Thanks to the city’s deep appreciation for the arts, Scottsdale is home to some of the most visionary public art in the country. And, with warm weather here and summer approaching, there is no better way to experience the city’s inspiring works than on a bike! Here is our guide to Cycle the Arts Scottsdale 2022:
Cycle the Arts Scottsdale is hosted by Scottsdale Public Art and the City of Scottsdale. The annual cycling event is back for the first time since 2019 to showcase some of the city’s exciting public art displays and sculptures. And because this is the event’s first time back in more than three years, participants will be able to hear about some of Scottsdale’s newest public art additions.
The leisurely 9-mile bike ride is free and perfect for the whole family. It kicks off on Sunday, April 3, and check-in is at 8:30 a.m. at Scottsdale’s Museum of the West. While the event is expected to last until noon, the ride on Scottsdale’s award-winning bike paths will only take about two hours.
Industrial Pipe Wave, Christopher Fennel, 2015, Courtesy of Scottsdale Public Art
The event includes 17 works from the city’s public art collection, including Jack Knife, Industrial Pipe Wave and Terraced Cascade. Each stop will include information about the art provided by Scottsdale Public Art staff and board members and possibly feature the artists themselves.
Made for both bike riders and art enthusiasts, Cycle the Arts Scottsdale is the perfect event for those looking to explore and learn more about the vibrant community. If you plan to participate, please bring your own helmet and water, and RSVP on Scottsdale Public Art’s website here.
As technology continues to advance, changemakers and visionaries are discovering ways to push the boundaries of sustainable design in architecture. Today, we’re spotlighting five of the most innovative materials currently in development that are setting the stage for the future of architecture and design.
Engineered at the Indian School of Design and Innovation in Mumbai, the Green Charcoal Loofah Brick is another revolutionary twist on traditional brick material. Soil, cement, charcoal and organic loofah fibers – the plant commonly used in sponges – make up the lightweight, biodegradable product.
Similar to the cavernous gaps that are found in loofahs, the bricks’ fibrous network allows it to double as a home for plants and animals to thrive. The bricks’ pours also act as water chambers, which, when filled with water, act as a coolant for the structures they support. While the name might suggest charcoal is a significant part of the material’s build, it only appears on the brick’s surface, purifying the air by absorbing a compound used for growing plants.
Hemp is one of the most carbon-sequestering and strongest fibers on the planet, making it a perfect material to shift the future of architecture. Engineers at the Rensselaer Polytechnic Institute developed the low-cost, low-carbon alternative to traditional steel rebar. One of the material’s most outstanding features is its ability to avoid corrosion, further extending the potential lifespan of the structure it is used to build.
The rebar’s sustainable makeup has the potential to decrease construction time and triple the lifespan of the most costly traditional infrastructure — including everything from bridges to dams to seawalls. Its engineers intend the product to be cost-competitive, making it an obvious alternative material choice for future builds.
Blast Studio’s 3D Printed Mycelium Collum, Courtesy of Blast Studio
An ever-growing number of engineers are discovering how to incorporate mycelium – a root-like structure of fungus that creates a network of threads and branches – into their designs, with a huge impact on advancing sustainable design. One of the teams leading the drive is Blast Studio in London. Their team takes advantage of mycelium’s strong webbing structure to form columns that not only support builds but also grow mushrooms.
The tree-like structure is made up of a mixture of mycelium fiber and recycled coffee cups. After being constructed through 3D printing, the mycelium eventually consumes the recycled material and grows to command the entire form of the column. Along with cultivating its own food, the dynamic material also produces natural insulation and fire-retardant properties. While mycelium-based materials are still sparse, more and more engineers and architects are beginning to see their advantages in designs.
One of the best single-use alternatives to fibreboard, corkboard and even wood, Chip[s] Board is finding its place in today’s architecture landscape. Created by Rowan Minkley and Robert Nicoll, the biodegradable material is one of the healthiest building components used on the planet due to its absence of toxic chemicals or resins like formaldehyde. When creating the material, Minkley and Nicoll were set on combining the issues of material and food waste – eventually resulting in the sustainable wood substitute.
The product’s name is a play on the ingredients used to make it, which includes a blend of potato peel binding agents mixed with fibers from potatoes, bamboo, wood or hops. To develop Chip[s] Board, the blended composite is heat-pressed into a sturdy board that becomes functional in everything from furniture to buildings.
Kenoteq’s K-Briqs made of recycled construction waste, Courtesy of Felix Speller
Invented by Gabriela Meder, an engineering professor at Edinburgh’s Heriot-Watt University, the K-Briq is one of the leading sustainable and recycled brick materials today. The unfired brick is made of 90% construction waste and produces less than 10% of carbon emission in manufacturing compared to clay bricks, making it an obvious low-carbon alternative in construction.
Designers of 2020’s Serpentine Pavilion – an annual design commission known for its experiential architecture – were one of the first to utilize the brick due to its versatility and similarity to the weight, look and functionality of standard bricks. Meder, who spent ten years developing the K-Briq, still produces it herself through her company Kenoteq.
With new forms of sustainable design being created daily, we can’t wait to continue exploring the ways innovative architecture can contribute to a healthier, more sustainable world.
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.
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.
Hot off the press is the spectacular retrospective of the 40+ year career of David Hovey Sr., FAIA, Optima’s CEO and Founder. David Hovey Sr., released by Images Publishing, is a collector’s item that arrived on bookshelves in January 2022. The monograph opens with a beautiful introductory essay by the late luminary architect Helmut Jahn, who wrote about their decades-long friendship and Hovey’s “staggering” influence on architecture. Entitled “Living Beautifully,” Jahn explains:
“The best thing that can be said about the work of David Hovey Sr. in his chosen field of multi-family and single-family housing is that he builds unique and inventive dwellings for people to live beautifully. That he chooses to play not just the role of the architect but also that of developer, contractor, construction manager, sales and leasing agent, and building operator makes the achievement even more remarkable. As his own client and CEO of his company, Optima, Hovey demonstrates that it’s possible to successfully execute the very different skills of an architect and a developer by applying tremendous knowledge and tenacity and assuming great responsibility. Many who have tried to work as an architect-developer have failed because they did not find the right balance. David Hovey expanded the role of the architect to the level of a master building and in this, he is without equal in his generation.”
A sketch of Optima’s Sterling Ridge
In the words of friend and chronicler, Jahn talks about the arc of Hovey’s career:
“Hovey’s built work is a testament to constant refinement and improvement, each project a step along a path to take on new and bigger challenges, never being afraid of making a mistake by doing something new. The achievements of an architect become more evident with the passing of time. The good buildings become more important, the others will be forgotten.”
In Jahn’s reflections on Hovey’s deep understand of the complex issue of climate change, he shares his thoughts this way:
“David Hovey’s work should be recognized for more than its architectural design. This is particularly evident in his desert buildings where he addresses the important issue of climate change that challenges architecture today. Authorities measure energy consumption as the primary factor in building construction. Looking at energy efficiency alone is the wrong measure. We don’t have an energy problem, we have an emissions problem. Carbon dioxide is the principal culprit in climate change and the building industry contributes a considerable amount of it to the atmosphere.
Optima’s Biltmore Towers
“In Hovey’s buildings, there are strategies that address climate issues. This is demonstrated in the use of many prefabricated lightweight materials for load-bearing or non-load-bearing, enclosing parts. This extends to the use of recycled steel. Hovey regularly employs effective sun-shading devices. His strategies include LED lighting as well as energy-saving heating, air conditioning, and ventilation systems. Sustainability is assured by design and not through additional equipment or devices, which don’t pay off over time. Here, the mind of the architect and developer in one person can best design and build buildings where nothing can be taken away to come closer to perfection. Only through knowledge, determination, and a deep sense of responsibility can these energy goals be achieved, as the buildings show.”
Stay tuned for other inspiring excerpts from David Hovey Sr., along with stunning images of completed structures and his extraordinary sketches. For those who wish to purchase the book, it is available through a number of booksellers online.
Scottsdale and its surroundings offer some of the country’s most historic art and architectural sites, including Taliesin West and its museum of contemporary art – SMoCA. Because of the popularity of these marquee locations, some of the area’s other unique contributions are often overlooked. Today, we’re spotlighting one of the community’s most ambitious architectural and design feats, Cosanti.
Cosanti’s History
Found in Paradise Valley, Arizona, less than a 15-minute drive from Optima Kierland Apartments, Cosanti is a standout in its suburban neighborhood. The Gallery and design studio were designed and built by the Italian-American architect, urban designer and philosopher, Paolo Soleri. Soleri, who built the project in 1956, lived with his wife on the five-acre property only a few miles from Taliesin West, where he studied under renowned architect Frank Lloyd Wright just ten years earlier.
The interior of Cosanti’s Earth House where Soleri resided until 2013, Courtesy of Cosanti Originals
The structure’s name originates from Soleri’s Italian roots. Cosanti combines the two Italian words for ‘object’ and ‘before’, and the word itself means, ‘There are things more important than objects’ – a philosophy Soleri lived by. This attitude extends beyond the structure’s name and into its architecture, where he introduced his own philosophy of arcology. The term recognizes the importance between built and lived environments, similar to that of sustainable or regenerative design.
Otherworldly Architecture
Cosanti’s otherworldly design elements easily separate it from its modern surroundings. Some of the build’s most alluring features are its outdoor studio, performance spaces, swimming pool, Soleri’s residence, and of course, his famous ‘Earth House’.
Cosanti’s earth-cast wind-bells produced of bronze and ceramics, Courtesy of Cosanti Originals
To create the Earth House, Soleri utilized an earth-casting technique, where his team formed dense mounds of earth and then covered them in concrete molds. After developing, the earth under each mold became excavated and concrete structures built partly underground appeared – a building method that allows the structure to utilize natural insulation from the earth.
Soleri also used terraced landscaping, courtyards and garden paths to separate branches of the unique campus and further connected the environment to its natural surroundings using earth-cast wind-bells.
Today, the Arizona Historic Site offers local residents and tourists free guided tours of the visionary structure and property. To explore the grounds and more of Cosanti yourself, visit their website here.
When you’re feeling a bit of wanderlust and looking for beauty in unexpected places, hit the road and make a beeline to Columbus, Indiana. Just 3-½ hours by car from Chicago and 50 miles south of Indianapolis, Columbus is a small city by American standards — and yet finds itself ranked 6th in the nation for architectural innovation and design by the American Institute of Architects.
As the website for Columbus explains, “Columbus is an improbable town. Every year thousands of visitors arrive to explore its streets and study its buildings, for it is one of the rare places on earth where the idea that architecture can improve the human condition has been put to the test. It’s a small, southern Indiana community with no apparent call to destiny that remarkably became an architectural ‘mecca.’”
The Robert N. Stewart Bridge, 1999
The evolution of Columbus into an extraordinary experiment in modernist architecture began in the early 1940s when the industrialist J. Irwin Miller began commissioning world renowned architects to come to the city and undertake the design of commercial and municipal buildings.
Adding to the caché and allure of Columbus is a feature film that has drawn even greater attention to this unique metropolis. Columbus is a 2017 Americandrama written, directed, and edited byKogonada was shot on location in 2016 over a period of 18 days. The film follows the son of an esteemed architecture scholar who gets stranded in Columbus and strikes up a friendship with a young architecture enthusiast who works at the local library.The film premiered at the2017 Sundance Film Festival and was released in theUnited States by theSundance Institute, receiving broad acclaim from critics.
When planning a visit to Columbus, visit the city’s comprehensive website for a guide to the city’s architecture or to schedule a tour. And if you want to get inspired in advance, you can stream the film Columbus on Amazon Prime.
As construction gets underway on Optima Verdana, we continue to connect more strongly with Wilmette and its surroundings. We appreciate how special it is that a village gets to celebrate its 150th anniversary, and Wilmette has packed 2022 with a series of events, happenings and projects that bring the community together. Art fairs, picnics, parades, concerts, garden walks, you name it. The programming is broad, deep and guaranteed to capture the interests of residents and visitors alike.
One of the most engaging programs on the roster for Wilmette’s big birthday year is the Sesquicentennial Photography Project. Behind the project is the desire to invite the community to share their personal reflections and experiences in Wilmette by capturing photographs around the theme “Building Community” to create an important historical record.
The magic of a community photo project is that it provides an open invitation for anyone — and everyone — to participate. Taking photos in today’s world, with the ease of a smartphone, allows people of all ages to capture snippets of everyday life and glimpses of their surroundings that captivate them, and share them with others to enjoy.
The project is easy for all participants. Simply submit photos to the village — from now until September 30, 2022. A team from the Wilmette Historical Museum will review the submissions and curate an exhibition of photos at the Museum and at other locations throughout Wilmette. Once the exhibitions are taken down, the photographs will be archived by the Museum, and will be accessible for viewing on request.
Here are some guidelines for photographers. If you have any additional questions regarding the project, please contact Jan Loew at jerryloew@aol.com. Technical questions should be directed to the Wilmette Historical Museum’s curator, Rachel Ramirez, at ramirezr@wilmette.com or 847-853-7714.
Modernist tradition and design practices have been rooted in our identity at Optima for over four decades. The same appreciation for modernism is across countless iconic buildings throughout Chicago, where many of our multi-family residences reside. Here are just a few of the city’s modernist buildings we feel like everyone should know a little about:
Lake Shore Drive Apartments
Built in 1951, the twin residential towers, which reside at 860-880 Lake Shore Drive, exhibit modernist less is more ideology adopted by its architect, Ludwig Mies van der Roh. Originally seen as too complex, the project’s materials don’t stray from the norm as it utilizes steel, glass and aluminum. Not long after their completion, even with the critics at the time, the Lake Shore Drive Apartments became a template for modernist buildings across the globe.
875 N Michigan Ave
875 N Michigan Ave
Previously known as the John Hancock Center, 875 N Michigan Ave is one of the most recognizable buildings in Chicago’s skyline. At the time of its completion in 1968, the modern masterpiece became the second tallest building in the world and the tallest in Chicago – a title it held for over 20 years. Skidmore, Owing and Merill, the architects behind the skyscraper, were pioneers for the new era of skyscraper design at the time and were the same architects behind the Willis Tower. Complementing the building’s basalt-black color, its façade is complete with unique X-bracing and a system of framed tubes which have allowed it to become an architectural icon.
Marina City
Marina City
Often referred to as “the corn cob”, the mixed-use buildings became the first of their kind when built in 1964. The circular complex was designed by architect Bertrand Goldberg – a student of Mies – as a self-contained town. Each building shares identical floor plans and includes a theater, bowling alley, and various stores and restaurants. One of the most unique features of the towers is the near-complete lack of right angles found in their unique interiors.
Charnley-Persky House
Charnley-Persky House
One of the oldest houses in Chicago, the James Charnley Residence was built in 1892 and is one of the only surviving residential works of Louis Sullivan. Often referred to as the “father of skyscrapers and modernism”, Sullivan was a mentor to Frank Lloyd Wright and helped establish Chicago School architecture. The building is often considered to be the first modern house in Chicago. Although it has an essentially classic form, Sullivan introduced modern aesthetics, like it’s clean and simplistic design, which separated it from other structures at the time.
S.R. Crown Hall
S.R. Crown Hall
Created to house his alma mater’s – the Illinois Institute of Technology – departments of architecture, planning and design, S.R. Crown Hall is one of Ludwig Mies van der Rohe’s most notable designs. The modern masterpiece was built in 1956 and is often recognized as one of the most architecturally significant buildings of the 20th century. Mies created Crown Hall utilizing basic steel and glass construction styles, creating a one-of-a-kind open space without interior obstructions. The building’s 18-foot-tall extended roof also helps to establish the feeling of universal space.
While these five of the city’s most iconic modern buildings, our list could go on forever. Next time you find yourself in downtown Chicago or traveling through the midwest, we encourage you to explore the modern masterpieces for yourself.
As part of our ongoing “Woman in Architecture” series, we’re shining a spotlight on one of the world’s inspiring creatives, Neri Oxman. With a rich background in architecture and a drive to create, there was no question whether she would become the ingenious architect and designer she is today. Today, we’re diving into Oxman’s momentous life, work and achievements.
The Life of Neri Oxman
Oxman was born on February 6, 1976, in Haifa, Israel. Both of her parents taught architecture, and growing up, Oxman spent much of her childhood immersing herself in her parent’s studio, which helped her establish a desire for creation at a young age.
Originally, Oxman attended medical school in Israel, but after just two years, she realized that her interests belonged elsewhere. She began her architecture studies at Technion Israel Institute of Technology but eventually transferred to the Architectural Association School of Architecture in London – one of the most prestigious architecture schools in the world – where she graduated in 2004.
In 2005, Oxman traveled to the United States, where she began her Ph.D. studies in architectural design and computation at the Massachusetts Institute of Technology (MIT). Throughout her research at MIT, Oxman discovered her passion for environmental design and digital morphogenesis – a type of generative art. Oxman also launched her own research project titled material ecology – a term she coined – to experiment with generative design.
Design Philosophy
Oxman launched her research project material ecology – a term she coined – in 2006 while studying at MIT to experiment with more facets of generative design. Material ecology, Oxman’s design philosophy, combines aspects of 3-D printing techniques with biology, engineering and computer sciences to build objects and structures through natural growth instead of assembly.
The advanced philosophy also places humanity in harmony with nature, which is a principle of sustainable and regenerative design. Through her work, Oxman hopes to shift from consuming nature as a geological resource to instead editing nature as a biological resource. Oxman’s philosophy has led her to utilize biological shapes and textures throughout many of her designs.
Notable Work and Achievements
Much of Oxman’s early work involved only 3-D printing. At MIT, she founded the Mediated Matter research group where she has created almost all of her structures and designs – large and small. Oxman’s innovative 3-D projects range in size from complex enclosures to detailed pieces of clothing.
Some of Oxman’s most famous works utilize fabrications created by animals or other natural processes, including Silk Pavilion. The installation was created in 2013 with the help of 6,500 free-ranging silkworms that wove layers of silk onto a Nyon-framed dome. The completed project resulted in a stunning moon-like pavilion. The method of creation was recreated in 2020 for Oxman’s Silk Pavilion II, which resides in the Museum of Modern Art in New York City.
Inspired by vibrant marine life, in 2013, Oxman collaborated with renowned fashion designer Iris Van Herpen and materials engineer Craig Carter to create Anthozoa. The 3-D-printed dress used a mixture of hard and soft materials that were crucial to its movement and texture. Oxman worked with Carter again in 2014 for a project called Gemini, a chaise lounge chair consisting of a milled wood frame and a 3-D-printed upholstery. The intricate chair was designed with the intent to recreate a womb-like environment.
Oxman and Mediated Matter have also prototyped various new tools for printing since the group’s founding. A few of the groundbreaking technologies include a printer that can create sections of rooms and an unprecedented glass printer. Alongside her extraordinary work, Oxman has also received many architecture and art awards as well as achievements throughout her career.
Senior Fellow in the Design Futures Council
London Design Festival Design Innovation Medal, 2018
San Francisco Museum of Modern Art Contemporary Vision Award, 2019
Dezeen’s Design Project of the Year for Aguahoja, 2019
Honorary Royal Designer for Industry by the Royal Society of Arts, 2021
Oxman’s illustrious career has led her to collaborate with some of the most resourceful designers in the world, further catapulting her unique philosophy into the spotlight of the design world. Today, she continues working with the Mediated Matter group experimenting with different forms of generative design, and teaches at MIT as a tenured professor.
Our love of mid-century classic furniture can be found throughout all of the Optima communities. And with our soft spot for iconic seating, it’s no surprise that the famed Bertoia Side Chair is a staple in many of our amenity spaces. Let’s take a closer look.
About Harry Bertoia Born in San Lorenzo, Italy in 1915, Bertoia built an international reputation as an artist, sound art sculptor and modern furniture designer. After leaving his home at the age of 15 to join his older brother Oreste in Detroit, Harry embarked on a career that centered on the exploration of modernist ideas and ideals, often in collaboration with some of the greatest thinkers and visionaries of that era.
In 1936, a one-year scholarship to the School of the Detroit Society of Arts and Crafts allowed Harry to study painting and drawing. He entered and placed in many local art competitions, said to be the most awarded student up until that time. The following year, another scholarship took him to the Cranbrook Academy of Art in Bloomfield Hills, Michigan. Working among some of the most famous artists and designers of the modernist age, including Eero and Eliel Saarinen, Charles and Roy Eames and Florence Knoll, Bertoia’s creativity and mastery of materials flourished.
Bertoia as Furniture Designer Bertoia was first exposed to furniture design at Cranbrook when Eero Saarinen and Charles Eames entered and won the Organic Furniture Design Competition sponsored by the Museum of Modern Art. In fact, Bertoia developed his initial chair design ideas while working with Charles Eames and others in California in the late 1940s, which he later incorporated into his work.
Bertoia eventually left Eames to join the Point Loma Naval Electronics Laboratory. While there, he learned how to study the human body to design control panels and knobs that focused on comfort for reach and grip. This sensitivity to ergonomics contributed significantly to Bertoia’s fascination with designing well-fitting practical chairs.
In 1950, at the invitation of former classmate Florence Knoll and her husband Hans, Harry moved to eastern Pennsylvania to work at their emergent furniture company Knoll, Inc. Florence had seen Harry’s work at Cranbrook, heard he had left Eames, and knew that he had enormous promise as a furniture designer. The Knolls offered him the opportunity to design what he wished with full credit and complete recognition of his work, which was their policy with all designers.
About the Bertoia Side Chair Once on staff at Knoll, Bertoia was asked to develop hospital furniture, but he preferred to work with healthy bodies. He gravitated towards metal as his material of choice, and he continued to experiment with it until he landed on the concept of the wire grid, which could be shaped at will. with it until arising at the wire grid concept that could be shaped at will to conform to the human body. This was a radical departure from the use of rigid wood, which was characteristic of the late 1940s and early 1950s furniture. He not only created the airy welded metal design of the chairs, but also devised the production molds used for mass manufacture.
Knoll produced the first Bertoia chairs in 1952 — an amazing collection of furniture that reflects a profoundly beautiful study in space, form and function. As with other designers of his time, including Mies van der Rohe, Bertoia found infinite elegance in an industrial material, elevating it beyond its utility into a work of art.
Today, the Bertoia collection remains one of the great achievements of mid-century modern furniture design by one of the master sculptors of the last century and a proud part of the Knoll heritage.
