building in London, the Robin Hood Gardens housing complex, and their own home, the Smithson House, in Wiltshire.
Alison and Peter Smithson were known for pushing the boundaries of modernist design and reimagining architectural norms. They sought to create buildings that were functional and also contextually sensitive and responsive to the needs of their occupants. By blending elements of Brutalism, modernism, and regionalism in their designs, the Smithsons carved out a unique architectural identity. They played a crucial role in the formation of Team 10, a group of designers who aimed to redefine architectural discourse, moving away from the rigid functionalism of the International Style.
The Smithsons’ innovative designs and unwavering commitment to challenging conventions have left an indelible mark on architectural history. As a woman practitioner, Alison Smithson paved her own way, while Peter Smithson’s steadfast support and collaboration underscored the importance of teamwork and partnership in the profession.
The Smithson House in Wiltshire. Photo: seier+seier, Flickr Creative Commons
At Optima®, we take immense pride in honoring the work of Alison and Peter Smithson. Their unique partnership, innovative approach to design, and significant influence on architectural movements have contributed greatly to the field. By celebrating their collaboration, we aim to inspire future generations of architects to embrace diverse perspectives and partnerships in the pursuit of architectural excellence.
When we talk about the architectural giants of the Modern era, names likeFrank Lloyd Wright and Ludwig Mies van der Rohe come to mind. These masters of design have left an indelible mark on our cities and towns, and their legacies continue to inspire and influence generations of architects. But what about those talented visionaries who have been overshadowed, whose work is often overlooked in the annals of architectural history? Today we’ll take a look at one such figure, Harry Weese, a brilliant architect who made a significant impact on the world of design, yet never quite garnered the same level of recognition as his contemporaries.
Harry Weese was born in 1915 in Evanston, Illinois. Even from a young age, he displayed a keen interest in architecture. His passion led him to study architecture at the Massachusetts Institute of Technology (MIT) and later at the Cranbrook Academy of Art, where he formed lifelong friendships with renowned architects; Eero Saarinen, and Charles and Ray Eames. Despite this impressive educational background, Weese struggled to find his footing in the competitive world of architecture, but that didn’t stop him from garnering attention.
Seventeenth Church of Christ Scientist, Chicago. Photo: Paul R. Burley, CC BY-SA 4.0 Deed
His career began to gain momentum in the 1950s, as he designed several noteworthy buildings in Chicago. One of the earliest examples of his work, the Seventeenth Church of Christ, Scientist, showcased his ability to blend functionality with aesthetics, while respecting the religious context of the building.
As the years passed, Weese gradually earned the respect of his peers and clients. He designed everything from public buildings and universities to private residences, each project showcasing his unique approach to architecture. His firm completed over 200 new buildings and renovations that span mostly across the midwest, but his commissions also took him across the globe to Ghana, India, Saudi Arabia, and Singapore.
One of Weese’s most enchanting designs can be found in the idyllic town of Wilmette. Known asThe Robert and Suzanne Drucker House, this private residence epitomizes Weese’s ability to harmoniously blend nature and architecture. The home features an open-plan layout, with large windows that invite the outdoors in, creating a seamless connection between the interior and exterior spaces. The Drucker House is a testament to Weese ‘s skill in crafting spaces that are both functional and aesthetically pleasing, while respecting the environment and the needs of its occupants.
Chicago River Cottages designed by Harry Weese. Credit: Jonathan Byrne CC BY-NC 2.0 Deed
Beyond residential architecture, Weese made significant contributions to the field of urban planning and revitalization. He was deeply concerned about the decline of American cities and the loss of their architectural heritage. In the 1960s and 1970s, he embarked on several ambitious projects to preserve and reinvigorate urban spaces. One of his most notable accomplishments was the restoration of the Chicago Riverfront, transforming a previously neglected area into a vibrant, bustling hub of activity.
Washington, D.C. Metro System. Photo: Sara Cottle/Unsplash
Weese’s vision extended far beyond Chicago, as he also worked on the design of the Washington, D.C. Metro system. His innovative approach to public transportation and his commitment to creating aesthetically pleasing, user-friendly stations helped to shape the face of the nation’s capital and earned him widespread acclaim.
For those who have the privilege of experiencing Harry Weese’s work firsthand, the impact of his designs is undeniable. His creations have left a lasting mark on the communities they inhabit, and at Optima®, we’re proud to be a part of a shared sensibility and set of architectural traditions.
At Optima, our affinity for modern design and style stretches through all of our Communities. In the past, we’ve explored the history and identity of modern furniture, but we’ve never touched on the defining elements of modern decor. So, if you’re looking to elevate your home with a modern eye, look no further:
Like design, remember that with modernism, form follows function; this means that every decor element you have should always reflect its intended purpose. Avoid inserting decor that doesn’t add supplementary function or purpose to your home. However, this doesn’t mean that your decor has to be limited; many modernist designs also embrace vibrant colors, unique shapes and various materials.
Embrace The Light
One key trait of modernism is utilizing and celebrating a space’s natural light. For windows, modesty is key; even with curtains, use soft and sheer fabrics to keep it minimal. Another great way to stretch the natural light in your home and manipulate space is by adding mirrors to your interior. Hang mirrors where they’re most practical in your home. Rooms that have limited light and feel small may benefit from a large mirror, and it might make sense to place a mirror across from your home’s beautiful view or a statement piece.
Vibrant colors and organic textures in an Optima Sonoran Village residence
Introduce Texture & Color
Whether you start with the living room or the bathroom, introducing organic textures to your home is a great way to welcome modern design. Bring the outdoors in with furniture and decor elements that feature natural wood and stone. Other warm textures like leather and natural fibers make fantastic options for complimenting other modern features of your home. Modern design and warm elements don’t have to conflict with one another.
To some, modernism is only associated with monochromatic tones like gray, white and black, but extending pops of vibrant color throughout your home is a great way to add life to the environment. Place a bright-colored rug in the center of a large room or go all natural and bring in lush greenery and foliage.
Modern decor and design continue to be timeless templates for accessorizing homes. Whether you start utilizing your home’s natural light or mix in a splash of color, there are countless ways to embrace modern decor throughout your home.
As part of our ongoing “Women in Architecture” series, we’re putting a spotlight on one of the world’s most cherished architects, Kazuyo Sejima. Throughout her breathtaking portfolio of work, Sejima has exhibited her enigmatic and refined point of view and became the second woman ever to receive the acclaimed Pritzker Architecture Prize. Today, we’re diving into Sejima’s notable life, work and achievements.
The Life and Career of Kazuyo Sejima
Sejima was born in Mito, Ibaraki, Japan in 1956. After discovering her passion for architecture and design at a young age, she began her studies at the Japan Women’s University, where she completed both an undergraduate degree and a graduate degree in architecture. Following her graduation in 1981, Sejima began apprenticing with Toyo Ito – a renowned Pritzker Award-winning architect also from Japan.
After nearly seven years working with Ito, Sejima felt empowered to launch her architecture firm, Kazuyo Sejima & Associates, in 1987. Directly after opening, Sejima convinced her long-time confidant, whom she worked with under Ito, Ryue Nishizawa, to work with her at her firm. Nishizawa gladly joined Sejima, and nine years later, the pair founded a firm of their own, Sejima and Nishizawa and Associates (SANNA). And, thanks to Sejima and Nishizawa’s visionary designs, SANNA quickly became a nationally renowned firm after only a few years.
Sejima’s designs are frequently recognized for their vibrant materials and colors, including various types of marble, glass and metals. She also often takes advantage of organic forms and aesthetics in her work, thoughtfully exploring each design as an instrument for human experience. Sejima’s appreciation for sheer glass in many other builds allows for an abundance of natural light, helping to create a more fluid transition between interior and exterior environments.
Throughout her career, Sejima has expressed the same concern for each of her projects: the functionality of the space’s social uses and their potential for adaptation. This philosophy explains why she doesn’t consider any of her builds finished until each of its inhabitants places pieces of their lives into the space through their various actions and interests.
Notable Works and Achievements
Sejima translated her vision and architectural philosophy into her first project, Platform House I, in 1987. Sejima built the Platform House in a Japanese suburb and took inspiration from western designs, intermixing traditional Japanese values with European elements of architecture. With her first project, Seijam set out to create a living environment built with a platonic ideal of architecture – where it would function as provisional to the residents based on their actions and lifestyle.
Throughout the house, Sejima experimented with large spaces, positioning the building’s central living area a half level below the kitchen and a half level above the sleeping floor below. Sejima also adopted her signature use of bright materials throughout the home, utilizing floor-to-ceiling windows in the home to illuminate its interior spaces and a gleaming, corrugated metal roof to signature the movement and human interaction that occurs below it. Following Platform House I, Sejima designed companion projects: Platform House II and III.
New Museum of Contemporary Art, NYC. Credit: CTG/SF, Flickr Creative Commons CC BY-NC 2.0 Deed
Sejima extended her vision across the world, and in 2007 she, along with Nishizawa, designed the New Museum of Contemporary Art in New York City. Their design was chosen due to its adaptable atmospheres – mirroring the ever-changing nature of contemporary art. From the exterior, the building’s bold design consists of four white cubes that sit on top of one another, further symbolizing the dynamic energy of contemporary culture. After its completion, the building received praise, and Conde Nast Traveler named it one of the architectural New Seven Wonders of the World.
Most recently, Sejima constructed a vibrant tribute to renowned Japanese artist Hokusai Katsushika through the Sumida Hokusai Museum in Tokyo, Japan. Sejima thoughtfully designed the building to blend in with its surrounding urban environment, making it more accessible to its visitors. Sticking to her trademark design elements, Sejima used reflective aluminum panels to cover the façade. The building’s exterior also features various slits on all sides, eliminating the notion of a “front” and “back”, and providing outdoor walkways connecting each first-floor area.
The Sumida Hokusai Museum in Tokyo, 2016
Alongside her extraordinary work, Sejima has also received numerous architecture and art awards as well as achievements:
Young Architect of the Year, Japan Institute of Architects, 1992
Prize of Architectural Institute of Japan, 1998, 2006
International Fellowship of the Royal Institute of British Architects, 2007
Pritzker Architecture Prize, 2010
Today, Sejima continues to fearlessly voice her unique architectural perspective, gifting the world with her ambitious designs. She currently teaches as a Visiting Professor at Tama Art University and Japan Women’s University. And, succeeding Zaha Hadid in 2015, she leads an architectural design studio at the University of Applied Arts Vienna.
Many prominent and influential figures emerged from the Bauhaus. One of these figures was László Moholy-Nagy, a Hungarian painter and photographer, and a professor at the Bauhaus. Today, we take a closer look at his life, work and impact on the world of Modernist design.
Self Portrait (1918), László Moholy-Nagy
The Life of László Moholy-Nagy
Originally born in 1895 as László Weisz, Moholy-Nagy grew up in Hungary. He always tended to be artistic, even in boyhood. His first dream was to become a writer or poet and he had poems published in the local paper at the young age of 16. After studying law for just two years, Moholy-Nagy enlisted in the Austro-Hungarian army in 1915 and in the field, his artistic pursuits persisted. He documented his experience through writing, crayon sketches and watercolors until he was discharged just three years later.
After all these experiences, Moholy-Nagy abandoned his law studies to attend a private art school in 1918. He had his first art exhibition just a year later. The years that followed would prove formative for his personal and artistic life: in 1920, he moved to Berlin, where he met his first wife, Lucia Schulz — and they were married just a year later — and then in 1922, Moholy-Nagy met none other than Walter Gropius, Founder of the Bauhaus.
Architecture (Eccentric Construction) (c. 1921), László Moholy-Nagy
The Work of László Moholy-Nagy
In 1923, Gropius invited Moholy-Nagy to teach at the Bauhaus. There, he co-taught a foundational course alongside Bauhaus legend Josef Albers, and replaced the famous Paul Klee as Head of the Metal Workshop. He continued to teach at the Bauhaus for a period of five years, a time which heavily influenced his own artistic philosophy.
Moholy-Nagy’s own work spanned across a variety of mediums, including photography, typography, sculpture, painting, printmaking, film-making, and industrial design. The artist is also cited as the first to incorporate scientific equipment, like the telescope, microscope, and radiography, into his own art practice. This practice highlights Moholy-Nagy’s own open-mindedness. He was always interested in experimentation and the play between life, art and technology — particularly, how the three intersected and paved the way for social transformation and the betterment of humanity.
His work, which often falls under the category of abstract and avant garde, was also influenced by the Constructivism movement of the early 20th century as well as the Dada artists he encountered upon moving to Germany. Thanks to his creative fluidity and pioneering methods, his work across disciplines and styles has been called “relentless experimental.”
Perhaps his most iconic work was Light Prop for an Electric Stage, completed in 1930. Referred to as a “kinetic light display,” the piece’s rotating construction included reflective surfaces from which a beam of light bounced, casting both moving light and shadow onto nearby surfaces. It’s considered a pivotal fixture in the history of Modern sculpture and perhaps best exemplifies Moholy-Nagy’s own artistic philosophy.
Meanwhile, Gropius continued to impact Moholy-Nagy’s career trajectory when in 1937, he recommended the experimental artist as the head of the New Bauhaus in Chicago (which would eventually become incorporated to the Illinois Institute of Technology as we know it today). In Chicago, he continued to pioneer new methods and experiment until his early death from leukemia at just fifty-one years old.
His life, work and legacy live on in the, earning him the title of the “genius of all media” and an eternal place in the history of Modernist art and design.
Recently, we explained what exactly makes up Modern furniture and how to spot it. But what if you’re looking to bring a bit of Modernism into your own space? Considering our own affinity for Modern pieces and design, we love seeing the style applied across homes, condominiums or apartments. So if you’re looking for tips on modern design for your home, here’s where to start:
Form Follows Function
Modernism’s top rule is “form follows function,” essentially meaning that any decor or furnishings should reflect its intended purpose. Anything that doesn’t have a practical purpose can be eliminated, so Modern spaces are often very minimal. However, Modernism also celebrates the expression of form. Le Corbusier lounges or Barcelona chairs all embrace unique shapes and features in bright, joyful colors. Look for pieces that explore color, textures, and material, all while staying functional.
Courtyard view at Optima Sonoran Village
Bring the Outside Inside
Modernist architecture celebrates expansive windows and natural light, as do Modern interiors. Keep windows unobstructed when possible, and keep any blinds or curtains minimal in color. If you feel inspired by the green space at Optima, get a few houseplants to add pops of green. Or if your seasonal weather cooperates, get creative with container gardening.
Contemporary vs Modern
Contemporary and Modern are often confused when dealing with interior design, but it’s important to note the different. Contemporary style isn’t attached to any specific era; it changes as time evolves. So Contemporary design would currently refer to anything in demand in 2020. Whereas Modern design specifically refers to a movement in art, design, architecture and of course, furniture.
If you want to hunt for Modern pieces to add to your own home, here are a few shop recommendations to check out. Or even better, peruse your local thrift store or furniture restoration shop for truly authentic Modern furniture and decor.
Many know the name Le Corbusier, but not nearly enough people are familiar with Charlotte Perriand, the French architect and designer behind Le Corbusier’s renowned chaise lounge. It was against all odds that Perriand even began working for Le Corbusier, as she was famously turned away from his atelier with the line: “We don’t embroider cushions here.” Celebrating her strong point of view and strong-headed nature, today we’re exploring the work and complicated relationships of Charlotte Perriand.
The Le Corbusier LC4 Chaise Lounge, designed by Charlotte Perriand, Le Corbusier and Pierre Jeanneret
The Work of Charlotte Perriand
Around 1925, Charlotte Perriand began exhibiting her work in galleries, shortly after graduating from school. Perriand used her own apartment as a place to test out her tastes, renovating the space using a built-in wall bar made of aluminium, glass and chrome and a card table with built-in pool-pocket drink holders. In 1927, she recreated this design as the Bar sous le Toit (“Bar under the roof” i.e. “in the attic”) at the 1927 Salon d’Automne. The Bar sous le Toit installation was reflective of Perriand’s machinelike style, which was unique for women designers at the time. She unabashedly employed materials like aluminium, steel and leather, also a departure from the previously reigning style of design, which was mainly crafted from rare woods. This remarkable and innovative installation is what first put her name on the map.
Charlotte Perriand and Le Corbusier
In 1927 (at just 24 years old), Perriand waltzed in Le Corbusier’s atelier asking for a job, and it was then that she was met with: “We don’t embroider cushions here.” That was the same year her Bar sous le Toit premiered at Salon d’Automne; and when Le Corbusier’s cousin, Pierre Jeanneret, took Le Corbusier to see the exhibit, Le Corbusier changed his tune. Recognizing Perriand’s undeniable talent, Le Corbusier apologized and hired her as a furniture designer.
The trio — Perriand, Le Corbusier and Jeanneret — collaborated closely, “like three fingers on one hand,” according to Perriand. Together, they designed the LC4 Chaise Lounge, which they described as a “machine for sitting.” The chaise became one of the most seminal pieces of Modernist furniture in history — and that was just one part of their collaborations together. Perriand worked with Le Corbusier for a decade, helping to publicize and innovate his atelier and designs until she made the decision to step “out of his shadow and into a successful career of her own.”
