The Cranbrook Connection: Right Place, Right Time

Connections often happen in the places where we least expect to find them. At Optima®, a connection sprang from a love of modernization, to an idea, backed by an ever-lasting willingness to adapt through experimentation in the right place, at the right time. Imagine our surprise when a number of world renown architects and designers such as Florence Knoll, Charles and Ray Eames, Eero Saarinen, and Harry Bertoia met at Cranbrook Academy of Art at the right place, at the right time, becoming colleagues, collaborators, and lifelong friends. 

The Cranbrook Campus was designed by Eliel Saarinen in the years 1925-1942. He also had help from his wife and artist, Loja, and his kids, Eero and Pipsan at the request of founders — George and Ellen Booth. Everything on campus was highly considered — from the masonry, to the walls, the chairs, textiles, and colors through the use of what they called — total design.  When Eero Saarinen, Florence Knoll, Charles and Ray Eames, and Harry Bertoia were on campus, Cranbrook was essentially a crucible for the beginnings of modernism in which many of these luminary architects and designers practiced and perfected their craft. 

Cranbrook Academy Grounds. Credit: David Brossard, Wikipedia Commons. Uploaded by GrapedApe, CC BY-SA 2.0

In late 2022, the design studio at Herman Miller released a short film entitled, The Cranbrook Connection. The film traces the history of Cranbrook as one of America’s greatest examples of modernist architecture and design, weaving in a thoughtful examination of furniture designed and produced by mid-century visionaries for Herman Miller and Knoll. This sweeping survey brings into sharp focus the staying power of total design, while inspiring us with the power of bringing structure and interior space into harmonic alignment.

During these seminal years, Cranbrook encouraged its students to practice experimentation in design, alongside the use of new materials. Eero and Charles had an interesting obsession with plywood. How it bent, how it felt, and sat in space. They later entered into a number of competitions with and sometimes against one another using this material. At one point, they entered the Organic Design for Home Furnishings competition with a suite of modular furniture using molded plywood chairs, and tables that would come to be the seeds of some of the most successful lines of furniture such as the Eames chair, and Womb chair.

Cranbrook Academy of Art (1940) Eliel Saarienen, Michigan State Historic Preservation Office, Flickr

Today, the Cranbrook Academy of Art remains one of the country’s top-ranked, graduate-only programs in architecture, design, and fine art. Just 75 students are invited to study and live on the Saarinen-designed campus, which features a suite of private studios, state-of-the-art workshops, a renowned Art Museum, and 300 acres of forests, lakes, and streams, all a short drive from Detroit. The focus at Cranbrook is on studio practice in one of 11 disciplines: Architecture, 2D, 3D, and 4D Design, Ceramics, Fiber, Metalsmithing, Painting, Photography, Print Media, and Sculpture.

Landscape + Light: David Wallace Haskins at the Edith Farnsworth House

For the architectural icon Ludwig Mies van der Rohe, his impact continues to resonate throughout the worlds of design, architecture, and art. For our spotlight series, we’re happy to introduce the most recent exhibition of Chicago conceptual artist David Wallace Haskins, Landscape + Light, at the Edith Farnsworth House, which engages in a fantastic dialogue with one of van der Rohe’s most legendary homes.

The Edith Farnsworth House, formerly the Farnsworth House, is an historical house designed and constructed by van der Rohe between 1945 and 1951. The house was constructed as a one-room weekend retreat in Plano, Illinois. A rural community 60 miles southwest of downtown Chicago, and was opened to the public in 2004 as a National Historic Landmark.

Over the past decade, Haskins has had the opportunity to create experiential sculptures and architectural interventions in response to various works by van der Rohe. Haskins is one of the few midwestern artists working in the tradition of the Light & Space movement and considers Mies to be one of its earliest pioneers as he was creating minimalist works of light and space thirty years before the movement took hold in southern California in the 1960s. 

As part of the solo exhibition for his 2022 artist-in-residence — Landscape + Light  is composed of three installations across the Farnsworth wooded property including The Memory of Glass, Image Continuous, and Stone Landing. 

Edith Farnsworth House
Memory of Glass, Photo: courtesy of David Wallace Haskins

Memory of Glass examines the recent scientific discovery that certain types of glass retain memories in a form resembling neurons. It envisions Farnsworth House as hearing and remembering an ambient soundscape that has washed over it for the last 70 years. Haskins engineered a way for these sonic memories to emanate from the house. The structure’s 12 large glass panels to reverberate as floor-to-ceiling glass speakers. Sound is both sent inward and outward, further blurring the lines between the indoors and outdoors. “Dissolving the boundary between the interior and exterior world” Haskins notes.

Landscape + Light is also the world premiere of the site-specific sculpture, Image Continuous from Haskins’ Skycube series — fabricated from a ton of skyscraper glass, which is actually half of the glass van der Rohe used to glaze Edith’s home. This visually perplexing sculpture turns the sky inside-out. Thus engaging the spectator as a participant as their position in space shifts. 

Concerning its sculptural presence, Haskins explains: “We tend to ignore the sky as it enwraps and illuminates the landscape, but with Image Continuous, the dynamic is reversed — the landscape enwraps the sky, giving it presence and form. We forget the sky, or troposphere, starts at the ground and rises 10 miles high. Here, we see ourselves in the landscape in relationship with the sky. Whilst allowing us to behold its presence in a truly personal and embodied way.”

Stone Koan
Stone Koan. Photo: courtesy of David Wallace Haskins

The final installation of Landscape + Light consists of a large meditative monolith from Haskins’ Stone Koan series, made from the original Italian travertine that van der Rohe used to cover the stairs and terrace of Farnsworth House from 1951-2021. Due to severe weathering, these stones were replaced in 2021, allowing Haskins to utilize them to create a number of Stone Koans and a smaller Skycube. 

With our heads and hearts firmly rooted in the Modernist tradition. It’s a joy for the Optima team to see how the legacy of Mies van der Rohe continues to inspire contemporary artists. And if you’re a lover of all things Modernist, you won’t want to miss this extraordinary experience.

Landscape + Light continues through May 2023. Visit the Edith Farnsworth House website to learn more about visits and tours.

Women in Architecture: Elizabeth Wilbraham

As part of our ongoing “Women in Architecture” series, we’re spotlighting a trailblazing yet often forgotten leader in architecture, Lady Elizabeth Wilbraham. While it was nearly impossible for women to professionally pursue architecture throughout their life in the 17th century, Wilbraham is often considered the first woman architect in the United Kingdom’s history. Learn more about her storied life and career below: 

The Life of Elizabeth Wilbraham

Elizabeth Wilbraham was born into a wealthy family in Staffordshire, England, on February 14, 1632. At 19, she married Thomas Wilbraham, heir to the Baronetcy of Wilbraham. Following their marriage, the couple traveled across Europe for their honeymoon, and because of her interest in architecture, she took it upon herself to make the trip an extended architecture tour. 

On their trip, the couple conversed with several significant architectural leaders of the time. She met Pieter Post, a Dutch Golden Age Architect in the Netherlands, studied Andrea Palladea’s work in Italy and fell in love with the Stadtresidenz in Germany before returning to the United Kingdom, where her mostly unseen career began. 

Notable Works and Achievements

While there is a lack of evidence that clearly links Wilbraham’s involvement as a formal architect at the time, it is clear that she held a great interest in architecture and was a considerable patron of architecture throughout the 17th century. However, historians continue to argue that she managed to practice architecture secretly and was likely involved in the design of more than a dozen grand homes for her extended family, including Weston Park, Staffordshire and a chapel at Woodley, Chesire.

John Millar, an American historian, claims that Wilbraham could have contributed designs to more than 400 buildings across the United Kingdom during her lifetime, using male assistant architects to supervise and take credit for the projects due to her social position. 

Wilbraham is also credited for not only tutoring Christopher Wren, one of England’s most highly acclaimed architects but contributing designs for 18 of the 52 churches he commissioned following the Great Fire of London in 1666, most of which share unique design features Wilbraham included in countless other builds. 

In a time when women couldn’t find themselves in any professional setting, Elizabeth Wilbraham did what no others did at the time and pursued her passion through a professional lens. And even though she completed much of her work behind closed doors and credit was given elsewhere, her legacy as a major patroness of architecture, and possibly even the first women architect in the United Kingdom, remains. 

An Eero, A Deere, and Clouds: How John Deere and Eero Saarinen Inspired Georgia O’Keeffe’s Largest Painting

Sometime in 1965, on a hot summer day at her Ghost Ranch house in New Mexico, Georgia O’Keeffe would find the motivation to complete her most grandiose painting yet, Sky Above the Clouds IV. Little did we at Optima® know, however, that the luminary architect and industrial designer, Eero Saarinen, alongside legendary agricultural corporation, John Deere, would play a pivotal role in the creation of this monumental painting.

Tracing back to June 4th, 1964 is when the story behind Clouds IV gets interesting. O’Keeffe attended the opening of the new headquarters of Deere in Moline, Illinois. Designed by the office of Eero Saarinen, the structure’s pre-rusted Cor-Ten steel exterior tested the limits of 1960s corporate architecture, veering towards an industrial aesthetic quite unique from Saarinen’s usual swooping curves, as seen with the Gateway Arch in St. Louis.

Picture the opening ceremony — a lavish and extravagant affair, showcasing top-of-the-line farm machinery, along with an evening river cruise — with politicians, corporate czars and design stars in attendance. So why was Georgia O’Keeffe, “The Mother of American Modernism” there to begin with? Well, archival photos show that she was mingling with this elite crowd against a backdrop of John Deere tractors. In just about every photo she is seen with her close friend and fellow New Mexican, designer Girard Alexander. Girard had invited O’Keeffe for two reasons. He wanted to showcase his 180-foot-long collage installation documenting the culture and development of John Deere. More importantly, however, was his belief that an O’Keeffe painting would further transform the interior of their cutting edge new headquarters.

Upon her return to New Mexico. O’Keeffe executed a detailed sketch depicting the uniform cumulus clouds that she thought of whenever flying from one destination to another — hence, Sky Above the Clouds I-IV. Where would an O’Keeffe painting go in a building whose every element had been designed and polished to near perfection? 

From its pre-rusted steel exterior, down to the last coat rack and door handle. Girard knew of such a place: the executive dining room. This room was equipped with tantalizing Siamese silk ceiling panels that hung perpendicular to its sublime Portuguese white marble walls. The architectural effect was, by all intents and purposes, cloud-like. Sky Above the Clouds IV would have only elevated this effect, Girard thought, but the Deere team didn’t see it that way, unfortunately, and the commission was axed. 

Georgia O’Keeffe in Garage
Georgia O’Keeffe in Ghost Ranch Garage with “Sky above Clouds IV” (1966), Photo: Ralph Looney

She was in the midst of a busy year. Full of other work, international travel, and even a harrowing knee injury that she was recovering from. Fortunately for us, O’Keeffe persisted in her desire to see Clouds IV to the end. She completed the work, at the age of 77, in the summer of 1965. 

In 1970, Sky above Clouds IV was scheduled to be included in a retrospective of O’Keeffe’s work at the Whitney Museum of American Art, New York, the Art Institute of Chicago and the San Francisco Museum of Art. After being shown in New York and Chicago, the painting remained on loan to the Art Institute because it was too large to pass through the doors at the museum in San Francisco. Ten years later, due to the diligence of O’Keeffe and local patrons, the painting joined the museum’s permanent collection. Today, this 8-foot by 24-foot masterpiece hangs above one of the Art Institute’s grand staircases for all to see.

Super Bowl LVII Live in Phoenix

Picture this, it’s the end of the week, the Sunday before you go back to business-as-usual. “We Will Rock You” by Queen plays as the stadium fills with a triumphant Boom-boom-clap! Boom-boom-clap! And the person next to you sports a Philadelphia Eagles hat almost resembling the mascot. Down on the field, massed bands perform the anthem alongside country music star, Chris Stapleton, and you know (especially the person next to you) that it’s Game-time.

State Farm Stadium Interior
State Farm Stadium Interior. Photo: John Martinez Pavliga, Flickr Creative Commons CC BY 2.0 Deed

Super Bowl XLVII is fast approaching, and the excitement is rapidly growing across the nation among teams and fans. This will be the fourth time the Super Bowl has been hosted in Phoenix (1996, 2007 and 2015 were the previous years), and the city is abuzz with anticipation. The Philadelphia Eagles and Kansas City Chiefs will face off at the award-winning State Farm Stadium in Glendale. The Cincinnati Bengals had the chance to make their second consecutive Super Bowl, but in an unfortunate tragic twist of events they lost to the Kansas City Chiefs 23-20.

State Farm Stadium

State Farm Stadium is home to the Arizona Cardinals Football Club (NFL), the annual Fiesta Bowl, international soccer matches, motorsports, as well numerous other sporting, trade and consumer events and activities. The stadium was designed by renowned New York architect Peter Eisenman at an estimated cost of about $455 million. Completed in August 2006, it has both a retractable playing field and a retractable roof, the first of its kind in North America, to accommodate capacities of 63,000 people, with the flexibility to be expanded for “mega-events” to fit as many as 73,000.

State Farm Stadium
State Farm Stadium, Phoenix, AZ. Photo: State Farm

At Optima we strive to enhance the quality of community and experiences through exceptional design, and the State Farm Stadium serves as a breathtaking reminder of the sophisticated engineering, technology, and design we implement into our own process.

When and Where to Watch Super LVII

Super Bowl 57 will take place in Glendale, AZ, Feb. 12, 2023 at 6:30 p.m. ET.

Even if you’re not in-person to cheer on your favorite team. You can enjoy the game from home with your family. A few streaming services to check out include; Fox Sports website, the Fox Sports app, and the NFL app. You can also stream Super Bowl LVII live on Hulu, fuboTV, Roku TV and Sling TV.

Optima + Sustainability Series: EV Parking

The evidence that electric and hybrid vehicles are gaining traction is on the roads everywhere. From personal vehicles to rideshares and public transport, we are, as a nation, beginning to embrace the importance of reducing carbon emissions by replacing the fossil fuels that traditional gasoline-powered engines use with forms of clean energy. 

Encouraged by the funding made available to help states fund public charging infrastructure, and Illinois’ ambitious goal to get one million electric vehicles (EVs) on the road by 2023, EVs are becoming increasingly desirable. And those who own and manage residential buildings are faced with the challenge to provide ample access to EV battery charging stations that residents need.

At Optima, we have always been sustainability-focused across our entire integrated business model — from design to building materials to landscaping – and EV parking. We began providing EV parking spaces in 2016 and 2017 at 7160 Optima Kierland and Optima Signature with 8 EV parking spaces, which represented only a small portion of the overall spaces in the garage.

Now in April 2023, Optima Verdana in Wilmette will open with 24% of the total spaces dedicated to EVs. In all of our communities — in both Illinois and Arizona — we have continued to increase EV capacity every year based upon resident demand, with the capacity to reach a full 100% at many projects. In recognition for our commitment to EV parking, Optima Sonoran Village won the Salt River Project Champions of Sustainability Award in the Building Communities for Electric Vehicles category.

Car garage
EV Parking Garage

In a recent Bisnow article that explores how future-facing multifamily developers are preparing for the future of electric vehicles, David Hovey Jr., AIA, Optima president and chief operating officer, observes, “Just from a sustainability perspective, obviously, demand is getting higher from both people wanting to be more sustainable … and cities wanting to be more sustainable, as well as just overall demand.”

Sustainability remains one of our most precious values at Optima. And we’re proud to be part of a growing community of property owners and managers that seeks to support sustainable practices on behalf of our residents.

Women In Architecture: Eva Hagberg

Many of the pioneering women in the field of architecture, including Ray Eames, Norma Merrick Sklarek, and Mary Jane Long, earned their reputations on projects they designed, just like their male counterparts. But what if someone was able to have a significant impact on critical thinking within the field without actually designing anything? This is how we came to know Eva Hagberg, a person whose journey into and through architecture has been as interesting as it is purposely unconventional.

Writer, architectural historian, adjunct professor, once secret publicist, activist, and self proclaimed, “worst architectural student the school of architecture has ever seen.” Eva Hagberg is a woman in architecture who prides herself on her ideas and process rather than the execution of building a model for people to see.

Eva’s Backstory

From the age of 11, Hagberg was passionate about design and architecture; and while she earned a BA in the field from Princeton University, she never intended to practice. Rather, she began her professional life writing about architecture, choosing to engage in the field from a vastly different angle — interrogating the relationships between narrative and form.

From her early career as a writer in New York City, Hagberg became a secret publicist for architects and designers who were seeking help in articulating the stories behind their projects. As she functioned as a kind of ghost writer, she took advantage of the freedom to be unknown and unseen — “practically ungoogleable” as Hagberg describes herself. Because she opted to express herself by helping others find their voices, she was able to do the work that interested her the most without being pigeonholed, or specialized — architectural historian, adjunct professor, 77 year-old architect reminiscing about a project done in the 80s — or author of When Eero Met His Match.

Published Books

When Eero Met His Match
When Eero Met His Match by Eva Hagberg

What is today a trite proverb — that behind every great man, is a great woman — Eva Hagberg’s When Eero Met His Match is as biographical as it is a poignant love story between critic and publicist Aline Louchheim and architect Eero Saarinen. Aline aided Eero in shaping his identity and prominence as a designer and architect. Throughout the book, Hagberg expresses just how important it is to embrace language and narrative as an integral part of the practice of architecture.

She has also published two architectural books through Monacelli Press, Dark Nostalgia and Nature Framed. Dark Nostalgia seeks to combine psychology, style, architecture, and art to express the reasoning behind our desire to live within lushly nostalgic interiors incorporating wood, velvet, fur, brick, and iron. 

Dark Nostalgia
Dark Nostalgia by Eva Hagberg

Nature Framed, on the other hand, explores an Optima favorite, the concept of biophilic design. Hagberg views 25 residential projects (framed with nature in mind) from around the United States that take the concept of “green living” to the next architectural level by asking, how close to nature can we be while remaining indoors?

Nature Framed
Nature Framed by Eva Hagberg

As Hagberg herself explains, being the “worst architectural student the school of architecture has ever seen,” had its own set of merits. And because of her willingness to rethink, reframe and recontextualize stories about the built environment, Hagberg has carved her own path through sheer perseverance and a deep attunement to the soul of architecture and those who practice it.

Beyond her BA in architecture from Princeton University, Hagsberg went on to earn an MS in architecture from UC Berkeley. As well as a PhD in Visual and Narrative Culture from UC Berkeley. Today, as a member of the Columbia University Graduate School of Architecture, Planning, and Preservation faculty, her academic work focuses on the theoretical and historical approaches to publicity as a mode of architectural production, and lays out how the modern media system works.

2023 Design Trends: Designing The World of Tomorrow

The ways in which we live, move, and work are changing fast, and we, at Optima®, believe that up-and-coming architectural trends continue to address many of the challenges faced in modern life. Some solutions focus on more space, more storage, less clutter, and more flexibility. Others address affordable rent, resistance to climate change, and sustainability. These trends, along with a  myriad of others, inspire us and those who are at the forefront of designing the world of tomorrow. Here are some of the trends on the horizon in 2023.

Biophilic Urbanism

Biophilia, a term coined by Erich Fromm in 1964, is the human interaction and appreciation for nature. In 2023, this trend is continually on the rise as we seek to develop buildings that are ecologically friendly in their use of resources. Biophilic design can revolutionize the way we manage stress, increase productivity within offices and educational spaces, and improve mental health, through the use of nature inside and outside of buildings.

While biophilic design is very much at the forefront of architectural trends, it has been central to our work at Optima for decades. Our passionate connection between the built environment and nature continues to be as fluid as it is concrete, reflected in our signature innovation of vertical landscaping. The widespread adoption of this essential design principle, we are excited to welcome others into the process of bringing people and nature closer together.

Sonoran Village®
Optima Sonoran Village®, Vertical Landscaping

Modular Construction

Modular construction has been at the forefront of Optima’s DCHGLOBAL Building System since its conception in 2009 . We began our experimentation with modular construction with Relic Rock, reflecting our commitment to building homes flexibly — in horizontal and vertical directions — sustainably and efficiently anywhere, anytime. 

As part of the broader architectural community seeking modular solutions around the globe, we’re excited by the opportunity to celebrate sustainability and versatility as core values at Optima, while ensuring enduring aesthetics and affordability.

Sonoran Desert, AZ
Relic Rock, Sonoran Desert, AZ

Smart Materials

Through the integration of smart devices in our homes, cars, phones, and wrists comes Smart Materials. Recent developments provide that these materials could eventually respond to changes in pressure, temperature, moisture, and UV radiation, giving architects unfathomable flexibility. Along with an expanded toolkit for designing and building.

Our respect for materiality and space is important for the 360-degree approach to sustainability, and the inclusion of these new and unexplored materials gets us excited about their potential for the environment at large. Part of our role at Optima has been ensuring the environment remains protected with the inclusion of smart materials such as bird glass or green concrete within many of our buildings.

Bird glass
Bird Safe Glass

Community-Centered Design

It is a universal truth that the built environment functions better if those who use it are involved in the process of creation. Designing buildings with community in mind makes for rich and diverse environments where people can be themselves, while also giving them a sense of ownership in the places where they live, play, and work.  As we enter 2023, we are seeing greater collaboration between architects, developers and their communities across the globe — much the way Optima has partnered with the cities, villages and neighborhoods where we have put down roots for more than 40 years.

 

Growing Your Own Herbs at Optima Verdana®

The stellar Rooftop Sky Deck and communal courtyard at Optima Verdana® abound with gorgeous greenspace and reflective hardscape surfaces to reduce heat. Our residents can delight in the outdoors year-round for both recreation and relaxation. And for those with green thumbs, dedicated planters atop the Sky Deck will be home to a seasonal herb garden.


Check your kitchen cabinets, your cupboards, your drawers! If you spend any time cooking, you probably have dried thyme, basil, and even a bit of parsley or oregano. These earthly delights known as herbs are easily accessible from most grocery stores, but imagine what it would be like if you grew them yourself?

In spite of their simplicity, herb gardens are magical places and offer many gifts — from cooking, to medicine, to unique fragrances. Growing your own herbs also serves as an exercise in gratification, and so much more:

Great for All Skill Levels

First, herb gardens are great for beginner gardeners because they require minimal effort and are easier to grow than vegetables. They don’t require large plots of land, and grow well in pots, planters and other containers. Herbs don’t need much fertilizing, which is a huge plus for beginners, and they can handle a wide range of temperatures that’s ideal for Chicago’s seasons. 

Herbs
Basil, parsely, thyme, and rosemary

Redefining the Word “Fresh”

When your recipes call for fresh herbs, what could be more delightful — and satisfying — than heading to your herb garden with a pair of kitchen shears and picking or cutting what you need? And because you can harvest your herbs while you’re cooking, they will always be fresh and fragrant.

Variety is the Spice of Life

Knowing that you have easy access to what you’re growing, you may find yourself with an appetite for expanding your repertoire with dishes that specifically call for fresh herbs. This is a real treat, since the flavors are so much more robust and the option to have full leaves, stems and flowers in your preparations is a real bonus. 

The herb garden also offers the opportunity to experiment with new flavor combinations. Take advantage of your herbs and try out a new recipe or two. Try growing herbs that are uncharted territory for you, this will likely lead to taking new risks in your cooking. Which in turn will enrich your life with new and flavorful experiences.

As you head into the fall and winter months, you can harvest your herbs and dry them indoors. This will tide you over until spring arrives and it’s time to plant again.

Creating A Healthy, Budding Community

The herb garden at Optima Verdana® is part of the powerful community experience of connecting with others around a shared purpose. All it takes is one seed to sow a relationship and build a budding new friendship with a neighbor. This convenience of access offers residents physical exercise, fresh air and the meditative qualities of connecting to the earth. 

If you’re looking for ideas for dishes that will put your fresh herbs in the spotlight at your next dinner or event, The Food Network offers quite a few!

The Role of the Courtyard in Optima® Communities

In a former Forever Modern post, we shared a brief history of the courtyard. From their earliest uses around 6000 BC in the Jordan Valley, courtyards have evolved into physical settings that enable people to interact harmoniously with others — and with their natural surroundings.

Within the Optima® culture, we never grow tired of exploring relevant, resonant expressions of the courtyard within the communities we design and build. Over the past several years, we have turned our attention to the role of courtyards in our projects in Chicago — Optima Lakeview® and Optima Verdana® — as an integral element in creating an elevated sense of home.

Take the atrium at Optima Lakeview®. Sharing the same properties as a courtyard, this distinctive architectural feature is a stunning landscaped interior volume that runs through the building’s 7-story core and is enclosed by a fixed in-place skylight at the roof to bring natural light into the building’s interior. The residential units and building amenities are arranged around the atrium. In its central role, the atrium serves as a public space flooded with light, filled with plants and flowers, and outfitted with comfortable seating where residents and their guests can linger and enjoy the outdoors, even with the Midwest’s seasons might not make it hospitable to be outdoors.

A rendering of Optima Verdana’s lounge and residential courtyard

Exemplifying our passion for opportunities to engage with nature and organic environments is a vibrantly landscaped courtyard found in the heart of Optima Verdana® in Wilmette. The open-air space serves as a lush oasis for residents and is home to 7’ high garden walls, verdant trees, restful seating and more than 1,500 light-filled square feet. Beyond the tranquility and sheer beauty of the abundant plantings in the courtyard, residents enjoy remarkable access to reoxygenating air, natural light and the absence of ambient noise. It’s no surprise that the building is a proud recipient of two Green Globes from the prestigious Green Globes® Building Certification program, acknowledging that the building’s courtyard design contributes to the larger eco-friendly environment!  

At Optima, we celebrate the power of connection — to nature and to each other — as we express it through timeless architecture complimenting the built environment.

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