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Tag: architects

Women in Architecture: Elizabeth Diller

Posted on by Hunter

In our ongoing “Women in Architecture” series, we’re highlighting Elizabeth Diller, a visionary who turns metaphors into brick and mortar and continues to challenge conventional architecture. 

The Life of Elizabeth Diller

Elizabeth Diller was born in 1954 in Łódź, Poland, and moved with her parents, who were Holocaust survivors, to the United States when she was six. She was deeply affected by the social unrest of the late 1960s, which ultimately led her to enroll in the Cooper Union School of Architecture in 1970 which, at the time, was a creative hotbed and home to avant-garde design.

Initially, Elizabeth intended to pursue art or filmmaking, but ultimately found herself captivated by alternative methods of space-making. Even then, she was much more interested in the East Village music and art scene than in her classes. It wasn’t until Elizabeth met one of Cooper Union’s design professors, Ricardo Scofidio, that she became fully invested in design. After graduation, Diller and Scofidio became both romantic and creative partners, and emerged as prominent conceptual artists, focusing on comically dark design hacks and advancing the idea that “anything can be architecture” in their 1994 book, Flesh. This conceptual approach that challenged traditional architecture also earned them the coveted MacArthur Fellowship (known as the “Genius Grant”) in 1999.

On the Blur Building. Photo: Projectes I-II grup 12b

Notable Works

By 2000, Diller Scofidio projects were gaining considerable traction and scale, as demonstrated by their design for the Blur Building at the Swiss Expo in 2002. Utilizing a cloud of mist produced by 31,500 high-pressure nozzles over Lake Neuchâtel, this project encapsulated the team’s belief that architecture isn’t just about concrete unmovable structures, but can be an immersive, sensory experience. And as the partnership expanded to include Charles Renfro, the trio transformed the very essence of what a building could represent. 

Approaching the High Line, 2009. Photo: StaceyJean

In 2006, their firm took on the ambitious project of renovating a historic elevated train line in Manhattan’s Chelsea neighborhood. The result? The High Line, an urban park that floats amidst the skyscrapers, becoming an iconic piece of the city’s architectural landscape.

During the 2010s, Diller’s stature in the world of architecture expanded greatly as the firm undertook a host of ambitious, institutional and municipal projects, culminating in designing a massive extension to New York City’s Museum of Modern Art (MoMA) in 2019 as spaces for  modern and contemporary installations. Beyond allowing the museum to grow its exhibition footprint, this project redefined urban space, blurring the lines between public and private, museum and city.

MoMA Museum of Modern Art. Photo: Salon NYC

Just north of Chelsea, this stunning structure boasts a movable shell, allowing it to be reconfigured based on how the interior space is programmed. More recently, the team has undertaken numerous cultural and institutional projects, including the London Centre for Music and revitalizing the historic Geffen Hall at Lincoln Center, further securing a place for Diller and her partners in the architectural canon by creating a new language of contemporary design. 

Elizabeth Diller’s journey redefines the essence of architecture, merging innovation with functionality. Her transformative works extend beyond physical spaces to influence the cultural fabric of society. And her legacy is not solely in the impressive silhouettes of her buildings but in the way she inspires future generations to envision and craft the world anew.

The Writers Theatre in Glencoe

Posted on by Hunter

Tucked in the vibrant downtown of the Glencoe community — just down the road from Optima Verdana®, stands the Writers Theatre, a monument to the creative spirit and architectural prowess. A testament to the convergence of the arts, architecture, and community, the Writers Theatre is a touchstone of cultural life across the North Shore. At Optima®, we share a deep appreciation for such special places that elevate design and aesthetic experiences while enriching the community.

Conceived in 1992, the Writers Theatre was designed to celebrate the raw power and intimacy of the written word. It is a professional theater company that, since its inception, has nurtured a strong commitment to the appreciation of intricate writing and profound performances. This dedication has earned the theatre numerous awards, including the 2016 Regional Theatre Tony Award and being called “America’s finest regional theater company” by The Wall Street Journal.

The current structure, designed by the internationally acclaimed architect Jeanne Gang of Studio Gang Architects, was unveiled in 2016, offering a splendid canvas for the theatre’s vision — to be a socially vibrant venue that redefines the audience-performer interaction. And Gang’s design does just that, by providing a sense of inclusion and participation that blurs the lines between the stage and the audience.

The Writers Theatre’s Alexandra C. & John D. Nichols stage

As you step inside, you’ll notice the theatre houses two stages. The primary Alexandra C. & John D. Nichols stage, accommodating 250 people, captures the essence of a traditional theatre, while the secondary Gillian theatre, a more intimate space, caters to 99 patrons, making each performance a personal experience. Architecturally, the building’s wood truss system is both aesthetically striking and acoustically vital, further enhancing the audience’s experience.

A rooftop pavilion and patrons’ lounge are not just architectural details but social spaces. In essence, the Writers Theatre transcends the function of a theatre, transforming into a hub for community activities and social interaction.

The Writer’s Theatre’s patrons lounge and pavilion, Courtesy of Steve Hall and Hedrich Blessing

Looking into the Writers Theatre’s story, we see an embodiment of Optima®’s values— the fusion of beautiful design, functional spaces, and community enrichment. We take great pride and joy in showcasing gems like the Writers Theatre, a testament to what can be achieved when creative storytelling meets architectural brilliance.

As we celebrate the Writers Theatre and its remarkable journey, we’re reminded of the importance of places that are not just seen, but felt. Spaces that invite you in, captivate your senses, and leave an enduring impression. And at Optima®, we remain committed to creating and appreciating spaces that, like the Writers Theatre, stand as enduring testaments to design, culture, and community. Explore some of their upcoming events and shows here!

Edward Dart’s St. Augustine Episcopal Church

Posted on by Hunter

At Optima®, we are continually fascinated by the architectural masterpieces that exemplify the harmony between design and the narratives they hold. Today, we cast the spotlight on an architectural gem from the Mid-century Modern era, St. Augustine’s Episcopal Church in Gary, Indiana, designed by Edward Dart.

In the steel town of Gary, just across the Illinois border from Chicago, 30 African-Americans chartered a new Episcopal mission in 1927. The congregation weathered its early years to grow strong and financially stable by the mid-1950s, leading to the decision to commission their own place of worship. The conception of this project was nurtured by the Great Migration, which saw many African-Americans migrating from the South to Gary, drawn by job opportunities in the thriving steel industry.

By 1955, St. Augustine’s (fondly referred to as ‘St. Aug’s’) embarked on the purchase of a pipe organ. When discussions veered towards the building of their own church, the organ sales representative suggested Edward Dart, an architect whose style would come to define the church’s distinctive look. 

The collaboration between Edward Dart, a white architect from New Orleans, and St. Aug’s, a Black Episcopal mission, was unusual for the mid-1950s. Yet, over the course of four years, their shared vision resulted in an architectural design that incorporated local materials like Indiana limestone, honoring both the community’s roots and Dart’s signature style. Completed in 1959 at a cost of $120,000, St. Augustine’s Episcopal Church received the AIA Citation of Merit and the Church Architectural Guild’s Honor Award almost immediately. 

St. Augustine’s Episcopal Church in Gary, IN. Photo: National Register of Historic Places

Despite the acclaim, the church’s congregation remained largely unseen, their presence neutralized in the predominantly white architectural narrative of the era. This erasure was eventually rectified in 1961 when the mission was granted full parish status, two years after the building was completed. Today, the congregation stands strong and the church continues to radiate its original beauty.

At Optima®, we find structures like St. Augustine’s Episcopal Church deeply fascinating, serving as profound expressions of the era’s architectural ethos that enrich our understanding of space, design, and community. St. Augustine’s Episcopal Church remains an enduring testament to Dart’s genius, a beacon of the Mid-century Modernist spirit that continues to captivate architects and designers worldwide.

Villa Weil: A French Modern Masterpiece

Posted on by Hunter

We’re always moved by stories of lost-and-found in the world of great modernist architecture, and that’s just what we discovered in a recent article by Joseph Giovannini in The New York Times about a French Modern Masterpiece brought back to life by Dominique Perrault and Gaëlle Lauriot-Prévost, the architects leading the charge for master planning the 2024 Olympics in Paris.

Giovannini observes that for many architects, time is measured in the projects they undertake, and that every new project is an opportunity to create something meaningful and lasting. And when Dominique Perrault and Gaëlle Lauriot-Prévost — partners in life and in the firm of Dominique Perrault Architecture went in search of a weekend country house outside of Paris, they were looking to feed their desire to enjoy both the city and nature. As it turns out, they were also looking for a project that would leave a lasting mark on the world.

For years, Perrault Architecture honed their appetite for monumental projects, including the design of the National Library of France in Paris in 1989 when Perrault was only 36. In looking for a country home, on the other hand, Perrault and Lauriot-Prévost were motivated by the desire for something personal, something that would reflect their own tastes and sensibilities rather than building for others. 

They considered a host of options in their search for the right property, including repurposing a former factory. Nothing seemed quite right until a real-estate agent specializing in architect-built homes introduced the couple to a Modern masterpiece that had been largely forgotten — the Villa Weil, designed and built by Jean Dubuisson, a third-generation Parisian architect who came out of the École des Beaux-Arts to design Modernist housing blocks that helped build the infrastructure of France as it emerged from the wreckage of World War II. Villa Weil, situated in a protected forest near the medieval town of Senlis, north of Paris, was commissioned by the real estate developer André Weil and completed in 1968.

National Library of France
National Library of France. Credit: caribb on Flickr Creative Commons CC BY-NC-ND 2.0 Deed

Perrault and Lauriot-Prévost saw something special in the house, described by Giovanni as “a straight line of a building streaking across the landscape.” He writes, “Inside and out, the clean white planes, crisp machined corners and squared geometries are derived from International Style Modernism and recast into a new synthesis….The abstract lines and planes, like picture frames, bracket outdoor terraces that are landscaped like the Zen gardens Dubuisson had seen in Japan. Huge sliding glass doors recall the indoor-outdoor relationship of mid century Modernist California houses, by then well known in Europe.” 

But the home wasn’t without its issues, since it had languished for years without proper attention. They restored the house with exquisite attention to its original design and materials. Today, Perrault and Lauriot-Prévost enjoy the long-forgotten estate with their two dogs, furnished with original mid-century Modernist furniture sourced online. As Giovanni relates, the couple remains dedicated to “expanding the property to its fullest potential — the basement and barn are being turned into exhibition spaces for a variety of shows and a home for their collection of models and drawings.” At the same time, the vision of the owners is to design and build flats that will host resident artists, architects, and researchers as part of a study center that will expand the life of the semi-private villa into a campus for a larger architecture and design community.

The History of AIA

Posted on by Nancy

At Optima, our love for the practice and art of architecture runs deep. As a way to connect with and participate in the greater architecture community, our architects are active members of the American Institute of Architects, widely known as AIA. An extensive resource and network for the architectural profession, the organization has a lengthy history than spans over 160 years. 

In 1857, thirteen architects met in the New York office of Richard Upjohn, a British-American architect famous for his Gothic Revival churches. The architects convened to discuss how to elevate the standing of the profession. With his influential background, Upjohn was a natural leader and the first president of AIA, serving the organization until 1876. Prior to the establishment of AIA, anyone could claim to be an architect due to lack of schools and licensing laws within the United States. AIA set out to elevate the standing of architecture as a profession and work together towards advancement in the industry. By 1876, AIA launched their first official chapter in New York, closely followed by Philadelphia, Chicago and Boston. 

Although founded in New York, AIA moved their headquarters to Washington, DC by 1898. From Daniel Burnham to Frank Lloyd Wright to Mies van der Rohe, the vast number of members within AIA’s lifespan have changed the built landscape of America. Since its founding, AIA has created standards of excellence, advocacy, education and social change, and continues to do so today.

Now, AIA has over 260+ chapters across the globe, with over 94,000 members worldwide. AIA members adhere to a code of ethics and professional conduct to reassure clients, the public and colleagues of their dedication to the highest standards in professional practice. David Hovey Sr. has earned the title of Fellow, FAIA, AIA’s highest membership honor for those that have exhibited exceptional work and contributions to architecture and society. David Hovey Jr.’s work has also been recognized by AIA numerous times, including a National AIA Award, AIA Distinguished Building Award, AIA Honor Awards, AIA Innovation Award, and AIA Divine Detail Awards from AIA Chicago and AIA Phoenix. His prefabricated system has been described by AIA jurors as the future of American housing.

A prestigious membership organization with deep roots and wide-reaching influence, the American Institute of Architects continues to promote the architectural profession, ensuring its successful, longevity and inspiration — and it is something that we are honored to be a part of.

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