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Women in Architecture: Glenda Kapstein

As part of our ongoing “Women in Architecture” series, we’re sharing the story of Glenda Kapstein, an activist for architectural innovation and environmental consciousness. Her impressive body of work has not only redefined the architectural landscape of her home country but has also served as an inspiration for architects worldwide. Discover the remarkable journey of her life and career below:  

The Life of Glenda Kapstein

Born and raised in Santiago, Chile, Glenda Kapstein was a curious and imaginative child. The city’s skyline, with its mix of colonial charm and modern ambition, made it the perfect place to fall in love with architecture at a young age. One of her earliest inspirations was Cantalao, a project dedicated to the culture and people of Chile, promoted by Chilean poet Pablo Neruda.

Kapstein decided to pursue architecture as a career, enrolling at the University of Valparaíso in 1959 and spent two years of school studying across Europe before finally graduating in 1967. Following her graduation, she moved to Spain to work with Spanish Architects Antonio and José Camuñas, who were hired to complete more than 3,000 houses in and around Madrid. Kapstein continued to pick up a mixture of jobs, from working as the Regional Director of Tourism in Antofagasta, Chile, to teaching at the Catholic University of the North (UCN). However, she eventually left to help UCN establish an architecture department and create a study laboratory of her own. With her laboratory, Kapstein was able to explore her interests in how climate dictates architecture. 

The House of Spiritual Exercises of the Alonso Ovalle Foundation in Antofagasta, 1991, Courtesy of Carla Monforte Kapstein

Fuelled by the desire to broaden her perspectives, in 1994, Kapstein pursued her Master’s degree from the prestigious Pontificia Universidad Católica de Chile. The university’s broad and holistic approach to architecture further nurtured her growing passion and seeded her design philosophy with the importance of context and cultural relevance. There, she was surrounded by an inspiring blend of cultures, perspectives, and design philosophies that further refined her approach toward architecture. 

Notable Works and Achievements

In her professional work, Kapstein worked to shape architecture that was not just aesthetically appealing but also ecologically responsible and socially sensitive. She viewed architecture as a powerful medium to express the historical, environmental, and social context of a place. As a result, her designs sought to harmoniously blend these elements, creating spaces that were both functional and meaningful.

Intermediate space within The House of Spiritual Exercises of the Alonso Ovalle Foundation in Antofagasta, 1991, Courtesy of Carla Monforte Kapstein

The most iconic example of Kapstein’s vision is the House of Spiritual Exercises of the Alonso Ovalle Foundation in Antofagasta. Built in 1991, this project stands out as a beacon of sustainable architecture, with its design seamlessly integrating with the natural landscape. The build, executed under Kapstein’s leadership with fellow architect Osvaldo Muñoz, is characterized by various intermediate spaces linking the interiors with the exterior desert. It incorporates innovative, energy-efficient features that minimize environmental impact while providing a state-of-the-art space to celebrate Chile’s rich biodiversity and cultural heritage. The project was a finalist for the Mies van der Rohe Pavilion Award for Latin American architecture in 1998 and the PLEA International Award in 2003, and was sadly demolished in 2019 for unknown reasons against the wishes of Kapstein’s family.

Another testament to Kapstein’s architectural philosophy is her work on the expansion of the Hotel Tulor in San Pedro de Atacama, a desert tourism hotspot. Still committed to ecological responsibility and cultural resonance, Kapstein incorporated local materials and traditional construction methods, resulting in an addition that seamlessly blended with the desert landscape and paid homage to the Atacama people’s heritage. Her design employed sustainable practices like passive cooling and heating to reduce energy consumption. The Hotel Tulor project underlines Kapstein’s distinct approach to architecture, combining innovation, sustainability, and cultural sensitivity, further establishing her as one of Chile’s most influential architects.

Rooms at Hotel Tulor, San Pedro de Atacama, made of adobe, wood and stone

Glenda Kapstein’s life and career are a testament to her commitment, creativity, and vision. Her journey serves as an inspiration for aspiring architects, especially women, reminding us all that architecture is not just about creating structures, but about creating stories, preserving heritage, and designing a sustainable future.

2023 Modernism Road Rally Tour

At Optima®, we are always excited to share unique architectural experiences that reflect our passion for design. So mark your calendars, Modern enthusiasts, we have some fantastic news for you! The second biennial Modernism Road Rally Tour of Homes is returning to celebrate the Mid Century Modern architectural legacy of Chicagoland. Launched in 2021, this biennial event takes place in different community areas of Chicagoland. This year’s edition will lead you through the captivating south suburban enclaves of Flossmoor and Olympia Fields.

The 2023 Modernism Road Rally Tour showcases homes designed by renowned midcentury architects such as Keck & Keck, Edward Dart, and Bertrand Goldberg, as well as architects like Edward Humrich, John McPherson, and John S. Townsend. Participants will have the opportunity to admire the exteriors and enjoy limited interior tours of select homes, offering an intimate glimpse into these architectural gems.

The event organizers have partnered with the Foundation for the Preservation of Flossmoor History for this year’s edition. A percentage of the proceeds will contribute to the restoration of the historic Wagner Building, which is scheduled to open in time for Flossmoor’s Centennial in 2024.

Conservatory Vintage & Vinyl, situated in the charming 1920s-era downtown Flossmoor, will serve as the event headquarters. After exploring the architectural marvels, participants can join the post-event party at the Flossmoor Station Restaurant & Brewery, a former railroad stop transformed into a lively social hub.

Flossmoor, founded in 1924, experienced a construction slowdown during World War II, followed by rapid postwar development. Its neighboring community, Olympia Fields, started in 1913, primarily as golf cottages surrounding the famous Olympia Fields Country Club. Post-World War II, the legendary modernist subdivisions of Graymoor and Country Club Woods were developed, boasting numerous outstanding examples of Mid Century Modern architecture.

Participants can purchase tickets for the tour, post-tour party, and sculpture tour online. The event also offers a trolley shuttle service along the entire tour route on Saturday, included in the ticket price (reservation required at the time of ticket purchase). Event check-in will be available at Conservatory Vintage & Vinyl for all paid attendees on Friday, June 23, from 12:00 PM to 6:00 PM, and Saturday, June 23, from 8:00 AM to 6:00 PM.

The second biennial Modernism Road Rally Tour is an exciting opportunity for architecture enthusiasts to delve into the fascinating world of Mid Century Modern design in Chicagoland. At Optima®, we are delighted to share this event with you and hope you enjoy exploring the rich architectural heritage of Flossmoor and Olympia Fields. Don’t miss out on this unique experience, and be sure to reserve your tickets here in advance! 

Please note that there will be no walk-up ticket sales available.

Alison and Peter Smithson: The Dynamic Duo That Transformed Modern Architecture

Today, Optima® is delighted to highlight both the exceptional career of Alison Smithson (1928-1993) and the influential partnership with Peter Smithson (1923-2003), her husband and lifelong collaborator. As visionary British architects, they jointly shaped the modernist architectural movement with their pioneering New Brutalist approach, drawing inspiration from the works of Mies Van der Rohe and Le Corbrusier. Their collaborative efforts have left a lasting legacy in the field, inspiring future generations of architects, both men and women.

Alison Smithson was born in Sheffield, England, and pursued architecture at the King’s College, Durham in Newcastle (later the Newcastle University School of Architecture, Planning and Landscape), then University of Durham, between 1944 and 1949. It was during her studies that she met Peter Smithson. United by their passion for architecture, Alison and Peter shared a desire to challenge the conventional norms of their time.

Hunstanton School in Norfolk, 1949-1959. Photo: Wikiarquitectura

The Smithsons’ professional partnership was defined by groundbreaking projects that had significant impact on the modernist architectural movement. One of their early works, the Hunstanton School in Norfolk, exemplified the New Brutalist movement with its minimalist design and exposed structural elements. Other iconic projects include the Economist Building in London, the Robin Hood Gardens housing complex, and their own home, the Smithson House, in Wiltshire.

Alison and Peter Smithson were known for pushing the boundaries of modernist design and reimagining architectural norms. They sought to create buildings that were functional and also contextually sensitive and responsive to the needs of their occupants. By blending elements of Brutalism, modernism, and regionalism in their designs, the Smithsons carved out a unique architectural identity. They played a crucial role in the formation of Team 10, a group of designers who aimed to redefine architectural discourse, moving away from the rigid functionalism of the International Style.

The Smithsons’ innovative designs and unwavering commitment to challenging conventions have left an indelible mark on architectural history. As a woman practitioner, Alison Smithson paved her own way, while Peter Smithson’s steadfast support and collaboration underscored the importance of teamwork and partnership in the profession.

The Smithson House in Wiltshire. Photo: seier+seier, Flickr Creative Commons

At Optima®, we take immense pride in honoring the work of Alison and Peter Smithson. Their unique partnership, innovative approach to design, and significant influence on architectural movements have contributed greatly to the field. By celebrating their collaboration, we aim to inspire future generations of architects to embrace diverse perspectives and partnerships in the pursuit of architectural excellence.

In the Shadows of Giants: The Overlooked Genius of Harry Weese

When we talk about the architectural giants of the Modern era, names like Frank Lloyd Wright and Ludwig Mies van der Rohe come to mind. These masters of design have left an indelible mark on our cities and towns, and their legacies continue to inspire and influence generations of architects. But what about those talented visionaries who have been overshadowed, whose work is often overlooked in the annals of architectural history? Today we’ll take a look at one such figure, Harry Weese, a brilliant architect who made a significant impact on the world of design, yet never quite garnered the same level of recognition as his contemporaries. 

Harry Weese was born in 1915 in Evanston, Illinois. Even from a young age, he displayed a keen interest in architecture. His passion led him to study architecture at the Massachusetts Institute of Technology (MIT) and later at the Cranbrook Academy of Art, where he formed lifelong friendships with renowned architects; Eero Saarinen, and Charles and Ray Eames. Despite this impressive educational background, Weese struggled to find his footing in the competitive world of architecture, but that didn’t stop him from garnering attention.

Seventeenth_Church_of_Christ_Scientist_Chicago_2019-1498
Seventeenth Church of Christ Scientist, Chicago. Photo: Paul R. Burley, CC BY-SA 4.0 Deed

His career began to gain momentum in the 1950s, as he designed several noteworthy buildings in Chicago. One of the earliest examples of his work, the Seventeenth Church of Christ, Scientist, showcased his ability to blend functionality with aesthetics, while respecting the religious context of the building. 

As the years passed, Weese gradually earned the respect of his peers and clients. He designed everything from public buildings and universities to private residences, each project showcasing his unique approach to architecture. His firm completed over 200 new buildings and renovations that span mostly across the midwest, but his commissions also took him across the globe to Ghana, India, Saudi Arabia, and Singapore.

One of Weese’s most enchanting designs can be found in the idyllic town of Wilmette. Known as The Robert and Suzanne Drucker House, this private residence epitomizes Weese’s ability to harmoniously blend nature and architecture. The home features an open-plan layout, with large windows that invite the outdoors in, creating a seamless connection between the interior and exterior spaces. The Drucker House is a testament to Weese ‘s skill in crafting spaces that are both functional and aesthetically pleasing, while respecting the environment and the needs of its occupants.

Chicago River Cottages
Chicago River Cottages designed by Harry Weese. Credit: Jonathan Byrne CC BY-NC 2.0 Deed

Beyond residential architecture, Weese made significant contributions to the field of urban planning and revitalization. He was deeply concerned about the decline of American cities and the loss of their architectural heritage. In the 1960s and 1970s, he embarked on several ambitious projects to preserve and reinvigorate urban spaces. One of his most notable accomplishments was the restoration of the Chicago Riverfront, transforming a previously neglected area into a vibrant, bustling hub of activity.

Washington, D.C. Metro System. Photo: Sara Cottle/Unsplash

Weese’s vision extended far beyond Chicago, as he also worked on the design of the Washington, D.C. Metro system. His innovative approach to public transportation and his commitment to creating aesthetically pleasing, user-friendly stations helped to shape the face of the nation’s capital and earned him widespread acclaim.

For those who have the privilege of experiencing Harry Weese’s work firsthand, the impact of his designs is undeniable. His creations have left a lasting mark on the communities they inhabit, and at Optima®, we’re proud to be a part of a shared sensibility and set of architectural traditions.

Al Beadle: The Mid-Century Modern Master in Phoenix

When it comes to mid-century modern architecture in Arizona, the name Frank Lloyd Wright tends to come to mind first. It’s exciting to note, however, that there have been other luminary architects who made enormous contributions to modernist architectural traditions here in the desert. Today, we are happy to introduce one of these under-the-radar designers — a true pioneer in his time whose work continues to inspire practitioners and homeowners alike.

Born in 1927, Al Beadle grew up in St. Paul, Minnesota. He served with the United States Navy Construction Battalion, the Seabees, in the South Pacific during World War II. His experiences included building piers, designing command bases, and constructing hospitals. After his time in the military, where he acquired much of his architectural prowess, Beadle eventually moved to Phoenix where he would make his mark on the city’s architectural scene. Starting his own architecture and build firm in 1967, Beadle believed in the principles of minimalism, efficiency, and the seamless integration of indoor and outdoor spaces.

Beadle’s unique design approach is evident in his many residential and commercial projects throughout the Phoenix area. His signature style often features clean lines, flat roofs, expansive glass walls, and a keen attention to detail. His buildings effortlessly blend with their desert surroundings, creating a harmonious balance between the built environment and the natural landscape.

Paradise Gardens

One of Beadle’s most iconic projects is the Paradise Gardens community. Developed between 1958 and 1964, this neighborhood showcases a collection of mid-century modern homes that embodies Beadle’s design philosophy. These homes are characterized by their post-and-beam construction, open floor plans, and large windows that blur the lines between indoor and outdoor living spaces. 

Single-family home in Paradise Gardens
Single-family home in Paradise Gardens. Photo: ©2016 Modern Phoenix LLC

Beadle House 11

Another noteworthy example of Beadle’s work is Beadle House 11, which he designed for himself and his family. Completed in 1963, this stunning residence exemplifies the architect’s minimalist approach, with its floor-to-ceiling windows, exposed steel beams, and sense of effortless elegance.

Beadle House 11 in Phoenix
Beadle House 11 in Phoenix, AZ. Photo: ©2016 Modern Phoenix LLC
Beadle House 11 remodeled interior
Beadle House 11 remodeled interior. Photo: ©2016 Modern Phoenix LLC

Today, Al Beadle’s architectural legacy lives on in the many buildings he designed throughout Phoenix and the surrounding areas. His work continues to be celebrated by architects, designers, and mid-century modern enthusiasts who appreciate the timeless quality of his designs. Preservation efforts are underway to ensure that Beadle’s architectural gems remain intact for future generations to enjoy.

In a city like Phoenix, where the natural beauty of the desert meets the sleek sophistication of modern design. Those who call this place home or are simply visiting, should consider checking out Al Beadle’s architectural masterpieces. From the effortlessly cool Paradise Gardens community located on 32nd Street to 36th Street and Mountain View, to the striking Beadle House 11 on 4323 E McDonald Dr, there’s no shortage of Beadle-designed gems to explore and appreciate.

 

Local Wilmette Landmarks: Frank J. Baker House

Have you ever stumbled upon a remarkable architectural gem that leaves you captivated by its design and history? The Frank J. Baker House, located at 711 Lake Avenue in Wilmette, is one such marvel that deserves a spotlight for its unique charm and intriguing background, along with its significance as a National Registered Landmark. It’s such a pleasure to be able to showcase this modernist architectural wonder that’s just a stone’s throw from Optima Verdana®.

Historical Background

Constructed in 1909, the Frank J. Baker House is a prime example of the Prairie School architectural style, which flourished between the late 19th and early 20th centuries. This style was characterized by horizontal lines, overhanging eaves, and an emphasis on integrating the building with its natural surroundings. 

The house was designed by architect Frank Lloyd Wright, and commissioned by Frank J. Baker, a successful businessman with a passion for art and architecture. Throughout its history, the Baker House has undergone several renovations and restorations, all aimed at preserving its architectural integrity and adapting it to the needs of modern living. Today, the house remains a private residence, treasured by its owners, Amy and Eric Bauer. 

Connection to Wilmette Landmarks

The Frank J. Baker House is also an integral part of the rich architectural tapestry of Wilmette’s collection of landmark structures, including the Robert and Suzanne Drucker House, and Oak Circle Historic District. Together they exemplify timeless modernist architecture at its best and offer an engaging and educational experience for all design enthusiasts.

Interior of Frank J. Baker House. Photo: @Properties

Architectural Features

One of the most striking features of the Baker House is its harmonious integration with the landscape. The house boasts a low-pitched roof, wide eaves, and extensive use of natural materials, allowing it to blend seamlessly with its surroundings. This unity of architecture and nature is a cornerstone of the Prairie School design philosophy.

Inside the Baker House, you’ll find a spacious, open floor plan that allows for an easy flow between rooms. The generous use of windows and natural light creates an airy, inviting atmosphere, while the built-in furniture and custom woodwork showcase the craftsmanship and attention to detail that went into designing and constructing the home.

Impact on Modern Architecture

It’s a rare pleasure to see such a pristine example of Wright’s genius and the influence of the Prairie School on modern architecture — with its clean lines, simplicity, and connection to nature — up close. At Optima®, as we continue to design living spaces that blend form and function, we draw inspiration from architectural masterpieces like this every day.

Woman in Architecture: Eulie Chowdhury

As part of our ongoing Women In Architecture series, we continue to honor the contributions of female architects who have shattered barriers and paved the way for future generations. Today, we celebrate the life and work of Eulie Chowdhury, the first woman architect of India, who left an inspiring legacy of perseverance and innovation with India’s most ambitious Modernist project. 

Early Life and Education

Eulie Chowdhury was born in 1923 in Uttar Pradesh, India. Growing up in a time when women’s roles were largely confined to the household, Chowdhury sought to disrupt those societal boundaries while building her career on a host of rich multicultural experiences derived from her early years spent traveling with her diplomat father. Schooled in Japan, Sydney and the U.S., Chowdhury had the freedom to become a steward of culture. 

Career

Upon returning to India in 1951, life took a remarkable turn for Chowdhury, when she had the opportunity to participate in the design and planning of the modern city of Chandigarh, working alongside some of the most renowned architects of her time including Le Corbusier and Pierre Jeanneret. Chandigarh, situated at the foothills of the Shivalik Hills, would become one of Le Corbusier’s greatest works and an iconic symbol of India’s post-independence architectural movement.

Palace of Assembly – Le Corbusier (1951-1965). Photography: Roberto Conte

During the first phase of the Chandigarh project, from 1951-1963, Chowdhury worked on the High Court building, the first structure to be built by Le Corusier. She also helped with drawings of the Geometric Hill, Tower of Shadows, and Martyrs Memorial, some of the seminal structures of the city. 

Champion for Women’s Rights and Professional Involvement

Eulie Chowdhury was not only a pioneer in her profession but also a staunch advocate for women’s rights. She actively encouraged more women to pursue careers in architecture, inspiring a generation of female architects to follow in her footsteps.

Throughout her career, Chowdhury was involved in various professional organizations, such as the Indian Institute of Architects and the Indian Council of Architecture. She used her influence to promote the importance of women’s participation in the field and to create opportunities for the next generation of architects.

Government Home Science College, Chandigarh ©Wikimedia Commons

Legacy

Though Eulie Chowdhury passed away in 1995, her spirit continues to touch the world of architecture. As the pioneering woman architect who shaped India’s modern architectural landscape, her inspiring legacy of resilience, innovation, and groundbreaking achievements continues to hold incredible power. In celebrating Chowdhury’s remarkable story, we hope to spark the desire for current and future generations of women to chase their dreams and leave their own indelible marks on the world of architecture.

Villa Weil: A French Modern Masterpiece

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.

Wilmette Landmarks: Robert and Suzanne Drucker House

As part of our Wilmette Landmark series, today we’ll cover a home steeped in an architect’s very own familial bonds. A home that has been on the National Register of Historic Places since 2013 — The Robert and Suzanne Drucker House. Designed by one of Chicago’s iconic Modernist architects, Harry Weese.

An Overlooked Modernist

His practice was inexhaustibly creative. Rooted in the Modernist and Brutalist architectural styles which laid the groundwork for efficient and functional living spaces. His most famous work, the Washington Metro system, not only showcases Weese’s unique design approach but also illustrates how he prioritized the user experience with his coffered concrete vaults and meticulous attention to detail. Weese never shied away from innovation, all the while quietly detaching himself from the architectural dominance of Mies van der Rohe and Frank Lloyd Wright.

The Drucker House

Quietly closed off from view, the front of the Drucker home is a wonderful expression of Weese’s personal brand of Modernism — a synthesis of International Style, Scandinavian, and Midwestern influences. The home’s geometry is obscured by slatted screens and maturing cedar trees. The house is L-shaped. Consisting of two wings running parallel to the street and the other angled in a way that allows for sunlight. This L-shaped arrangement also allows for an expansive view of the front yard.

The back of the home, on the other hand, embraces its deep rectangular lot and thoughtfully placed windows. Along with a screened porch resembling film reel that takes advantage of natural light to cast the home’s image. The indoor and outdoor living space almost seem to be brought together through this effect, all while maintaining complete privacy.

Side view of Robert and Suzanne Drucker House
Side view of Robert and Suzanne Drucker House. Photo: Susan Benjamin

Weese built the Drucker house for his sister Suzanne and her family. It largely reflects Weese’s experimental approach to Modern design, and is informed by geometry rather than ornamentation. Furthermore, the house exhibits a remarkable focus on flexibility instead of adhering to a traditional layout that — when combined with how the Drucker family lived — created a universally functional residence that could accommodate the family’s lifestyle.

In its interior, the home is compartmentalized into zones delineated by screens and bookspaces. Each room flows effortlessly from one to another, the kitchen in particular being planned with convenience and ample storage in mind. In 1963, as the Drucker family began to grow, a second floor was added to provide more space.

As Optima® continues to embrace all that Wilmette has to offer, taking the time to highlight unconventional pioneers who blurred the boundaries of style and functionality is always a pleasure. We encourage you to take a slow drive to see this magnificent home and all that it has to offer on 2801 Iroquois Rd in Wilmette, IL.

 

 

Women in Architecture: Georgia Louise Harris Brown

As a part of our ongoing “Women in Architecture” series, we’re spotlighting Georgia Louise Harris Brown, a visionary who was able to apply her extraordinary talents across the world. Although she rarely received credit for her outstanding contributions, Brown’s passion for building never diminished. Learn more about her impressive life and career below:

The Life of Georgia Louise Harris Brown

Georgia Louise Harris Brown was born on June 12, 1918, in Topeka, Kansas, to Carl Collins, a shipping clerk, and Georgia Watkins, a school teacher. As a child, her interests revolved around the arts and tinkering with cars and farm equipment with her brother. Brown distinguished herself from school as an exceptionally bright student, which led her to Washburn University, where she studied from 1936 until 1938. 

After graduating, Brown traveled to Chicago to visit family but instead fell in love with the metropolitan atmosphere and presence of a strong Black community. Originally planning to stay for the summer, she enrolled in a course at the Armour Institute of Technology – now the Illinois Institute of Technology – taught by Mies van der Rohe and began taking flying lessons, which would become a lifelong passion. 

However, her plans changed when she enrolled in the school’s engineering and architecture program in the fall of 1938. Brown continued her studies in architecture but moved back to Kansas in 1942. She completed her degrees at the University of Kansas in 1944 and was the first Black woman to do so at the school.

Notable Works and Achievements

Brown returned to Chicago in 1945, where she found a job working for Kenneth Roderick O’Neal, a confidant of Mies and a leading architect at the time. In Chicago, she acquainted herself with other aspiring Black architects, including Beverly Lorraine Green and John Moutoussamy. In 1949, while working for O’Neal, Brown finally received her architecture license, and in the same year, she began working for Frank J. Kornacker Associates, Inc. 

At Kornacker Associates, Brown developed many structural calculations, including those for the apartment building at 860 Lake Shore Drive. During her time there, she also worked on many side projects for Woodrow B Dolphin, including various churches, houses and office buildings around Chicago. Although, after realizing that her race and gender would hold her back from many opportunities in America, she became interested in moving to Brazil, where she believed she would be held back less. 

In 1953, Brown relocated to Brazil but didn’t receive an architecture license for the country until 1970. However, shortly after arriving, she found work with Charles Bosworth, another American who had moved to Brazil to open his own firm. While living in Brazil, Brown contributed designs and managed the completion of several significant builds. Along with various personal homes, many of her projects included large-scale plants and factories, including one for Ford Motors, Pfizer and Kodak. 

Kodak Factory, São José, Brazil, 1971, Georgia Louise Harris Brown, Courtesy of University of Rochester Library

While Brown’s contributions to architectural design have often been unrecognized, her expansive knowledge of structural engineering and design always drove her to the leading firm of the time. And while she contended with feeling like an “other” wherever she went, she never held back from challenging the status quo and pursuing her lifelong passion for architecture.

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