Furniture Spotlight: Eames Lounge Chair

What can we possibly say about the Eames Lounge Chair that hasn’t already been said before?

There’s not a collection of modernist furniture design anywhere that doesn’t feature the Eames Lounge Chair and Ottoman — and this is certainly the case with the curated furnishings in every Optima community. It’s always a pleasure to spotlight this timelessly beautiful expression of art, architecture, materiality and technology that sprang from the creative genius of Charles and Ray Eames.

Enter the Kazam! Machine

To appreciate the evolution of the Eames Lounge Chair, it’s helpful to understand the design process that Charles and Ray employed. It began when the couple turned their Los Angeles apartment into a workshop in 1941 and began building a device for molding plywood. Their goal at the time was to develop the capacity to apply pressure to plywood without breaking it, which would give them the opportunity to produce a host of objects that interested them at the time — chairs, sculptures, aircraft parts, leg splints and children’s furniture and toys. After many attempts and failures, the Eameses mastered the three-dimensional molding process with an apparatus for bending wood — a kind of curing oven made from wood scraps and spare bicycle parts. They called it the Kazam! machine. With its hinged and bolted curving plaster mold, the Kazam! machine allowed them to create a glued sandwich consisting of several layers of veneer, which was then pushed against the plaster mold by a membrane which, in its turn, was manually inflated by a bicycle pump.

The Kazam! Machine

The Kazam! Machine

Putting the Kazam! to Work
First produced in 1956, the iconic Eames Lounge Chair draws inspiration from a classic English Club Chair. It consists of a bent-wood frame atop a six-legged base, constructed using the Kazam! machine, and tilted at an optimal angle for comfort and ergonomics. It’s topped with supple leather, which the Eameses described as providing “the warm redemptive look of a well-used first baseman’s mitt,” in their vision to make the chair “a special refuge from the strains of modern living.”

A Standout from the Start

In an unprecedented marketing move, the Eames Lounge Chair and Ottoman debuted on national television in 1956. Charles and Ray Eames appeared on Home, the NBC daytime television show hosted by Arlene Francis. Aided by the warmth, charisma and humor of the Eames’, the American television viewing audience immediately fell in love with the Eames Chair. Today, nearly 70 years later, it remains one of the most significant furniture designs of the twentieth century.

Eames Lounge Chair
Eames Lounge Chair. Credit: NINES USA, Flickr Creative Commons, CC BY-NC-ND 2.0 Deed

Part of the permanent collections at New York’s MoMA and the Art Institute of Chicago, the Chair and Ottoman have been the subject of numerous documentary films and books, and continue to be featured prominently in contemporary design curation.

Iconic and Forever Fresh

Authentic Eames Chairs are still manufactured by Herman Miller today, much as they were in 1956. And while the Kazam! process has been streamlined and updated, it remains much the same as it was when the Eames first conceived it in their LA living room — ensuring that these uniquely timeless objects of desire remain a special refuge from the strains of modern living.

Green Space Spotlight: Optima Lakeview

Open green space can be a difficult convenience to find in many Chicago neighborhoods and properties. However, that isn’t an issue with Optima residences and buildings; we strive to welcome the lush and lively Chicago greenery inside our doors. Our newest development, Optima Lakeview compliments the neighborhood surrounding it with outdoor terrace landscapes, a vibrant sky deck, and nature bridging indoor atrium. 

Optima Lakeview offers communal spaces outdoors that otherwise would be hard to find in the bustling neighborhood for many. Landscaped terraces, full of ornate and healthy foliage provide lush welcoming spaces for many to enjoy the modern architecture that surrounds them over a warm fire pit and private grill for year-round grilling. 

The highlight of Optima Lakeview, however, is its 3,600 square foot indoor atrium. Acting as the heart of Optima Lakeview, the atrium allows for integrated access to both units and amenities. The expansive space, designed by Optima CEO David Hovey Sr., welcomes visitors from the lobby with abundant floor-to-ceiling greenery utilizing Optima’s signature vertical landscaping. Abundant natural light floods the space as glass ceilings open the room to the sky deck and rooftop pool above. For residents, the landscaped center of the atrium that is home to an abundance of vegetation invites the guise of living in an oasis.

Optima Lakeview three-bedroom model residence

Like the green spaces in our other developments, Optima Lakeview’s supply of lush greenery allows our residents to enjoy a wealth of benefits. Green areas in urban environments help absorb excess heat and pollution and provide residents with ample space to stretch and engage around vegetation, improving cardiovascular health and relieve stress. And while urban living is often individualistic, grand communal spaces like Optima Lakeview’s atrium and sky deck promote community and social cohesion.  

At Optima, we are dedicated to bringing the outdoors into our communities. The picturesque private terraces, one-of-a-kind indoor atrium and other lush amenities at Optima Lakeview welcome that outdoor experience and allow us to fashion a sanctuary of our own. 

Scottsdale Public Art: IN FLUX Cycle 10

No matter where you find yourself in Scottsdale, you’re sure to run into one of the city’s many works of public art. IN FLUX is one unique initiative exclusive to Arizona that is empowering emerging artists to innovatively apply their creativity to temporary works of public art in Scottsdale and other communities throughout the state. Learn more about IN FLUX and their 2022 additions here:  

What is IN FLUX?

IN FLUX began as an initiative formed by various art organizations in and around the Phoenix and Scottsdale area in the early 2010s. Scottsdale Public Art launched the project to provide Arizona artists with the opportunity and resources to create temporary public art installations throughout the state. 

Since IN FLUX’s inception, it has expanded tremendously, now reaching more than 53 locations across eight cities in Arizona. Thanks to the initiative’s commitment to spotlight and aid some of the state’s emerging artists, not only does the work greatly impact the artists themselves, but it also supplies communities with inspiring works of art. 

Each cycle of IN FLUX begins when they seek out submissions from artists across the state. Their team then carefully chooses a limited number of artists to commission a unique work of temporary art that becomes displayed throughout the year. This year marks the launch of IN FLUX Cycle 10!’

The Magic of Water, Yuke Li, Courtesy of Scottsdale Public Art

IN FLUX Cycle 10

IN FLUX Cycle 10 introduces 13 new artists and artworks throughout six cities in Arizona, including four unique pieces that will live exclusively in Scottsdale. Installations for the temporary artwork in Cycle 10 concluded in June of 2022, and each piece will be on display for a minimum of a year. Here are the four artists featured in Scottsdale:

Hector Ortega 

Reliance

Found on the northeast corner of Scottsdale Road and Oak Street

Installed May 25, 2022, through June 30, 2023

Christopher Luber

Fragmented Reflection 

Found on the northeast corner of Scottsdale Road and Roosevelt Street

Installed May 25, 2022, through June 30, 2023

Yuke Li 

The Magic of Water

Found on the south side of Thomas Road between N 81st Way and N 82nd Street

Installed May 9, 2022, through June 30, 2024

Shirley Wagner 

Zenith, Surge, and Bliss

Found at Miller Plaza on the northeast corner of Miller Road and Indian School Road

Installed June 28, 2022, through June 30, 2023

Reliance, Hector Ortega

We’re ecstatic to see more of the stunning artwork helping to bridge the Valley into one community and celebrate the talented artists included IN FLUX Cycle 10 and future cycles. Make sure to observe the temporary artwork yourself throughout the next year before IN FLUX Cycle 11 welcomes a new group of emerging artists!

How Optima Communities Support Hybrid and Remote Working

At Optima, each of our communities are thoughtfully curated to make everyday life extraordinary. Whether it’s the expansive fitness centers or our stunning sky decks, we’re dedicated to providing curated spaces and opportunities to make sure all residents feel right at home. One unique amenity in Optima communities that has become increasingly relevant is the robust set of hybrid and work-from-home options. Here are just a couple of ways our communities support these evergrowing work features: 

Allocated Work Spaces in Your Home

It can be challenging to separate your life and career when working remotely, which is why we design each of our residences to allow space for desks and separate work areas. Each extensive floor plan allows residents to customize their living areas to fit their needs, whether you require a separated office or a dedicated work corner. 

We also work to provide our residents with the best technology features, further empowering them to define the way they live. In Optima Lakeview, in particular, residents have access to WiredScore Home Gold certified technology that includes best-in-class digital connectivity features and dedicated media panels for telecommunications equipment. 

Access to Greenery 

Whether you find yourself in our Arizona or Illinois communities, each provides convenient access to greenery and flexible environments. While all feature vast outdoor space and greenery, Optima Kierland, Optima Sonoran Village and our upcoming Optima Verdana are all home to our signature vertical landscaping system, which plays a crucial role in molding a healthy and sustainable environment for residents.

Communal Amenities

Not only can residents establish workspaces in their own homes, but all of our communities also provide an array of amenities designed to enhance the remote work experience. From the dedicated conference and business rooms developed for more intimate interactions to the lively communal spaces like Optima Lakeview’s light-filled atrium or Kaleidoscope Juice in Optima Sonoran Village and Egg Harbor Cafe in Optima Signature. 

Our team also works to provide Optimized Service® in each community. Residents have access to in-home package delivery, grocery delivery and 24/7 virtual personal assistance, and in Optima Lakeview, the Kids’ Club includes an indoor children’s playroom. 

No matter where you find yourself working, we’re with you every step of the way to ensure you feel comfortable and supported.

Women in Architecture: Beverly Loraine Greene

As part of our ongoing “Women in Architecture” series, we’re spotlighting someone who accomplished many firsts in the architectural world, Beverly Loraine Greene. Greene’s drive helped to catapult her into the Chicago and New York City architectural scenes, where she would later revolutionize the lives of many. Learn more about her extraordinary life and work below: 

The Life of Beverly Loraine Greene

Greene was born on October 4, 1915, in Chicago. Her family was part of the Great Migration of the early 20th century that transformed Chicago’s South Side into a vibrant community. After spending her childhood in Chicago, Greene moved to Champaign, Illinois to study at the University of Illinois at Urbana–Champaign where she studied architectural engineering. 

At school, Greene participated in the drama club and the American Society of Civil Engineers, where she was the only Black and only women member. She received her bachelor’s degree in 1936, the first Black woman to do so, and decided to stay an additional year to complete a master’s degree in city planning and housing. 

The Chicago Housing Authority’s Ida B. Wells Homes, 1941, Courtesy of Library of Congress

Following the completion of her master’s degree in 1937, Greene moved back to Chicago, where she was hired by the city’s Housing Authority. In Chicago, she supported local theaters by painting and designing sets and costumes and began establishing contacts with notable Black architects of the time, which would lead to some of her first major projects. 

Notable Work and Achievements

Greene’s first official architectural job began at Kenneth O’Neal’s architecture office – the first Black-owned architecture firm in Chicago’s Loop neighborhood. The same year she returned to Chicago, Green and a group of 20 others organized by architect Paul R. Williams developed preliminary architecture plans for a public housing project on Chicago’s South Side. After years of struggle, the Chicago Housing Authority acquired the site for the project named the Ida B. Wells Housing Project, honoring the anti-lynching activitst and journalist who shared the same name. 

Because she was working for the Chicago Housing Authority, Greene spent much of her time drafting and designing the Ida B. Wells housing project, built from 1939 to 1941. The project included 1662 units and was built to house Black families in Bronzeville. The need for housing was so great that more than 17,000 individuals applied to live in the Wells project after its completion. 

The UNESCO Headquarters, 1957, Courtesy of Special Collections Research Center, Syracuse University Libraries
The UNESCO Headquarters, 1957, Courtesy of Special Collections Research Center, Syracuse University Libraries

In 1942, Greene registered for her architecture license in Illinois and became the first Black woman to be licensed in the state and the country. In 1944, Greene left Chicago to work in New York City as an architect with the Metropolitan Life Insurance Company. Greene worked at Met Life for only two days before leaving to become a full-time student at Columbia University, where she completed her master’s degree in architecture in 1945. 

Greene spent the next few years in New York City working for architects Isadore Rosefield, Edwards Durell Stone and Marcel Breuer. Much of the work Greene completed under Rosefield involved hospital design. With Stone, she helped design the University of Arkansas’ new theater in 1949 and part of Sarah Lawrence College’s Art Complex in Bronxville, New York, in 1952.

While working with Breuer, Greene helped complete two separate renovation projects in New York City. She also assisted Breuer in his designs for the UNESCO United Nations Headquarters in Paris and various University Heights Campus buildings of New York University. 

Greene was a spearhead in her field, being the first Black woman to accomplish many of her achievements. Even after facing every hardship she faced in her career and life, she found work in some of the country’s most acclaimed architecture firms and was a champion for the countless Black women who followed her.

Ellison Keomaka Art at Optima Lakeview

Optima Communities wouldn’t be the same without the striking artwork that fills their public spaces, ensuring a playground of form and color around every corner. Recently, we sat down with artist Ellison Keomaka – who previously contributed to 7140 Optima Kierland and our other Arizona properties – to discuss the process and inspiration behind the 80 unique artworks that now call Optima Lakeview home. 

What did the creative process look like when first conceiving and planning the artwork? How did the architecture and design of the building influence and inspire your piece?

When we first began talking about the project, I didn’t realize I was going to be creating artwork for the majority of the building, which was kind of a first for me. And after touring Optima Lakeview in 2021, I realized that I was going to be able to take advantage of its grand layout. 

Funlove 0022 and 0011 by Ellison Keomaka at Optima Lakeview

I set out to create a modular system where I could make everything unique. And yes, some paintings share the same colors, but each one is still different. I created the paintings in sets of, on average, seven pieces, separated by size and painted to adapt to any space. My ultimate goal was for building residents and visitors to see something new when walking the corridors and never see the same painting twice. So that was my aesthetic mission — to create an experience for the people in the building to have an indoor gallery where they can see all these different pieces come together. 

We’ve learned that you’re often experimental, using anything from soil to fabric to add texture to your artwork – what materials did you use for these particular pieces, and why?

I used a significant amount of spray painting here. Street art has been a huge influence on my career and I wanted to incorporate that into my work. I find spray paint offers a very unique texture, so I used it liberally in these particular paintings. I also used pages from magazines, many of which were from the 50s and 60s. In a few of the works, I was able to incorporate original Chicago Cubs advertisements as a way to add a subtle historical element. 

Ellison Keomaka working on the Creamsicle series, Courtesy of Ellison Keomaka

What role does color play in this work?

I worked with Optima’s signature use of bold, bright contrasting colors when creating much of the work. When I toured Optima Lakeview, I was able to see the colors of the atrium, specifically the vibrant red beams used throughout the skylights. And even though the building wasn’t completely finished, I knew exactly what color palette I wanted to incorporate.

I also tried to push the envelope with some of the colors. Some of the blues are off-blues or a little bit away from the primary color. And then there are the paintings that are yellow, red and blue – Primary 3 – that look simple but were actually very challenging for me in their own way because, as an artist, I always like to do more instead of trying to do less. There are also spray-painted pieces that include brownish blues, called Smores, which I originally called Earth Wind and Fire after the band from Chicago. They include this coffee brown with really bright blues mixed into it, which I thought was a fun way to bring warmth into the pieces while still maintaining a bold standard of color.

Airmax 001 by Ellison Keomaka at Optima Lakeview

You’ve talked to us before about how working with music is a large part of your artistic practice. Did music have any role in your creative process for Optima Lakeview’s art?

I think it always does for me. For the first pieces I created, the YBG series, I remember listening to The Weeknd’s After Hours album. I had all of the pieces lined up and was dancing around, having so much fun with them. It was almost like a childlike experience where I didn’t have any rules and was very free with the motions. There was no rhyme or reason, and I let the shapes do their thing. I used an acrylic paint pen to pull some bold black sweeping lines. They reflected the freedom of movement I felt while listening to music. So again, the music made it pretty fun. 

Ellison Keomaka working on the Creamsicle series, Courtesy of Ellison Keomaka

Four particularly special pieces live in Optima Lakeview’s lobby – the Mindscapes. How do those differ from the other pieces in Optima Lakeview and what makes them so unique?

The Mindscapes are a grand project I’ve been developing for the past couple of years. They’re each a visual time capsule that are just really fun to observe. They capture a dream state of imagination with abstract colors and shapes but then incorporate these very clear images of historical moments or memories. Everything found in them is relevant to Chicago, from old newspaper clippings about Lakeview restaurants and high schools to Cubs momentos. Each piece is totally unique, and they all include little hidden stories. Again, I wanted people to be able to walk around, stare at a painting for a little while and come back to see something they hadn’t seen before. 

A piece from the Mindscapes series by Ellison Keomaka at Optima Lakeview

Anything else we should know about the creative process for this piece or the work itself? 

A few of the pieces are inspired by landmarks in the neighborhood, specifically Red Totem, which is based on Kwanusila found in Lincoln Park. When I was doing my research on the community, I found the totem and liked the colors, which I then used in the painting. Others, like the Fun Love series, were more dynamic because they all had the white splatter that almost becomes energizing when you look at them. Those took the longest time for me to feel like they were complete, because of all the layers of paint that had to dry. 

The 80 paintings that fill Optima Lakeview mirror the vibrant aesthetics that we strive to create in our communities. As with every piece of artwork that we display in our built environments, Ellison Kemoaka’s bold and inspiring work brings a unique story for residents as well as anyone who passes through the space to discover. 

Natural Stone: A Timeless Staple of Architecture

At Optima, we celebrate the fundamental connection between design and nature. It’s this philosophy that often inspires the design in our communities, including our newest, Optima Lakeview. One of Optima Lakeview’s most exceptional features is the stunning natural stone that lines the first floor. Today, we’re taking a closer look at a classic architectural material, natural stone. 

The History of Natural Stone in Architecture

Stone is a timeless material used in some of the world’s most admired architectural works and monuments, from the Colosseum to the Washington Monument. The centuries-old resource, dating back nearly 12,000 years, has found its use in nearly all aspects of architecture and remains relevant today. 

In its early use, quarried stone was utilized to create walls, columns and piers. For centuries, entire cities were made of stone, making it an essential building resource. As technology advanced and more sophisticated construction methods metamorphosed, stone began appearing in archways, windows, facades and other stunning building accents.  

Colosseum
The Colosseum, famously built with natural stones such as travertine, lime and marble. Credit: YellowCat on Flickr Creative Commons CC BY 2.0 Deed

With time, materials like iron and concrete became an easy replacement for natural stone in architecture and helped to allow the construction of skyscrapers in the 19th and 20th centuries. The natural resource then became a popular staple for exteriors and cladding exclusively. However, today, architects are again embracing stone in full force, and it’s found on everything from kitchen tables to living room walls. 

Natural Stone in Optima

Each of Optima’s Illinois communities — Optima Lakeview, Optima Signature and the in-progress Optima Verdana — feature one-of-a-kind granite flooring throughout their main levels. Granite, which is only one of many natural stones used in Optima Communities, perfectly compliments Optima’s commitment to artistry and elevated living, amplifying each atmosphere housing the stone.  

Optima Kierland’s landscaped courtyard featuring a natural stone water feature

We embrace the organic here at Optima, which is why you can find more than just granite in most of our communities. Other uses of natural stones include stunning, polished quartz and granite for kitchen and bathroom finishes throughout our communities and even in Optima Kierland’s courtyard’s sparkling water feature. 

Even after a millennium of use, architects and designers continue to discover new adoptions for natural stone in buildings today, making it a timeless staple of the architecture world.

Rooftop Amenities at Optima Lakeview: The Sky Deck

Chicago boasts of the best skylines in the country, and there is no better place to revel in the city’s one-of-a-kind architecture than Optima Lakeview’s very own sky deck. And not only does the sky deck provide views of the city from the lakefront to Wrigley Field, but it also allows residents to enjoy the fresh air year-round with access to a range of unique, extensive amenities. 

Optima Lakeview’s unparalleled sky deck has a surprise around every corner. From the resort-style pool and spa that stays heated for year-round use to the fire pits featuring lounge seating, residents will be able to go for a swim or relax at any moment. Our design provides plenty of ways for residents to stay physically and mentally healthy and embodies our dedication to creating spaces where residents can be active, inspired and entertained. 

Because of the sky deck’s versatility and unique amenities, the space is more than just a hub for wellness and relaxation, it’s also a space for residents to connect with their larger community. The BBQs, outdoor kitchens and theater provide the perfect opportunity for families and friends to convene and enjoy a movie and dinner under the stars. The space also features a glass-enclosed party room where residents have access to an extensive lounge area for entertaining. And, with views spanning the whole city, and Wrigley Field only a half-mile away, the Sky Deck provides the perfect opportunity for Chicago Cubs fans to throw their own viewing party. 

The sky deck at Optima Lakeview
The sky deck at Optima Lakeview

Optima Lakeview’s sky deck exemplifies our dedication to inventive, distinctive amenity spaces that leave a lasting impact on our residents. However, the sky deck isn’t the only extraordinary amenity Optima Lakeview affords. Residents can find more than 40,000 square feet of amenity space, including an indoor basketball court, golf simulator, fitness center and more. Stay tuned for more Optima Lakeview spotlights, or learn more here.

Furniture Spotlight: The Pot™ Chair

With our deep connection to Modernist furniture and designers, it’s no wonder that we continue to gravitate to the classic beauty of Arne Jacobsen’s Pot™ as an essential seating element in the public spaces within Optima communities. 

Jacobsen, the prolific Danish designer of the Egg Chair and the Swan Chair, also created the Pot™ in 1959 for the SAS Royal Hotel in Copenhagen. In 2018 the Pot™ was relaunched with a fresh take on Jacobsen’s lounge chair, revitalized for the modern interior; the original design has been preserved, but the seat and materials have been reconsidered to offer fresh options in both fabrics and leathers. 

Originally, the Pot™ decorated both the Orchid Bar and Winter Garden in the SAS Royal Hotel, Copenhagen’s first high-rise. Alongside Jacobson’s other furniture designs in the Royal Hotel, including the Swan and Egg chairs, he exclusively utilized the Pot™ to complement the organic aesthetic found in the Orchid Bar and Winter Garden. The chair was also placed on every floor in the hotel across from the elevators to function as a recognizable meeting point.

The Pot™ found in SAS Royal Hotel’s Orchid Bar

In its original conception, the Pot™ was a quiet design, meant to mimic a leaf floating in the air. And while the shape has a compact quality, it is both comfortable and spacious.

Be on the lookout for the ways we have incorporated this timeless gem into our lobbies and other social spaces next time you visit an Optima Community!

Women in Architecture: Anne Tyng

As part of our ongoing “Women in Architecture” series, we’re spotlighting someone who was at the forefront of architectural experimentation in the mid-twentieth century, Anne Tyng. Tyng pioneered the inclusion of complex geometry as a source for form in architecture and design and became an expert in the field. Learn more about her extraordinary life and work below: 

The Life of Anne Tyng

Anne Griswold Tyng was born in Lushan, Jiangxi province, China, on July 14, 1920. Although her family lived in China at the time, their roots traced back to the Massachusetts Bay colonies, and they frequently visited the United States for family trips. Tyng’s love for design sparked when she was just a child, and she often recalled how she would carve whole cities out of the soft stone surrounding her family’s properties. 

At 18, Tyng moved permanently to the U.S., where she attended Radcliffe College in Cambridge, MA, to study fine arts. During her final year, however, she discovered the Cambridge School of Architecture and Landscape Architecture — the first institution to provide design training to women only — and began taking classes there. 

After her graduation in 1942, she went on to further her architecture studies at Harvard, studying with renowned architects like Marcel Breuer and Bauhaus founder Walter Gropius. In 1944, Tyng was among the first women to complete their studies at Harvard, and later she became the only woman to enter the architecture licensing exam in 1949. Tyng finished her education nearly 30 years later when she was awarded a Ph.D. from the University of Pennsylvania.

Anne-Tyng
Anne Tyng and Louis Kahn, at his architectural practice, 1947.
Photo courtesy of the Anne Griswold Tyng Collection and the Architectural Archives of the University of Pennsylvania

In 1945, Tyng moved to Philadelphia and began working for Louis Kahn’s architecture firm, Stonorov and Kahn. Khan and Tyng became close collaborators, and her passion for geometric form influenced many of the firm’s designs of the time. In 1964, she left the firm, where she had been a partner, and began developing more solo projects until the end of her career.

Notable Work and Achievements  

Although she became a successful architect, Tyng was also passionate about mathematics. Thanks to the versatility and flexibility of architecture, this allowed her to conflate her interests  and focus on space frame architecture — creating light-filled spaces using interlocking geometric forms of architecture.

City Tower for Philadelphia
Louis Kahn and Anne Tyng, Model of the proposed City Tower for Philadelphia, 13 x 17 cm, 1953, ” Visionary Architecture, ” exhibition at the Museum of Modern Art, “The Changing Concept of Proportions”: Architecture, Mathematic and Geometry from Architectural Principles in the Age of Humanism to the Techno-Organic Movement. The Journal of Art Theory and Practice. 18. 123-144. 10.15597/17381789201418123. 

Many of Tyng’s earliest works can be traced back to the influences she left in Kahn’s designs, including the Yale University Art Center (1953), Philadelphia City Tower (1957) and the Trenton Bath House (1956), all of which included triangles or cubes in their forms. However, her former residence, the Tyng House, is where her personal style is most celebrated. 

Built in the 1950s, the single-family home features slotted windows, a pyramidal timber-framed ceiling and metal screened openwork staircases. And although the exterior of the house appears ordinary at first, a closer look reveals a mansard roof and large parlor-floor windows. 

In the late 1960s, after falling in love with Maine’s Mount Desert Island, Tyng designed the Four-Poster House. In her design, Tyng took inspiration from the surrounding ecology, and she strived to make the home an organic outgrowth of the wooded area. Using logs, cedar shake and tree trunks, the house was framed similar to a four-poster bed with four central columns.

Alongside her transformative work, Tyng has been a recipient of many architecture awards and achievements, including: 

  • First woman licensed as an architect in the state of Pennsylvania
  • Fellow of the American Institute of Architects, 1975
  • Academician of the National Academy of Design, 1975
  • Selected by the United States to participate in the First International Congress of Women Architects, 1976 

Tyng’s career was devoted to understanding the synthesis of geometrical shape and human consciousness within architecture, and because of her extraordinary contributions, the spatial potential of architecture was pushed further than ever before.

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