In a dense urban area like Chicago, green space might look a little different. With all of our projects, we design our residences to welcome the outdoors indoors; at Optima Signature, that meant making sure residents could still get outside in the city. The green space at Optima Signature takes advantage of landscaping and contemporary, urban recreational design to embrace downtown Chicago living.
On the ground level, Optima Signature is surrounded by greenery with an inviting plaza. Lush landscaping features benches and seating areas, as functional for residents as they are for passersby or pedestrians. Kiwi, an original sculpture designed by David Hovey, Sr., adds visual movement and a playful quality to the entrance of the building.
Once inside, Optima Signature features an impressive 1.5 acres of amenity space, many of which are designed to bring residents outdoors. Heated swimming pools, outdoor terraces, herb gardens for resident use, fire pits and outdoor entertaining all contribute to making residents feel as if they’re in an outdoor oasis in the middle of the city. Strategic landscaping, plants and trees ensure a sense of privacy, despite sharing the amenities with other residents. Designed for residents in all walks of life, Optima Signature also includes an outdoor dog park and play areas for children (although there are indoor options for when the Chicago weather inevitably turns cold). In a concrete jungle, Optima Signature brings residents a bit closer to nature.
When moving to a city, many assume they’ll have to give up access to generous outdoor space. The residences, amenities and green space at Optima Signature offer the best of both worlds, all within a beautifully designed, Modernist tower that overlooks Chicago’s energetic downtown.
As part of our ongoing “Women in Architecture” series at Optima, we’re taking a look at another pioneering female figure: Beverly Willis. Willis’ career set an unprecedented tone in the industry – to quote her own website, she “accepted commissions for which there were no built precedents, adopted practices that did not become mainstream until decades later, and sought research-driven solutions unique to each project.” Let’s dive in below:
The Life of Beverly Willis
Beverly Willis was born on February 17, 1928, in Tulsa, Oklahoma. Her mother was a nurse and her father was an oil industry entrepreneur and agriculturist. The couple split during the Great Depression, at which point Willis was only six years old, and she wouldn’t see her father again for another several years. Left alone, Willis’ mother struggled to provide for her two children and they were placed in an orphanage. There, they worked for their keep and often fought back against the establishment, learning the lifelong lesson that “pushing boundaries was a way to survive.”
Willis saw her father again, for the last time over the summer when she was fifteen. She worked alongside him in his shop and earned a man’s wages, which she later used to pay for flying lessons. It was 1943, the middle of World War II, and with her ability to fly a single-engine propeller plane, Willis qualified for the Women’s Air Service.
After her time in the service, having learned many trades’ skills, Willis went off to study engineering at Oregon State University. Ultimately, however, she graduated with a Fine Arts degree from the University of Hawaii in 1954.
Beverly Willis at work on her fresco for the United Chinese Society, Honolulu, 1955. Beverly Willis Archive
Career and Accolades
Willis learned much from her art studies and mentors – including Gustav Ecke, a scholar of Chinese furniture, who introduced her to Asian art and architecture, and Jean Charlot, who exposed her to the history of European art and fresco painting. Armed with this knowledge, she founded her own studio, the Willis Atelier, in Waikiki, Hawaii. There, she continued her murals, fresco paintings and multimedia installations. One of her most notable projects during this period was her fresco work on the Shell Bar at the Hilton Hawaiin Village hotel, which also used an innovative sand cast mural panel technique she herself had pioneered.
In 1958, Willis moved to San Francisco where she opened her own design office and deepened her architectural prowess. She was successful in retail design in particular, but transitioned to residential design with her special program at the Robertson Residence. There, she created notably disability-friendly design far before disability guidelines such as the ADA ever existed.
Beverly Willis & Associates, preliminary section showing uses for San Francisco Ballet Building, San Francisco, 1979. Beverly Willis Archive
Two other notable projects during this era included her renovation of the Union Street Stores from 1963 to 1965, which, according to The Architectural Forum, “some historians describe as an initial contribution to the advancement of the Modern adaptive re-use of historical buildings movement.” She also designed the San Francisco Ballet Building in 1973. It was the first building in the US specifically designed for a ballet company and school, and paved the way for many others like it to follow.
Willis was also famously one of the first to use a computerized approach to design. Her firm invented CARLA (Computerized Approach to Residential Land Analysis) in 1970, a program which was quickly adapted and used nationally. In 1997, the National Building Museum published her book, “Invisible Images– The Silent Language of Architecture.” Understanding that women were often excluded from the historical narrative of architecture, Willis also founded the Beverly Willis Architecture Foundation (BWAF) in 2002 with the goal of changing architecture culture through research and education.
Her extensive portfolio and accolades speak for themself. And lucky for us, today, Willis is 93 and her humanistic approach to design and innovative approaches continue to shape the architectural world.
Phoenix and Scottsdale, cities sitting shoulder to shoulder in Arizona, are the central and exciting location of several Optima communities, including Optima Biltmore Towers, Optima Sonoran Village, and Optima Camelview Village. And while Phoenix boasts being the vivacious capital of Arizona, and Scottsdale prides itself in being the locus of access and luxury, these two twin cities also share another benefit in common: their proximity to countless other exciting day trips and destinations in the state.
To help inspire your next excursion, here are just a few of the best day trips close by:
Grand Canyon
This is a destination that needs no introduction. The Grand Canyon is just under a two-and-a-half hour drive north out of Phoenix. That’s pretty easy access to one of the world’s premier tourist attractions — a site that attracts over 5 million visitors annually. With its layered bands of red rock revealing millions of years of geological history, there’s really no wrong way to enjoy this immense natural attraction, we recommend the South Rim and the Skywalk for the best view, as well as planning to hike, ride a mule, or whitewater raft for the adventurously inclined.
Sedona, Arizona. Credit: Moonjazz on Flickr Creative Commons, CC BY-NC 2.0 Deed
Sedona
A day trip to Sedona is well worth the two hour drive south from Phoenix. No doubt the drive down will be a sight to see, too — Sedona is surrounded by red-rock buttes, steep canyon walls and pine forests. The breathtaking landscape is the perfect setting for outdoor enthusiasts, who will enjoy the numerous trailheads across Red Rock State Park. Whether you’re into an intense ten-mile hike, or something more mild like birdwatching and picnicking, there’s something for everyone. Once you’ve gotten your fair share of the outdoors, take a trip into town to enjoy the vibrant arts scene, New Age shops, and countless spas.
Watson Lake, Prescott, Arizona. Credit: Photos by Clark on Flickr Creative Commons, CC BY-NC 2.0 Deed
Prescott
Further proof of all there is to see just outside of Phoenix, Prescott isn’t even a two-hour trip away. There’s so much to do here that you may even end up wanting to stay more than a day. From the historic Whiskey Row downtown, perfect for bar hopping and catching a live music performance, to the many museums worth visiting, there’s an endless list of itinerary items within the city limits alone. And like everywhere else in Arizona, Prescott also boasts an outstanding roster of hiking and outdoor recreation on its perimeter, including Prescott National Forest and Watson Lake.
As part of our ongoing “Women in Architecture” series at Optima, we’re taking a look at another pioneering female figure: Julia Morgan. Like many of the women in this series, Morgan boasts a series of industry firsts. Morgan was the first woman admitted to the architecture program at l’École nationale supérieure des Beaux-Artsin Paris, and the first woman architect licensed in California. Learn more about her extraordinary life and work below:
The Life of Julia Morgan
Julia Morgan was born on January 20, 1872, to parents Charles Bill Morgan and Eliza Woodland Parmelee Morgan as the second of five children. Morgan was also born into generational wealth — her mother Eliza was the daughter of a cotton trader and millionaire. This financial mobility also provided geographic mobility. The Morgans lived on the West Coast, but travelled often to New York to visit mother Eliza’s parents. It was on one of these trips that Julia Morgan (now age six) met her older cousin Lucy Thornton, who was married to successful architect Pierre Le Brun.
Morgan kept in touch with Le Brun, who encouraged her to pursue higher education, and in 1890, Morgan did just that. She went on to study engineering at the University of California, where she was often the only woman in her math, science, and engineering courses. When she graduated in 1894 (with honors, no less), Morgan became the first woman to earn a B.S. degree in engineering at Berkeley. Encouraged by her professor and mentor, architect Bernard Maybeck, Morgan then went on to be the first woman admitted to study architecture at Maybeck’s alma mater, the prestigious École nationale supérieure des Beaux-Arts in Paris.
Morgan was able to apply to the architecture program thanks in large part to a union of French women artists who pressured the school. When Morgan went to Paris and met this group of women, they introduced her to feminist ideology. And though the Beaux-Arts program prohibited older scholars and Morgan’s 30th birthday (and deadline as a student) approached, Morgan nonetheless earned her certificate in architecture — making her the first woman to do so at the Beaux-Arts, and trumping the certificate completion time of her mentor Maybeck by two years.
Hearst Greek Theatre, University of California, Berkeley. Credit: Sanfranman59 on Wikimedia Commons, Multi-license with GFDL and Creative Commons CC-BY-SA-2.5 and older versions (2.0 and 1.0)
The Work of Julia Morgan
Morgan’s extraordinary track record and changemaker ways also carried over to her career. After her education and experience in Paris, she returned to California where she worked with San Francisco architect John Galen Howard, the supervisor of the University of California Master Plan. In this role, she was the primary designer for the Hearst Greek Theater and also provided the decorative elements for the Hearst Mining Building.
In 1904, Morgan became the first woman to obtain an architecture license in California and she opened her own office in San Francisco shortly after. In addition to being a woman of firsts, Morgan also became a woman that could withstand a series of natural disasters. When her office burned down in 1906, she reopened just a year later in the heart of San Francisco’s financial district. Meanwhile, her first reinforced concrete structure, the 72-foot bell tower at Mills College, El Campani, was constructed in 1904 — and just two years later, famously survived the 1906 San Francisco earthquake unscathed.
Casa Grande Hearst Castle, designed by Julia Morgan. Credit: Daderot on Wikimedia Commons, made available under the Creative Commons CC0 1.0 Universal Public Domain Dedication
The survival of the bell tower launched Morgan’s career and rounded out her reputation, while the devastating aftermath of the earthquake provided countless opportunities to rebuild local structures. Morgan famously redesigned the landmark Fairmont Hotel in San Francisco in just one year, using her new signature: earthquake-resistant reinforced-concrete. This project greatly impressed the Hearst family — among many others — and earned Morgan future projects such as the Hearst Castle (one of the most defining projects of her career) and the opportunity to design a series of YWCA (Young Women’s Christian Association) buildings across California.
Though Morgan’s accolades are highly impressive, she lived a notably modest and quiet personal life, having never married, written or spoken much about herself. Despite these humble traits, Morgan nevertheless leaves an ongoing legacy in the strides she made for women in architecture, and the iconic structures she left behind.
As things begin to reopen, it’s only natural to daydream about future travels and interesting destinations. And while you’re at it, consider dreaming about a stay in an architectural masterpiece. Today, we’re sharing a few ways to discover Modernist architectural gems for your next vacation.
Welcome Beyond
Welcome Beyond is a German website created by brothers Oliver and Chris Laugsch. The two personally curate a selection of handpicked vacation rentals and small hotels across 38 countries. Though their selections cover a broad swath of architectural styles, each shares the common thread of high-caliber design.Our favorite of their five picks in the US is Saddle Peak House in Los Angeles — this Modernist retreat exemplifies the best in design integrated into its natural environment.
Ramp House in Austin, Texas; photo courtesy of Boutique Homes.
Boutique Homes
Despite its name, Boutique Homes features rentals that defy “quaint” in the traditional sense. Developers Veronique Lievre and Heinz Legler yield over a decade of experience designing, building and decorating in the hospitality industry to provide best-in-class selections to the refined vacationer’s eye. Their site’s collection spans numerous countries, architectural styles and budgets to provide something for every type of design lover.
Gunflint Lake Cabin in Grand Marais, Minnesota; photo courtesy of PlansMatter.
PlansMatter
PlansMatter, founded by architectural enthusiasts Connie Lindor and Scott Muellner, resulted from their own passion for finding unique vacation destinations. They love nothing more than staying in a place with “architectural intentions and a story to tell” and wanted to make it easier for others to find just that, too. Their international roster includes both jaw-dropping vacation rentals and hotels like you’ve never seen before.
Kid & Coe
Kid & Coe founder Zoie Kingsberry Coe started this family-friendly vacation rental finder after travelling the world with her own kids in tow. Eager for more baby-friendly stays that didn’t make compromises in design excellence, Coe makes sure no other parents ever experience her own travel woes. The site features rentals, hotels and most recently — a home swap program.
We hope that this summer brings new chances for wonderful travel adventures!
As lovers of great design, Optima’s appreciation for both architecture and art itself runs deep, and there’s no better place to indulge this passion than at a modern museum of art. And with modern art and Modernist architecture sharing so much in common, it’s no wonder that many of these institutions are often housed in innovative and captivating buildings. Today, we’re taking a look at some of the best modern museums around the world — from the collections they contain to the structures that define them.
Guggenheim Museum Bilbao – Bilbao, Spain
The Guggenheim Museum Bilbao is a museum of modern and contemporary art designed by Canadian-American architect Frank Gehry, located in Bilbao, Spain. You’ll recall from our Subsects of Modernist Architecture Series that Gehry was part of the Deconstructivism movement on Modernism in the 1980s. This museum, established in 1997, boasts an impressive collection of modern art, as well as site-specific installations from artists such as Jeff Koons. The building itself has been described as “the greatest building of our time” by architect Philip Johnson, and “a fantastic dream ship of undulating form in a cloak of titanium,” by critic Calvin Tomkins in The New Yorker.
Bildmuseet – Umeå, Sweden
Bildmuseetis one of Sweden’s foremost venues for international contemporary art, a part of Umeå University and the public heart of its arts campus. The strikingly Modern building was designed by Henning Larsen Architects in collaboration with White. A living and breathing work of art itself, the building’s facade is made of Siberian larch wood that fades to a silver-grey color over time. In its lifetime, Bildmuseet was nominated in 2013 for the Swedish Kasper Salin Prize and the European Mies van der Rohe Prize and has been described as one of the world’s most beautiful university museums.
Zeitz Museum of Contemporary Art Africa. Credit: Axxter on Wikimedia Commons, licensed under the Creative Commons Attribution-Share Alike 4.0 International license
Zeitz Museum of Contemporary Art Africa – Cape Town, South Africa
Zeitz Museum of Contemporary Art Africa (or Zeitz MOCCA, for short)is a contemporary art museum in Cape Town, South Africa, and boasts the title of being the largest museum of contemporary African art in the world. The building, which was commissioned through a public/private partnership between the V&A Waterfront and German businessman, Jochen Zeitz, is actually made from a converted historic 1921 grain silo. According to Zeitz MOCAA records, “The architects, Heatherwick Studio, aimed to conserve and celebrate the original structure’s industrial heritage, while simultaneously excavating large open spaces from the 42 densely-packed concrete cylinders from which it was comprised.”
Niteroi Contemporary Art Museum — Rio de Janeiro, Brazil
It’s no surprise that the Niteroi Contemporary Art Museum, located in Rio de Janeiro, Brazil, is one of the city’s main landmarks. The futuristic building was designed by Oscar Niemeyer with the assistance of structural engineer Bruno Contarini. Thanks to its strategic design, this museum offers more than just art to admire — the tall, angled windows offer sweeping views of Guanabara Bay and Sugarloaf Mountain. Beneath the structure, architect Niemeyer also designed a reflecting pool that surrounds the cylindrical base “like a flower.”
As an artform all on its own, the architecture of these museums stands strong alongside their impressive modern art collections.
Our “Subsects of Modernist Architecture” series explores the many trickle-down pockets of Modernist design throughout the years. In this last installment of the series, we’re taking a look at the late-century styles that have continued to carry on the legacy of Modernist design — and that will continue to influence and inspire many generations and future subsects to come.
Postmodernism
Postmodernist architecture emerged in the 1960s as a reaction to the severe and repetitive nature of Modernist architecture, particularly the International Style. While Modernist had previously been celebrated for its lack of ornamentation and rigid uniformity, architects in the camp of Postmodernism were ready for a boisterous change.
The movement was first introduced by architect and urban planner Denise Scott Brown and architectural theorist Robert Venturi in their seminal work, Learning from Las Vegas. In this timeless book, Brown and Venturi doubled down on their ideas about postmodernist design, which Venturi formalized in his later book, Complexity and Contradiction in Architecture. He wrote:
“I am for messy vitality over obvious unity… I prefer ‘both-and’ to ‘either-or’, black and white, and sometimes gray, to black or white… An architecture of complexity and contradiction must embody the difficult unity of inclusion rather than the easy unity of exclusion.”
While Mies van der Rohe’s famous adage was “less is more”, Venturi’s pushback saying became “less is a bore.” As Postmodernism flourished in the 1980s and 1990s, Brown & Venturi led the charge alongside other architects such as Michael Graves, Philip Johnson and Charles Moore.
High-tech
As Postmodernist thinking evolved during the 1970s, High-tech architecture (also known as Structural Expressionism) was born. Just as the name suggests, High-tech began to incorporate the latest technological innovations building materials into its design. Like traditional Modernist architecture, High-tech commonly employed steel, glass and concrete in building exteriors — but to much different effect. Still, the influence of Modernist masters such as Le Corbusier, Walter Gropius and Mies van der Rohe remains evident.
High-tech architecture was heavily influenced by factory aesthetics, incorporating large central spaces, hanging or overhanging floors, and highly-adaptable, reconfigurable spaces as key design elements. The polycentric usage of these central spaces was defined by the term “omniplatz” — referring to the idea that a building shouldn’t have one, defined function, but rather remain able to perform a range of functions. Feelings of openness, transparency and honesty were central to High-tech design, coupled with considerations of adaptability and sustainability. Despite its technological roots, this subsect was indeed modeled on highly human-centric thinking.
Deconstructivism
Deconstructivism appeared on the scene in the 1980s. Inspired by its Postmodernist counterparts, Deconstructivism seeks to imply fragmentation of buildings through an absence of obvious harmony, continuity or symmetry. The result is a feeling of unpredictability and carefully controlled chaos all at once.
The name was earned by the movement’s chief aims to “disassemble” architecture and to break traditional rules and boundaries. The architectural movement also heavily drew inspiration from French philosophy. Key architects who worked in this style includeZaha Hadid, Peter Eisenman, Frank Gehry, Rem Koolhaas, Daniel Libeskind and Bernard Tschumi.
All these styles and more make up the legacy that created Modernist design as we know it today.
As with all of our projects, the residences at Optima Kierland join indoors with the great outdoors. And a quintessential part of life outdoors in Arizona is relishing the beautiful weather with a few hours on a golf course. Here are just a few ways residents enjoy golf at Optima Kierland.
Just down the road from our Kierland Community, The Westin Kierland Golf Club brings first-rate golf experiences to the neighborhood. Voted one of America’s 9 most cheerful golf courses by Golf Digest, the course offers the perfect place to spend a morning or afternoon. The surrounding views of the mountains don’t hurt either. Other nearby golf courses also include the Scottsdale Silverado Golf Club, TPC Scottsdale Champions Course, Gainey Ranch Golf Club and Stonecreek Golf Club, so residents have plenty of options. Optima Kierland even recently started a golf club for the residents, so neighbors can get to know one another on the courses.
For those who prefer to practice and play in the comforts of home, each building at Optima Kierland features a golf simulator, located in the game rooms of our exclusive residents club. Although there’s no true replacement for playing a full game outdoors, it’s a great alternative for anyone looking for a convenient way to improve. Whether it’s an hour lunch break while working from home, or a way to wake up on a weekend, residents at Optima Kierland have everything they need to perfect their golfing skills.
Golfing is one of the activities that draws people to the Phoenix area, so we’re thrilled that Optima Kierland can be a hub for golf enthusiasts and connect them to a larger like-minded, passionate community.
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 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.
